#Manuel Manetta

[jazzdailyblog]

Red Allen: Mastering Jazz's Vibrant Palette

Introduction: In the ever-evolving tapestry of jazz, few figures have woven as rich a legacy as Henry James “Red” Allen, Jr. Renowned as an American jazz trumpeter and vocalist, Red Allen is celebrated not only for his virtuosic talent but also for pioneering the integration of Louis Armstrong’s innovations into his distinctive style. Early Trumpet Strokes: Birth and Formative Years Born one…

[messinacalcio]

Mister Modica convoca 25 calciatori del Messina per la sfida contro il Taranto

Per Messina-Taranto valevole per la terza giornata del campionato di Serie C, che si disputerà il 7 settembre alle ore 20.45, mister Modica ha convocato 25 calciatori. Portieri: Curtosi Flavio, Di Bella Antonio, Krapikas Titas. Difensori: Lia Damiano, Mameli Bryan, Manetta Marco, Marino Antonio, Morleo Umberto, Ndir Mame Ass, Ortisi Pasqualino, Rizzo Francesco, Salvo Giuseppe. Centrocampisti: Anzelmo Domenico, Di Palma Manuel, Frisenna Giulio, Garofalo Vincenzo, Pedicillo Leonardo, Petrucci Davide, Simonetta Diego. Attaccanti: Adragna Gabriel, Anatriello Gennaro, Cominetti Martino, Luciani Pierlunca, Mamona Samuel, Petrungaro Luca. Read the full article

[kubotty]

音楽のススメ368

本日はPapa Celestinからの繋がりで、米国よりWilliam Ridgelyをご紹介していきます。

William Ridgely(ウィリアム・リッジリー)とは、1882年米ルイジアナ州ニューオリーンズ生まれのジャズトロンボーン奏者��、ディクシーランドジャズのバンドリーダー。

彼に関するプロフィールはあまり多く残されていませんが、1907年にはSilver Leaf Orchestraを共演し、1916,17年あたりにはPapa CelestinとOriginal Tuxedo Orchestraを結成。その時のメンバーは Jeanette SalvantやSweet Emma Barrettがピアノを弾き、Manuel ManettaやKid Shots Madisonも参加していたと言う。

ただ健康上の問題で1936年には演奏活動を休止。彼の最後の演奏は1961年のAlphonse Picouのお葬式にて。そして同年に79歳で死去。

彼単体としては音源で形には残っていませんので、本日は Papa CelestinとのバンドであるOrigilan Tuxedo Orchestraから”It’s Jam Up”をお届けします。昨日ご紹介した”Marie LaVeau”然りですが、アンニュイで怪しいコードのマーチはどうもツボにハマる。0:46からメジャーに展開したと見せかけてまたまた元に戻っていく感じもまた痒くてクセになる。

Celestin's Original Tuxedo Jazz Orchestra / It's Jam Up

[linguistlist-blog]

Confs: Re-examining Peripheral Structures: theoretical and empirical perspectives on linguistic ‘(un)productivity’

Program: 9:00-9:30 Manuel Delicado and Zhengdao Ye (ANU) Acknowledgement of Country; opening remarks 9:30-10:00 Emily Manetta (University of Vermont) A comparative view of marginal syntactic structure in Indic 10:00-10:30 Manuel Delicado Cantero (ANU) Resituating marginal syntactic constructions in the history of Spanish 10:30-11:00 Morning Tea 11:00-11:30 Cathryn Donohue (The Hong Kong Polytechnic University) On the productivity of different http://dlvr.it/SbtwCf

[blackkudos]

Camille Dickerson

Camille Nickerson was a highly accomplished musician and academic especially noted for collecting and arranging Creole folksongs. Billed as “The Louisiana Lady,” Nickerson performed and lectured about Creole music while costumed in nineteenth-century Creole style. She toured in the United States and Europe from 1941 to 1960, and the US State Department sponsored her 1954 tour of France.

