Hot Club de Ville is a local jazz group located here in Gainesville, who perform at Leonardo's 706 restaurant every Monday. The band members normally consist of Geoff Perry on Violin, Marty Liquori on Guitar, Dave Forbes on Bass, and Eric Abernathy on Guitar. However, for this concert, Violinist Jacob Lawson joined the band as the guest soloist. Hot Club de Ville is known for playing the jazz style “Gypsy Jazz", a style of jazz music that was created by the guitarist Jean "Django" Reinhardt, and has been doing so at Leonardo’s for several years. The stage featured two large mirrors on both the left and right hand side of the floor, with the musician’s backs facing a large glass window allowing patrons on the outside to see into the restaurant. With the musicians only a …show more content…
The band is known for putting their own spin on the songs that they play, and I noticed this towards the end on of Coquette. For the final minute or so of the song, the tempo sped up and there began to be call and response between the violinist and the base, that ended with a quick solo by Dave Forbes on the base. Next the band played the song “I'll see you in my dreams” the song began with Eric Abernathy playing a simply melody on his guitar, that he would keep repeating for the rest of the song. He would do this for most of the songs throughout the night. Because Gypsy Jazz does not typically feature drums, Eric often played, what he described as a “Brazilian style” of guitar to keep the rhythm. The song concluded with Marty Liquori playing a high pitched solo with the chords high on the neck of his guitar. The band continued with the song “Casa de oro” that translates to House of gold in Spanish. The song began with Jacob playing most of the notes, with the other band members in support. As the song progressed Jacob slowly faded out of the song switching
Correspondingly, after a few songs the band responded by singing the songs that the audience liked and by motivating them to scream and cheer for them. This way the audience wouldn’t get bored and stop cheering and dancing. This event took place in a dome-shaped like place where it also holds events like bull riding. There was a floor section where the people stand and there was the seat section where it went around the place and it was fenced around. This is what Hispanics call a “Jaripeo” because you can have concerts and bull riding, which is kind of like being at the
Bellevue: Inside Out directed by Maryann Deleo and City of the Sick directed by (unknown) both display the “realities” within a mental health institution (one more than the other). However, one of the documentaries display less of the realities in such way that it seems more of an advertisement rather than an informational video. The other documentary, on the other hand, explicitly shows the patients and their struggles within the mental health institution. However, both documentaries may provide a different implication, they both provide similar information on the patients and the role of the staff within the institutions; in addition, the time periods for each documentary are different.
In this piece, two male musicians took turns during the performance to sing their parts. It starts off slow, as opposed to most of the music played that afternoon. During the middle of the piece, the guitarron continued strumming while Stacy Lopez, the vihuela player, made noises that sounded as if the vihuela itself was being struck. “Para Que Me Haces Llorar” soon came to a close; at least, it sounded like it was. As immediately as that song ended, the next piece started just as quickly and it had a song that had a familiar rhythm- and sure enough, it was the song “Stand by Me” but in Spanish. This part starts off with violins being plucked and with a calmer tone with a pace that builds up. Later on, all the musicians snapped their fingers as one of the singers were singing. After the singer finished his part, the violinists took over the microphones and made a deeper sound than what was heard out of the eight pieces
1. The title "Strictly Ballroom" gives us the idea & impression of very stern & rules in a very rigid & strict environment with many expectations & restrictions. It also implies the concept of very orthodox textbook ballroom dancing which is very stiff & done exactly in a specific way which it's expected to be done.
Upon reading your responses, I can see how individuals are labeled based on race and on stereotypes. In the film, “Boyz n the Hood”, I agree to what Sabrina said about the two scenes expressing discriminatory treatment by the criminal justice system. It was sad to see how when you are in need of help and the only source is turning their backs. It is not fair to be judged by your ethnicity, class, or where you live. This is related to labeling theorist, Howard Becker; whereas he states that certain individuals can even be labeled by being falsely accused. An individual can be labeled as a deviant, because of their race and yet never committed a crime (Adler, Mueller, & Laufer 2013, p. 189). We saw this in the one scene you pointed out, whereas Tre and his dad called the cops because of the break in at their home. Then
Social psychology is a branch of the spectrum of psychology that primarily focuses on social interactions, environmental influences and the social experiences that weigh heavily on individuals cognitive schemas. The film “Boyz ‘N The Hood” is comprised of many contemporary influential African American actors, heavily influenced by the environment they are in and the violence surrounding them in their community. There are various aspects of the movie that portray social psychological concepts, such as social perception, attitude change, aggression and violence, and group dynamics. Social psychological issues such as proactive aggression, reactive aggression, desensitization, differential association theory, and deviance
The band consist of 8 members, Nathan East bassist/vocals, Andy Fairweather-Low, lead guitar/vocals, Steve Ferrone- drums, Chuck Leavell-key boardist, Ray Cooper- tambourines, Katie Kissoon and Tessa Niles- vocals, and Eric Clapton- composer, rock n roll guitarist, lead vocalist. The band members dressed in casual attire. The band members were professionals, they knew exactly how to orchestrate every chord, they collaborated with the lead singer and each other in ways that wasn’t so noticeable to the audience but they knew which chords to use for every song, the band was a top notch team. The tempo of the songs were a mixture of fast, slow, to a medium style beat. The texture of the songs was homophonic and well put together lyrics. The style of the music was from the 1960s-1970s which genres were rock, blues rock, psychedelic rock, hard rock, jazz and blues.
