jueves, 10 de mayo de 2012

Earth Wind and Fire - Boogie wonderland (1979)


Zancos


Escena del pozo, gruta de Lascaux, hace 17.000 años.
Miniatura de un gradual dominico del s. XVI.
Pastores de las Landas, pirmeros del s. XX. (Foto de Félix Arnaudin).
Pueblo Dogón, foto actual (via Nómada)

Oscar 'Papa' Celestin - Tiger Rag

Oscar 'Papa' Celestin plays "Tiger Rag" in "Cinerama Holiday". Born in 1884, "Papa" Celestin was active in New Orleans music before it was known as jazz. He was famous for being a visually entertaining bandleader. This clip was made near the end of his life, when the New Orleans Jazz revival gave his carrer a late lift. It is taken from the film "Cinerama Holiday", released in 1955, made to demonstrate the possibilities of a sort of surround vision cinema system. (viaGhostOfBuddyBolden).

Sam Jones "Daddy Stovepipe"

Daddy Stovepipe playing on Maxwell Street, 1959.

Una pequeña biografía ilustrada con su música.


Aquí, filmado en Maxwell Street.


Maggie Jones - Suicide Blues (1923-1925)


miércoles, 9 de mayo de 2012

My Gal Sal - Red McKenzie Mound City Blue Blowers


The Mound City Blue Blowers were an American novelty jazz ensemble, formed in St. Louis, Missouri and given its nickname. It was co-founded by Red McKenzie and Jack Bland and performed during in the 1920s and 1930s.
First assembled in 1923, the group's original members were Red McKenzie playing comb and tissue paper, Dick Slevin on kazoo, and Jack Bland on banjo. The band also included, in lieu of a drum kit, a traveler's suitcase played with foot and whisk brooms. Their debut recording, the 1924 release "Arkansas Blues" b/w "Blue Blues", was a hit in the Midwest. They recorded twelve tunes in 1924 and 1925; Frankie Trumbauer and Eddie Lang played on some of the tracks.
In 1929-1931 the group also made at least two short performance films: The Opry House (1929) and Nine O'Clock Folks (1931), which included "I Ain't Got Nobody","Let Me Call You Sweeheart," "My Gal Sal" and "St. Louis Blues."
After 1925, McKenzie recorded under his own name as a vocalist, but returned to the Mound City name in 1929 for several sessions with jazz stars including Jack Teagarden, Coleman Hawkins, Glenn Miller, and Pee Wee Russell. In 1931, the group recorded with McKenzie, Hawkins,Muggsy Spanier, and Jimmy Dorsey. The last recordings to bear the Mound City name, 25 songs from 1935-1936, included appearances from Nappy Lamare, Spooky Dickenson, Billy Wilson, Bunny Berigan, Yank Lawson, and Eddie Miller.
(from Wikipedia)

Red Nichols and his Five Pennies


Red Nichols and his Five Pennies (Vitaphone, 1929). Young Eddie Condon, Pee Wee Russel and Miff Mole among others. Features a hot rendition of China Boy as well as Eddie Condon on the vocals for Nobody's Sweetheart.

Bernie Cummins and his Orchestra, 1920's.


Koringa, the Lady Snake charmer.


La pasión por Disney de Hirohito


"Emperor Hirohito was a lifelong fan of Mickey Mouse and other Disney characters. As a child he called his hobby horse Snow White (the Imperial Household Agency told outsiders it was called White Snow). When he made a state visit to America in 1975, Hirohito insisted on visiting Disneyland in California, where he signed Mickey's guestbook and purchased a Mickey Mouse watch, which he wore for the rest of his life. Hirohito died in 1989 and was buried with his Mickey Mouse watch still on his wrist." (Texto via Rue Rude)

La pasión por Disney de Kim Il-Sung




Walt Disney y Mickey Mouse, The Partners Statue, 1971, 
ante el castillo de Cenincienta, en el parque del Reino Mágico de Disney World, 
cerca de Orlando, Florida.


Mansudae Grand Monument, 1972, Pionyang, Corea del Norte. 
Estatua levantada con motivo del 60 cumpleaños del Gran Líder coreano Kim Il-Sung.

martes, 8 de mayo de 2012

Eddie Cantor in 1923 | 2 vaudeville songs


Homeless Vehicle





Krzysztof Wodiczko's Homeless Vehicle (1988-89) allows the homeless to perform an act of resistance. Not only does the vehicle draw attention to the housing problem and the resulting homelessness that characterized New York in the 1980s, but it also doubles symbolically as a weapon. (via Evictions. Arts and the Politics of Urban Renewa)