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Bob Ross - Wikipedia, the free encyclopedia. Robert Norman . He was widely known as the creator and host of The Joy of Painting, an instructional television program that aired from 1. PBS in the United States, and also aired in Canada, Latin America and Europe. With a soft voice and a permedafro, Ross went from being a television personality in the '8. Internet celebrity popular with fans on You. Tube and many other websites. Steven, also a talented painter, occasionally appeared on The Joy of Painting and became a Ross- certified instructor. Ross and his second wife, Jane, had a son named Morgan, who is also an accomplished painter. Air Force Clinic at Eielson Air Force Base in Alaska. He developed his quick- painting technique to create art for sale during brief daily work breaks. Ross retired from the Air Force after 2. Master Sergeant. He also had to find ways to cut back on spending, so he decided to have his hair permed just to save money on haircuts. The perm hairstyle was not comfortable for Ross, but it became an iconic feature of his image and brand. During each half- hour segment, Ross would instruct viewers in oil painting using a quick- study technique from the imagination that used a limited palette of paints and broke down the process into simple steps. Art critic Mira Schor compared him to Fred Rogers, host of Mister Rogers' Neighborhood, noting that Ross's soft voice and the slow pace of his speech were similar. Small animals often appeared on The Joy of Painting, even during some of his trickier works, as he would often take in injured or abandoned squirrels and other wildlife. From the beginning, the program kept the selection of tools and colors simple so that viewers would not have to make large investments in expensive equipment. Ross frequently recommended odorless paint thinner (aka odorless mineral spirits) for brush cleaning. Combining the wet painting method with the use of large one- and two- inch brushes, as well as painting knives, allowed Ross to paint trees, clouds, mountains, and water in a matter of seconds. Each painting would start with simple strokes that appeared as nothing more than smudges of color. As he added more and more strokes, the blotches would transform into intricate landscapes. He repeatedly stated on the show his belief that everyone had inherent artistic talent and could become an accomplished artist given time, practice, and encouragement, and to this end was often fond of saying, . By his own estimation, Ross completed more than 3. It's because I can create the kind of world that I want, and I can make this world as happy as I want it. Shoot, if you want bad stuff, watch the news.
The audience gave him a huge ovation; he was a little nervous at first, but felt better after cracking a joke to the crowd. Snow was later given a private painting lesson by Ross. Buy 2 Bob Ross JOY OF PAINTING Series 29 VHS Tapes - 9 Programs on Amazon.com FREE SHIPPING on qualified orders. Chantilly company sells art items related to Bob Ross, who taught painting on TV. Watch Bob Ross demonstrate techniques from the Joy of Painting . This app is basically an introduction to Bob Ross and gives you a basic understanding of the. One visit in 1. 98. The Joan Rivers Show. He returned in 1. Regis Philbin and Kathie Lee Gifford. There was one in 1. Phil Donahue, who watched his videos and loved his painting technique, invited him to the show to promote his work. Ross took five audience members on- stage to do a painting and even Phil himself did a painting and showed it in that episode. Ross at one time got an invitation to appear on Oprah, but declined because he wanted to do paintings for the audience, while the show wanted to focus on couples who are in business together, but do not live together. He died at the age of 5. July 4, 1. 99. 5. It portrayed Ross painting a depiction of the letter . The two- minute episode featured a rap battle between Bob Ross and Pablo Picasso. A portion of the advertising revenue has been promised to charities, including St. Jude Children's Research Hospital. The 3. 0 minute episodes, minus the original few minutes for commercials are very close in nature to The Joy of Painting series. The Biography. com website. Retrieved September 1. Bob Ross Incorporated. Retrieved January 2. Happy Clouds, Happy Trees: The Bob Ross Phenomenon. University Press of Mississippi. Wet: on painting, feminism, and art culture. Durham: Duke University Press. Retrieved April 6, 2. Bob Ross, the Frugal Gourmet of Painting. New York Times archive, retrieved December 2. BOB ROSS: THE HAPPY PAINTER presents a behind-the-scenes look at the beloved public television personality's journey from humble beginnings to an American pop-culture icon. Find great deals on eBay for bob ross dvd bob ross brushes. Shop with confidence. Listings For The Best of the Joy of Painting Search by Zip Code. Taubes, F. Mastery of Alla Prima Painting. F& W Pub.(1. 98. ISBN 0. 89. 13. 40. Gury, A. Alla Prima: A Contemporary Guide to Traditional Direct Painting. Watson- Guptill (2. ISBN 0. 82. 30. 