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Jack Aaronson | September 21, 2007 | Comments
What does Amazon's entry into the widget storm mean for e-commerce and online marketing? Don't wait to find out.
This week, Amazon.com dove into the widget economy, following others, including Google, that are experimenting with this latest trend. Though I've examined widgets and the effect they could have on e-commerce before, it's time to take another look at e-commerce-centric widgets and see how they fit into your strategy.
Through its affiliate program, Amazon Associates, the retailer is offering these widgets to drive consumers to the site and, ultimately, increase sales. Spend some time playing with Amazon's widgets. With an impressive array of widgets, associates can populate their Web sites, social networks, and blogs with product merchandise.
Some of the offerings:
In addition to these widgets, all of which feature customizable products and display skins, Amazon is offering an invisible widget called Quick Linker. This widget doesn't have a display of its own. Instead, it enables bloggers to easily link text to Amazon products by automatically putting the user's affiliate link in the blog.
Leading by Watching
Because Amazon has an open API (define) called Amazon Web Services, the functionality that enables these widgets to operate has mainly been around for a few years. In fact, Amazon widgets have existed for a while, built by external developers. That Amazon created its own widgets (some would say a little late) shows two things. First, it validates widgets in e-commerce, as Amazon is a major player. Second, it shows the online retailer has had its ear to the ground for quite some time. By understanding how its own users want to use widgets in relation to its content, Amazon was able to see the effect of widgets without ever building them internally. Now the business case has proven itself through user-created widgets, and Amazon is taking the opportunity to put widgets' power in more users' hands. The minute a large company reveals metrics and statistics around widgets' value for e-commerce, this industry will explode.
Interestingly, Amazon's widgets are product-centric. The wealth of user-generated content isn't really represented in its widget offerings. Was this a conscious decision? One could easily imagine widgets that contain all the reviews contributed by a certain user, Listmania widgets, and the like. Time will tell if Amazon deems these content-focused widgets worthy of existence.
Next Steps for Amazon and Industry
Missing from Amazon's widgets is actual e-commerce functionality. Widgets serve to promote products, whether they're from Amazon or other major players, such as iTunes. ITunes widgets display favorite albums and recently purchased products from iTunes. The products link back to the originating company's e-commerce hub. But the user can't purchase products directly via the widget.
Business reasons aside, there are security reasons preventing companies from pursuing an e-commerce functionality. Currently, there's no secure method for passing information between a back-end system and a widget. Will there be in the future? Of course. It's is an obvious step, and necessary for widgets' evolution.
Companies that have been leading the widget revolution have designed a workaround to this problem. Snocap requires users to go to its site to sign up and submit payment information. Once they're registered, users can make purchases through the widget. With Amazon's large user base, the retailer could include a similar functionality in its widgets. But knowing every hacker in the world is waiting to take advantage of any security hole introduced by such a system, it's wisely taking a cautious approach to including such functionality.
True decentralized e-commerce, however, will only exist when this checkout functionality exists within the widgets themselves. Until then, we have in effect a revitalization of affiliate marketing.
Still More to Explore About Widgets
Originally, I was going to wrap up this column with a paragraph on widget usage in the business-to-business (B2B) world. I quickly realized this topic was large enough to deserve its own column. Let me know if you're interested in learning more about this topic. If there's sufficient response, I'll dig into it.
That also leaves another entire topic to explore: the social implication of throwing e-commerce into social networking sites. But I'll leave that issue alone for now.
Until next time...
On the heels of a fantastic event in New York City, ClickZ Live is taking the fun and learning to Toronto, June 23-25. With over 15 years' experience delivering industry-leading events, ClickZ Live offers an action-packed, educationally-focused agenda covering all aspects of digital marketing. Register today!
Jack Aaronson, CEO of The Aaronson Group and corporate lecturer, is a sought-after expert on enhanced user experiences, customer conversion, retention, and loyalty. If only a small percentage of people who arrive at your home page transact with your company (and even fewer return to transact again), Jack and his company can help. He also publishes a newsletter about multichannel marketing, personalization, user experience, and other related issues. He has keynoted most major marketing conferences around the world and regularly speaks at Shop.org and other major industry shows. You can learn more about Jack through his LinkedIn profile.
June 23-25, 2015
July 9, 2015
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August 10-12, 2015
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Gartner Magic Quadrant for Digital Commerce
This Magic Quadrant examines leading digital commerce platforms that enable organizations to build digital commerce sites. These commerce platforms facilitate purchasing transactions over the Web, and support the creation and continuing development of an online relationship with a consumer.
Paid Search in the Mobile Era
Google reports that paid search ads are currently driving 40+ million calls per month. Cost per click is increasing, paid search budgets are growing, and mobile continues to dominate. It's time to revamp old search strategies, reimagine stale best practices, and add new layers data to your analytics.
Wednesday, June 10, 2015
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Asia News
National Coordination Body on Mangroves for Future calls for action to restore health of our oceans
Mangroves for Future is a regional initiative to restore Mangroves across 11 countries including India. This programme is steered by respective Governments in association with scientific institutions, private sector, and international organizations. In India, the National Coordination Body (NCB) is chaired by Shri Hem Pande, Additional Secretary, Ministry of Environment, Forests and Climate Change (MOEF&CC). …
30 Apr 2015 | Article
Conservation action makes vital difference to world's biodiversity, study shows
A new IUCN study evaluating the impact of conservation action on ungulates (hoofed mammals) shows that species have greatly benefited from measures taken to prevent their extinction. If the conservation actions that have already been implemented had not taken place, at least 148 ungulate species would have deteriorated by one IUCN Red List category, including six species that would now be listed as Extinct or Extinct in the Wild. …
30 Apr 2015 | News story
Uncovering Cambodia's masked finfoot
Thaung Ret and Dr Nick Souter from Fauna & Flora International, Centre for Biodiversity Conservation at the Royal University of Phnom Penh (RUPP), have been on the trail of the masked finfoot, classified as Endangered in the IUCN Red List of Threatened SpeciesTM. Through a grant administered by IUCN and CEPF, RUPP conducted several surveys in 2014. After months of searching they finally found the elusive bird. Ret tells us her story: …
29 Apr 2015 | Article
Message from Ms. Aban Marker Kabraji, Regional Director IUCN Asia on the Nepal earthquake
On behalf of the IUCN family, Members, Commissions and staff, I would like to extend our sympathy and solidarity to the many families affected by the devastating earthquake in Nepal. …
29 Apr 2015 | Article
0 Comments | Write a comment
Conclusion of Mekong Water Dialogues project marked with release of Mahout documentary
Vientiane, Lao PDR, 27 April 2015 – IUCN Lao PDR today marked the conclusion of the Mekong Water Dialogues project with the release of a documentary film, "Mahouts of Southern Lao: On the Red List", on IUCN's Mekong Water Dialogues project website (iucn.org/asia/mekong_dialogues) and IUCN Lao PDR's Youtube page. The objective of the film is to promote awareness about the long-standing traditions, such as the domestication and riding of elephants, of Beung Kiat Ngong wetland in Champasak province. … | Lao
27 Apr 2015 | News story
Stakeholders Discuss Nature Based Solutions to Mitigate Disaster and Climate Risks– Book Launched on Community-based Eco-Safe Roadsides in Nepal
Rural roads serve as lifelines for many communities in Nepal, but they also cause environmental degradation in the forms of erosion, shallow landsides, and river sedimentation. As a solution, "eco-safe roads," or those that incorporate soil bio-engineering techniques to minimize negative environmental impacts, can significantly reduce economic losses and environmental degradation, and even enhance local livelihoods. …
23 Apr 2015 | Article
Towards coastal resilience: Addressing climate change impacts in Ben Tre Province
Mangroves and Climate Change (MCC), a program under Mangroves for the Future (MFF), is focused on building resilience to climate change, decreasing vulnerability to disasters, and improving livelihoods. IUCN, International Union for Conservation of Nature, has coordinated the program in Vietnam since 2013, with the financial support of Danida, Sida and Norad. Within the framework of MFF, a Small Grant Facility (SGF) has been established to support coastal provinces in Viet Nam to develop coastal resilience models addressing climate change impacts. The purpose of these pilot projects is to protect coastal ecosystems, most notably through the sustainable use and management of mangroves. …
21 Apr 2015 | News story
0 Comments | Write a comment
Surveys funded by SOS lead to an increase of the known population of Yuanbaoshan firs
The known population size of the Critically Endangered Yuanbaoshan fir (Abies yuanbaoshanensis) more than doubled following extensive surveys in Yuanbaoshan National Nature Reserve (NNR), China in 2014. IUCN Member, Fauna & Flora International's Xiaoya Li explains what this discovery means and how it will influence their conservation. …
17 Apr 2015 | News story
Commercial agriculture and forestry could have a net positive impact on biodiversity – IUCN report
Gland, Switzerland, 16 April 2015 (IUCN) – A new IUCN study examines, for the first time, how commercial agriculture and forestry production could reduce global biodiversity loss by applying innovative approaches already used by some companies in the extractive and infrastructure industries.
