jazz

• 
• 2/10/19
  

  The American Tourist in Paris: A Retrospective

  by Lauren Jannette

  Although no longer breaking furniture, running out on checks, and throwing racist fits about the evening’s entertainment, Americans remain an integral part of Paris’s continued debates over the benefits and detriments of being one of the world’s largest tourists destinations. 

• 
• 1/27/19
  

  Review: Showtime at the Apollo: The Epic Tale of Harlem’s Legendary Theater

  by Bruce Chadwick

  Fox takes the reader all the way back to 1914 and discusses entertainment in Harlem, and New York City, in that bustling era when vaudeville was sill king to set the stage for the debut of the Apollo in 1934.

• 
• SOURCE: Associated Press
  3-26-14
  

  Coltrane's Sax Joins Smithsonian Jazz Collection

  The artifact will go on display at the National Museum of American History.

• 
• SOURCE: The Saturday Evening Post
  2-6-14
  

  The Birth of ‘Rhapsody in Blue’

  George Gershwin and Paul Whiteman introduced jazz to a classical audience.

• 
• SOURCE: Associated Press
  11-4-13
  

  Santana, other musicians join effort to jazz up NY home of John Coltrane, turn it into museum

  The cavalcade of musicians is trying to transform the Dix Hills, Long Island home.

• SOURCE: The Atlantic
  3-25-13
  

  James Hughes: Stanley Kubrick's Unmade Film About Jazz in the Third Reich

  James Hughes is a Chicago-based writer and editor who has contributed to Slate, The Believer, Wax Poetics, and The Village Voice. For a decade, he was an editor and publisher of Stop Smiling magazine and its book imprint. In 1985, Stanley Kubrick was handed a book on the survival of jazz in Nazi-occupied Europe. A snapshot of a Luftwaffe officer casually posing among black, Gypsy, and Jewish musicians outside a Paris nightclub caught his eye. It looked like something out of Dr. Strangelove, he said. He'd long wanted to bring World War II to the screen, and perhaps this photograph offered a way in."Stanley's famous saying was that it was easier to fall in love than find a good story," says Tony Frewin, Kubrick's longtime assistant (and, for the purpose of disclosure, an editor-at-large at my former magazine, Stop Smiling). "He was limitlessly interested in anything to do with Nazis and desperately wanted to make a film on the subject."