THE STREET. POEM and LYRICS written by LEONARD COHEN and ANJANI.

BROADSIDE of the POEM "THE STREET" which became LYRICS for the SONG "THE STREET". The poem "THE STREET" was read at a promotional event in 2006. The song "A STREET", with the revised poem as lyrics, was released in 2014. Both the early poem and the revised poem / song lyrics were written collaboratively by LEONARD COHEN and ANJANI. (ANJANI was a Backup Singer, Backup Musician, Musical Collaborator, and Lover of LEONARD COHEN.)

Broadside, 9x12 inches, deckled front edge. Published and letterpress printed by Sore Dove Press, San Francisco, 2011. First edition, limited to 125 copies (45 of which were signed, this is one of the unsigned copies).

FINE condition. It would look great framed.

Leonard Cohen died in 2016. Anjani is alive and kicking.

About ANJANI (from Wikipedia):

******Anjani Thomas, b.1959, is an American singer-songwriter and pianist, best known for her work with Leonard Cohen.

Anjani was born in Honolulu, Hawaii. She later moved to New York and performed in jazz clubs before meeting producer John Lissauer who hired her to provide backup vocals on Leonard Cohen's influential song "Hallelujah". Anjani went on to tour with Cohen in 1985 as his keyboardist and backup vocalist, and worked with Cohen for many years after, lending her talents to I'm Your Man, The Future, Dear Heather and Old Ideas. She and Cohen were also lovers.

Anjani launched a solo career with the self-titled album "Anjani" in 2000 followed by "The Sacred Names" in 2001. In 2006, Cohen produced and wrote the lyrics for Anjani's album "Blue Alert".

In 2011, Anjani began working on a followup to Blue Alert, and continued her collaborations with Leonard Cohen******

WHITLOCK'S COLLECTION OF ETHIOPIAN MELODIES. As Sung with Great Applause by William Whitlock at the Principal Theatres in the United States. Who's That Knockin' At The Door. Published by C.G. Christman, 404 Pearl Street, New York City, circa 1846. Cover illustration designed by lithographer Eliphalet M. Brown, Jr. (1816-1886) who served as Commodore Perry's photographer for his 1852 expedition to Japan. Early printing as indicated by the listing of only two songs on the front cover, Mary Blane and Who's that Knockin'.

Sheet Music for voice and piano, composed and sung by Wm. Whitlock. Illustrated yellow lithograph title cover printed by Edward Jones & George W. Newman depicting a minstrel show with two performers on the Bowery Theater stage, William Whitlock playing banjo and Master John Diamond dancing a jig, a woodland backdrop is behind them on the proscenium. Softcover, 13.5" x 10", disbound, hand-sewn together, 6 un-numbered pages, music score and lyrics. VERY GOOD CONDITION: former owner's contemporary penned name on front cover, one front edge tear to the middle leaf, and some light wear from age and use, otherwise bright, clean and unmarked. A later printing of this title is in Emily Dickinson's personal volume of collected sheet music at Harvard.

In the 1840s minstrel shows were a major craze in the United States. A distinctly American form of popular culture imbued with controversial cultural dynamics. Minstrel performances worked to reinforce the racial ideology of white superiority. Blackface performers relied on crude, stereotypical depictions of Blacks to entertain white audiences. The performers'

ragged costumes, blackened faces, and exaggerated dialectical diction created a negative image and the shows depictions of the plantation as a benign, happy place ignored the brutality of slavery.

William Whitlock (1813-1878) early pioneer of American blackface minstrelsy, blackface performer best known for his role in forming the original minstrel troupe, the Virginia Minstrels.

Eliphalet M. Brown, Jr. (1816-1886) American artist, daguerreotypist, lithographer, and photographer.