16 Apr 2015 | News story
World Water Forum: From crises to opportunities
Every three years, the World Water Forum puts water into the global spotlight. This 7th edition, which started on Sunday 12 April in Daegu and Gyeongju, Republic of Korea, will focus on moving from policy talk to implementation – on how to put proven solutions to water challenges into wider use by harnessing innovation, creativity and know-how on a scale that can make a difference at local to global levels. …
13 Apr 2015 | Article

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canvas prints, haystack rock canvas prints, oregon coast canvas prints, seascape canvas prints, rocks canvas prints, fog canvas prints, scenery canvas prints, ocean canvas prints, ecola state park canvas prints, canon beach canvas prints, blue canvas prints
Corner Detail: Stretched canvas print with 1.5" stretcher bars and mirrored image sides. Also available with black sides, whites sides, and 5/8" stretcher bars.
Bring your artwork to life with the texture and depth of a stretched canvas print. Your image gets printed on one of our premium canvases and then stretched on a wooden frame of 1.5" x 1.5" stretcher bars (gallery wrap) or 5/8" x 5/8" stretcher bars (museum wrap). All stretched canvases ship within 3 - 4 business days and arrive "ready to hang" with pre-attached hanging wire, mounting hooks, and nails.
Stretched canvas prints look beautiful with or without frames.
Fine Art America is one of the largest, most-respected giclee printing companies in the world with over 40 years of experience producing museum-quality prints. All of our prints are produced on state-of-the-art, professional-grade Epson printers. We use acid-free papers and canvases with archival inks to guarantee that your prints last a lifetime without fading or loss of color.
Haystack Rock is a 235-foot (72-meter) sea stack in Cannon Beach, Oregon. It is sometimes claimed locally to be the third-tallest such "intertidal" (meaning it can be reached by land) structure in the world, but there are no scientific references to support this. A popular tourist destination, the monolithic rock is adjacent to the beach and accessible by foot at low tide. The Haystack Rock tide pools are home to many intertidal animals, including starfish, sea anemone, crabs, chitons, limpets, and sea slugs. The rock is also a nesting site for many sea birds, including terns and puffins.
I am a retired teacher, coach and athletic director. While my wife, Judy, and I were teaching she had a photo studio, and I had a dark room where I did black and white and color. Some was for the studio while most of it was just a hobby. When we retired in 2000, we sold our house in Eastern Washington and moved onto our boat, Last Class, and our motorhome. We sold Last Class a few years ago and bought a small house in Yuma, Arizona and this year bought one in Emmett Idaho. Now we spend the summers in Emmett and the winters in Yuma. Over our 50 years of marriage, we have always had an interest in photography and still do. You may order any unframed photo from this website. Just email me at firstname.lastname@example.com the name of the photo...
Our return policy is very simple:
If you're not happy with a purchase that you made on FineArtAmerica.com, for any reason, you can return it to us within 30 days of the order date. As soon as it arrives, we'll issue a full refund for the entire purchase price. Please note - Fine Art America does not reimburse the outgoing or return shipping charges unless the return is due to a defect in quality.
Fine Art America sells thousands of pieces of artwork each month - all with a 100% money-back guarantee.
If you've hesitated to purchase artwork online in the past, why not give us a try? You have nothing to lose!
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All canvas prints ship from our production facility within three business days of your order.


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Some political battles remind me of the bloody fight between Stalin's communist forces and Hitler's Nazi forces. For whom do you root? You root for a very long war.
At first glance, taxpayers might be justified in taking a similar view with regard to Measure D, the countywide ballot initiative Nov. 8 that pits some of the most aggressive and self-interested government unions against each other.
The Orange County Professional Firefighters Association is duking it out with the Association of Orange County Deputy Sheriffs and other law enforcement unions over sales-tax dollars now earmarked for the deputy sheriffs and the district attorney. Measure D would take a portion of those dollars and give it to the firefighters.
If the unions spend their dues pounding each other, one might reason, perhaps they will have less money to spend on the liberal causes they typically endorse.
Despite such well-warranted cynicism, on closer examination it is imperative that taxpayers defeat Measure D, which represents a new low in money grabbing by an already well-funded special interest.
Some history. In 1993, California taxpayers, in their weakness, decided to tax themselves an extra half-cent to pay for public safety services by voting in favor of the statewide initiative, Proposition 172.
This was in response to the storied revenue shift in which the Legislature took money from counties and cities to pay for what's called the state Education Revenue Augmentation Fund. After Prop. 13's passage in 1978, the state shifted property-tax funds to localities to make up for Prop. 13 revenue losses. In the 1990s it did the reverse, taking money from the localities to plug a hole in Prop. 98-mandated school funding. After the revenue shift, legislators convinced the public to pay higher taxes to backfill law-enforcement budgets.
After Prop. 172 passed, the Board of Supervisors voted to split the new tax money between the Sheriff's Department and the District Attorney's Office. The county later created the fire authority, which is a special district exempt from the education revenue shift. The trade-off: The fire authority gets a healthy chunk of property taxes for funding, while law enforcement gets Prop. 172 sales taxes.
The fire authority has done exceedingly well under this arrangement, as property values have soared. The fire authority budget gained $52 million more than it would have without the school-funding shift and Prop. 172, according to county budget figures. The county budget received $68 million less under that situation.
The fire authority - which serves the 43 percent of the county not served by city fire departments - has a multimillion- dollar reserve, built a $50 million administrative building that even the firefighters union leader terms a "Taj Mahal," and oversees employees with some of the best pay and pension benefits in the country.
Firefighters in Orange County earn median salaries and benefits of $175,181 a year. They retire with 100 percent of their base pay, after 33-1/3 years of work. A firefighter representative corrects me when I say that they are paid forsleeping on duty. Actually, he says, they are paid whilesleeping. However you parse it, this is a pretty good deal.
This is when Greenhut's Rule of Government kicks in: "No matter how much money you give an agency or union, it is not enough." One reader illustrates this point with a joke: A public agency is negotiating with a union, and the agency agrees: Union members will get full pay for no work and only have to come in and pick up their paychecks every Wednesday. Shoots back an outraged union rep: EveryWednesday!?
Now the firefighters want a share of the Prop. 172 sales-tax money. Union chief Joe Kerr cries poormouth, complaining about ancient fire engines, decrepit helicopters, inadequate equipment and understaffedfire stations.
The union - in response to the goals set by the national union - wants to put a fourth person on every firetruck, even though about 90 percent of calls are for paramedic services. There are very few fires in Orange County because of strict building standards and insurance requirements.
When a firetruck arrives at a fire, firefighters cannot fight the flames until a second truck arrives because of federal rules that require the same number of firefighters outside the building as inside. This is how government operates: Create burdensome rules, then complain that there isn't enough manpower because of those rules.


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Slick Pulla ft. Young Jeezy & Grands - Ape Sh*t
Artist: Slick Pulla
Featuring: Jeezy
Producer: Izze The Producer
Album: Uday Hussein Mixtape
Avg Rating: 1.8 ( 4 votes )
Don't monkey with Slick Pulla, unless you want his gorillas to go Ape Sh*t on you. The latest single off his forthcoming mixtape, this bass-booming, Izze the Producer-backed banger finds the Corporate Thugz Entertainment repper trading hard-nosed bars with label boss Young Jeezy and Booth newcomer Grands. For more, check out the artist's Uday Hussein street album when it hits the 'net in November.
Written by richard on Oct 05, 2011
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More stories on: Battlefield 4
Battlefield 4 stockholder case dismissed, "puffery" deemed a-ok
The federal judge handling the Battlefield 4 investor class action lawsuit (launched last December) has dismissed the case.
Battlefield 4: Premium Edition to offer all the battlefield you need
EA has announced Battlefield 4: Premium Edition, which I'm guessing is the new way of saying "Game of the Year Edition".
Battlefield 4 Final Stand DLC maps now ready for for testing
DICE want the new Battlefield 4 Final Stand DLC maps tested before it releases later this year.
