The Treachery of Images: Design’s Toxic Assets, and the Foundations of a New Future
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Unbridled Capitalism (for most) is an abstraction. From the inside it’s hard to see edges places where it does not exist. In this time when everything being for sale is normal including the delivery of your purchases to your front door, car or screen there is healthy competition to serve our best and worst impulses, and we would do well to know the difference.
Design has its own values. See any designer who has discovered this; Horst Rittel, Charles Eames, Milton Glaser, Stefan Sagmeister, Terry Irwin, Sister Corita Kent and Lucienne Roberts have all authored books and various provocations on this theme. I’ve also authored my own introduction to this concern all for the purpose of drawing out the premise that Capitalism has less (appeal) than we thought. Less values, often less concerns, le
Louis Armstrong. Photo: Wiki Commons.
Mutual indebtedness and reciprocal “gift giving” are at the core of the relationships between African-Americans and Jews. In the realm of popular music, Jewish composers and performers who were profoundly influenced by ragtime and then jazz included Irving Berlin, Jerome Kern, George Gershwin, Al Jolson, Sophie Tucker, and Fanny Brice.
But exchange and borrowing were two-way streets. Paul Robeson embraced Yiddish songs including “ Zog nit keynmol,” the Warsaw Ghetto resistance song, and “The Kaddish of Rebbe Levi-Yitzhok of Berditchev.” Louis Armstrong privately told Cab Calloway that his signature scat singing style was inspired by Jewish ritual davening, but did not want to create religious controversy by publicizing it.
Stories of Standards I Got Rhythm Linda Hillshafer Share
Tune in weekday mornings to hear our favorite versions of “I Got Rhythm.” Rodney Franks presents Stories of Standards Monday through Friday at 7:50 and 8:50 a.m.!
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George and Ira Gershwin wrote “I Got Rhythm” for the 1930 Broadway musical “Girl Crazy”, where it was introduced by Ethel Merman in her Broadway debut. While Ginger Rogers made her debut here as a leading lady, Ethel Merman got the press. The Red Nichols Band, including Benny Goodman, Glenn Miller, Jack Teagarden, Jimmy Dorsey, and Gene Krupa, played the music and had jam sessions during intermissions. George Gershwin acted as conductor for the premier, with Earl Busby conducting for all following performances. “Girl Crazy” ran for 272 performances, from October 14, 1930, to June 6, 1931. Red Nichols and His Five Pennies’ recording went to number five on the charts. “I Got Rhythm” w
A crowd gathered outside the Knickerbocker Theater a few days after its roof collapsed. (Source: Library of Congress)
Washington, D.C. has been battered by some brutal winter storms, but none has been more lethal than the blizzard that hit the District in late January 1922. Today, that two-day storm is still remembered as the Knickerbocker Blizzard. That s in grim recognition of 98 people who lost their lives and the 133 who were injured in the catastrophic roof collapse that it caused at Crandall s Knickerbocker Theater, once the District s biggest and grandest movie house.
The Knickerbocker, located at Columbia Road and 18th Street Northwest in Adams Morgan, was one of the jewels in the crown of local movie entrepreneur Harry M. Crandall, who himself was one of Washington s most stirring Horatio Alger stories. As a 1922
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Annejet van der Zijl’s “Sonny Boy” on the Big Screen
Dutch theaters are preparing for the film version of Annejet van der Zijl’s 2004 book
Sonny Boy. The film will screen for the first time on January 27, 2011. The making of the film has been avidly followed in the media, and the coming months will see a variety of pre-screening events in preparation for its premiere. Based on a true story,
Sonny Boy is the reconstruction of a forbidden love against the backdrop of the 1920s.
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“Sonny Boy,” the title of an Al Jolson song from 1928, was the nickname given to Waldemar Nods and Rika van der Lans’ little boy. 1928 was the year their impossible love began, a love they kept alive against all the odds. The contrast could not have been greater: Waldemar was a serious-minded black student from Paramaribo in Surinam, not yet twenty, son of a gold prospector and grandson of a woman who had yet t