Unlike the majority of the Camden Town Group, Walter Richard Sickert was recognised during his own lifetime as an important artist, and in the years since his death has increasingly gained a reputation as one of the most influential figures in twentieth-century British art…His art, like his personality, is multifaceted, complex and compelling.
The twenty-first century has seen a sustained period of Sickert research and exhibitions, crystallising his reputation as one of the most significant British artists of the early modern period.
The most popular and famous theory as to the identity of Jack the Ripper…was first posited by author Stephen Knight in the 1970s.
He claimed the Ripper’s victims were really killed to cover up a scandalous secret marriage between the Queen’s son Prince Albert Victor, then second in line to the throne, and a Catholic prostitute named Annie Elizabeth Crook, who bore Albert’s child.
Knight got much of his information from Joseph Gorman-Sickert, who claimed to be the illegitimate son of painter Walter Sickert, himself a Ripper suspect.
Top 10 Stupidest/Weirdest Jack the Ripper theories~ http://swallowingthecamel.me/2013/11/10/top-10-stupidestweirdest-jack-the-ripper-theories/
Born in Chicago, Illinois in the United States, into a large, impoverished family of immigrants. Goodman experienced hard times while growing up. Encouraged by his father to learn a musical instrument, Goodman and two of his brothers took lessons; as the youngest and smallest he learned to play the clarinet. These early studies took place at the Kehelah Jacob Synagogue and later at Hull House, a settlement house founded by reformer Jane Addams. From the start, Goodman displayed an exceptional talent and he received personal tuition from James Sylvester and then the renowned classicist Franz Schoepp. Before he was in his teens, Goodman had begun performing in public and was soon playing in bands with such emerging jazz artists as Jimmy McPartland, Frank Teschemacher and Dave Tough. Goodman’s precocious talent allowed him to become a member of the American Federation of Musicians at the age of 14 and that same year he played with Bix Beiderbecke. By his mid-teens Goodman was already established as a leading musician, working on numerous engagements with many bands to the detriment of his formal education.
The summer of 1932 saw Benny organise his first band which starred singer Russ Columbo. The second band that he formed (in 1934) got a job at Billy Rose’s Music Hall. This band made some great recordings and began appearing on the 3-hour NBC radio program called “Let’s Dance.”
After this, the Benny Goodman Orchestra began touring (with not so fantastic results) until August 21, 1935, when the Benny Goodman Orchestra opened in the Palomar Ballroom in Los Angeles. After playing a few dance tunes, he told the band to play some Fletcher Henderson arrangements. The mostly young crowd promptly started something of a riot. After this public approval of the music – this thing called “Swing” – there was no looking back!
Benny did for clarinet what Louis Armstrong had done for the trumpet. He gave it a newly assertive leadership role in the jazz ensemble.
His was the most popular and influential swing band of the 1930s and ‘40s, and his unique trios, quartets and sextets shaped small-band Jazz style. Before Benny, clarinet was rarely a lead instrument for a band. His success made it the most popular instrument for other bandleaders like Artie Shaw, Jimmy Dorsey and Woody Herman.
Benny Goodman Discography: http://www.discogs.com/artist/254768-Benny-Goodman
The largest international residency program in the US, VSC hosts more than 50 visual artists and writers each month from across the country and around the world.
VSC holds three annual fellowship deadlines: February 15th, June 15th, and October 1st. They also offer occasional special fellowships at other times. Fellowship applications open approximately 6 weeks in advance of each deadline; during those periods, their current fellowship offerings will be listed on their site.
The riot turned the work into a symbol of all that modernist art was supposed to be: a break with tradition and a thumb in the eye of bourgeois taste. Yet for quite some time scholars have called into question the size, the ferocity, and the immediate effects of what definitely was a disturbance on opening night. Did old women hit bohemians with their parasols? Perhaps. Did Stravinsky leave his seat in the theater out of fear? Perhaps, but only to watch backstage. And he did manage to appear for four or five curtain calls at the evening’s end—a detail not often marked in accounts of the riot?… Did the police come at all? It is unclear.
But the extent to which this disturbance counts as a riot really is beside the point, as is the question of what actually happened that night. What matters most is that whatever it was, it never happened again. Spring Fever~ http://www.theparisreview.org/blog/2013/07/11/spring-fever/
A Reconstruction Of ‘The Rite Of Spring”, 2013~ http://artery.wbur.org/2013/03/15/rite-of-spring
Biographical background~ http://www.cco.caltech.edu/~tan/Stravinsky/biography.html