{"id":1626,"date":"2024-01-15T21:02:52","date_gmt":"2024-01-15T21:02:52","guid":{"rendered":"http:\/\/meumon.synology.me\/wordpress\/?p=1626"},"modified":"2024-01-15T21:02:52","modified_gmt":"2024-01-15T21:02:52","slug":"materials-swing","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/wordpress\/materials-swing\/","title":{"rendered":"Materials Swing"},"content":{"rendered":"

Ball, Blues, Can\u00e7ons, Frankie Manning, Jam videos, M\u00fasics, SWing Marshall Stearns<\/p>\n

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BALL<\/h1>\n
Harland Dixon i James Cagney: https:\/\/youtu.be\/7hNIXpqjCWA<\/a><\/div>\n
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John Bubbles<\/div>\n
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https:\/\/www.youtube.com\/watch?v=sSlhdfiXJQ0<\/a><\/div>\n
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https:\/\/youtu.be\/4lvMajW4DGo<\/a><\/div>\n
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ella fitzgerald lindy shag<\/div>\n
https:\/\/www.youtube.com\/watch?v=b3VZUjQPPVU<\/a><\/div>\n
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diversos lindy<\/div>\n
https:\/\/youtu.be\/Xr1kvxThe_4?t=63<\/a> Lucky Millinder gran ball lindy<\/div>\n
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https:\/\/www.youtube.com\/watch?v=uzTeq55ICYo&list=PL8BA1A16C64A6286F&index=21<\/a>\u00a0OLD School Lindy Hop, col\u00b7lecci\u00f3<\/div>\n
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BLUES<\/h1>\n

https:\/\/www.atlasobscura.com\/articles\/the-queer-black-woman-who-reinvented-the-blues<\/p>\n

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https:\/\/en.wikipedia.org\/wiki\/List_of_1930s_jazz_standards#1938<\/a><\/div>\n
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when you’re smiling<\/div>\n
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When you’re smilin’, when you’re smilin’\u00a0\u00a0\/ quan tu somrius<\/div>\n
The whole world smiles with you\u00a0\u00a0\u00a0\/ tot el m\u00f3n somriu amb tu<\/div>\n
When you’re laughin’, when you’re laughin’\u00a0\u00a0\/ quan tu rius<\/div>\n
The sun comes shinin’ through\u00a0\u00a0\/ el sol arriba brillant<\/div>\n
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But when you’re cryin’, you bring on the rain\u00a0\u00a0\u00a0\/ per\u00f2 quan tu plores, fas que plogui<\/div>\n
So stop your sighin’, be happy again\u00a0\u00a0\u00a0\/ aix\u00ed que para de somicar, torna a estar feli\u00e7<\/div>\n
Keep on smilin’, ’cause when you’re smilin’\u00a0\u00a0\/ segueix somrient pequ\u00e8 quan tu somrius<\/div>\n
The whole world smiles with you\u00a0\u00a0\/ tot el m\u00f3n somriu amb tu<\/div>\n
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“If I Could Be With You”<\/div>\n
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If I could be with you one li’l hour tonight,\u00a0\u00a0\/\u00a0\u00a0si pogu\u00e9s estar amb tu una hora aquesta nit<\/div>\n
And free to do all those little things I might, \/ i si f\u00f3s lliure de fer tot el que podria<\/div>\n
I want you to know you wouldn’t go,\u00a0\u00a0\u00a0\u00a0\u00a0\/\u00a0\u00a0vull que s\u00e0pigues que no te n’aniries<\/div>\n
Until I told you that I loved you so.\u00a0\u00a0\/ fins que t’hagu\u00e9s dit que t’estimo molt.<\/div>\n
If I could be with you I’d love you long,\u00a0\u00a0\u00a0\/ si pogu\u00e9s estar amb tu, t’estimaria estona<\/div>\n
If I could be with you I’d love you strong,\u00a0\u00a0\u00a0\/\u00a0\u00a0si pogu\u00e9s estar amb tu t’estimaria ben fort<\/div>\n
And I’m telling you for true, you’d be anything but blue,\u00a0\u00a0\/\u00a0\u00a0i de deb\u00f3, que et sentiries de tot menys trista<\/div>\n
If I could be with you\u00a0\u00a0\u00a0(just for an hour)\u00a0\u00a0\u00a0\/ si pogu\u00e9s estar amb tu, ni que fos una hora<\/div>\n
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A vegades abans hi ha aquesta introducci\u00f3<\/div>\n
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I’m so blue, I don’t know what to do,\u00a0\u00a0\/\u00a0\u00a0\u00a0estic tant trist que no s\u00e9 qu\u00e8 fer<\/div>\n
All day through, I seem to say to you,\u00a0\u00a0\/ tot el dia sembla que t’estigui dient<\/div>\n
