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STERIJINO POZORJE FESTIVAL 2009 – Novi Sad, Serbia
Lucidity Suitcase, Philadelphia, USA
FLAMINGO / WINNEBAGO
Directed & Designed by Thaddeus Phillips

In January 2007, the Lucidity Suitcase hit the road to gather materials for a new theater work about Peak Oil, old gas stations and our future. Using hand drawn maps, they travelled along the forgotten and buried parts of Route 66 collecting artifacts, images & stories. A side trip to Las Vegas allowed Thaddeus Phillips to research the grandfather he never knew, Abe Schiller, who was an icon of the Flamingo Hotel. Thex also found a great Gypsy Jazz band in Albuquerque in a bar on Route 66, called Le Chat Lunatique.
Flamingo/Winnebago follows the story of Ageet Pradesh who travels in a Winnebago RV (Caravan) acroos the US fitted to run on fryer grease and a young man in search of his grandfather in Las Vegas. The show explores the planet’s tipping point: peak oil theory and US’s excessive use of energy, car culture, OnStar navigation, and old gas stations, motels and diners. Road-side attractions include: New Mexican pueblos, the Wigwam Motel, Route 66, RV parks, the Las Vegas Monorail and Korean Karaoke.

The LUCIDITY SUITCASE Intercontinental is a theater creation team made up of artists from Colorado, Colombia, Iowa, New Mexico, New York & Bulgaria that with ‘rough’ media, documentary footage, improvisation and research to create theaterical epics and windows into not-often seen worlds.

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This month on video you will see trailers and video clips of metal, rock band, American Head Charge – http://www.headcharge.com – from their current DVD “Can’t Stop The Machine”; Static Room Media’s production of Shelli Ryan’s film Jake’s Closet – http://www.JakesClosetMovie.com – premiering in the DancesWithFilms Festival; Brazilian film Proibido Proibir (Forbidden to Forbid) – http://www.proibidoproibir.com – premiering in the Premiere Brazil! 2007 festival at MoMA; The sketch comedy parodies of Planet Craze – http://www.planetcraze.com – based in Miami.

Since my two previous videos were inexplicably rejected (acoustic recordings of 1924-25), I try another, even older one. Here is another lovely tune by one of Sam Lanin’s many bands, this time under his own, abovementoned denomination. Sam (C.) Lanin (1891-1977) was an American jazz bandleader.Lanin’s brothers, Howard and Lester, were also bandleaders, and all of them had sustained, successful careers in music. Lanin was one of ten children born to Russian-Jewish immigrants who emigrated to Philadelphia in the decade of the 1900s. Sam played clarinet and violin while young, and in 1912 he was offered a spot playing in Victor Herbert’s orchestra, where he played through World War I. After the war he moved to New York City and began playing at the Roseland Ballroom in late 1918. There he established the Roseland Orchestra; this ensemble recorded for the Columbia Gramophone Company in the early 1920s. Sam recorded with a plethora of ensemble arrangements, under names such as Lanin’s Jazz Band, Lanin’s Arcadians, Lanin’s Famous Players, Lanin’s Southern Serenaders, Lanin’s Red Heads, Sam Lanin’s Dance Ensemble, and Lanin’s Arkansaw Travelers. He did not always give himself top billing in his ensemble’s names, and was a session leader for an enormous number of sweet jazz recording sessions of the 1920s. Among the ensembles he directed were Ladd’s Black Aces, The Broadway Bell-Hops, The Westerners, The Pillsbury Orchestra and Bailey’s Lucky Seven. He had a rotating cast of noted musicians playing with him, including regular appearances from Phil Napoleon, Miff Mole, Jules Levy Jr. and Red Nichols, as well as Jimmy Dorsey, Tommy Dorsey, Manny Klein, Jimmy McPartland, Bix Beiderbecke, Eddie Lang, Bunny Berigan, Nick Lucas and Frankie Trumbauer. Lanin did little actual playing on these records; his main contributions were clean, well-orchestrated arrangements and session directions. In addition to his recordings, he also played regularly on radio after 1923, and the Roseland Orchestra played on New York radio weekly every Monday from 1923 to 1925. He entered into a sponsorship with Bristol-Myers for their toothpaste, Ipana; as a result, his ensemble was renamed The Ipana Troubadors. In 1928 and 1929, Lanin recorded with Bing Crosby. The 1929 stock market crash hit Sam Lanin hard, unlike his brother Lester; in 1931, he lost his contract with Bristol-Meyers, his radio show and the name Ipana Troubadors. By the middle of the 1930s, Sam was spending much of his time cutting transcription discs. While his fame had waned, he was still well off from the money he saved in the 1920s and retired from the music business by the end of the 1930s. He was essentially forgotten at the same time Lester went on to stardom. He died in 1977, having never returned to music. This excellent record was made in 1921.

