#Piano Technicians kansas city

[vanguardpiano]

Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

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[opera-ghosts]

Marion Talley, Age 19, 1926. Born in Nevada, Missouri December 20, 1906, took piano, violin and voice lessons at an early age. At her performances in Kansas City, she quickly gained a reputation of excellence among music critics and audiences. In 1922 at age 15, she appeared with the Kansas City Grand Opera Company and was a local sensation. She earned enough money to train in New York and in Italy for a year. She appeared with the NY Metropolitan Grand Opera in the 1925 and '26 season and in February 1926, made her debut as Gilda, the daughter of Rigoletto in Verdi's Rigoletto. Tickets to the debut were re-sold and bid up to astronomical prices. Her performance earned her multiple ovations from the appreciative audience but music critics, although not unfavorable to her performance, said it did not live up to all the hype stirred up in the media. But then, the media had gone so far overboard, the debut of a 19 year old singer could not possibly have lived up to the outlandish hype. Two days after the debut, she made her radio debut singing Home Sweet Home. She also appeared in one of the first ever Vitaphone shorts which is the subject of this video. This video was exhibited August 6, 1926 at the Warner Theater in New York along with the first Vitaphone feature length sound film Don Juan starring John Barrymore. In this Vitaphone film, she is performing Caro Nome. Anna Case and Giovanni Martinelli also appeared in their own Vitaphone films that evening. In 1927, Marion would appear in another Vitaphone short. Talley spent 4 years with the NY Met and appeared in 7 productions and 84 performances. Her most significant role was the title character in Donizetti's Lucia de Lammermoor. She left the Met in 1929 claiming that she wished to retire in Kansas City but continued to perform, really just wanting to get away from the pressures of being part of the Met. She was performing with the Chicago Opera in 1936-'38, had her own NBC radio show, and starred in the motion picture Follow Your Heart in 1936. She passed away in Beverly Hills in 1983. In the previous upload of one of the experimental Vitaphones (Anna Case sings "Tu"), I said that many would find this exceedingly boring but I think it is also fascinating considering the technical hurdles overcome by the Vitaphone technicians and explained those difficulties in the information section under the Anna Case video. After all, sound film had not yet been invented. Nevertheless, this film and the 8 others shown at the Don Juan premier in August 1926, were a very important milestone in the history of film.

[thesouthendproject]

https://www.guggenheim.org/artwork/artist/robert-rauschenberg

Robert Rauschenberg

B. 1925, PORT ARTHUR, TEXAS; D. 2008, CAPTIVA ISLAND, FLORIDA

Robert Rauschenberg was born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas. He began to study pharmacology at the University of Texas, Austin, before being drafted into the U.S. Navy, where he served as a neuropsychiatric technician in the U.S. Navy Hospital Corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year.

In fall 1948, Rauschenberg returned to the United States to study under Josef Albers at Black Mountain College near Asheville, North Carolina. During intermittent study there through 1952, he met avant-garde creative partners John Cage and Merce Cunningham, with whom he would later collaborate. While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some works from this period include blueprints, monochromatic white paintings, and black paintings. From fall 1952 to spring 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence.

On his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the street; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series (1953–54) on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns; together, Johns and Rauschenberg are now considered the most influential artists who reacted against Abstract Expressionism. They had neighboring studios, regularly exchanging ideas and discussing their work, until 1961. From 1954 to 1964, and again in 1977, Rauschenberg also worked with Cage and Cunningham, contributing scenic, costume, and lighting design to the latter’s dance company.

Rauschenberg began to silkscreen paintings in 1962. He had his first retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects, including printmaking, performance, choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers.

Over the following decades his work continued to encompass a variety of fields. In the summer of 1970, joining a protest movement in the arts against the Vietnam War, Rauschenberg withdrew from the U.S. Pavilion at the Venice Biennale. In September that same year, he founded Change, a nonprofit organization to assist artists-in-need with emergency expenses.