98. Bennett, Kaylen (2. Inspiring Creativity: An Anthology of Powerful Insights And Practical Ideas to Guide You to Successful Creating. Playa del Rey: Creativity Coaching Assoc. Club.^Pegley, Kip (2. Coming to wherever you are: Much. Music, MTV, and youth identities. Middletown: Wesleyan University Press. Event occurs at 1. Morrow, NY ISBN 9. Harris, Scott (February 9, 2. American City Business Journals^Linda, Shrieves (July 8, 1. Retrieved January 2. Retrieved September 1. Retrieved November 1, 2. Retrieved October 2. Retrieved 2. 01. 2- 1. You. Tube, Epic Rap Battles of History (2. Retrieved October 3. Retrieved October 3. The Joy of Painting Marathon - Celebrating the official launch of Twitch Creative! Retrieved November 9, 2. Further reading. External links. Installation of the Dynavin DVN-E46 is fairly simple. If you know how to install a standard DIN or Double-DIN sized car stereo receiver, you can install this unit. TPS, Heated Seats, etc. Remove the existing bracket.
E36 Heated Seat Repair DIY. Installation is the reverse of removal. Has anyone ever tackled wiring in heated seats in a car that didn't have them? I do have the switches as well. Genuine BMW Installing Set Heated Seat - 6. E4. 6 Sorry, I don't understand this You. Tube link. Video successfully uploaded. Welcome to Sauvie Island Farms! We grow berries, peaches, sweet corn, flowers, pumpkins, and. Kruger's is a working 150-acre farm located on Sauvie Island just 12 miles from downtown Portland at the con. Corn Maze; Haunted Maze; Corn Maze Cabaret. Get reviews, hours, directions, coupons and more for Sauvie Island Farms - Pumpkin Patch at 19818 NW Sauvie Island Rd, Portland, OR. Search for other Amusement Places & Arcades in Portland on YP.com. Portland Corn Maze - The Maize at The Pumpkin Patch. Woman sues Sauvie Island pumpkin patch for $4. A woman who tripped over some twine as she hopped off a hay ride at a U- pick pumpkin field on Sauvie Island is suing the owners for $4. Riders sit on bales of hay as they ride a bumpy dirt road to and from the fields. Her suit claims that even though employees provided a step ladder on one side of the wagon, riders . The suit, which was filed earlier this week in Multnomah County Circuit Court, is notable because an estimated 1. The Pumpkin Patch. There are more than a dozen other U- pick pumpkin operations in the metro area alone. Bog Egger - - who has owned the patch at 1. N. W. Gillihan Loop Road since 1. Kari - - said their operation is the oldest in Oregon. They took over the patch from his parents and Bob and Mary Schick. The Schicks started the patch in 1. Sauvie Island. And now there's a pumpkin patch on every corner. Goolsby and her Milwaukie attorney, Randy Oetken, could not be reached for comment. Goolsby's suit seeks $3. Bog Egger said he believes the hay rides are safe. He also hires Scappoose High School students to help visitors on and off the rides on weekends. He said since Goolsby got hurt nearly two years ago, none of the nearly 2.
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A Retrospective on Counterinsurgency Operations — Central Intelligence Agency. The Tay Ninh Provincial Reconnaissance Unit and Its Role in the Phoenix Program, 1. Colonel Andrew R. Finlayson, USMC (Ret.)The Phoenix program is arguably the most misunderstood and controversial program undertaken by the governments of the United States and South Vietnam during the Vietnam War. It was, quite simply, a set of programs that sought to attack and destroy the political infrastructure of the Lao Dong Party (hereafter referred to as the Viet Cong infrastructure or VCI) in South Vietnam. Phoenix was misunderstood because it was classified, and the information obtained by the press and others was often anecdotal, unsubstantiated, or false. The program was controversial because the antiwar movement and critical scholars in the United States and elsewhere portrayed it as an unlawful and immoral assassination program targeting civilians. Unfortunately, there have been few objective analyses of Phoenix, and it still is looked upon with a great deal of suspicion and misunderstanding by many who study the Vietnam War. Following the below overview is a set of first- hand observations of one part of the Phoenix program in one province of South Vietnam, Tay Ninh. It is a snapshot in time and place, but it represents a picture of the way one important and highly effective aspect of Phoenix worked in the years immediately after the 1. Tet offensive. It is the story of a single operational unit that was part of the larger, country- wide action element of the Phoenix program- -the Provincial Reconnaissance Units (PRUs). The premise of pacification was that if peasants were persuaded that the government of South Vietnam and the United States were sincerely interested in protecting them from the Viet Cong and trained them to defend themselves, then large areas of the South Vietnamese countryside could be secured or won back from the enemy without direct engagement by the US military. By 1. 96. 