Word: jazzed
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Dates: during 1940-1949
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...Amsterdam roof, after the show, Ziegfeld offered his Midnight Frolic, the most glamorous memory in Manhattan nightclub history. There John J. Pershing did some of his victory dancing and the jazz age got under its fanciest headway to the strains of the late Art Hickman's great band from California playing Avalon, Japanese Sandman and the Tishomingo Blues. There, after midnight, lemonades brought appalling Prohibition prices, the Follies chorus and principals entertained, and the most notable playboys of the postwar period started on their hair-losing ways...
...York newspapers, for a year as Music Editor of International News Service. He has contributed to The Saturday Evening Post, The Nation, The American Mercury, The Musical Quarterly and Theater Arts. And he is the author of the first authoritative analysis of America's own "musical language"-Jazz, Hot and Hybrid...
...finance at the insistence of Papa (longtime notions seller and theatrical agent), flunked out after two years. Informed by two Philadelphia art schools that he could never learn to draw, he taught himself the piano and the saxophone, thought he would support himself as a Paris art student by jazz playing. But he was forcibly removed from a Europe-bound freighter by Papa's private detectives...
Eventually, however, he made it. He played his horn in Paris nightclubs, joined the first jazz band ever to play in Ger. many (their audiences included brass hats in the Army of Occupation at Coblenz). Back in Paris, Hiler was manager, host, musician and barman at the famed Jockey, Left Bank hot spot owned by Jockey Milton Henry's wealthy widow. One night in her cups Proprietress Henry ejected a Negro who proved to be a Senegalese prince and member of the Chamber of Deputies. Next day the Jockey was padlocked. Hiler reopened it, invited every Negro in Paris...
...concert would have been notable for many reasons. It would be the first time a jazz band played a serious concert at Harvard, the first time Negroes have performed here. The program would have differed from the Carnegie Hall and Symphony Hall concerts, in that the emphasis was to be on music, not exhibitionism. Ellington was playing here because the Music Department felt that his music had something to say, and because Ellington wanted an audience he didn't have to play down...