MEMORIA DEL FORO: 1er [PREMIER] FESTIVAL NUEVO CANTO LATINOAMERICANO, Abril 1982, Ciudad De Mexico CREA, UNESCO, INBA, FONAPAS, CASA DE LAS AMERICAS

[FORUM REPORT: 1st [PREMIER] NEW LATIN AMERICAN SONG FESTIVAL, April 1982, Mexico City]

In Mexico City between March 30 and April 5, 1982, the First Festival of Canto Nuevo was held at the National Auditorium in collaboration with UNESCO and Casa de las Américas. It was an important music festival promoting the New Song Movement, Protest Music and early World Music, and is considered a significant multi cultural event in Mexico, Latin America and the Caribbean. This is the very rare report (limited to only 1000 copies) issued by the organizers.

Published by the Planning Directorate and the Dissemination Department of the Promotion and Social Communication Directorate of CREA, Mexico City. First (and only) edition, September 1982. The print run was 1,000 copies (from the colophon). Softcover, printed paper wrappers, 11" x 8.25", 168 pages. Text in Spanish. VERY GOOD Condition: The covers have scraping to the spine margins, shelf/corner wear and some creasing but remain bright and clean, internally just a touch of age, otherwise tight, bright, clean and unmarked. Scarce.

The Nueva Canción (New Song) Movement in Mexico, also known as Canto Nuevo, was a musical and cultural phenomenon rooted in the broader Latin American and Caribbean Nueva Canción movement. It emerged in the late 1960s and 1970s as a response to social and political issues, using music as a tool for social commentary, cultural preservation and the fight against authoritarian regimes. The genre is distinguished by Latin folk sounds, traditional Indigenous instruments, and lyrics that highlight social injustices, specifically the exploitation of workers, dictatorships, and authoritarianism. Due to political lyrics and the desire to provoke social change, the government censored many artists who were part of the movement. Some musicians faced exile, torture, or death by right wing dictatorships. The movement was crucial in protesting dictatorship, fascism, and social injustice and cultivating a culture where Indigenous voices and music was heard. A crucial aspect of the Nueva canción genre is that many songs were influenced by Mexican corrido, narrative songs about history, oppression, vaquero life and lamenting the fascist occupation of their county.

Festival Participants included: ARGENTINA - César Isella; CUBA - Silvio Rodríguez and Noel Nicola; MEXICO - Los Folkloristas, Me caì, Onta, Amparo Ochoa, Nachón, Gabino Palomares, Foro, M. Alejandro; PERU - Nicomedes Santa Cruz; URUGUAY - Daniel Viglietti; BRAZIL - Manduka; CHILE - Quilapayun; NICARAGUA - Carlos Mejía Godoy and Los Palacaguna, Luis Enrique Mejía Godoy and Grupo Mancotal; PUERTO RICO - Roy Brown; VENEZUELA - Ali Primera and Lilia Vera; EL SALVADOR - Yolocamba I Ta

From the Introduction:

"In April 1982, the First Festival and Forum of New Latin American Song was held in Mexico City. It brought together the most representative exponents from various countries of our continent, both in the performance and composition as well as in the theoretical aspects of this new musical genre, which is gaining greater importance every day in the cultural sphere of America. CREA, FONAPAS, and the INBA, with the collaboration of UNESCO and the Casa de las Américas, held this event to support and promote this youth movement to reconquer and strengthen the cultural expressions of our peoples. With this objective and the purpose of continuing the work this compilation of the material gathered during the Forum has been prepared. It highlights the different positions held by the best ethnomusicologists of Latin America regarding New Song."

BOB SEIDEMANN'S "BLIND FAITH" PHOTOGRAPH, ONE OF THE MOST ICONIC PHOTOGRAPHS OF THE 20TH CENTURY; it was used for the U.K. "Blind Faith" album cover and its title became the name of the band.

TITLED, SIGNED, NUMBERED and DATED by the PHOTOGRAPHER, BOB SEIDEMANN, this being copy #10 of 75, dated 1969 but printed later.

A chromogenic reprint photograph, mounted and framed. Professionally "clip" mounted so that the photograph can safely be removed from the frame if so desired. Image measures 11.25x11 inches on a 14x12 inch photographic sheet.