Here is another lovely song by one of Sam Lanin’s many bands, Sam (C.) Lanin (1891-1977) was an American jazz bandleader.Lanin’s brothers, Howard and Lester, were also bandleaders, and all of them had sustained, successful careers in music. Lanin was one of ten children born to Russian-Jewish immigrants who emigrated to Philadelphia in the decade of the 1900s. Sam played clarinet and violin while young, and in 1912 he was offered a spot playing in Victor Herbert’s orchestra, where he played through World War I. After the war he moved to New York City and began playing at the Roseland Ballroom in late 1918. There he established the Roseland Orchestra; this ensemble recorded for the Columbia Gramophone Company in the early 1920s. Sam recorded with a plethora of ensemble arrangements, under names such as Lanin’s Jazz Band, Lanin’s Arcadians, Lanin’s Famous Players, Lanin’s Southern Serenaders, Lanin’s Red Heads, Sam Lanin’s Dance Ensemble, and Lanin’s Arkansaw Travelers. He did not always give himself top billing in his ensemble’s names, and was a session leader for an enormous number of sweet jazz recording sessions of the 1920s. Among the ensembles he directed were Ladd’s Black Aces, The Broadway Bell-Hops, The Westerners, The Pillsbury Orchestra and Bailey’s Lucky Seven. He had a rotating cast of noted musicians playing with him, including regular appearances from Phil Napoleon, Miff Mole, Jules Levy Jr. and Red Nichols, as well as Jimmy Dorsey, Tommy Dorsey, Manny Klein, Jimmy McPartland, Bix Beiderbecke, Eddie Lang, Bunny Berigan, Nick Lucas and Frankie Trumbauer. Lanin did little actual playing on these records; his main contributions were clean, well-orchestrated arrangements and session directions. In addition to his recordings, he also played regularly on radio after 1923, and the Roseland Orchestra played on New York radio weekly every Monday from 1923 to 1925. He entered into a sponsorship with Bristol-Myers for their toothpaste, Ipana; as a result, his ensemble was renamed The Ipana Troubadors. In 1928 and 1929, Lanin recorded with Bing Crosby. The 1929 stock market crash hit Sam Lanin hard, unlike his brother Lester; in 1931, he lost his contract with Bristol-Meyers, his radio show and the name Ipana Troubadors. By the middle of the 1930s, Sam was spending much of his time cutting transcription discs. While his fame had waned, he was still well off from the money he saved in the 1920s and retired from the music business by the end of the 1930s. He was essentially forgotten at the same time Lester went on to stardom. He died in 1977, having never returned to music. This lovely recording was made in 1928. Some sources state the leader might actually be Selvin, but I could not find confirmation of this fact. The vocal is by Frank Bessinger.

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It can take years for a startup to break even, but HarajuCube’s co-founders Daichi Fukuzato and Kent Ong say their Instagram-worthy treats and clever pre-launch marketing efforts helped them do so within 2 months.

Camera Cafe – 5 stagione Italiano
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NA Haris, says Bangalore may get Delhi Constitutional club like & urges reformation in Clubs.

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