Play Battlefield 4 free now for a week with Origin Game Time
Miss out on Battlefield 4? Still want to try it? Now's your chance.
Battlefield 4 High Frequency Network PC update released
DICE has released a High Frequency Network update for the PC version of Battlefield 4, in the hopes it will improve stability.
DICE committed to Battlefield 4 despite Hardline's announcement
Battlefield 4 is certainly not done and dusted, there's still work to be done months after launch.
Battlefield 4 gets Community Test Environment
Battlefield 4 is still not perfect and DICE are biting the bullet and getting the community involved to help sort the game.
Battlefield 4 servers get upgrades to stop rubber banding
Battlefield 4 is rarely out the news thanks to the appalling state it was released in.
Battlefield 4 Megalodon has been found. Giant shark action inside
Like the Loch Ness Monster, the Battlefield 4 Megalodon was a mystery that needed to be solved.
Battlefield 4 "upgrading hardware" to deal with server rubber-banding
You kind of wonder how many statements about being definitely very serious and committed and how this is a top priority DICE will make before they begin to lose meaning.
Battlefield 4 Naval Strike delayed on PC
Battlefield 4's Naval Strike DLC was due out today on PC (if you were a premium member, that is,) but DICE is holding the release back due to the discovery of "an issue." That's the information coming from the official Battlefield blog (via the ever-dependable Blues.)
There aren't any details about what the specific issue is, but hey, if DICE is working to mend something Battlefield 4 related before it comes out rather than just releasing it and hoping to patch it up afterwards, we shouldn't give them too much grief.
Battlefield 4 Naval Strike footage to be streamed today, 19 March
At this point it's hard to say how well Battlefield 4 is functioning on PC without being a regular player.
Battlefield 4 updated on PC with huge list of fixes
Last time you opened up Battlefield 4 on Origin, it should've downloaded a fairly substantial patch.
IncGamers Podcast / Vidcast #155
Exciting times for the IncGamers Podcast this week as we record while Gabe Newell is doing his rescheduled Reddit AMA (here's the good stuff from that).
Battlefield 4 netcode is next on DICE's laundry list of fixes
Battlefield 4 still doesn't work quite right. You've probably noticed this if you're still playing it, and DICE have posted another blog-based update about what they're trying to do about it.
Battlefield 4 Second Assault coming to PC on 18 February
It's starting to look awfully like that news about DICE halting all production on DLC until they'd fully fixed Battlefield 4 was just designed to make people feel better, rather than actually being true.
Battlefield 4 patch rolls out with more PC fixes including Mantle
Battlefield 4 patching continues at DICE with another update rolling out today.
Mantle revisited: AMD's Catalyst 14.1 beta drivers and Battlefield 4
If you read my previous mutterings about AMD's Mantle API and Star Swarm, you might remember that I mentioned not being able to test it out in Battlefield 4 as I didn't own the game.


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I really hope this is an
I really hope this is an April Fools Joke. This will be a wakeup call to a lot of people to download those files. If it is not an April fools, then damn. Smart on their part, if it is just a joke.
"Tu ne cede malis, sed contra audentior ito."
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Enable Fermi GPU Fan Speed Control Permanently?
GTX 460 SC 768MB + nvidia 265.53 + xorg 1.9.0. Option "Coolbits" "4", or Option "Coolbits" "5" enables GPU fan speed control via nvidia-settings. Is there a known 20-nvidia.conf, or .xinitrc string we could pass to enable fan speed control at a predetermined speed? nvclock doesn't support the 460 as of yet...
Re: Enable Fermi GPU Fan Speed Control Permanently?
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A plea for help
My name is James Dean. Nancy Dean and I live at 1121 Plum Road., Nel-Win Camp subdivision (since 1975). We were victims of the 2011 flood. We lost everything, including our home. We had no flood insurance as our home was elevated and had always been safe in the past....I own a small lot...and am going to rebuild and am doing so.
The Nel-Win board...gave me permission in writing to move in a camper trailer to use as I rebuild....(then) filed papers in Chancery Court to force me to remove my camper. I refused as we have nowhere to go....In their complaint...the board said my camper lowered their property values and asked for financial compensation.
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Road trip to Tucson from Mazatlan. First stop and I was pleasantly surprised. I had stayed at a Fiesta Americana in Cancun many years ago. For breakfast the next day, they went out of their way to accommodate my food allergies. Lots of business meetings held there in their lounge area in the afternoon. All in all it was quite pleasant."
We live in Sonora and so frequent HMO. Have stayed at various hotels in the city and have paid alot more for rooms than City Express. We were pleasantly surprised at the value of the room at City Express. Very low cost for HMO, and also a very clean, modern, hotel. The only difference we felt with the $100+ per night hotels were fancy lobbies. If you don't need a fancy lobby to sit in, City Express is a great place to spend the night. And the breakfast in the morning was better than many 'continental' breakfasts you find in USA hotels. We were pleasantly surprised all around. Also asked for a late checkout and the staff said we could stay until 3pm! Have never had a hotel anywhere in the world give us such a great offering for late checkout."
Breakfast was excellent, with a lot of variety. However, the beds were a bit hard and the room was a little bit tight for the amount of adults."
The amenities were great. Perfect for a first timer but will return with better prepared for a Rocky Point adventure. Wish there was wifi in room. Great stay!!!"
Had a wonderful stay. We were permitted to check in an hour early and the room met my expectations for the price. It was clean and organized. We had a semi pool view but all was great. The staff was friendly. The continental breakfast is not much its coffee, cereal, fruit and toast. Nothing else. I will stay here again."
Very relaxing and worry free 2 night stay. Wife loved walking the beach and I enjoyed reading by the pool. Beautiful sunsets. Great food at Migual's with fantastic servers. All hotel staff friendly and always helpful. Very good swim up bar in pool area."
This is the best hotel in town, always clean and very helpful and friendly staff. I got my room hours before check in time thanks to a great service in the front desk, the room was very clean and the price great."
Down and dirty pros & cons: Pros: 1. Very new & clean 2. Nice staff 3. Good security 4. Nice smelling soaps & shampoo 5. Love the day/night shades vs usual curtains Cons: 1. Hard beds 2. Thin towels 3. No iron or blow dryer 4. Need better pillows Overall...a nice stay. Would now hesitate to stay there again."
The outside needs to be polished up. However, the actual room was very nice. Good bed, nice TV and pleasant, cozy atmosphere. Loved the fact that they had a guard at the gate for parking, made me feel safe. The staff were gracious and friendly and attended to my needs. Would definitely stay there again, if passing through."
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Spike Balls can only be found in World 5: Hell. They do one damage per hit. They are usually accompanied by several other Spike Balls.
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->''"When I hear 2D animators today talking about acting in hand-drawn cartoons, I ask, what kind of acting? Are you talking about the old fashioned acting that animators have always done? You know the hand on the hip, finger-pointing, broad action, lots of [[TheTwelvePrinciplesOfAnimation overlapping action]], screeching to a halt--all that turn-of-the-century old fashioned mime stuff. Is that what youre talking about?"''\\
-- Creator/RalphBakshi, referring to this type of acting, although in a context that discourages its use.
An animation style, exemplified by the Franchise/DisneyAnimatedCanon and hence generally considered {{Disneyesque}}, which is characterized by a kind of fluid body language and facial expressions that feature realistic poses and movements which are, however, executed in an exaggerated manner, very expressive, often with sweeping gestures of the arms and hands. Characters act and emote not primarily with their faces but at least as much with their arms, hands and legs and move smoothly from one overly expressive pose to the next. In between poses, there's a notable acceleration and subsequent deceleration of the emoting limbs or facial features, making even small gestures and changes in stance or facial expression feel very pronounced and reminiscent of pantomime. Because of the accelerating and decelerating that occurs in every movement, those movements can take rather long and can hence feel a little like SlowMotion.
This animation style can focus on the poses (and have the characters zip from one pose to the next) or on the movements (drawing them out and never quite stopping) to distinguish between emotional states or different characters.
Note that [[LargeHam Hamming it Large 101]] is a required class at the Disney School of Acting and Mime -- after all, [[MilkingTheGiantCow gesturing plentifully]] is a great way to convey emotion silently. The realistic but overblown movements hark back to {{Silent Movie}}s and {{Vaudeville}} when actors had to emote more visibly. The style is rooted in visual realism while many younger animated works (after the migration of cartoons from film to TV) [[LimitedAnimation are more stylized and hence easier and cheaper to animate]] as not the whole body of a character has to move from one frame to the next. This also sets this style apart from {{Anime}}.
