University Daily Kansan, November 7. 1984
ENTERTAINMENT
Page 9
Jazz becoming the symbol of KC
By DOUGLAS H. CHANDLER Staff Reporter
Touj jazz lovers throughout the world, the simple mention of the 18th and Vine neighborhood evokes visions of all-night jam sessions with such legendary figures as Count Basie, Miles Davis, a young Charlie "Vardbird" Parker.
Kansas City has grown and changed since those days, and so has the face of 18th & Vine. It has changed to the point where people seem to remember nothing of its heedy.
However, some people who hold fond memories of that era are working toward reassociating jazz with Kansas City, and returning this historic neighborhood to its former brilliance.
THEY WANT TO MAKE jazz the symbol of Kansas City just as the Big Apple is the symbol of New York.
"When you say jazz and 18th & Vine, they're synonymous," said Mamie Hughes, president of the Black Economic Union, one of the organizations involved in returning jazz to Kansas City. "In doing this, we hope to promote the acceptance of
jazz and to promote tourism in Kansas City." she said.
People from Lawrence and the University of Kansas are also tossing in their assistance — people like Dick Wright, associate professor of music history and associate professor of journalism.
Weight has been placed in charge of cataloguing a collection of rare jazz films for the proposed Jazz Hall of Fame in Kansas City, Mo., which will be the focal point of the revitalization of the 18th & Vine neighborhood.
THE HALL OF FAME will be a "remendous tourist attraction," and will increase the identification between Kansas City and jazz, Wright said.
"Since Kansas City International Airport has opened, increasing the flow of tourists, the city has found a lot of people coming to KC wanting steals, barbecue and jazz," he said.
Wright, who also hosts KANU's Saturday morning show "The Jazz Scene," recently recorded a tape of jazz music which is played at KCI so incoming tourists can get a taste of Kansas City's heritage.
Emmett Morris, president of the 18th & Vine Heritage Foundation, has undertaken a project of his own
which is aimed at bringing the image of jazz back to Kansas City. His goal, he said, is to get a set of commemorative stamps printed, which would illustrate Kansas City jazz, but he has had problems getting the United States Postal Service to approve his idea.
HE HAS GONE before a citizens advisory committee three times so far, and has been rejected every time.
Morris's proposal is for a block of four stamps: two showing pictures of Basie and Moten, both of whom are Kansas City. Mo. natives, one of the Mutual Musicians' Foundation, also known as "Local 627", which was the first musician to be named musicians of 18th & Vine at the time, and one with a picture of 18th & Vine.
Morris has sent his proposal back to the subcommittee for Postal Affairs through Rep. Alan Wheat, D-Kansas City. He hopes to get the commission time for the Mutual Musicians Foundation's 38th anniversary in 1989.
THE 18TH & VINE Heritage Foundation is involved in the promotion of Kansas City jazz in several other ways, having sponsored a "Heritage Celebration" last July, which drew 60,000 people.
McCartney relives the hits he never sang on camera
By United Press International
HOLLYWOOD - Paul McCartney's new movie, "Give My Regards to Broad Street," stirs memories of "A Hard Day's Night" and "Help!" the delightfully wacky, wallbeat Beatles movies of the 1960s.
Whether his recent effort achieves the popularity of the Beatle flicks is yet to be seen. If McCartney fails short perhaps it's because only half of the old group — Paul and Ringo — are seen on screen. The music is all McCartney, including new versions of three great oldies.
"When we were making the picture, I don't think anyone realized it would have a Beatle flavor." McCartney said.
"I mide the picture because I remembered my experiences with 'Hard Day's Night' and 'Help'" and how much I enjoyed them. In your career there are certain things that turn you on, and we all like to be in the movies."
Why did Paul write and perform new renditions of some of the old songs for "Broad Street" instead of his own album's albums that featured the Beatles?
"For me, part of the fun of re-recording them was actually to relieve those songs," he replied. "Some of them I had never performed on camera, such as 'Eleanor Rigby', which is quite a big song of mine that I've never really been singing anywhere."
"I brought it into the studio and we recorded it. It never appeared in our stage act because it had a sort of weirdness," and we didn't carry a string scene.
"I've tried to keep up with music in the current scene," he said. "My own kids are a big help. I've got all the radio programs on. My two daughters are regular teenagers, so I listen to the things they enjoy.
"I have some favorites among current people like the Thompson Twins. Michael Jackson and Howard Schultz, that as current as you can get," he said.
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