By the end of 1970, Rauschenberg had established a permanent residence and studio in Captiva Island, Florida. He eventually acquired 20 acres of the island to use a workspace and serve as a nature preserve. His first project on Captiva was a 16.5-meter-long silkscreen print called Currents (1970), made with newspapers from the first two months of the year, followed by Cardboards (1970–71) and Early Egyptians (1973–74), the latter of which is a series of wall reliefs and sculptures constructed from used boxes. He also printed on textiles using his solvent-transfer technique to make the Hoarfrosts (1974–76) and Spreads (1975–82), and for the Jammers (1975–76), he created a series of colorful silk wall and floor works.

A retrospective organized by the National Collection of Fine Arts (now the Smithsonian American Art Museum), Washington, D.C., traveled throughout the United States in 1976 and 1978. In 1977 Rauschenberg, Cunningham, and Cage reconnected as collaborators for the first time in 13 years, when the Merce Cunningham Dance Company, New York, performed Travelogue (1977), for which Rauschenberg contributed the costume and set designs.

In 1980, after he settled a copyright lawsuit brought against him for an earlier appropriation of an advertisement, Rauschenberg shifted to exclusively using his own photographs as material for works that involved photography. His return to that medium led to exhibitions in Florida and Paris over the next two years, which, for the first time, featured his black-and-white photographs from the 1950s, as well as his more current photographs taken in various cities around the United States. In 1981 he began work on The 1/4 Mile or Two Furlong Piece(1981–2008), conceived by the artist to be the longest artwork in the world, eventually extending beyond the length designated in the title. It encompassed a wide range of Rauschenberg’s techniques and a chronology of his imagery.

Rauschenberg traveled extensively throughout his life. In the mid-1980s his collaborations with artisans and workshops abroad culminated in the establishment of the Rauschenberg Overseas Culture Interchange (ROCI). Announced to the United Nations in December 1984, ROCI involved the artist making and presenting work while traveling with a team of assistants through 11 politically sensitive countries, including China, Tibet, the U.S.S.R., and East Germany, as a way to initiate cross-cultural dialogue. Some works remained in their original sites as gifts and others traveled with the ROCI team to be shared with future participants. Rauschenberg personally funded the project, which concluded in 1991 with an exhibition of over 125 works at the National Gallery of Art, Washington, D.C.

Based on his introduction to painting and screenprinting on copper during ROCI Chile in 1985, Rauschenberg created multiple series, such as Urban Bourbons(1988–95), that focused on different methods of transferring images onto a variety of reflective metals, such as steel and aluminum. In addition, throughout the 1990s, Rauschenberg continued to use new materials while still working with more rudimentary techniques, such as wet fresco, as in the series Arcadian Retreat(1996), and the transfer of images by hand, as in the Anagrams (1995–2000). As part of his engagement with the latest technology, he began making digital Iris prints and using biodegradable vegetable dyes in his transfer processes, underscoring his commitment to caring for the environment. During this time, he also designed costumes and sets for several major productions by the Trisha Brown Dance Company, New York. Despite a stroke in 2002 that paralyzed his right side, he continued to make work in his Captiva Island studio.

The Guggenheim Museum has exhibited the largest retrospective of Rauschenberg’s work to date (1997), which traveled to the Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, all in Houston (1998); and then traveled to Europe (1998–99) with exhibitions at Museum Ludwig, Cologne (1998); and Guggenheim Museum Bilbao (1998–99). Also in 1998, the Vatican commissioned (and later refused) a work by Rauschenberg based on the Apocalypse for Renzo Piano’s pilgrimage church in Foggia, Italy. The Museum of Contemporary Art, Los Angeles, and the Metropolitan Museum of Art, New York, hosted a survey of the artist’s Combines (1999), and the Guggenheim Foundation organized the memorial exhibition Robert Rauschenberg: Gluts for the Peggy Guggenheim Collection, Venice (2009), which traveled to the Museum Tinguely, Basel (2009–10); Guggenheim Museum Bilbao (2010); and Villa e Collezione Panza, Varese, Italy (2010–11). Rauschenberg’s last stage set was for Cunningham’s Xover (crossover) (2007), based on his own painting Plank (2003). Rauschenberg died in Captiva Island, Florida, on May 12, 2008.

[rocknutsvibe]

The Melvins Remind You They Have Another Album Coming Out

The Melvins seem to be hard to get rid of and in my opinion, that’s not a bad thing. They’ve released so many LPs in the past eight years that it’s almost hard to keep track. But, that isn’t stopping them because they’re back on April 20th with Pinkus Abortion Technician which features Jeff Pinkus (Butthole Surfers).