I did wrong when I let you go away,\u00a0\u00a0\u00a0\u00a0\/ em vaiog equivocar en deixar-te anar<\/div>\n
‘Cause now I dream about you night and day,\u00a0\u00a0\/\u00a0\u00a0perqu\u00e8 ara penso en tu nit i dia<\/div>\n
I’m so unhappy and dissatisfied\u00a0\u00a0\u00a0\/\u00a0\u00a0\u00a0s\u00f3c tant infeli\u00e7 i insatisfet<\/div>\n
I’ll be happy if I had you by my side,\u00a0\u00a0\u00a0\/\u00a0\u00a0seria feli\u00e7 si et pogu\u00e9s tenir al meu costat<\/div>\n
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If dreams come true\u00a0\u00a0\/ si els somnis es fan veritat<\/div>\n
I’ll be with you\u00a0\u00a0\/\u00a0\u00a0estar\u00e9 amb tu<\/div>\n
I love that smile in your eyes \/ m’agrada aquest somriure als teus ulls<\/div>\n
You see a dream in the skies\u00a0\u00a0\/ tu veus un somni als cels<\/div>\n
In your caress there is happiness\u00a0\u00a0\/ en la teva car\u00edcia hi ha felicitat<\/div>\n
And love in view\u00a0\u00a0\/ i amor a la vista<\/div>\n
If dreams come true\u00a0\u00a0\u00a0\/ si els somnis es fan veritat<\/div>\n
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Desamor<\/div>\n
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Who’s sorry now<\/div>\n
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Some of these days you’ll be sorry<\/div>\n
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Goody goody<\/div>\n
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Solitud<\/div>\n
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Lover Man<\/div>\n
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Enamorat<\/div>\n
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I can’t give you anything but love<\/div>\n
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All of me<\/div>\n
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Frankie Manning<\/h1>\n
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p.25<\/div>\n
You haven’t seen slow dancing until you’ve been to a house rent party. When people wanted to get funky, they’d do the black bottom, the mess ariound, and slow drags -honky tonk dabce, what they did to slower music. If it was a blues number, everybody would be out there shakin’ butt. You’d hear someone say, “Turn the lights down and let the party get started!” Or, as Fats Waller used to say, “Put out the lights and call the law.”<\/div>\n
[This is so nice it must be illegal]<\/div>\n
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p.33 Bert WIlliams, Bill Robinson, Paul RObeson, Eddie Rector, Whitman sisters, Noble Sissle.<\/div>\n
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http:\/\/www.history.com\/topics\/black-history\/segregation-united-states<\/a><\/div>\n
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p.67 Sales a HArlem<\/div>\n
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origens<\/span><\/div>\n
\u00a0<\/span><\/div>\n
barreja de charleston i breakaway (sembla com si ballessin shag i se separessin shorty snowden after\u00a0<\/span><\/div>\n
seben 1929<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Al llibre de Frankie Manning s’explica com el lindy es va anar formant a partir de tres balls que es feien a Harlem a finals dels 1920s:<\/span><\/div>\n
\u00a0<\/span><\/div>\n
El Charleston: Amb arrels cenre africanes es diu que va comen\u00e7ar a Charleston, Soth Carolina i hauria arribat a Harlem amb la gran migraci\u00f3. Es va fer molt popular amb la pe\u00e7a del pianista de stride\u00a0 James P. Johnson al show de Broadway Runnin’ Wild de 1923. Era un ball molt alegre que van adoptar tamb\u00e9 els blancs. Josephine Baker el va prsentar a Par\u00eds amb gran \u00e8xit. Les faldilles curtes de les “flappers”, els passos desinhibits, obrint i tanant les cames, fent kicks, van acabar simbolitzant una \u00e8poca feli\u00e7, els roaring twenties, que acabarien amb el crack del 1929.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
[ video exemple josephine baker]\u00a0<\/span><\/div>\n
\u00a0<\/span><\/div>\n
El Collegiate: que Frankie Manning va veure a l’Alhambra, “de vuit temps amb el patr\u00f3 de peus similar al Charleston i el Breakaway, per\u00f2 sense separaci\u00f3 entre els balladors. M\u00e9s aviat estaven en una posici\u00f3 relativament estreta, gaireb\u00e9 abra\u00e7ats de cintura cap amunt i enfocat a un r\u00e0pid treball de peus”. En frankie diu que era com el Charleston per\u00f2 enganxats.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
