The End of Endings

The End of Endings

“The age of the sequel is over. Now it’s the age of the sequel to the sequel. Also the prequel, the reboot, the reunion, the revival, the remake, the spinoff and the stand-alone franchise-adjacent film. Canceled television shows are reinstated. Killed-off characters are resuscitated. Movies do not begin and end so much as they loiter onscreen. And social media is built for infinite scrolling.…

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jazzonthisday:

jazzonthisday:

Sonny Rollins recorded Tour de Force for the Prestige label #onthisday in 1956. The album includes performances by Kenny Drew, George Morrow, Max Roach, and Earl Coleman.

jazzonthisday:

jazzonthisday:

Sonny Rollins recorded Sonny Boy for Prestige #onthisday in 1956. The album includes performances by Kenny Dorham, Kenny Drew, Wade Legge, George Morrow, and Max Roach.

jazzonthisday:

jazzonthisday:

Sonny Clark recorded Blues in the Night for Blue Note Records #onthisday in 1958. The album includes performances by Paul Chambers and Wes Landers.

http://www.newjazzthings.com/trumpet4.html

http://www.newjazzthings.com/trumpet4.html

what a fucking night(s)…

what a fucking night(s)…

jazzonthisday:

jazzonthisday:

Pianist Wynton Kelly, who worked on Miles Davis’ Kind Of Blue, was born #onthisday in 1931. 

jazzonthisday:

jazzonthisday:

Fearless Frank Foster was recorded for the Prestige label #onthisday in 1965. The album includes performances by Virgil Jones, Al Dailey, Bob Cunningham, and Alan Dawson.

jazzonthisday:

jazzonthisday:

Sonny Rollins recorded Work Time #onthisday in 1955. The album includes performances by Ray Bryant, George Morrow, and Max Roach.

Memories of Warhol’s Factory “What come…

Memories of Warhol’s Factory

“What comes clear in interviews with more than two dozen former friends and colleagues from the various Factory spaces is that, from the start of a career that ended with his premature death at 58, the rabidly ambitious and deeply needy Warhol marshaled all that was paradoxical in his nature and put it to the service of the sustained piece of performance art that was his public self.” — The New York Times