7, the US Military Assistance Command, Vietnam (MACV), had succeeded in consolidating all military and civilian pacification efforts into one entity, called Civil Operations and Revolutionary Development Support (CORDS). CIA and MACV were intensely involved in CORDS, which was run in conjunction with the Saigon government. Komer initially headed CORDS, but it was most active and successful under William E. Colby, who replaced Komer in 1. Colby had served as chief of station in Saigon from 1. Far Eastern Division since then. Colby believed the United States must rid the south of the existing communist parallel government in the villages and eradicate the Viet Cong Infrastructure (VCI) in the countryside. Thus CORDS, while working on village defense and civic action programs- -the latter included land reform, infrastructure building, and economic development- -also devoted considerable resources to rooting out the VCI. Another component of CORDS was the Phoenix Program. Although Phoenix was run and ostensibly controlled by the Saigon government, CIA funded and administered it. Phoenix built on the work of the CIA- created network of over 1. South Vietnam that collected and disseminated information on the VCI to field police and paramilitary units. William Colby pictured on a poster attacking the Phoenix program. CIA History Staff file photo. Date unknown. Essentially, these committees created lists of known VCI operatives. Once the name, rank, and location of each individual VCI member became known, CIA paramilitary or South Vietnamese police or military forces interrogated these individuals for further intelligence on the communist structure and its operations. The lists were sent to various Phoenix field forces, which included the Vietnamese national police, US Navy Seal teams and US Army special operations groups, and Provincial Reconnaissance Units such as the one in Tay Ninh. These forces went to the villages and hamlets and attempted to identify the named individuals and . Those on a list were arrested or captured for interrogation, or if they resisted, they were killed. Initially, CIA, with Vietnamese assistance, handled interrogations at the provincial or district levels. Later, when the program was turned over to the Saigon government, the Agency alone handled information- gathering. Eventually, about 6. Americans were directly involved in the interrogation of VCI suspects, including both CIA and US military personnel. The PRUs became probably the most controversial element of Phoenix. They were special paramilitary forces that were originally developed in 1. South Vietnam and CIA. Initially, they were known as Counter- Terror Teams. Eventually numbering over 4,0. South Vietnam's 4. PRUs were commanded by US military officers and senior NCOs until November 1. CIA advisers. Critics of US involvement in Vietnam claimed that the PRUs were nothing more than assassination teams, yet only 1. VCI killed under Phoenix were killed by PRUs. Most of the rest died in skirmishes and raids involving South Vietnamese soldiers and police and the US military. In 1. 97. 2 CORDS reported that since the 1. Tet Offensive, Phoenix had removed over 5,0. VCI from action, and that conventional military actions and desertions- -some prompted by Phoenix- -accounted for over 2. MACV claimed that Phoenix and the US military's response to the Tet Offensive, along with other rural security, and militia programs, had eliminated upwards of 8. VCI through defection, detention, or death. That figure lies on the high end of estimates, all of which were dependent on statistics of varying reliability. By most accounts, however- -including those of Vietnamese communists- -Phoenix (which ended in 1. VCI so far underground that it was unable to operate effectively. In the 1. 97. 2 Easter offensive, and again in 1. VCI or the Viet Cong military because Phoenix and its allied activities had dealt them a very serious blow. I was then half way through my second tour in the country. We were operating in the . My company had just returned to Hill 6. Da Nang, when I was informed by the battalion operations officer that my infantry company was to provide security for a special unit of Vietnamese police that was to enter a village in the Arizona Area looking for suspected Viet Cong political cadre. When the police unit arrived, I greeted its commander, a US military officer dressed in black pajamas and armed with an assortment of unusual weapons, including a Chinese AK- 4. Browning 9- mm automatic pistol. I immediately recognized this officer as a fellow Marine who had graduated a year ahead of me from the US Naval Academy and who had served with me in 1. Force Reconnaissance Company near Da Nang. I spent three days with this officer and his team of 1. Vietnamese while they searched a village for VC political cadre. At the end of the operation, he suggested that I extend my tour of duty in Vietnam and apply for a position with the PRU program, to which he was then assigned. When I asked the normal questions anyone would ask about a new assignment- -one he felt was so interesting and challenging that I would gladly extend my tour for a chance to join its ranks- -he would say only that the program was classified and I would be told more about it if I agreed to add six months to my scheduled 1. I admired this officer and respected