Nickerson was born on March 30, 1888, in New Orleans. In her preteen years she joined the Nickerson Ladies’ Orchestra (the first women’s orchestra in New Orleans, directed by her father), as its pianist. In addition to leading the orchestra, William Joseph Nickerson taught music at Southern University in New Orleans, which at the time offered elementary grades through high school as well as some college coursework. Some of Mr. Nickerson’s classically trained students figured prominently in the early days of jazz: Jelly Roll Morton, Emma Barrett, Manuel Manetta, and Henry Kimball. Manetta later recalled Camille as the “greatest pianist they had around here.”

Nickerson received her training at Oberlin Conservatory, the Juilliard School, and Columbia Teachers College. After graduating from Oberlin in 1916, she taught at her father’s Nickerson School of Music and began performing concerts in Southern cities. In 1917 she established the B-Sharp Music Club to promote “Negro Music,” and the group started the New Orleans branch of the National Association of Negro Musicians (NANM) in 1921. Performing free, monthly concerts of classical music, spirituals, and Creole of color songs, the B-Sharp Music Club also raised funds for the NAACP, the Anti-Lynching Fund, and NANM scholarships.

Nickerson enjoyed a long and distinguished career as professor of music at Howard University in Washington, DC, from 1926 to 1962 and as professor emerita from 1962 to 1982. She served several years as president of the National Association of Negro Musicians and organized the Musicians Guild of Washington, DC.

In 1930, Nickerson received a Rosenwald Fellowship and took a leave from Howard University to conduct folkloric research, collecting and preserving Creole songs. In 1932, she received her master’s degree in music from Oberlin for her work, “Afro-Creole Music in Louisiana: A Thesis on the Plantation Songs Created by the Creole Negroes of Louisiana.” In 1942, the Boston Music Company published some of her musical scores as Five Creole Songs Harmonized and Arranged by Camille Nickerson.

Nickerson’s arrangements of these Creole songs are fine examples of folk music transcription. Three of the arrangements, “Michieu Banjo,” “Chère, Mo Lemmé Toi,” and “Dansé Conni Conné” are written in a Caribbean rhythmic idiom. The piano accompaniments are not based on stock patterns but are through-composed and display adept creativity and effective changes in texture. The more lyrical pieces, “Lizette, Ma Chêre Amie” and “Fais Do Do,” betray the acute tonal sensibilities of a fine pianist-composer. In all these arrangements the vocal line remains faithful to the original songs while the piano accompaniment provides a strong sense of narrative and explores the deeper meaning of the texts.

Nickerson died on April 27, 1982, in Washington, D.C. After her death, her papers were given to Howard University. Her impact on the musical community can be seen in the numerous archival repositories that contain information about her career, including, but not limited to, the Marian Anderson Papers (University of Pennsylvania), Louise Burge Papers (Howard University), Eva Jessye Collection (Pittsburgh State University), Ray M. Lawless Collection (Library of Congress), and the National Negro Opera Company Collection (Library of Congress). The Amistad Research Center at Tulane University holds a large collection of materials on the B-Sharp Music Club as well as a copy of Nickerson’s master’s thesis and her sheet music, Five Creole Songs. Tulane’s Hogan Archive also has a vertical file on the B-Sharp Music Club.

Source

[nofomoartworld]

Hyperallergic: The Lost Sights and Sounds of Storyville, New Orleans’s Red Light District

A woman in striped stockings in New Orlean’s Storyville red light district (1912), attributed to E. J. Bellocq (via Wikimedia)

NEW ORLEANS — Storyville may be the most famous American red light district, but little of it survives. After prostitution was prohibited in New Orleans in 1917, its seductively furnished brothels and raucous saloons gradually disappeared, with most demolished by the midcentury. Yet Storyville’s legacy endures a century later, whether in its role in the beginnings of jazz or the perception of New Orleans as a southern center of debauchery.