Signed limited reprint photographs of "Blind Faith" are in major museums in Europe and America, and have shown up at auction from time to time. From what I can find, one sold at Sotheby's in 2014, a Rock 'n Roll History auction, for $17,000; one sold at Heritage Auctions in 2022 for $4,000, and one did not meet its reserve price at Bonhams.

The photograph is in FINE condition, bright, brilliant colors, great. The metal frame has some light scratches.

This controversial but iconic photograph represents an era when Rock 'n Roll was king, and was photographed by the king of rock n' roll photography, Bob Seidemann.

About Bob Seidemann and his photograph Blind Faith (from Sotheby's auction and Wikipedia):

******Robert "Bob" Emett Seidemann, b.1941 d.2017, was an American photographer. He was known for his portraits of musicians and bands from San Francisco's counterculture in the 1960s and 1970s. Many of his images were published by Rolling Stone, by record labels, and in books.

Bob Seidemann's surreal and enigmatic 'Blind Faith' became the album cover of Eric Clapton's first post Cream project. The band consisted of Eric Clapton, Steve Winwood, Ginger Baker, and Ric Grech, and took both its name and the title of its only album from Seidemann's photograph. The image, of a young girl holding a futuristic metal plane, created controversy even before its release when Polydor balked at using it as cover art. Clapton insisted, however, and the 1969 UK release of Blind Faith featured Seidemann's photograph. The photograph went on to become his most famous and controversial work. The rarity of the original cover has made the album highly collectible, and its notoriety has raised Seidemann's photograph to icon status.******

BUYERS PLEASE NOTE: This framed photograph will require additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your location. Thanks.

DRUMS AND ACCESSORIES - ILLUSTRATED CATALOG of the WFL DRUM CO.

Published by WFL DRUM COMPANY, Chicago, Illinois, 1939.

Softcover catalog, side stapled, 6x9 inches, 48 pages. Illustrated throughout. Complete with its original, illustrated mailing envelope.

Condition: There are a couple brown burn marks on the front cover that affect the same spot on a few of the following inner pages, the staples have rusted but are holding well, the covers have light general creases from use, otherwise the catalog is quite nice, tight, bright, clean, clear and unmarked. The used mailing envelope is soiled, age toned, has a mailing label "Jack Anthony / Millbrook, New York", and writing on the backside "Clarence Nathaniel Anthony / North Avenue / Millbrook, New York" and "Millbrook Memorial School / Rowland H. Ross / Principal".

Rare original 1939 Drum Catalog of WFL Drum Company.

Hand SIGNED by African American Composer and Blues Musician W. C. HANDY in ink on the ffep.

UNSUNG AMERICANS SUNG Edited by W. C. HANDY. Published by Handy Brothers Music Co., Inc. New York City [rubber stamped], 1944. First edition, First printing. Hardbound in original dark blue textured cloth with gilt printing on the front cover, 11" x 7.5", 236 pages, illustrated with a photographic frontispiece portrait of Handy, two full page photographic illustrations, and eight full page illustrations of African Americans from sketches by Beauford De Laney, and musical scores. VERY GOOD CONDITION: a few droplet stains and light wear to the covers, internally, toning to the pastedown and a penned gift inscription from the former owner Kitty Dalton, a chorus girl for Billy Rose on the ffep, otherwise tight, bright, clean and unmarked.

Handy's important musical and cultural collection of song tributes to outstanding African Americans, explores the different dimensions of musical development that exist within Black culture, while also highlighting the struggle and triumph that exist for people of color. Includes poetry, illustrations, children's songs, choral works, scenes from major works, and art songs. Handy, the "Father of the Blues" composed the music for Phillis Wheatley poetry, and collaborated with Langston Hughes on a number of his poems as did Margaret Bonds, there are over 30 contributors including jazz luminaries Eubie Blake, James P. Johnson, Andy Razaf, Luckey Roberts and Ismay Andrews.