Recent movies like ''Disney/{{Tangled}}'' manage to transpose the style, which is largely associated with 2D animation, into CGI.
Historically, this often went together with MickeyMousing, accentuating a character's body language even further.
Also see TheTwelvePrinciplesOfAnimation.
''Please don't list individual examples if they belong to a larger group of works that use this style (list that larger group instead)!''
* Franchise/DisneyAnimatedCanon: TropeCodifier.
** [[ClassicDisneyShorts Classic Disney animated shorts]] and TV shows.
** This crosses over into ''Franchise/KingdomHearts'', naturally.[[note]]Interesting because the other company involved in the games, ''Creator/SquareEnix'', averts it.[[/note]]
* WesternAnimation/LooneyTunes, although they do have plenty of non-mime acting at the same time.
** Warner Bros. also used this in their [[TheRenaissanceAgeOfAnimation Renaissance Age]] animated films, such as ''WesternAnimation/CatsDontDance'', ''WesternAnimation/QuestForCamelot'', ''WesternAnimation/TheIronGiant'', ''Film/OsmosisJones'', and ''Film/SpaceJam''; and TV series, like ''WesternAnimation/TinyToonAdventures'', ''WesternAnimation/{{Animaniacs}}'', ''WesternAnimation/PinkyAndTheBrain'', and ''WesternAnimation/{{Freakazoid}}''.
* FleischerStudios used this in ''WesternAnimation/GulliversTravels'' and ''Film/MrBugGoesToTown''. Most of their other works avoid it, however.
* The movies of ex-Disney animator Creator/DonBluth use this, and as such are unfortunately why [[AllAnimationIsDisney his films get mistaken for Disney]] ones. Bluth idolized the style, and wanted to keep it alive through his work at a time when Disney was moving away from it.
* ''WesternAnimation/TheSwanPrincess'' films use this.
* ''WesternAnimation/TomAndJerry'' uses this out of necessity, due to the characters having almost no dialogue. Same for [[WesternAnimation/TomAndJerryTheMovie the movie]].
** The MGMOneshotCartoons and BarneyBear shorts likewise use this, due in part to having many ex Disney staffers on board and the shorts having little to no dialogue.
** Creator/HarmanAndIsing initially didn't use this in their early Looney Tunes shorts like [[WesternAnimation/BoskoTheTalkInkKid Bosko]] or in their early WesternAnimation/HappyHarmonies, but as their draftsmanship and animation improved, they switched to this method of acting.
* Creator/TexAvery usually avoided this in both his Looney Tunes and MGM cartoons, in favor of more straight to the point, streetwise acting--many of his cartoons rely on strong, held poses and expressions, sometimes bordering on LimitedAnimation. Occasionally he dipped into Disney style acting, but only when he was parodying Disney (i.e. the insufferably mawkish Sammy Squirrel in "Screwball Squirrel") or in cases where only that kind of acting would really work (i.e. all of the Red Hot Riding Hood shorts).
* ''VideoGame/TheLegendOfZeldaCDIGames'' are an example of this trope getting far out of hand. The Russian animators allegedly modeled the poses off of pantomime.
* Explicitly avoided in Creator/JohnKricfalusi and Creator/RalphBakshi cartoons, since those two feel the style is stale and cliche. Bakshi even spoke out to young animators to stop using this and try and experiment with new types of acting.
* MikeJudge avoids this in his cartoons such as BeavisAndButthead and KingOfTheHill in favor of more subdued acting.
* Danny Antonucci likewise tells his animators to avoid this style of acting [[EdEddNEddy in his cartoons.]]
* The made for tv Creator/HannaBarbera cartoons and their contemporaries such as Filmstion and Ruby Spears usually avoided this, largely because of their use of LimitedAnimation.
* ''WesternAnimation/FernGully'', ''WesternAnimation/OnceUponAForest'', and ''WesternAnimation/ThePagemaster'' use this.
* Creator/{{Amblimation}} uses this in its movies.
* All of Creator/DreamWorksAnimation's hand-drawn animated films use this.
* ''WesternAnimation/TheThiefAndTheCobbler'' uses this.
* HotelTransylvania uses this quite a bit.


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ClassicsOnline Home » SMETANA: Ma Vlast (My Country)
By Anthony Hodgson
Classic CD
The Chandos notes recall how Smetana was once accused by the press of being "tainted with Wagnerism": Wit's measured approached brings home this Germanic element more than in any other performance. His is a romantic interpretation, full of rich textures ... The Polish orchestra contributes to the conviction of the conductor's readings through the sensitivity of its phrasing and the richness of its sound ... Wit has great sympathy for the music and reveals subtleties that other performances often overlook in their quest for high drama
Penguin Guide
Bedrich Smetana (1824 - 1884)
Má Vlast / My Country / Mein Vateriand / Ma Patrie
I. Vysehrad
Lento - Largo maestoso - Grandloso poco largamente
Allegro vivo me non agitato - Lento me non troppo
II. Vltava (Moidau)
Allegro comodo non agitato
III. Sárka
Allegro con fuoco me non agitato - Più moderato assai Moderato me con calore - Moderato - Molto vivo - Più vivo
IV. Z cesych luhu a háju (From Bohemia's Woods and Fields)
Molto moderato - Allegro poco vivo, me non troppo -
Allegro (Quasi Polka) - Tempo I - Allegro - Presto
V. Tábor
Lento - Grandioso - Molto vivace - Lento - Molto vivace
Lento maestoso - Più animato
VI. Blaník
Allegro moderato - Andante non troppo - Più allegro me non molto
Tempo di marcia - Grandioso - Tempo I - Largamente maestoso
Grandisoso meno - Allegro - Vivace
Bedrich Smetana is a figure of the greatest importance in the development of Czech music, creating and inspiring a synthesis of native tradition and the classical forms of music in which he had been trained. Born in 1824, the eleventh child and the first son to survive infancy of a brewer who had profited from the thirst of Napoleon's troops and had later become brewer to Count Wallenstein, he showed early promise as a pianist and violinist and wrote his first compositions at the age of nine.
Smetana's father was a keen amateur musician, a violinist, and was able to teach his son. There was, however, a period of some eight years during which Smetana had little professional musical training, while attending schools in various provincial towns. In 1838, however, he persuaded his father to allow him to study in Prague and there took the opportunity to devote himself to music rather than to anything else. This happy state of affairs continued only for a year, after which he was despatched to undergo more rigorous schooling under an uncle's supervision at Plzeh (Pilsen). Here he found scope for his abilities in playing for dances at social gatherings and pleasure in meeting again Katerina Koldfovi, who in 1849 was to become his first wife. In 1843 he left school and moved to Prague, determined to make a living as a musician, and supporting himself by employment as piano teacher to the family of Count Thun. 1848 was a year of nationalist disturbance in Europe. Smetana started a music school, but the political events of the time engaged his sympathies and he was to remain deeply committed to ideas of Czech nationalism, although his own first language remained German. After his marriage he was employed as a teacher and pianist to the former Emperor Ferdinand V, the retarded heir to the Habsburg throne. These years, however, brought various difficulties and disappointments, with the death of three of his four children and the illness of his wife. Finally, in 1856, he sought a solution for money troubles by moving to Góteborg, where he opened a successful music school and became closely involved with the musical life of the city. Five years later he returned to Prague, while retaining some association with Sweden.
It was after his return to Bohemia that Smetana set about the composition of music for the theatre. In l863 he completed The Brandenburgers in Bohemia, which he finally conducted at the Czech Provisional Theatre three years later, in 1866, the year of The Bartered Bride. He was now at last appointed principal conductor of the Theatre. Two years later Dalibor was staged, to accusations of Wagnerism, followed in 1872 by the completion of Libuse and two years later the opera The Two Widows. Smetana had his enemies and rivals, and there was a growing movement for his dismissal from the Provisional Theatre. In 1874 he was forced to take leave of absence as a result of his increasing deafness, and accompanying tinnitus. In spite of the limitations this imposed on his ability to compose, he completed the opera The Kiss in 1876 and The Secret two years later. In 1881, at the opening of the new National Theatre, his opera Libuse was staged, while he continued to work relatively slowly on his opera The Devil's Wall, which he had started in 1879 and eventually completed in 1882. His health continued to deteriorate, with intermittent loss of memory and of speech. He died in May, 1884, in an asylum in Prague.
