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Relevant bibliographies by topics / Be Bop (Nightclub)

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Academic literature on the topic 'Be Bop (Nightclub)'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Be Bop (Nightclub)"

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Iwanicki, Grzegorz, and Anna Dłużewska. "Potential of city break clubbing tourism in Wrocław." Bulletin of Geography. Socio-economic Series 28, no. 28 (2015): 77–89. http://dx.doi.org/10.1515/bog-2015-0017.

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Abstract Over the last decade Polish cities have become popular destinations of the foreign clubbing tourism. Interest of foreign tourists, however, is not reflected in the interest of scientists, because clubbing tourism-related issues have not been extensively studied in the literature regarding Polish cities. In this paper the authors have tried to fill this gap by analysing the potential of city break clubbing tourism in Wrocław, the city which has been selected the European Capital of Culture 2016. As part of the analysis, the following elements affecting the development of this type of t

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Books on the topic "Be Bop (Nightclub)"

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Brigitte, Tast. Be Bop: Die Wilhelmshöhe rockt : Discos und Konzerte in der Hölle. Gerstenberg, 2007.

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2

Robert, Hollands, ed. Urban nightscapes: Youth cultures, pleasure spaces and corporate power. Routledge, 2003.

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Winkler, Kevin. Boy Dancer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0002.

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This chapter explores the foundation of Bob Fosse’s dance style through his years as a young performer in the waning days of vaudeville, his teenage appearances in Chicago area nightclubs and burlesque houses, and the dance act he formed with his first wife, Mary Ann Niles. Fosse appeared in three films at MGM, the last of which, Kiss Me, Kate, featured a short sequence of his choreography that displayed aggressive jazz stylings, burlesque traces, and witty comic touches. It also showed the influence of Jack Cole, the American dancer and choreographer who had created his own dance idiom incorp

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Book chapters on the topic "Be Bop (Nightclub)"

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Glinsky, Albert. "The Star Collector." In Switched On. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197642078.003.0011.

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Abstract Chapter 11 begins with the incursion of West Coast electronic musicians into East Coast culture. Morton Subotnick’s Silver Apples of the Moon was a hit at the Electric Circus nightclub, where it was previewed before its release on Nonesuch. Bob was still taking on any job that would pay the bills. Richard Teitelbaum commissioned a module that, when hooked up to his body, allowed him to make music driven by the central nervous system. Composer Max Brand commissioned a gargantuan custom instrument—the Moogtonium. And the NY Research Group was suing Bob over their long-overdue project. I

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Rice, Christina. "Kick-starting a Career." In Mean...Moody...Magnificent! University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181080.003.0011.

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This chapter discusses Jane’s first foray into live performing in nightclubs along with radio and recording appearances as a singer with Kay Kyser. Jane’s renewed contract with Howard Hughes is also covered along with a renewed momentum with her film career and the filming of The Paleface with Bob Hope for Paramount Pictures, Montana Belle with George Brent for Fidelity Pictures, and Double Dynamite with Frank Sinatra and Groucho Marx for RKO.

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"Capturing the Scene." In At the Vanguard of Vinyl. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059073-006.

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Chapter 5 focuses on Cannonball Adderley’s 1959 hit record, The Cannonball Adderley Quintet in San Francisco. Adderley’s onstage announcements and audible interactions with the audience became the record’s most defining characteristic, helping him to expand his popularity beyond a core jazz listenership. This chapter outlines how Adderley’s LP was part of a much wider trend by independent jazz labels to record Black hard-bop musicians on location at jazz nightclubs in the mid 1950s. Quintet in San Francisco thus sits at the intersection of the record industry’s experiments with live recording

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Gennaro, Liza. "Broadway Dance." In Making Broadway Dance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.003.0007.

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The move away from modern dance and ballet to jazz dance as the prominent movement lexicon employed on Broadway is explored. I examine Katherine Dunham and Jack Cole’s influence on a generation of choreographers and Bob Fosse’s fusion of the dominant paradigms established by de Mille and Robbins. I give special attention to Fosse’s choreographic influences, including his early exposure to nightclubs and strip joints, comic/eccentric dancer Joe Frisco, Fred Astaire, and Jack Cole. Beginning with his work in The Pajama Game (1954) under the mentorship of Robbins and examining selected works from

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