William Christopher Handy (1873-1958) born to former slaves, W. C. Handy was one of the first to compose, play and publish a steady stream of blues, spiritual arrangements, marches, hymns, and miscellaneous songs. His collections include Blues: An Anthology (1941), and A Book of Negro Spirituals (1938). His books include: Negro Authors and Composers of the United States (1936), Father of the Blues (1941), and Unsung American Sung (1944).

Beauford De Laney (1901-1979) Noted African American Artist.

An EARLY, IMPORTANT and SCARCE Music Composition by Major American Composer NED ROREM. From Virgil Thomson's personal music collection (he had two copies, one is now at Yale).

PRAYER AND PARAPHRASE for Virgil Thomson by NED ROREM

NED ROREM music composition written in his hand. Signed holograph music manuscript reproduced by blue print process with Circle Blue Print Co., New York City printed in the bottom margin. Piano composition, small folio, one folded sheet 11" x 14", opens to 22" x 14", 2 pages. Beneath the last measure of Prayer is the number 9-25-45, and beneath the last measure of Paraphrase is the number 10-45 and are the composition dates, September 25, 1945 and October 1945. This music holograph was made for an early performance of the piece, and is very scarce as such.

GOOD CONDITION: The sheet is toned, lightly foxed, slightly fragile, the fold is tender and starting to split but holding, tiny tears and chips to edges, otherwise the piece is bright, unmarked, completely legible, and remains upright on a music stand. Scarce, OCLC locates only one other copy archived at Yale in the Virgil Thomson Papers.

Ned Rorem (1923-2022) Iconic American Composer and Diarist. He won a Pulitzer Prize for Music in 1976 for his Air Music: Ten Etudes for Orchestra. During the 1950s Rorem refused to hide his homosexuality and was openly gay during a time when being LGBTQ+ was largely illegal and hidden, even among prominent artists.

Virgil Thomson (1896-1989) Modernist American composer and disruptively innovative critic. He was instrumental in the development of the "American Sound" in classical music. In 1949, he was awarded the Pulitzer Prize for Music for the score to the film Louisiana Story.

Virgil Thomson (1896-1989) American Composer and Critic. He was instrumental in the development of the "American Sound" in classical music. In 1949, he was awarded the Pulitzer Prize for Music for the score to the film Louisiana Story.

OPERA CAVALCADE - STORY OF THE METROPOLITAN. Published by The Metropolitan Opera Guild, New York, 1938.

Doubling as an AUTOGRAPH ALBUM, the book contains SIGNATURES of 55 OPERA SINGERS collected by a fan over the OPERATIC SEASONS 1943-1948. The signatures are on opera program covers, cut pages, and clipped sheets, that have been glued on (most at the corners) to the pages and inside covers of the book. The signatures are in ink and pencil.

On the title page the previous owner lists some of the operas he/she attended, and the dates they were performed.

On page 63 there is a list of all the members of the "current" Metropolitan Opera Company (i.e. 1938 when this book was published). There are check marks by twenty-one of the names. Those names make up part of the 55 signatures collected in this album/book.

Signatures include: Karin Branzell, Thelma Votipka, Edward Johnson, Bidu Sayão, Nicola Moscona, Patrice Munsel, Ezio Pinza, Rose Bampton, Frances Greer, Richard Tucker, Zinka Milanov, Lily Pons, Astrid Varnay, Florence Quartararo, and many, many more.

The book - Opera Cavalcade: The Story of the Metropolitan, is a history of the Metropolitan Opera. It is filled with b&w photographs of stage productions and singers, and includes a nice frontispiece photograph of Edward Johnson by Steichen.

Condition: The book is in GOOD MINUS condition, worn through at the edges and corners, with rubs, scrapes and scratches to the boards; but is solid and has a cover image that is bright and attractive. The inner pages have some age toning and foxing, and two pages have offsetting likely from a newspaper page laid in at some point; otherwise the inner pages are tight, bright, clean and clear. The signatures are mostly sharp and clear though some of the pencil signatures are fading, but even those are easily legible with only one that has faded into near illegibility, at least according to my aging eyes.