Má Vlast (My Country) is among the best known of all Smetana's music, a cycle of six symphonic poems that conjure up the spirit of Bohemia, its history and traditions, reflected in its landscape. The period of composition was one of some difficulty. By October 1874 Smetana was, for the moment at least, completely deaf and in continuous pain. By 18th November he had completed Vysehrad, the first symphonic poem of the cycle, which he may have started to sketch two years earlier. He immediately began work on the second, Vltava. At the same time he was completing his Czech opera Lisuge. In January he was able to begin the third symphonic poem of the cycle, Sárka, followed, in June, by From Bohemia's Woods and Fields, the last of what had been intended as a tetralogy. The success of these works persuaded him to consider continuing the cycle, which he did with Tábor, completed by December 1878, and Blaník, finally orchestrated in March 1879. The whole work was dedicated to the city of Prague. These two additional movements were well received and in 1882 there was a performance in Prague of the whole cycle, greeted by audience and critics with the greatest enthusiasm.
Vysehrad is the great rock overlooking the Vltava and guarding access to Prague, the former stronghold of Bohemian princes. It is this earlier period of Czech history that Smetana evokes, as the harps of the bards are heard, and the story is told of the heroism and glory of the past, before the destruction of the old castle of Vysehrad. Broadly in sonata form, the deeds evoked in the exposition are sadly recalled in the recapitulation, after the fall of the stronghold.
Vltava, the River Moldau, follows the course of the river, where two streams, one cold, one warm, join the main stream, to flow through the Bohemian countryside, its woods with huntsmen, a peasant wedding, moonlight and dancing water-spirits, the rapids of St. John, and flowing onto join the Elbe. The sound of the water provides an element of unity to music that is broadly in rondo form, with the Vltava theme, perhaps derived from a Swedish folk-song, now epitomizing the spirit of Bohemia.
The heroine Sárka, a rebel leader, seeks revenge for the infidelity of her lover. Ctirad sets out to punish her rebellion, but is trapped by her, as he finds her in apparent distress, bad to a tree. He falls in love with her but he and his men are drugged Sárka, who now calls her rebel band together to kill Ctirad and his soldiers. Sárka's name is given to a valley near Prague, the traditional scene of these events. The introduction shows Sárka in anger, followed by the approach of Ctirad and his men. His love for Sárka is evoked in a passage marked Moderato ma con calore and the intoxication of his men is depicted in the next episode, followed by the final savage massacre.
From Bohemia's Woods and Fields portrays the Bohemian landscape. Smetana suggested an outline programme, with the first strong impression of one arriving in the country, the sight of a simple country-girl walking through the fields, noon on a summer's day, with the shade of the woods, the singing of birds and a final harvest and festival in peasant celebration.
Tábor, the city that was the stronghold of the Hussites, is represented by a Hussite hymn, identified here with contemporary national political and cultural aspirations. The hymn Kdoz jste Bozi bojnovíci (Ye who are God's warriors) forms the basis of the symphonic poem.
Blaník follows the fortunes of the followers of Jan Hus, who, defeated, took refuge in Blaník Mountain. There they sleep, until their country needs them again. The symphonic poem contains a depiction of the natural scenery, a brief pastoral interlude, as a shepherd-boy blows his pipe, and the Hussite hymn of victory and patriotic triumph, combining with themes of Vysehrad.
The Polish National Radio Symphony Orchestra of Katowice (PNRSO)
The Polish National Radio Symphony Orchestra of Katowice (PNRSO) was founded in 1935 in Warsaw through the initiative of well-known Polish conductor and composer Grzegorz Fitelberg. Under his direction the ensemble worked till the outbreak of the World War II. Soon after the war, in March 1945, the orchestra was resurrected in Katowice by the eminent Polish conductor Witold Rowicki. In 1947 Grzegorz Fitelberg returned to Poland and became artistic director of the PNRSO. He was followed by a series of distinguished Polish conductors - Jan Kranz, Bohdan Wodiezko, Kazimierz Kord, Tadeusz Strugala, Jerzy Maksymiuk, Stanislaw Wislocki and, since 1983, Antoni Wit. The orchestra has appeared with conductors and soloists of the greatest distinction and has recorded for Polskie Nagrania and many international record labels. For Naxos, the PNRSO will record the complete symphonies of Tchaikovsky and Mahler.
Antoni Wit
Antoni Wit was born in Cracow in 1944 and studied there, before becoming assistant to Witold Rowicki with the National Philharmonic Orchestra in Warsaw in 1967. He studied with Nadia Boulanger in Paris and with Penderecki and in 1971 was a prize-winner in the Herbert von Karajan Competition. Study at Tanglewood with Skrowaczewski and Seiji Ozawa was followed by appointment as Principal Conductor first of the Pomeranian Philharmonic and then of the Cracow Radio Symphony Orchestra. In 1983 he took up the position of Artistic Director and Principal Conductor of the Polish National Radio Symphony Orchestra in Katowice. Antoni Wit has undertaken many engagements abroad with major orchestras, ranging from the Berlin Philharmonic and the BBC Welsh and Scottish Symphony Orchestras to the Kusatsu Festival Orchestra in Japan.
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The horror that is taking place in Gaza is beyond words. We are witnessing a genocide. For those of you who may be reluctant to name it as such–as I was–please take a few moments to read this http://www.preventgenocide.org/genocide/officialtext.htm and inform yourselves on what constitutes a genocide. The bombing and shelling of a civilian population herded into a narrow strip of land behind closed borders with no avenue of escape cannot be described in any other way but as genocide.
When words fail, sacred scriptures and poetry step in to fill the breach. Thank-you Rabbi Brant Rosen for this work of soul and soulful weeping. May it help to mend our broken world.
Originally posted on Shalom Rav:
This Monday night begins the Jewish fast of Tisha B'Av: a day of mourning for the calamities that have befallen the Jewish people over the centuries. Among other things, the traditional Tisha B'Av liturgy includes the chanting Biblical book of Lamentations.
Given the profoundly tragic events currently unfolding in Gaza, I offer this reworking of the first chapter of Lamentations. I share it with the hope that on this day of mourning we might also mourn the mounting dead in Gaza – along with what Israel has become…
A Lamentation for Gaza
Gaza weeps alone.
Bombs falling without end
her cheeks wet with tears.
A widow abandoned
imprisoned on all sides
with none willing to save her.
We who once knew oppression
have become the oppressors.
Those who have been pursued
are now the pursuers.
We have uprooted families
from their homes, we have
driven them deep into
this desolate…
View original 271 more words


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Biography All Music GuideWikipedia
All Music Guide:
"The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz singer of all time (although some may vote for Sarah Vaughan or Billie Holiday). Blessed with a beautiful voice and a wide range, Fitzgerald could outswing anyone, was a brilliant scat singer, and had near-perfect elocution; one could always understand the words she sang. The one fault was that, since she always sounded so happy to be singing, Fitzgerald did not always dig below the surface of the lyrics she interpreted and she even made a downbeat song such as "Love for Sale" sound joyous. However, when one evaluates her career on a whole, there is simply no one else in her class.
One could never guess from her singing that Ella Fitzgerald's early days were as grim as Billie Holiday's. Growing up in poverty, Fitzgerald was literally homeless for the year before she got her big break. In 1934, she appeared at the Apollo Theater in Harlem, winning an amateur contest by singing "Judy" in the style of her idol, Connee Boswell. After a short stint with Tiny Bradshaw, Fitzgerald was brought to the attention of Chick Webb by Benny Carter (who was in the audience at the Apollo). Webb, who was not impressed by the 17-year-old's appearance, was reluctantly persuaded to let her sing with his orchestra on a one-nighter. She went over well and soon the drummer recognized her commercial potential. Starting in 1935, Fitzgerald began recording with Webb's Orchestra, and by 1937 over half of the band's selections featured her voice. "A-Tisket, A-Tasket" became a huge hit in 1938 and "Undecided" soon followed. During this era, Fitzgerald was essentially a pop/swing singer who was best on ballads while her medium-tempo performances were generally juvenile novelties. She already had a beautiful voice but did not improvise or scat much; that would develop later.
