Modern Metaanalysis

The album is of course rounded off with the original No.1 hits of the 80s as well as some rare versions.

In October, we announced As Told By: History, Race, and Justice on the Opera Stage, the most extensive and ambitious presentation of opera by Black composers to ever take place in the US. S

The Modern Jazz Quartet or "MJQ", one of the most successful bands of the so called "Third Stream", was a direct outgrowth of the Dizzy Gillespie orchestra: pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown, later replaced by Percy Heath, and drummer Kenny Clarke (the first drummer with the group) often played interludes and intermissions for Gillespie in the late 1940s. Fusing Cool Jazz and European musical forms, the quartet functioned almost like a classical string quartet, and thus brought Jazz to the concert halls around Europe and across the globe. The twenty original albums in this 10 CD-box document the group at the height of their career and include classics like "Concorde" and "Pyramid", as well as many of their acclaimed soundtracks.

Douglas Fairbanks: A Modern Musketeer includes eleven of the joyful modern-dress comedies, westerns, satires, dream-fantasies and romances which, though mostly seldom-seen, made Fairbanks a tremendously popular hero. In addition to Fairbanks' unique talent, these ebullient films showcase his gifted collaborators including writer Anita Loos and directors Allan Dwan, Victor Fleming, and John Emerson.

Create the kitchen of your dreams: a comprehensive guide to modern kitchen design

The Modern Jazz Quartet (MJQ) was a jazz combo established in 1952 that played music influenced by classical, cool jazz, blues and bebop. For most of its history the Quartet consisted of John Lewis (piano), Milt Jackson (vibraphone), Percy Heath (double bass), and Connie Kay (drums).

By the time Modern Times was released in 1936, talking pictures had been established for almost a decade. The Chaplin archives reveal that Charlie Chaplin contemplated making Modern Times as his first “talkie”, but in the end he used sound effects, sparse recorded voices - like the factory manager on a video-surveillance screen in the men’s restrooms – and his own musical score, which he began working on in 1935.Later the song SMILE from the film became a classic, still sung and recorded by many.