his judgment, so I accepted his offer with literally no knowledge of what I was signing up for. He said I should continue to serve as a company commander until III Marine Amphibious Force (MAF) headquarters in Da Nang told me I had been invited to travel to Saigon for an interview. In late August 1. I was ordered to Saigon to report to MACV's Marine Liaison Office for instructions. My orders included a provision that I take an Air America flight from Da Nang, something few Marines ever did. After landing at Tan Son Nhut Air Base in Saigon and reporting to the liaison office, I was told to go to the Duc Hotel, register, and await instructions. After a few hours, a Vietnamese officer wearing dark sunglasses, a tiger- striped camouflage uniform, and a grim smile met me in the hotel lobby. He introduced himself and told me he would be taking me to his headquarters. I tried to small- talk the officer, but he remained silent or cut me off with a curt, . Inside, I was escorted to an office on the second floor and told to wait. Soon, I was introduced to a man dressed in civilian clothes, who told me he was a captain in the US Army, but he did not tell me his name. He told me he wanted to interview me for . For the most part he questioned me about my knowledge of Vietnamese history, culture, and language. He spent a lot of time trying to ascertain my true feelings for the Vietnamese people and how I thought my military experience as a long- range patrol leader and infantry company commander would benefit the PRU program. At the end of the interview, he handed me Douglas Pike's, Viet Cong. He told me to read it that night and be prepared to discuss it in detail the following morning at 0. I then was driven back to the Duc Hotel where I immediately began reading. I finished Viet Cong at 0. Early the next morning, I was picked up at the hotel once more and driven to the PRU headquarters and again ushered up to the second floor office. After a few minutes of waiting alone in the office, the nameless captain and two other Americans in civilian clothes came in. They took me to another office, where I was formally introduced to the two, who turned out to be the top US leadership of the PRU. One was the senior PRU adviser in South Vietnam, a Marine Corps colonel; the other was his deputy, also a Marine Corps officer. The colonel told me I had been chosen to join the PRU program and would be assigned immediately to Tay Ninh Province to replace an officer who had been relieved of his duties because of financial and personal misconduct. Chapter 6: Making CORDS Work. CHAPTER 6. Making CORDS Work. Carrying out President Johnson's decision to reorganize the American pacification. If CORDS were to survive, it had to demonstrate its ability. South Vietnamese whom the organization advised and supported. South Vietnamese was the fundamental factor behind. Although the president imposed no time limit on CORDS. Office of Civil Operations. Yet influencing the South Vietnamese people. Despite lessening of pressure from Washington, Ambassador Komer was sensitive. Washington officials. Having changed from the pacification. Washington to the pacification man in the field, he quickly adopted what. Not only did he personally brief Secretary Mc. Namara during a July. Saigon on the new CORDS organization and plans for it, he also flew. Washington with the secretary to make sure his viewpoint was understood. That he was close to the president was hardly to be. Saigon. This was a mixed blessing, for the permanent. CORDS depended less on faraway presiden. Unless it was a matter of survival. Komer's behalf would have been a hindrance, giving. Komer was not part of the . Although having no wish to dispense completely with the aura of the White. House, Komer tried from the first to become an integral part of the U. S. Not only did that attitude help his working. Bunker and Westmoreland, but it would help CORDS survive later. One of the early major problems that Komer faced was the relationship of CORDS. Agency for International Development. Hardly was the new organization. AID attempted to lessen CORDS' authority and retrieve some. Much of the financing for the Office of Civil Operations. Agency for International Development, but the agency's contributions. Department of. Defense. Yet the civilian agency was unhappy about contributing any funds to programs. Citing a confusion in the agency's role in South Vietnam. Administrator William Gaud proposed to Under Secretary of State Katzenbach that. CORDS program be more narrowly defined and AID removed from congressional. MACV. This proposal. CORDS. most notably that dealing with the South Vietnamese police. Seeing the proposal as a clear attempt to subvert the president's decision to. Komer dispatched a sharp letter to Gaud. Pacification, he wrote, could not be sliced to fit jurisdictional and budgetary. Washington agencies: , that had been a plague to past efforts in. CORDS, he noted, had merely taken over AID programs that had earlier. Office of Civil Operations and no more, so why the objection. To Komer removal of any programs would be the start of a return. With support from. Mc. Namara and