Word: jazzing
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Dates: during 1920-1929
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...donkey by Jeanne Poupelet; compositions by such Frenchmen as Derain, Andre, Rouault, Aristide Maillol; by Augustus John and Jacob Epstein; by George Luks, Jo Davidson, Childe Hassam, Gertrude Whitney and Robert W. Chanler. The metropolitan critics, loyal patriots all, generously discussed the merits of the U. S. paintings: "Jazz," an experiment in abstract form by Man-Ray, an American living in Paris; a picture by Edward Hopper of a lonely blue house with a mansard roof, a lookout and three men in a boat called "The Bootleggers"; Thomas Benton's "New England." These subjects are indeed native...
When A Light from St. Agnes, jazz opera, was produced in Chicago (TIME, Jan. 4), a number of ordinarily well-controlled gentlemen fell upon W. Franke Harling, the composer, as he was leaving the opera house and showered him with hugs and kisses. Composer Harling declared, in a trembling speech, that he was astounded. Nothing like that, he said, had ever happened to him-not even when he was writing cabaret revues in New York. But this incident and the opera-an amiable work, catchy, shrewd, imitative-brought him to the attention of Arthur Hopkins, famed theatrical manager. Mr. Hopkins...
Florence Mills, pastel darktown strutter, made a very serious concert bow last week before the International Composers' Guild, Manhattan, Eugene Goossens and Ottorino Respighi conducting; Mme. Respighi, soloist, and Alfredo Casella, pianist. Thin, glittering, syncopation in her eye, she sang four songs with a small jazz orchestra-"Levee Land" it was called, by William Still...
...This is an age of gasoline and jazz, of the movie and the radio, of the new woman and her liberty. . . ." Dr. Smith decided that college matriculants simply are not fitted to live college life. They are, he could but conclude, just irresponsible, ill-licked cubs. They should examine themselves and try to exert their faculties, not primarily upon problems in algebra and Greek roots, but upon manhood and the wise conduct of their lives...
Paul Whiteman, expansive Lord High Conductor of U. S. jazz, last week repressed his exuberant instruments heroically. He calmed the mourning, muted trumpet, put brakes on the slide trombone, and made them all tell stories. One story was written by Deems Taylor, jazz-appreciating classicist ? the story of circus day in a one-cylinder town. The other story went deeper, or bravely tried to. It was by rhapsodic George Gershwin, to whom jazz comes as readily as a new suit to a chamelon. It was of a murder in a Harlem speakeasy: love, passion, hate and a dark...