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El Breakaway.Tot i mantenint la connexi\u00f3, els balladors se separaven una mica (breakaway), i a vegades es deixaven anar de les mans (d’aqu\u00ed el nom); ni junts del tot com en el collegiate, ni separats del tot com en el Charleston.\u00a0\u00a0<\/span><\/div>\n
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[v\u00eddeo]\u00a0https:\/\/en.wikipedia.org\/wiki\/Breakaway_(dance<\/a>)<\/span><\/div>\n
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EL breakaway s’aniria modificant incorporant m\u00e9s passos del Charleston i segons FM, del shag i acabria donant lloc al lindy hop:<\/span><\/div>\n
\u00a0<\/span><\/div>\n
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shorty snowden 1929<\/span><\/div>\n
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1914 neix<\/span><\/div>\n
1926 12 anys obre el Savoy<\/span><\/div>\n
1928 Shorty Snowden<\/span><\/div>\n
1933 Primers passos al Savoy<\/span><\/div>\n
1934 20 anys amb els Whitey Lindy Hoppers, un estil m\u00e9s horitzontal\u00a0<\/span><\/div>\n
1935 Air step<\/span><\/div>\n
1941 Hellzapoppin’<\/span><\/div>\n
1943 Guerra<\/span><\/div>\n
1955 correus<\/span><\/div>\n
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p. 203<\/div>\n
By the tiime I get out of the army, the music scene had changed. Many bands, mostly small, like Charlie PArker, but some large ones, like Dizzy Gillespie, were paying bebop, which was such a strange sound to my ears that I could not understand it. [\u00b4\u00b4\u00b4] I was used to music for dancing, but this new sound was only for listening.<\/div>\n
FM va seguir ballant uns anys i a primers dels ’50 ho va deixar.<\/div>\n
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p.225 In 1984, just about thirty years after I’d gone to work in the post office, Norma MIller called to tell me that Smalls’ Paradise, an old nightclub in Harlem, had begun holding swing dances on Monday nights.<\/div>\n
p. 228 Erin Stevens Steven Mitchell, el telefonen des de California. Frankie Manning the dancer? “No, this is Frankie Manning the postal worker”.\u00a0 Practiquen a casa seva a Queens amb Shiny Stockings (feien passos r\u00e0pids des de v\u00eddeo). Sylvia Sykes i Jonathan Bixby de Sta. Barbara. Big Apple Lindy Hoppers amb Monica Coe i Pat McLaughin.<\/div>\n
1987 The Rhythm Hot shots a Su\u00e8cia, els ensenya passos, el shim sham. Des de 1989 a Herr\u00e4ng.\u00a0 p. 230 “Figuring out how to teach people who didn’t learn to Lindy hop by going to the Savoy has been a strange experience for me … I’d never thought about whether the Lindy is made up of eight-count and sis-count steps, which it is … and I sonmetimes joke that the only count I know is Count Basie.<\/div>\n
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escena Malcom X:\u00a0https:\/\/www.youtube.com\/watch?v=OapkoQEzQS0<\/a>\u00a0amb Denzel Washington<\/div>\n
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https:\/\/www.youtube.com\/watch?v=o0Z33PXPqy4<\/a>\u00a0stompin savoy<\/div>\n
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coreografia, bbaladors professionals p. 236 “the dancers in these shows were terrific, top-notch at what they were used to doing. But just like with all the other professional grups I’d been working with (except the ones that already knew how to lindy hop), the challenge was to get them to change from an upright position to dancing down”:<\/div>\n
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[FM canviant la posici\u00f3 a la d’un corredor inclinat, o fent aeris ]<\/div>\n
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1990 explosi\u00f3<\/div>\n
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p.238 “It became my mission to let swing dancers know that jitterbug is just a nickname for the Lindy hop, and I think a lot more people realize that now.<\/div>\n
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timeline FM<\/div>\n
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1914 neix<\/div>\n
1926 12 anys obre el Savoy<\/div>\n
1928 Shorty Snowden<\/div>\n