Bunker, he successfully resisted Administrator Gaud's proposal. That did not mean that AID officials considered their relations with. From time to time they continued to raise questions on funding. Komer experienced difficulty. Washington to correspond directly with. CORDS on pacification business rather than to go through the agency's office in. Saigon. As time passed, relationships nevertheless improved. Although always wanting it understood who was in command, General Westmoreland. A. combination of Westmoreland's flexibility and Komer's ability to capitalize on. Komer to run. an unusual, innovative program within what otherwise might have been the overly. I think Westmoreland deserves a great deal of credit for the decentralization. On the day of Komer's arrival in. South Vietnam, General Westmoreland told him firmly that he would not compromise. To which Komer responded that he had no intention. In his opening press conference, Ambassador Bunker. Westmoreland but with his deputy for pacification. Free access to Bunker had been one of the requirements of the job that Komer had. President Johnson, and despite the caveats from both Bunker. Westmoreland, that was what he got. Placing Komer on the Mission Council. Executive Committee, meant that the man operationally. As working relationships matured, Komer's personal access to Bunker. Aside from casing the. Secretary. Mc. Namara made it clear from the first that Komer was to work through normal channels. Komer himself knew that he would soon incur the wrath of both Ambassador Bunker. General Westmoreland if he went over their heads; but the old Washington ties. President Johnson apparently wanted him to communicate directly. White House, for the president and his Special Assistant for National. Security Affairs, Walt W. Rostow, often cabled Komer directly, to which he felt. General Westmoreland would later note that he . In any event, communications. White House had dropped off by the fall of 1. Westmoreland and Bunker. Ambassador Leonhart's White House pacification office and with civilian agencies. Washington associated with pacification. Nor was there objection to direct communications with subordinate echelons in. Indeed, close contact. CORDS and district advisers through formal and informal communications. CORDS organization. It was a two- way. Komer and members of his staff often visited lower echelons, and on visits. Saigon key field officials dropped in on Komer or his assistants. CORDS also established teams of Americans and South Vietnamese who made lengthy. The teams were encouraged. That process. annoyed some subordinate officials, but Komer defended the practice and as time. Komer and the CORDS staff also communicated directly on pacification matters with. South Vietnamese government, including the president, vice- president. That practice developed from the first but increased dramatically. Tet offensive when CORDS played a major role in a nationwide recovery. US office in the president's palace to. One. of the first to be transferred to CORDS was advice and support to the South Vietnamese. Regional and Popular Forces. Although that responsibility had been. Agency for International Development to. MACV, those forces had always been neglected in favor of support for the regular. Since South Vietnamese generals were unable to pull their troops from the. Rather than attempt a long, slow build- up of police and Revolutionary. Development cadre to fill that role, Komer saw the territorial units as a ready. By doubling the number of advisers responsible to CORDS, by making CORDS responsible. South Vietnamese government, the transfer strengthened CORDS. It also enabled CORDS to press for a corresponding reemphasis and. South Vietnamese, who in late 1. General Staff to be responsible for the military side of. Regional and Popular Forces. That was a first step toward. South Vietnamese pacification effort and afforded Komer a readily. South Vietnamese military chain of command. A second program taken over by CORDS was the war against the enemy's clandestine. To deal. with that new responsibility, CORDS created the Intelligence Coordination and. Exploitation Program, later known as the Phung Hoang, or PHOENIX, program. The. transfer focused attention on a hitherto neglected element of the insurgency. He wanted the new advisory. CIA leadership yet, as an integral. CORDS, subject to his close personal supervision. To do that meant creating. MACV with a CIA man its its head that would be in competition with MACV's. J- 2). It would also be an. Not unexpectedly. MACV J- 2 wanted to head the new program. The matter reached the point of decision in a conference in General Westmoreland's. Speaking for the military staff, the MACV chief of staff insisted that. After hearing him out, Westmoreland asked for and received. Komer's rebuttal. Then, as Komer later recalled it, Westmoreland . I think we ought to do it his way.' And that was it. They all filed. out, and from that time on my power position was solid . And I remember psychologically. West), made it clear that when I had a good case. As it turned out. CORDS. organization with an intermingling of military and civilian advisers, the military. A program. previously marked by disunity had been welded together through close civil- military. South Vietnamese. At key points in the war CORDS also created and managed programs that increased. Following the 1. 