Origins[ edit ] The concept for the series originated in with Cedric Messinaa BBC producer who specialised in television productions of theatrical classics, while he was on location at Glamis Castle in AngusScotland, shooting an adaptation of J. By the time he had returned to London, however, his idea had grown considerably, and he now envisioned an entire series devoted exclusively to the dramatic work of Shakespeare; a series which would adapt all thirty-seven Shakespearean plays. He had anticipated that everyone in the BBC would be excited about the concept, but this did not prove so. Furthermore, they argued that Shakespeare on television rarely worked, and they were of the opinion that there was simply no need to do all thirty-seven plays, as many were obscure and would not find an audience amongst the general public, even in England.
Here it is, as told by Morton himself to the well-known musician and critic, Lowell W. Morton had made records long before this.
Way back in he had cut piano-rolls on QRS for the Wurlitzer company that are practically unknown today. They say that on his records occurred the first bass-fiddle, the first drums, and the first washboard, played by Jasper Taylor.
The story of how fly-swatters were first used by drummers is interesting. Johnson was fired later, and drummer Ben Border s took his place. Border drummed so loudly on his snare, that one night Morton bought a couple of fly swatters as a joke and gave them to him. Border tried them out, just for kicks, and got such a smooth lift with them that he kept them.
And incidentally, Morton is supposed to have made the first movie short of a jazz band. For example, he actually played in W. Arriving in Chicago later, Jelly-Roll had to fight for the recognition that finally came to him.
The best piano players came from St. At that time, Morton himself had written arrangements for a lot of classical melodies, a cycle that is being repeated today. He was famous enough at that time to have the white musicians come flocking to hear him.
He soon made friends with Rappolo RoppoloBrunies, Mares, and Pollack, who were in and out of the band. The irony of it was that the only thing that Jelly-Roll seemed to be successful at was playing the piano.
On the tour to California, the band lived in style. Ding Dink Johnson had a racing job that cost ten grand. They played at the U. Grand Grant Hotel in Southern California five nights a week, for three hours a night, and were paid well.
On Monday nights they played private jobs, and the money rolled in. Whenever Jelly-Roll tied into a roll he was tempted to quit playing and get into business. So one night he told the band that it was through and started out as a boxing promoter.
In a short time he was flat broke.
Just to top it off, he received a wire asking him to return home at once because of illness. That night he picked up enough to start with by playing at a dance, and eventually arrived home to discover that it was a fake.
Then an offer to join the music publishing house of Spikes-Morton-Spikes brought him out of hiding. He left this firm to join the Melrose Music Publishing Co. Eventually, Stein organized the MCA, and Morton was booked by him untilwhen he got tired of jumping two or three hundred miles a night in those old cars and quit.
Transportation at that time was not as easy as it is now. Then came a series of disappointments, with a few terrific high spots. Much of the discography information shown above is inaccurate.
Readers are advised to consult the Recordings and Discography page. The last installment carried Mr. Jelly up to when he quit MCA.
He was then forty-three years old, which is pretty ancient in a young game like swing. After killing himself to round up a good band, the job lasted a week. Those burn kicks seemed to be coming faster and faster to Morton. But he bounced back and signed up Gordon Kibbler for his agent with Harrisburg for headquarters.
There was no job available in New York, so the band folded. The game was nearly up. During toold Jelly played one-nighters with a pick-up band wherever he could wangle a job. And existence, even at this time, was not without glory.Macbeth And The Three Hags Of Fate – Essay.
In many of Shakespeare’s plays there exists relationships between characters; these relationships in many cases influence the direction in which the play goes.
In Shakespeare’s “Macbeth” the everlasting relationship between Macbeth and the three witches is the foundation of the entire plot. Macbeth by Shakespeare - Lady Macbeth and Themes Essay. The literary work of Macbeth wouldn’t be a well-written story if Macbeth did not exist, but it also wouldn’t be universal if the secondary character of Lady Macbeth, Macbeth’s wife, did not exist.
Macbeth opens with three witches conjuring on a heath amidst thunder, lightening, "fog and filthy air" and then proceed to throw around sinister prophesies, so, yeah, we're going to go ahead and sa.
网易云音乐是一款专注于发现与分享的音乐产品，依托专业音乐人、dj、好友推荐及社交功能，为用户打造全新的音乐生活。. This is a gripping portrait of an unhappy, rather unpleasant man named Julian English and his headlong dive into social disgrace. As an expose of the "dark side of the American Dream" during the s, I found "Appointment in Samarra" more compelling than the over-rated "Great Gatsby.".
Consequently, Macbeth was lead to fate through the prophecies of the witches, but by trying to master fate, his ambitious nature and greed for power was the flaw in .