On June 16, 1939, Chick Webb died. It was decided that Fitzgerald would front the orchestra even though she had little to do with the repertoire or hiring or firing the musicians. She retained her popularity and when she broke up the band in 1941 and went solo; it was not long before her Decca recordings contained more than their share of hits. She was teamed with the Ink Spots, Louis Jordan, and the Delta Rhythm Boys for some best-sellers, and in 1946 began working regularly for Norman Granz's Jazz at the Philharmonic. Granz became her manager although it would be nearly a decade before he could get her on his label. A major change occurred in Fitzgerald's singing around this period. She toured with Dizzy Gillespie's big band, adopted bop as part of her style, and started including exciting scat-filled romps in her set. Her recordings of "Lady Be Good," "How High the Moon," and "Flying Home" during 1945-1947 became popular and her stature as a major jazz singer rose as a result. For a time (December 10, 1947-August 28, 1953) she was married to bassist Ray Brown and used his trio as a backup group. Fitzgerald's series of duets with pianist Ellis Larkins in 1950 (a 1954 encore with Larkins was a successful follow-up) found her interpreting George Gershwin songs, predating her upcoming Songbooks series.
After appearing in the film Pete Kelly's Blues in 1955, Fitzgerald signed with Norman Granz's Verve label and over the next few years she would record extensive Songbooks of the music of Cole Porter, the Gershwins, Rodgers & Hart, Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. Although (with the exception of the Ellington sets) those were not her most jazz-oriented projects (Fitzgerald stuck mostly to the melody and was generally accompanied by string orchestras), the prestigious projects did a great deal to uplift her stature. At the peak of her powers around 1960, Fitzgerald's hilarious live version of "Mack the Knife" (in which she forgot the words and made up her own) from Ella in Berlin is a classic and virtually all of her Verve recordings are worth getting.
Fitzgerald's Capitol and Reprise recordings of 1967-1970 are not on the same level as she attempted to "update" her singing by including pop songs such as "Sunny" and "I Heard It Through the Grapevine," sounding quite silly in the process. But Fitzgerald's later years were saved by Norman Granz's decision to form a new label, Pablo. Starting with a Santa Monica Civic concert in 1972 that is climaxed by Fitzgerald's incredible version of "C Jam Blues" (in which she trades off with and "battles" five classic jazzmen), Fitzgerald was showcased in jazz settings throughout the 1970s with the likes of Count Basie, Oscar Peterson, and Joe Pass, among others. Her voice began to fade during this era and by the 1980s her decline due to age was quite noticeable. Troubles with her eyes and heart knocked her out of action for periods of time, although her increasingly rare appearances found Fitzgerald still retaining her sense of swing and joyful style. By 1994, Ella Fitzgerald was in retirement and she passed away two years later, but she remains a household name and scores of her recordings are easily available on CD.
Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer often referred to as the First Lady of Song, Queen of Jazz, and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
After tumultuous teenage years, Fitzgerald found stability in musical success with performances on many stages in the Harlem area, including her rendition of the nursery rhyme "A-Tisket, A-Tasket" that helped boost her to fame. In 1942, Fitzgerald left the amateur performances behind, signed a deal with Decca Records, and started her solo career by redefining the art of scat singing. It was not until her manager, Norman Granz, built Verve Records based on her vocal abilities that she recorded some of her more widely noted works. Under this label, Fitzgerald focused more on singing than scatting, providing perhaps her most career-defining works in her interpretation of the Great American Songbook.
While Fitzgerald appeared in movies and as guests on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and Bill Kenny and the Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced recognizable songs like "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", and "It Don't Mean a Thing (If It Ain't Got That Swing)". In 1993, Fitzgerald capped off her sixty-year career with her last public performance. Three years later, she died at the age of 79, following years of decline in her health. After her passing, Fitzgerald's influence lived on through her fourteen Grammy Awards, National Medal of Arts, Presidential Medal of Freedom, and tributes in the form of stamps, music festivals, and theater namesakes.
Early life[edit]
Fitzgerald was born on April 25, 1917 in Newport News, Virginia, the daughter of William Fitzgerald and Temperance "Tempie" Fitzgerald. Her parents were unmarried, and they had separated within a year of her birth. With her mother's new partner, a Portuguese immigrant named Joseph Da Silva, Fitzgerald and her mother moved to the city of Yonkers, in Westchester County, New York, as part of the first Great Migration of African Americans. Initially living in a single room, her mother and Da Silva soon found jobs. Her half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area. At the age of six, she began her formal education and moved through a variety of schools before attending Benjamin Franklin Junior High School from 1929.
Fitzgerald had been passionate about dancing from third grade, being a fan of Earl "Snakehips" Tucker in particular, and would perform for her peers on the way to school and at lunchtime. Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school. The church provided Fitzgerald with her earliest experiences in formal music making, and she may also have had a short series of piano lessons during this period.
As a child Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, and The Boswell Sisters. Fitzgerald idolized the Boswell Sisters' lead singer Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."
In 1932, her mother died from a heart attack when Fitzgerald was 15 years of age. Following this trauma, Fitzgerald's grades dropped dramatically, and she frequently skipped school. Abused by her stepfather, she ran away to her aunt and, at one point, worked as a lookout at a bordello and with a Mafia-affiliated numbers runner. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, Bronx. However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory located about 120 miles north of New York City. Eventually she escaped and for a time she was homeless.^ Nicholson 1996a, p. 4.^ Nicholson 1996a, p. 5.^ Nicholson 1996a, p. 7.^ Nicholson 1996a, p. 6.^ Holden, Stephen (June 16, 1996). "Ella Fitzgerald, the Voice of Jazz, Dies at 79". The New York Times. Retrieved March 23, 2015. ^ Nicholson 1996a, p. 14.^ Bernstein, Nina (June 23, 1996). "Ward of the State; The Gap in Ella Fitzgerald's Life". The New York Times. Retrieved February 22, 2014. ^ Rich, Frank (June 19, 1996). "Journal; How High the Moon". The New York Times. Retrieved February 22, 2014.
Early career[edit]
Fitzgerald made her singing debut at age 17 on November 21, 1934, at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and won the opportunity to compete in one of the earliest of its famous "Amateur Nights". She had originally intended to go on stage and dance, but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead in the style of Connee Boswell. She sang Boswell's "Judy" and "The Object of My Affection", a song recorded by the Boswell Sisters, and won the first prize of US $25.00.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb there. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a 'diamond in the rough'." Webb offered her the opportunity to test with his band when they played a dance at Yale University. She began singing regularly with his orchestra throughout 1935 at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)". But it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her wide public acclaim.
Webb died on June 16, 1939, and his band was renamed Ella and her Famous Orchestra with Fitzgerald taking on the role of nominal bandleader. She recorded nearly 150 songs with the orchestra before it broke up in 1942; in her New York Times obituary of 1996, Stephen Holder wrote that "the majority of them (were) novelties and disposable pop fluff".^ Fritts, Ron; Vail, Ken (January 1, 2003). Ella Fitzgerald: The Chick Webb Years & Beyond. Scarecrow Press. pp. 4–6. ISBN 978-0-8108-4881-8. Retrieved February 23, 2014. ^ Horton, James Oliver (March 24, 2005). Landmarks of African American History. Oxford University Press. p. 143. ISBN 978-0-19-514118-4. Retrieved February 23, 2014. ^ Hemming, Roy (December 1, 1992). Discovering Great Singers of Classic Pop: A New Listener's Guide to the Sounds and Lives of the Top Performers. Newmarket Press. p. 97. ISBN 978-1-55704-148-7. Retrieved February 23, 2014. ^ Moret, Jim (June 15, 1996). "'First Lady of Song' passes peacefully, surrounded by family". CNN. Archived from the original on November 29, 2006. Retrieved January 30, 2007. ^ Cite error: The named reference nyobit was invoked but never defined (see the help page).^ Hemming, Roy (1991). Discovering Great Singers of Classic Pop: A New Listener's Guide to the Sounds and Lives of the Top Performers and Their Recordings, Movies, and Videos. Newmarket Press. p. 97. ISBN 978-1-55704-072-5. Retrieved October 11, 2014. ^ Robinson, Louie (November 1961). "First Lady of Jazz". Ebony (Johnson Publishing Company) 17 (1): 131–132, 139. ISSN 0012-9011. Retrieved October 10, 2014. ^ Otfinoski, Steven (2010). African Americans in the Performing Arts. Infobase Publishing. p. 251. ISBN 978-1-4381-2855-9. Retrieved February 23, 2014. ^ James, Edward T.; James, Janet Wilson; Boyer, Paul S. Notable American Women: A Biographical Dictionary. Harvard University Press. p. 210. ISBN 978-0-674-01488-6. Retrieved February 23, 2014.
Decca years[edit]
In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits while recording with such artists as Bill Kenny & the Ink Spots, Louis Jordan, and the Delta Rhythm Boys.