96. Tet offensive, Bunker and Westmoreland. CORDS to take the lead in a nationwide recovery effort. In the process. CORDS developed an even closer working rapport with the South Vietnamese government. When CORDS was created. South Vietnamese military, the Ministry of Revolutionary Development. That lack of unity was complicated by institutional heritages. Except in 1. 96. 5 with creation of the Ministry of Rural Construction. Revolutionary Development), which pulled together diverse pacification. American officials. Since one explicit rationale behind the decision to create CORDS was to encourage. South Vietnamese government to unify its own pacification programs, Komer. The appointment of a vice chief of staff in. General Staff to be responsible for the military side of pacification. During Komer's tenure, he pressed strongly for that. Ambassador William Colby, did the. South Vietnamese in 1. Known as the Central Pacification and Development Council, the new organization. No figurehead organization. South Vietnamese pacification program. American officials had long hoped- -that. American role. In addition to the unity that CORDS brought to the American pacification advisory. South Vietnamese effort, CORDS also greatly improved. After CORDS was created, such terms. Although the military contributed a preponderance of. That and Komer's aggressiveness. After several. months of civilians and military working together, the distinctions between the. For the civilians CORDS was an invaluable managerial. Rather than civilians being captured by the military, just as strong a case could. Although much of the Defense. CORDS went for support of the Regional and Popular. CORDS budget also increased. From a contribution for fiscal year 1. CORDS. budget, the Defense contribution had increased by fiscal year 1. Agency for International Development, previously the largest. Office of Civil Operations, declined from 1. In terms of dollars, the Agency for International. Developments contribution declined from $7. Department of Defense. Sarah Mc. Carty Complete ebook Collection. DESCARGARSarah Mc. Carty Complete ebook Collection l 3. MBContent : 1 Dark Heaven(WILD ANTHOLOGY - Paranormal) Series: a. Sarah Mc. Carty - Instinto Salvaje. Sarah Mc. 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Aaron Copland - Wikipedia, the free encyclopedia. Aaron Copland (. Copland was referred to by his peers and critics as . The Wild, Wild West program notes. Posted on April 30, 2015 by David Kidwell. Program Notes by Jane Rausch. Hannah Lynn Cohen, a senior at Monument Mountain Regional High School in Lee, MA. Get a free MP3 of Aaron Copland - Rodeo: Hoe-Down. Daily Download: Aaron Copland - Rodeo: Hoe-Down. Classical Music Features Feb 19. Class Notes Education Videos; School Spotlight. He is best known for the works he wrote in the 1. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres including chamber music, vocal works, opera and film scores. OCLC Number: 224992896: Notes: Cover title. Program note on prelim. Description: 1 score (26 pages) and 75 parts; 31 cm. Series Title: Great band transcriptions. Responsibility: music by Aaron Copland. After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U. Copyright in these notes is retained by the author without whose prior written permission they may not be used.S. He found composing orchestral music in the modernist style he had adapted abroad a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid- 1. German idea of Gebrauchsmusik (. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Ch. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1. Piano Fantasy (1. Connotations for orchestra (1. Inscape for orchestra (1. Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material. From the 1. 96. 0s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U. S. He was the youngest of five children in a Conservative Jewish family of Lithuanian origins. It was there that Copland's father may have Anglicized his surname . Copland's, at 6. 28 Washington Avenue (which Aaron would later describe as . His father was a staunch Democrat. The family members were active in Congregation Baith Israel Anshei Emes, where Aaron celebrated his Bar Mitzvah. Not especially athletic, the sensitive young man became an avid reader and often read Horatio Alger stories on his front steps. Copland's father had no musical interest. His mother, Sarah Mittenthal Copland, sang, played the piano, and arranged for music lessons for her children.
