{"id":1030,"date":"2005-02-20T01:31:46","date_gmt":"2005-02-20T09:31:46","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/02\/strange_coincidences\/"},"modified":"2005-02-20T01:31:46","modified_gmt":"2005-02-20T09:31:46","slug":"strange_coincidences","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/02\/strange_coincidences.html","title":{"rendered":"STRANGE COINCIDENCES"},"content":{"rendered":"

Some cool postings by Bill Reed: Bird ‘n’ Sassy<\/FONT><\/B><\/A>, a candid photo of
\nCharlie Parker and Sarah Vaughan, which Reed explains in “For the Latest in Be-Bop.”<\/FONT><\/B><\/A> And
\ncheck out “Next Stop Altoona,”<\/FONT><\/B><\/A> his
\nmemories of the 1938 Art Deco Municipal Auditorium<\/FONT><\/B><\/A> still
\npreserved, to his surprise, in his hometown of Charleston, W. Va.
\n

<\/P>
\n

<\/A><\/A><\/A>Jazz has influenced classical music, though not usually the
\nother way around. But have a look at these Igor Stravinsky \/ Thelonious Monk album covers, courtesy of Bill Reed<\/FONT><\/B><\/A>. The
\ninfluence seems mutual. “I took note of this easily 30 years ago,” Reed messages, “then promptly
\nforgot about it [until I was] scrambling for something to put up on my blog.” He also wonders
\nwhether Olive Oyl and Ms. Mushroom Cloud were separated at birth.<\/p>\n","protected":false},"excerpt":{"rendered":"

Some cool postings by Bill Reed: Bird ‘n’ Sassy, a candid photo of Charlie Parker and Sarah Vaughan, which Reed explains in “For the Latest in Be-Bop.” And check out “Next Stop Altoona,” his memories of the 1938 Art Deco Municipal Auditorium still preserved, to his surprise, in his hometown of Charleston, W. Va. Jazz […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1030","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-gC","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1030","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1030"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1030\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1030"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1030"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1030"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}