The next film in which Parton had a leading role was a musical comedy called The Best Little Whorehouse in Texas, released in 1982. The film tells the story of a madam, played by Parton, who runs an illegal brothel in Texas and has a love affair with the town sheriff, Burt Reynolds. The Best Little Whorehouse in Texas was adapted from a play of the same name and both productions are based on a real-life brothel in La Grange, Texas known as the Chicken Ranch. The films controversial aspects, prostitution and overt sexuality (sometimes interpreted as gay symbolism), reflected the pressing political issues of the 1980s Moral Panic. In 1982 the number of prostitution arrests, both male and female, in the United States increased by 13%. The increased
Guys and Dolls a charming classical musical, known for it’s catchy soundtrack, humorous dialogue and heartwarming plot, is likely to be produced at Signature Theatre in the future.
The classic film 42nd Street (1933), directed by Lloyd Baken, follows the coming-of age story of breakout Star Peggy Sawyer in Julian Marsh 's Pretty Lady musical production at the height of the Great Depression. Marsh needs to make enough money for retirement and is on the edge of another nervous breakdown. According to Chapter 3 entitled "Musicals," classical Hollywood Musicals are a form of escapist entertainment, coping with war, depression, and re-building. Most importantly, they were constructed to be pleasurable for film viewers and thus it was vital that the narrative resolved. In the lecture, Gillian states that the classical narrative counters verisimilitude, the appearance of realism. The ideological subtext of the Hollywood Musical
The band played together in such harmony and joy, and they exchanged looks as if they're talking to each other and understood by looks. As it turns out the guest go the nigh George Gazone was the professor who taught the band members music. Garzone Played the Saxophone like no other, he’s solos were magical it was fascinating watching him and the admiration his student have for him. The music sounded beautiful, yet seems the band are not well prepared for the evening. There was a lot of improvisation and as if every band member wanted to show off his skills which was really good. Improvisation is an element of jazz I was looking for, also, there were a lot of call and response between the band members different ones at each piece they played.
Dirty dancing is a movie that defines social classes and expresses different types of social themes in the 60’s. It identifies the differences between upper class, middle class and lower class. At the same stand point it also it expresses how division in our society could be stereotypical and not accurate, as not all is as it seems. From the beginning of this movie one could see the difference between the classes. There are the waiters and the dancers and the guest. One might say there is no difference between one another, guest, waiters and dancers work for a living. Therefore they should be categorized as the working class. There also could be seen thru out the film only one couple of black dancers that always remained together.
My two favorite songs of the evening were played by the Mason Jazz Ensemble. The first song played was titled Harlem Airshaft by Duke Ellington. This song uses complex instrumentation to paint a picture of walking through Harlem at night. The song is able to convey the way that Duke Ellington say Harlem. The song feels both hectic and organized all while conveying the beauty of the city. Harlem Air Shaft, as is typical with many jazz songs, uses a combination of call and response to really showcase the different sounds of the instruments in the band as well as the abilities of the musicians. Because of the many different solos in this song, it was my favorite song from the night. My second favorite song that night was called Lush Life by Sarah Vaughan. For this song, the instruments took a back seat to entrancing vocals. The instrumentation was used to produce a beautiful smooth and almost enchanting atmosphere to lift the singer to captivate the audience with beautiful vocals. The vocals were smooth and bright and held the entire audience’s attention. The instruments used in these songs and the rest of the songs during the show were very typical of that of a big band. Each song had drums, piano, bass, and occasionally guitar. There was also the woodwinds and brass section composed of saxophones, clarinets, trombones and
Herbie Hancock has played an incredible role in jazz history, particularly jazz fusion and funk jazz. Jazz fusion incorporates musical elements from other musical styles such as, rock and roll. Funk jazz is characterized by the Hammond B-3 and organ. With my love for electronic instruments and funky sounds I decided to watch Herbie Hancock’s performance at the Newport Jazz Festival located at Newport, Rhode Island. Originally, the performance was done in 2008 making it a relatively recent performance. Hancock performed alongside some wonderful musicians and artists: Dave Holland, a bass player; Chris Potter, a saxophone player; Vinnie Colaiuta, a drum player; Lionel Loueke, a guitar player; and lastly the two beautiful vocalist, Sonya Kitchell
Soviet anti-tank dogs, also known in Russian as protivotankovye sobaki (противотанковые собаки or “dog-tank destroyers”) and in German as hundemineh (“dog-mines”), were dogs trained by the Soviet army in the early 1900’s to act as mobile bombs.1 The goal of these furry bombs was to explode enemy tanks on the battlefield. The type of dog most frequently chosen by the army was the Alsatian Wolf dog (called the German Shepherd in many countries) due to its high intelligence level and training capacity.2 The Union of Soviet Socialist Republics’ (USSR) army employed these dogs from 1930 to 1996, using them mainly throughout the course of the Second World War, from 1939-1945. Originally, dogs were trained to carry bombs, drop them at the foot of