Of his siblings, oldest brother Ralph was the most advanced musically, proficient on the violin. His sister Laurine had the strongest connection with Aaron; she gave him his first piano lessons, promoted his musical education, and supported him in his musical career. A student at the Metropolitan Opera School and a frequent opera- goer, Laurine also brought home libretti for Aaron to study. Copland attended Boys' High School and in the summer went to various camps. Most of his early exposure to music was at Jewish weddings and ceremonies, and occasional family musicales. Copland began writing songs at the age of eight and a half. After attempts to further his music study from a correspondence course, Copland took formal lessons in harmony, theory, and composition from Rubin Goldmark, a noted teacher and composer of American music (who had given George Gershwin three lessons). Goldmark, with whom Copland studied between 1. Copland a solid foundation, especially in the Germanic tradition. As Copland stated later: . I was spared the floundering that so many musicians have suffered through incompetent teaching. But he had also composed more original and daring pieces which he did not share with his teacher. In addition to regularly attending the Metropolitan Opera and the New York Symphony, where he heard the standard classical repertory, Copland continued his musical development through an expanding circle of musical friends. After graduating from high school, Copland played in dance bands. Continuing his musical education, he received further piano lessons from Victor Wittgenstein, who found his student to be . In spite of that, in his early adult life Copland would develop friendships with people with socialist and communist leanings. Study in Paris. An article in Musical America about a summer school program for American musicians at the Fontainebleau School of Music, offered by the French government, encouraged Copland still further. On arriving in France, he studied at Fontainebleau with pianist and pedagogue Isidor Philipp and composer Paul Vidal. When Copland found Vidal too much like Goldmark, he switched at the suggestion of a fellow student to Nadia Boulanger, then aged 3. Copland found her incisive mind much to his liking and found her ability to critique a composition impeccable. She could also tell you why it was weak . But make no mistake .. A more charming womanly woman never lived. The confidence she had in my talents and her belief in me were at the very least flattering and more. Among this group in the heady cultural atmosphere of Paris in the 1. Paul Bowles, Ernest Hemingway, Sinclair Lewis, Gertrude Stein, and Ezra Pound, as well as artists like Pablo Picasso, Marc Chagall, and Amedeo Modigliani. Also influential on the new music were the French intellectuals Marcel Proust, Paul Val. Travels to Italy, Austria, and Germany rounded out Copland's musical education. During his stay in Paris, Copland began writing musical critiques, the first on Gabriel Faur. He rented a studio apartment on New York City's Upper West Side in the Empire Hotel, close to Carnegie Hall and other musical venues and publishers. He remained in that area for the next thirty years, later moving to Westchester County, New York. Copland lived frugally and survived financially with help from two $2,5. Guggenheim Fellowships in 1. Lecture- recitals, awards, appointments, and small commissions, plus some teaching, writing, and personal loans kept him afloat in the subsequent years through World War II. Also important, especially during the Depression, were wealthy patrons who underwrote performances, helped pay for publication of works and promoted musical events and composers. Among those mentors was Serge Koussevitzky, the music director of the Boston Symphony Orchestra and known as a champion of . Beginning with the Symphony for Organ and Orchestra (1. Koussevitzky would perform more of Copland's music than that of any the composer's contemporaries, even while other conductors programmed only a few of Copland's works. Soon after his return, Copland was exposed to the artistic circle of photographer Alfred Stieglitz. While Copland did not care for Steiglitz's domineering attitude, he admired his work and took to heart Steiglitz's conviction that American artists should reflect . Evans' photographs inspired portions of Copland's opera The Tender Land. In his quest to take up the slogan of the Stieglitz group, . Without what Copland called a . In the 1. 92. 0s, George Gershwin, Bessie Smith, and Louis Armstrong in the forefront American popular music and jazz. By the end of the decade, Copland felt his music was going in a more abstract, less jazz- oriented direction. He also helped found the Copland- Sessions Concerts to showcasing these composers' chamber works to new audiences. Copland's relationship with these men, who became known as . He was also generous with his time with nearly every American young composer he met during his life, later earning the title, . From 1. 92. 7 to 1. The New School of Social Research in New York City. Eventually, his New School lectures would appear in the form of two books. During this period, Copland also wrote regularly for The New York Times, The Musical Quarterly and a number of other journals. These articles would appear in 1. Copland on Music. Copland's compositions in the early 1. However, mounting troubles with the Symphonic Ode (1. Short Symphony (1. It was financially contradictory, particularly in the Depression. Avant- garde music had lost what cultural historian Morris Dickstein calls . Since 1. 92. 