With Decca's Milt Gabler as her manager, Fitzgerald began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Her relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.
With the demise of the Swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."
Her 1945 scat recording of "Flying Home" arranged by Vic Schoen would later be described by The New York Times as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness." Her bebop recording of "Oh, Lady Be Good!" (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.^ Humphrey, Harold (April 4, 1942). "News Notes". The Billboard (Nielsen Business Media, Inc.) 54 (14): 67. ISSN 0006-2510. Retrieved October 10, 2014. ^ Goldberg, Marv (1998). More Than Words Can Say: The Ink Spots and Their Music. Scarecrow Press. p. 125. ISBN 9781461669722. ^ Tyler, Don (2007). Hit Songs, 1900-1955: American Popular Music of the Pre-Rock Era. McFarland. p. 304. ISBN 9780786429462. ^ "Coming Up". The Billboard: 27. 7 December 1946. ^ Cite error: The named reference cnn was invoked but never defined (see the help page).^ Cite error: The named reference nyobit was invoked but never defined (see the help page).^ Gioia, Ted (September 27, 2012). The Jazz Standards: A Guide to the Repertoire. Oxford University Press. p. 307. ISBN 978-0-19-993739-4. Retrieved October 11, 2014.
Verve years[edit]
Fitzgerald was still performing at Granz's JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her. She later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman ... felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."
On March 15, 1955 Ella Fitzgerald opened her initial engagement at the Mocambo nightclub in Hollywood, after Marilyn Monroe lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. Bonnie Greer dramatized the incident as the musical drama, Marilyn and Ella, in 2008. It has been widely reported that Fitzgerald was the first Black performer to play the Mocambo, following Monroe's intervention, but this is not true. African-American singers Herb Jefferies, Eartha Kitt, and Joyce Bryan all played the Mocambo in 1952 and 1953, according to stories published at the time in Jet magazine and Billboard.
Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. The sets are the most well-known items in her discography.
Ella Fitzgerald Sings the Duke Ellington Song Book was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks and wrote two new pieces of music for the album: "The E and D Blues" and a four-movement musical portrait of Fitzgerald (the only Songbook track on which Fitzgerald does not sing). The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."
A few days after Fitzgerald's death, The New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis' contemporaneous integration of white and African American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians." Frank Sinatra, out of respect for Fitzgerald, prohibited Capitol Records from re-releasing his own recordings in separate albums for individual composers in the same way.
Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antônio Carlos Jobim.
While recording the Songbooks and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers. In 1961 Fitzgerald bought a house in the Klampenborg district of Copenhagen, Denmark, after she began a relationship with a Danish man. Though the relationship ended after a year, Fitzgerald regularly returned to Denmark over the next three years, and even considered buying a jazz club there. The house was sold in 1963, and Fitzgerald permanently returned to the United States.
There are several live albums on Verve that are highly regarded by critics. Ella at the Opera House shows a typical JATP set from Fitzgerald. Ella in Rome and Twelve Nights in Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best selling albums; it includes a Grammy-winning performance of "Mack the Knife" in which she forgets the lyrics, but improvises magnificently to compensate.
Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson's "Get Ready", previously a hit for the Temptations, and some months later a top-five hit for Rare Earth.
The surprise success of the 1972 album Jazz at Santa Monica Civic '72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also documented the decline in her voice. "She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato", one biographer wrote. Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.^ Cite error: The named reference nyobit was invoked but never defined (see the help page).^ Nielsen Business Media, Inc. (March 12, 1955). Billboard. Nielsen Business Media, Inc. p. 24. ISSN 0006-2510. Retrieved August 16, 2013. ^ Johnson Publishing Company (April 7, 1955). Jet. Johnson Publishing Company. ISSN 0021-5996. Retrieved August 16, 2013. ^ Nicholson, Stuart (1993). Ella Fitzgerald: A Biography of the First Lady of Jazz. Da Capo Press. p. 149. ISBN 0-306-80642-8. ^ Johnson Publishing Company (August 13, 1953). Jet. Johnson Publishing Company. p. 60. ISSN 0021-5996. Retrieved August 16, 2013. ^ Johnson Publishing Company (December 10, 1953). Jet. Johnson Publishing Company. ISSN 0021-5996. Retrieved August 16, 2013. ^ Johnson Publishing Company (November 12, 1953). Jet. Johnson Publishing Company. ISSN 0021-5996. Retrieved August 16, 2013. ^ Cite error: The named reference rich was invoked but never defined (see the help page).^ Nicholson 1996a, p. 198.^ Nicholson, Stuart (1993). Ella Fitzgerald: A Biography of the First Lady of Jazz. New York: C. Scribner's Sons. ISBN 0-575-40032-3. For many years Fitzgerald's birthdate was thought to be on the same date one year later in 1918 – and it is still listed as such in some sources – but research by Nicholson and another biographer, Tanya Lee Stone, established 1917 as the correct year of birth. ^ Davies, Hugh (December 31, 2005). "Sir Johnny up there with the Count and the Duke". The Daily Telegraph (London). Retrieved March 16, 2007.
Film and television[edit]
In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb's 1955 jazz film Pete Kelly's Blues. The film costarred Janet Leigh and singer Peggy Lee. Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride 'Em Cowboy), she was "delighted" when Norman Granz negotiated the role for her, and, "at the time....considered her role in the Warner Brothers movie the biggest thing ever to have happened to her." Amid The New York Times pan of the film when it opened in August 1955, the reviewer wrote, "About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue ... [or] take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice." Fitzgerald's race precluded major big-screen success. After Pete Kelly's Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958), and Let No Man Write My Epitaph (1960). Much later, she appeared in the 1980s television drama The White Shadow.
She made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. She was also frequently featured on The Ed Sullivan Show. Perhaps her most unusual and intriguing performance was of the "Three Little Maids" song from Gilbert and Sullivan's comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore's weekly variety series in 1963. A performance at Ronnie Scott's Jazz Club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television program Music, Music, Music.
Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex. In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape. The tape was played back and the recording also broke the glass, asking: "Is it live, or is it Memorex?" She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain's longtime slogan, "We do chicken right!" Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.^ "Movie of the week: Pete Kelly's Blues". Jet: 62. August 25, 1955. ISSN 0021-5996. Retrieved February 23, 2014. ^ Capua, Michelangelo (March 8, 2013). Janet Leigh: A Biography. McFarland. p. 176. ISBN 978-0-7864-7022-8. Retrieved February 23, 2014. ^ Furia, Philip; Patterson, Laurie (March 10, 2010). The Songs of Hollywood. Oxford University Press. p. 174. ISBN 978-0-19-979266-5. Retrieved February 23, 2014. ^ Cite error: The named reference Nicholson was invoked but never defined (see the help page).^ Dargis, Manohla (August 19, 1955). "Webb Plays the Blues". The New York Times. Retrieved January 31, 2007. ^ Storb, Ilse (2000). Jazz Meets the World – The World Meets Jazz (in German). LIT Verlag Münster. p. 61. ISBN 978-3-8258-3748-8. Retrieved February 23, 2014. ^ Croix, St. Sukie de la (July 11, 2012). Chicago Whispers: A History of LGBT Chicago before Stonewall. University of Wisconsin Press. p. 213. ISBN 978-0-299-28693-4. Retrieved February 23, 2014. ^ "Ella on Special 1980 Duet with Karen Carpenter". YouTube. December 25, 2008. Retrieved December 28, 2012. ^ "New stamp honors first lady of song". USA Today. AP. January 9, 2007. Retrieved February 23, 2014. ^ Rosen, Larry (July 18, 2013). "Is It Live or Is It Memorex?". Psychology Today. Retrieved February 23, 2014. ^ "Ella Fitzgerald For Kentucky Fried Chicken". Rerojunk.com. Retrieved December 28, 2012. ^ "She puts the famous in focus". St. Petersburg Times. November 22, 2005. Retrieved February 23, 2014.
Fitzgerald's most famous collaborations were with the vocal quartet Bill Kenny & the Ink Spots, trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.From 1943 to 1950, Fitzgerald recorded seven songs with the Ink Spots featuring Bill Kenny. Out of all seven recordings, four reached the top of the pop charts including "I'm Making Believe" and "Into Each Life Some Rain Must Fall" which both reached #1.Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956's Ella and Louis and 1957's Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie's 1957 album One O'Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the 'New Testament' Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the 'Songbook' recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic '72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald's career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass... Again (1976).Fitzgerald and Duke Ellington recorded two live albums, and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the 'Duke' meet on the Côte d'Azur for the 1966 album Ella and Duke at the Cote D'Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke's Place is also extremely well received.
Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.
Possibly Fitzgerald's greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967's A Man and His Music + Ella + Jobim, a show that also featured Antônio Carlos Jobim. Pianist Paul Smith has said, "Ella loved working with [Frank]. Sinatra gave her his dressing-room on A Man and His Music and couldn't do enough for her." When asked, Norman Granz would cite "complex contractual reasons" for the fact that the two artists never recorded together. Fitzgerald's appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesars Palace, Las Vegas, was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.^ Cite error: The named reference Nicholson was invoked but never defined (see the help page).
Later life and death[edit]
In 1985, Fitzgerald was hospitalized briefly for respiratory problems, in 1986 for congestive heart failure, and in 1990 for exhaustion. In March 1990 she appeared at the Royal Albert Hall in London, England with the Count Basie Orchestra for the launch of Jazz FM, plus a gala dinner at the Grosvenor House Hotel at which she performed. In 1993, she had to have both of her legs amputated below the knee due to the effects of diabetes. Her eyesight was affected as well.
In 1996, tired of being in the hospital, she wished to spend her last days at home. Confined to a wheelchair, she spent her final days in her backyard of her Beverly Hills mansion on Whittier, with her son Ray and 12-year-old granddaughter, Alice. "I just want to smell the air, listen to the birds and hear Alice laugh," she reportedly said. On her last day, she was wheeled outside one last time, and sat there for about an hour. When she was taken back in, she looked up with a soft smile on her face and said, "I'm ready to go now." She died in her home on June 15, 1996 at the age of 79. A few hours after her death, the Playboy Jazz Festival was launched at the Hollywood Bowl. In tribute, the marquee read: "Ella We Will Miss You." Her funeral was private, and she was buried at Inglewood Park Cemetery in Los Angeles.^ "Ella Fitzgerald Hospitalized". The Lewiston Journal. AP. August 13, 1985. Retrieved February 22, 2014. ^ "Ella Fitzgerald Hospitalized". AP News Archive. AP. July 27, 1986. Retrieved February 22, 2014. ^ "WORLD: Ella Fitzgerald Hospitalized". Los Angeles Times. July 10, 1990. Retrieved February 22, 2014. ^ http://www.jazzfm.com/on-air/25-years-of-jazz-fm/^ "Ella Fitzgerald Had Both Legs Amputated". Daily News (Kingsport, Tennessee). Reuters. April 13, 1994. Retrieved February 22, 2014. ^ Cite error: The named reference nyobit was invoked but never defined (see the help page).^ Weinstein, Henry; Brazil, Jeff (June 16, 1996). "Ella Fitzgerald, Jazz's First Lady of Song, Dies". Los Angeles Times. pp. 1–3. Retrieved February 22, 2014.
Personal life[edit]
Fitzgerald married at least twice, and there is evidence that she may have married a third time. Her first marriage was in 1941, to Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled in 1942.
Her second marriage was in December 1947, to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie's band a year earlier. Together they adopted a child born to Fitzgerald's half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by his mother's aunt, Virginia. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.
In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months' hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged.
Fitzgerald was also notoriously shy. Trumpet player Mario Bauzá, who played behind Fitzgerald in her early years with Chick Webb, remembered that "she didn't hang out much. When she got into the band, she was dedicated to her music....She was a lonely girl around New York, just kept herself to herself, for the gig." When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, "I don't want to say the wrong thing, which I always do but I think I do better when I sing."
Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the Ella Fitzgerald Charitable Foundation.^ Nicholson, Stuart (1995). Ella Fitzgerald: A Biography of the First Lady of Jazz. New York: Da Capo Press. pp. 67–68. ISBN 0-306-80642-8. ^ Cite error: The named reference nyobit was invoked but never defined (see the help page).^ Nicholson, Stuart (1995). Ella Fitzgerald: A Biography of the First Lady of Jazz. New York: Da Capo Press. pp. 173–175. ISBN 0-306-80642-8. ^ Cite error: The named reference Nicholson was invoked but never defined (see the help page).^ Cite error: The named reference cnn was invoked but never defined (see the help page).^ "Ella Fitzgerald Charitable Foundation". Ellafitzgeraldfoundation.org. Retrieved April 25, 2013.
Discography and collections[edit]Further information: Ella Fitzgerald discography
The primary collections of Fitzgerald's media and memorabilia reside at and are shared between the Smithsonian Institution and the US Library of Congress^ Wong, Hannah. "'First Lady of Song' LC Collection Tells Ella Fitzgerald Story". LOC. Retrieved March 19, 2013.
Awards, citations and honors[edit]Further information: List of awards received by Ella Fitzgerald
Fitzgerald won thirteen Grammy Awards, and received the Grammy Lifetime Achievement Award in 1967.
Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named "Ella" in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing. Across town at the University of Southern California, she received the USC "Magnum Opus" Award which hangs in the office of the Ella Fitzgerald Charitable Foundation. In 1990, she received an honorary doctorate of Music from Harvard University.^ "Past Winners Search". Grammy Awards. The Recording Academy. Retrieved October 6, 2014. ^ Grein, Paul (December 13, 2013). "The GRAMMYs' Biggest Winners: The '50s And '60s". Grammy Awards (The Recording Academy). Retrieved October 6, 2014. ^ "Calendar & Events: Spring Sing: Gershwin Award". UCLA. ^ "Partial List of Harvard Honorary Degrees". Harvard University. Retrieved May 30, 2013.
Tributes and legacy[edit]
The career history and archival material from Ella's long career are housed in the Archives Center at the Smithsonian's National Museum of American History, while her personal music arrangements are at the Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University, and her extensive collection of published sheet music was donated to UCLA.
In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. The Ella Fitzgerald Music Festival is designed to teach the region's youth of the musical legacy of Fitzgerald and jazz. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Victoria Wyndham, Charles Keating, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, Lalah Hathaway, Ledisi, Chrisette Michele, Natalie Cole, Freddie Jackson, Joe Harnell, Roy Ayers and Ann Hampton Callaway.
Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway's album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater's album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald's second husband, double bassist Ray Brown. Bridgewater's following album, Live at Yoshi's, was recorded live on April 25, 1998, what would have been Fitzgerald's 81st birthday.
Austin's album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald. The album was nominated for a Grammy. In 2007, We All Love Ella, was released, a tribute album recorded for the 90th anniversary of Fitzgerald's birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the "First Lady of Song". Folk singer Odetta's album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album Lady be Good ... For Ella (1994).
"Ella, elle l'a", a tribute to Fitzgerald written by Michel Berger and performed by French singer France Gall, was a hit in Europe in 1987 and 1988. Fitzgerald is also referred to in the 1976 Stevie Wonder hit "Sir Duke" from his album Songs in the Key of Life, and the song "I Love Being Here With You", written by Peggy Lee and Bill Schluger. Sinatra's 1986 recording of "Mack the Knife" from his album L.A. Is My Lady (1984) includes a homage to some of the song's previous performers, including 'Lady Ella' herself. She is also honored in the song "First Lady" by Canadian artist Nikki Yanofsky.
In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 and 12, 2008) were Roberta Flack and Queen Esther Marrow.
In 2012, Rod Stewart performed a "virtual duet" with Ella Fitzgerald on his Christmas album Merry Christmas, Baby, and his television special of the same name.
In 2013, Google paid tribute to Ella by celebrating her 96th birthday with a Google Doodle on its US homepage.
There is a bronze sculpture of Fitzgerald in Yonkers, the city in which she grew up, created by American artist Vinnie Bagwell. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station in front of the city's old trolley barn. A bust of Fitzgerald is on the campus of Chapman University in Orange, California. On January 9, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own postage stamp. The stamp was released in April 2007 as part of the Postal Service's Black Heritage series.^ "France Gall". Radio Swizz Jazz. Retrieved 25 March 2015. ^ Graff, Gary (October 30, 2012). "Rod Stewart: I Thought Christmas Album Was 'Beneath Me'". Billboard. Retrieved February 23, 2014. ^ "Google Doodle celebrates birthday of jazz singer Ella Fitzgerald". The Independent. April 25, 2013. Retrieved April 25, 2013. ^ Cite error: The named reference Stamp was invoked but never defined (see the help page).^ "New Stamp Honors First Lady of Song". WHSV News 3. January 9, 2007. Retrieved December 2, 2009.