Photograph of Rita Walker from Blue Book (1913-15) (courtesy the Historic New Orleans Collection)

Storyville: Madams and Music, now at the Historic New Orleans Collection (THNOC), explores this complex history through photographs, maps, manuscripts, and architectural remnants, like the transom that once announced the name of madam Lulu White in red glass above the entrance to the plush Mahogany Hall. The exhibition features rare examples of the “blue books” which acted as directories for the sex workers, a display of which complements THNOC’s recent publication, Guidebooks to Sin: The Blue Books of Storyville, New Orleans. The book by Pamela D. Arceneaux, THNOC senior librarian and rare books curator, is the first contemporary study of these pocket-sized guides.

“Examining the 20-year history of the Storyville district provides us with a lens into a time and place that was experiencing rapid and dramatic change,” Storyville curator Eric Seiferth told Hyperallergic.

He noted that a century since the end of Storyville, the exhibition is a portal to “the evolving social structure imposed by Jim Crow, which forced newly arrived African Americans — moving to New Orleans from plantations — into the same social and racial category as French-speaking Afro-Creoles,” as well as subsequent struggles “over the idea of racial segregation.” At that moment, there were also shifting moral attitudes in the city; urban expansion transformed a previously sequestered neighborhood with the building of the Southern Railway Terminal, and the development of jazz brought pianists experimenting with novel styles in Storyville’s entertainment venues. “Many aspects of New Orleans’s modern identity can be traced back, at least in part, to the district — the most apparent being the city’s identity as an adult tourism destination and music hub,” he added.

Brothel advertisements from Blue Book (1912) (courtesy the Historic New Orleans Collection)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

This “Tenderloin District,” as it was sometimes called, was contained between the streets of Iberville, St. Louis, North Basin, and North Robertson. It got its Storyville name from Alderman Sidney Story, who created the 1897 ordinance for an area of legalized prostitution (and wasn’t too thrilled by his titular notoriety). THNOC has digitized its early 1900s blue books, which are available to scroll through on a gallery touchscreen, and in their online catalog (search for “blue book” and click on “Bibliographic Records”). One blue book from 1908 boasts in its preface that the volume will put “the stranger on a proper grade or path as to where to go and be secure from hold-ups, brace games and other illegal practices usually worked on the unwise in Red Light Districts.” It adds that in the directory, “Names in capitals are Landladies. ‘W’ stands for white, ‘C’ for colored, ‘Oct’ for octoroon. The contents of this book are facts and not dreams from a ‘hop joint.'”

Aside from name and address, race was the only individual description offered for most women. Some brothels were segregated, others advertised their diversity. In a blue book from 1907, Madame Emma Johnson’s brothel includes this enticement:

Emma’s “Home of all Nations,” as it is commonly called, is one place of amusement you can’t very well afford to miss while in the Tenderloin District. Everything goes here. Fun is the watchword.

Other locales emphasized their stylish and elegant decor as much as their inhabitants, the high class of the salons a code for the quality of the women. Here is a passage from a 1905 blue book:

Miss Cummings also has the dstinction [sic] of keeping one of the quietest and most elaborately furnished establishments in the city, where an array of beautiful women, and good times reign supreme. A visit will teach more than the pen can describe.

Photograph of a boudoir in Hilma Burt’s mansion from Blue Book (1909) (courtesy the Historic New Orleans Collection)

The blue books portrayed a romanticized, consumer-oriented view of Storyville generated for white men, and life for the women, especially women of color, could often be exploitative or abusive. Venereal disease was a major issue; a 1901 blue book has an advertisement for the Arlington Restaurant with “everything that is good to eat and drink with peerless and prompt service” opposite one for a drug with a “marvelous success with Gonorrhea and Gleet.” Mugshots of prostitutes from 1910 in Storyville show solemn, weathered faces, while nearby portraits by E. J. Bellocq, whose nude and clothed photographs of the Storyville women were discovered after his death, sensitively frame their bodies and brothel settings.

THNOC, located in the French Quarter, is walking distance from Storyville’s former district. “Only a few buildings remain from 100 years ago,” Seiferth explained. “This is largely due to the area being razed by the city in the late 1930s to allow for the construction of the Iberville Housing Projects, whose footprint more or less matched that of Storyville.” He stated that recently those projects were demolished for new buildings, “changing the neighborhood almost entirely for the fourth time since the end of the 19th century.”