7, he had been in the process of simplifying, or at least paring down, his musical language, though in such a manner as to sometimes have the effect, paradoxically, of estranging audiences and performers. This approach encompassed two trends: first, music that students could easily learn, and second, music which would have wider appeal, such as incidental music for plays, movies, radio, etc. Toward this end, Copland provided musical advice and inspiration to The Group Theater, a company which also attracted Stella Adler, Elia Kazan and Lee Strasberg. Philosophically an outgrowth of Steiglitz and his ideals, the Group focused on socially- relevant plays by the American authors. Through it and later his work in film, Copland met several major American playwrights, including Thornton Wilder, William Inge, Arthur Miller, and Edward Albee, and considered projects with all of them. These works included piano pieces (The Young Pioneers) and an opera (The Second Hurricane). During the Depression years, Copland traveled extensively to Europe, Africa, and Mexico. He formed an important friendship with Mexican composer Carlos Ch. During his initial visit to Mexico, Copland began composing the first of his signature works, El Sal. In it and The Second Hurricane, Copland began . This was one of his first pieces to convey the landscape of the American West. This emphasis on the frontier carried over to his ballet Billy the Kid (1. El Sal. Copland's ballet music established him as an authentic composer of American music much as Stravinsky's ballet scores connected the composer with Russian music and came at an opportune time. He helped fill a vacuum for American choreographers to fill their dance repertory and tapped into an artistic groundswell, from the motion pictures of Busby Berkeley and Fred Astaire to the ballets of George Balanchine and Martha Graham, to both democratize and Americanize dance as an art form. His ballet scores for Rodeo (1. Appalachian Spring (1. His pieces Lincoln Portrait and Fanfare for the Common Man became patriotic standards. Also important was the Third Symphony. Composed in a two- year period from 1. Copland's best- known symphony. Copland: Rodeo - New Mexico Philharmonic. Aaron Copland. Born 1. Brooklyn, New York Died 1. Tarrytown, New York. Four Dance Episodes from Rodeo (1. Aaron Copland was by all accounts a trailblazer, much like the American spirit his music emulates. He was the first American student of the famed French composer and teacher, Nadia Boulanger. Upon finishing his studies abroad, Copland wished to break free from European musical traditions and create a uniquely . Copland made several attempts to this end, writing in disparate styles before finding the quintessential Copland sound. Initially his works were influenced by American jazz and the neo- classical works of Stravinsky. He then veered somewhat off- course, writing works that were harsh and atonal which risked alienating his audience. Copland had to be convinced to write for Rodeo as he was not sure he wanted to immediately delve into writing another ballet with similar subject matter. Agnes de Mille had been chosen to choreograph the work, and she was able to convince Copland to write the music for Rodeo. She assured him that this work would be different, a simple, relatable love story against the backdrop of American ranch life. The ballet premiered at the Metropolitan opera House on october 1. Mille in the lead role. The premiere received 2. The premiere of the concert suite took place in 1. Boston Pops. The story of Rodeo centers around a cowgirl who was raised at Burnt Ranch, and who strives to step out of her . She seeks the attention of the Head Wrangler, who is, like the rest of the cowboys, infatuated with the Rancher. In a tale as old as time, the Cowgirl puts on a beautiful dress for the Hoe- Down and finally attracts the attention of the Head Wrangler. The ballet culminates with. Copland uses the brass and strings as opposing forces in this opening. This is interrupted by the gentle and lyrical Cowgirl. The first folk tune to make an appearance is the railroad tune . It is filled with evocations of galloping horses in the percussion and brass. When Agnes de Mille described this scene she stated, . Sadly, the Cowgirl is left standing alone until the Champion Roper approachers her (still smarting from that whole Rancher. They dance to the tune of . The movement presents the theme in a decidedly innocent manner, depicting the genteelness of the budding courtships on the dance floor. It contains large sections of two folk songs, . The Rodeo theme returns toward the end of the movement, slowing down dramatically and finally ending with a major chord featuring a high ethereal string sound. He was interested in the nationalist music movements of several of his contemporaries, most notably Carlos Ch. In 1. 92. 8 he wrote of Ch. It exemplifies the complete overthrow of nineteenth- century Germanic ideals which tyrannized over music for more than a hundred years. It propounds no problems, no metaphysics. In less than ten years, he had achieved his paradigm. |
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