1933 Primers passos al Savoy<\/div>\n
1934 20 anys amb els Whitey Lindy Hoppers, un estil m\u00e9s horitzontal<\/div>\n
1935 Air step<\/div>\n
1941 Hellzapoppin’<\/div>\n
1943 Guerra<\/div>\n
1955 correus<\/div>\n
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http:\/\/www.savoystyle.com\/<\/a><\/div>\n
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yehoodi.com<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n
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JAM VIDEOS<\/h1>\n
https:\/\/youtu.be\/hHMYhajNtNg<\/a>\u00a0 count basie<\/div>\n
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https:\/\/youtu.be\/3offCukbBAY<\/a>\u00a0jimmy lunceford<\/div>\n
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https:\/\/youtu.be\/QFjwSB7f4UA<\/a>\u00a0four step brothers<\/div>\n
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https:\/\/youtu.be\/aYVEdPy8gQY<\/a>\u00a0joe williams<\/div>\n
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https:\/\/youtu.be\/YhELpSeeipg<\/a>\u00a0big joe turner<\/div>\n
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https:\/\/youtu.be\/6Ilq3at75m0<\/a>\u00a0lionel hampton<\/div>\n
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https:\/\/youtu.be\/zC6zz0ObNuU<\/a>\u00a0al minns leon james after hours<\/div>\n
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https:\/\/youtu.be\/4s7nqIYy4iE<\/a>\u00a0hazel scott<\/div>\n
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https:\/\/youtu.be\/z1-mEEQPxIs<\/a>\u00a0gbojangles jeni legon<\/div>\n
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https:\/\/youtu.be\/PR6pHtiNT_k<\/a>\u00a0louis jordan<\/div>\n
https:\/\/youtu.be\/hlfQlPoZsyQ<\/a><\/div>\n
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https:\/\/youtu.be\/mCUk8kZ2FiU<\/a>\u00a0minut 31 dinah washington<\/div>\n
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https:\/\/www.youtube.com\/watch?v=-VIThO1EEdM<\/a>\u00a0ballroom angl\u00e8s 1926<\/div>\n
https:\/\/www.youtube.com\/watch?v=-VIThO1EEdM<\/a>\u00a0lambet walk<\/div>\n
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M\u00daSICS<\/h1>\n
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https:\/\/youtu.be\/1gIqkYqw0PU?t=1084<\/a>\u00a0JLCO Joe Williams, un nen escriu dues l\u00ednies de blues sobre com s\u00f3n dif\u00edcils.<\/div>\n
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https:\/\/youtu.be\/nayYQXtddXE<\/a>\u00a0\u00a0herlin riley per veure<\/div>\n
https:\/\/youtu.be\/H9fDj5I4gpk<\/a><\/div>\n
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https:\/\/youtu.be\/KFvgCtomkqE<\/a><\/div>\n
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https:\/\/youtu.be\/RLPAu93nXu0<\/a><\/div>\n<\/div>\n
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https:\/\/sheshredsmag.com\/100-black-women-guitarists-and-bassists\/<\/a><\/div>\n
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DONES AL JAZZ<\/div>\n
The piano and organ were considered more socially acceptable instruments for young women to play, and few serious fans of jazz would be unfamiliar with the names Mary Lou Williams<\/a>, Marian McPartland<\/a>, Hazel Scott<\/a>, Shirley Scott<\/a> or Alice Coltrane<\/a>. But the ranks of female jazz genius run much deeper than that. Here a<\/div>\n
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https:\/\/www.nytimes.com\/2020\/04\/22\/arts\/music\/women-jazz-musicians.html<\/a><\/div>\n
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10 Women in Jazz Who Never Got Their Due<\/h1>\n
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We\u2019re often taught to think of jazz\u2019s history as a cavalcade of great men and their bands, but from its beginnings the music was often in the hands of women. Listen to some of the greatest.<\/div>\n
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From left: Valaida Snow, Lil Hardin Armstrong and Una Mae Carlisle, three instrumentalists\u00a0who made a big impression in their day.Credit…Popperfoto\/Getty Images; Gilles Petard\/Redferns, via Getty Images; Afro Newspaper\/Gado, via Getty Images<\/div>\n
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By Giovanni Russonello<\/a><\/div>\n
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