The early 20th-century sex trade is only one side of Storyville at THNOC, which notes that the same year the district was closed, the first commercial jazz record — Livery Stable Blues by the Original Dixieland Jazz Band — was released. Storyville is just a component in the evolution of jazz, but the performances of musicians such as Jelly Roll Morton and Manuel “Fess” Manetta in the district makes it part of this American music narrative. “Women and music comprise two of the most compelling components in Storyville’s history,” Seiferth said. “That said, there are other aspects of the complicated history of Storyville that we discuss, including issues of racial and cultural exploitation, displacement, the emerging Jim Crow South and segregation, and the lingering national fascination with New Orleans as an adult tourism destination.”

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Directory page from Blue Book (1913-15) (courtesy the Historic New Orleans Collection)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Image from Blue Book<e/m> (1906) (courtesy the Historic New Orleans Collection)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Advertisement from Blue Book (1908) (courtesy the Historic New Orleans Collection)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Postcard showing view of Storyville; New Orleans, from C. B. Mason (1904-08) (courtesy the Historic New Orleans Collection)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Blue Book, Tenderloin “400” (New Orleans, 1900) (courtesy the Historic New Orleans Collection)

View of Basin Street (1908) (courtesy the Historic New Orleans Collection, gift of Albert Louis, Lieutaud)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Blue Book, Tenderloin 400 (New Orleans, 1901) (courtesy the Historic New Orleans Collection)

Music room in Josie Arlington’s Storyville brothel, from Blue Book (New Orleans, 1908) (courtesy of The Historic New Orleans Collection)

Installation view of Storyville: Madams and Music at the Historic New Orleans Collection (photo by the author for Hyperallergic)

Storyville: Madams and Music continues at the Historic New Orleans Collection’s Williams Research Center (410 Chartres Street, French Quarter, New Orleans)through December 9. Guidebooks to Sin: The Blue Books of Storyville, New Orleans is out now from the Historic New Orleans Collection. 

The post The Lost Sights and Sounds of Storyville, New Orleans’s Red Light District appeared first on Hyperallergic.

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[messinacalcio]

Mister Modica convoca 21 calciatori del Messina per la sfida contro il Potenza

Per Messina-Potenza valevole per la prima giornata del campionato di Serie C, che si disputerà il 25 agosto alle ore 20.45, mister Modica ha convocato 21 calciatori. Portieri: Curtosi Flavio, Di Bella Antonio, Krapikas Titas. Difensori: Lia Damiano, Manetta Marco, Marino Antonio, Ndir Mame Ass, Ortisi Pasqualino, Rizzo Francesco, Salvo Giuseppe. Centrocampisti: Anzelmo Domenico, Di Palma Manuel, Frisenna Giulio, Garofalo Vincenzo, Pedicillo Leonardo, Simonetta Diego. Attaccanti: Adragna Gabriel, Anatriello Gennaro, Luciani Pierlunca, Mamona Samuel, Re Alessio. Read the full article

[messinacalcio]

Mister Modica convoca 19 calciatori del Messina per la sfida di Coppa Italia contro il Crotone

Per Crotone-Messina valevole per la Coppa Italia di Serie C, che si disputerà il 10 agosto alle ore 20.45, mister Modica ha convocato 19 calciatori. Portieri: Curtosi Flavio, Di Bella Antonio. Difensori: Lia Damiano, Manetta Marco, Marino Antonio, Morleo Umberto, Ndir Mame Ass, Ortisi Pasqualino. Centrocampisti: Anzelmo Domenico, Di Palma Manuel, Franco Domenico, Frisenna Giulio, Garofalo Vincenzo, Pedicillo Leonardo, Simonetta Diego. Attaccanti: Adragna Gabriel, Anatriello Gennaro, Mamona Samuel, Petrungaro Luca. Read the full article