They’ve shared new raging rocker “Embrace The Rub” which is “a Steven McDonald penned punker tune throwback to his days as a young Hawthorne, CA punk hanging out with Black Flag,” explained drummer Dale Crover. “For some reason, I decided that this tune really needed a piano part.”

The album will feature two bass tracks on every song, with the bass players being Steve McDonald (Redd Kross, OFF!) and Jeff Pinkus (Butthole Surfers). The band will take the lineup on a 10 week trek which you can see the dates for below.

Tour dates: April 26 San Diego, CA Casbah April 27 Tucson, AZ The Rock April 29 Dallas, TX Tree’s April 30 Austin, TX Mohawk May 1 Houston, TX White Oak Music Hall May 3 Baton Rouge, LA Spanish Moon May 4 Birmingham, AL Zydeco May 5 Atlanta, GA Masquerade May 6 Charlotte, NC Visulite Theater May 7 Carrboro, NC Cat’s Cradle May 9 Baltimore, MD Ottobar May 10 Philadelphia, PA Underground Arts May 11 Brooklyn, NY Warsaw May 12 Hamden, CT Space Ballroom May 13 Boston, MA Paradise Rock Club May 14 Montreal, QC Corona Theatre May 16 Toronto, ON Velvet Underground May 18 Cleveland, OH Grog Shop May 19 Pittsburgh, PA Rex Theater May 20 Louisville, KY Headliner’s Music Hall May 22 Nashville, TN 3rd & Lindsley May 23 Memphis, TN Hi-Tone May 24 St. Louis, MO The Ready Room May 25 Kansas City, MO Record Bar May 26 Tulsa, OK Cain’s Ballroom May 27 Norman, OK Opolis May 29 Santa Fe, NM Meow Wolf May 30 Flagstaff, AZ The Green Room May 31 Phoenix, AZ Crescent Ballroom July 12 Santa Ana, CA The Observatory July 13 Los Angeles, CA Troubadour July 14 Fresno, CA Strummer’s July 16 San Francisco, CA Great American Music Hall July 17 Sacramento, CA Holy Diver July 19 Seattle, WA Neumo’s July 20 Portland, OR Wonder Ballroom July 21 Vancouver, BC Venue Nightclub July 24 Edmonton, AB Union Hall July 25 Calgary, AB Marquee Room July 27 Winnipeg, MB Pyramid Cabaret July 28 Fargo, ND The Aquarium (Dempsey’s Upstairs) July 29 Minneapolis, MN First Avenue July 30 Madison, WI High Noon Saloon July 31 Chicago, IL Park West August 2 Grand Rapids, MI The Pyramid Scheme August 3 Detroit, MI El Club August 4 Columbus, OH A&R Music Bar August 5 Indianapolis, IN The Vogue Theatre August 6 Rock Island, IL Rock Island Brewing Company August 7 Des Moines, IA Wooly’s August 8 Omaha, NE The Waiting Room August 10 Englewood, CO Gothic Theatre August 11 Ft. Collins, CO Aggie Theatre August 13 Salt Lake City, UT Urban Lounge August 14 Las Vegas, NV The Bunkhouse Saloon August 16 Los Angeles, CA The Echo

from Rocknuts https://ift.tt/2GmKKva via IFTTT

[vanguardpiano]

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About us:- Vanguard Piano Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

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Vanguard Piano Service | Piano Repair Service Kansas city

Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

Visit Us : https://www.vanguardpianoservice.com/

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

Visit Us: https://www.vanguardpianoservice.com/

[vanguardpiano]

Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

Visit us : https://www.vanguardpianoservice.com/

[vanguardpiano]

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Vanguard Piano Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Vanguard Piano Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

Visit Us: https://www.vanguardpianoservice.com/

[vanguardpiano]

Vanguard Piano Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Vanguard Piano Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas. Visit Us : https://www.vanguardpianoservice.com/

[vanguardpiano]

Vanguard Piano Service | Piano Repair Service Kansas city

Vanguard Piano Professional Piano Technicians In Saint Louis, Kansas City, and surrounding areas.