A wonderful look at the world of Opera as it was in the mid 1940s, filled with signatures of those who were part of that world.

A unique treasure for the lover of opera in your life or soul.

Der Choral-Gesang zur Zeit der Reformation, oder Versuch, die Frage zu beantworten: Woher kommt es dass in den Choral-Melodien der Alten etwas ist, was heut zu Tage nichte mehr erreicht wird? Von P. Mortimer (Peter Mortimer). (Choral Singing at the Time of the Reformation, or an Attempt to Answer The Question: How is it that in the Choral Melodies of the Ancients there is Something that is Not Achieved Today? By Peter Mortimer) BERLIN : Bei Georg Reimer, 1821. First Edition. In two sections. Part 1 contains critical musicology text, Part 2 contains scores of 163 chorals. Plain blue paper wrappers (original printed wrappers lacking), perfect bound text, textually complete, 4to. 8 1/8 x 9 5/8 inches (21x24.5 cm), deckled front and bottom page edges. Pagination: [1 leaf] title page, blank verso; vi (bound of sequence); 153 pages (text), 112 pages (musical scores). Engraved portrait of Luther by L. Meyer after Cranach, on title page. GOOD condition: foxing and age toning / browning throughout but text and scores remain bright and clear; page edges are somewhat wavy and darkened from age; latter pages have some edge wear and corner creases; general signs of handling; most pages are uncut. A complete, presentable copy of this important, scholarly work on Reformation Chorale Music. Though functional in its perfect bound blue wrappers, the book would look incredible stitch bound in leather covers! Are you up for the task? PETER MORTIMER, b. 1750 d. 1828, was an English born Moravian organist, composer, conductor, and musicologist, who spent most of his life in Germany, in the Moravian settlements of eastern Saxony. In this work on the early church modes, or Gregorian modes, he explored the reasons for their superiority over the modern modes in the realm of choral music. Mortimer established that three modes governed Reformation chorale music, the hypodorian, hypophrygian (hypoionische), and hypomixolydian modes, and that the music had to be understood harmonically in that context. Considering the paucity of examples available to him at that time, Mortimer's musicological analysis was exceptionally astute, being fundamentally sound. (Eitner VII, 74-75; Kümmerle, Encyklopädie der evangelischen Kirchenmusik (1890) II:307-8).

SUITE FOR STRINGS, by RUTH WATSON HENDERSON. Sheet Music. Self Published, (Canada), 1985. Blue card covers, metal spiral bound, 11x15 inches, 23 pages of sheet music plus a title page. The composer's printed initials and date, Nov/85, are at the end of the score. VERY GOOD condition, the covers have corner and edge wear, the front cover has some sunning, otherwise solid, bright and clean. About the Canadian Composer and Pianist RUTH WATSON HENDERSON (from Wikipedia): ******Ruth Louise Watson Henderson (born 23 November 1932) is a Canadian composer and pianist. She was the accompanist for the Festival Singers of Canada under Dr. Elmer Iseler for many years, where she developed her ear for composing mixed choral works. Henderson also accompanied the Toronto Children's Chorus under Jean Ashworth Bartle from its inception in 1978 to 2007 and was music director for Kingsway Lampton United Church in Toronto from 1996 to 2013. An associate of the Canadian Music Centre, Watson Henderson's compositional output includes works for organ, piano, violin, trumpet, string orchestra, and more than 200 choral pieces. Her works are known for their use of modal and impressionistic harmonies. In 1989 her Chromatic Partita for Organ won a prize in an International Competition for Women Composers in Mannheim, Germany. In 1992 her Voices of Earth won the National Choral Award for Outstanding Choral Composition. In 1996 she received the Distinguished Service Award of the Ontario Choral Federation. Many of her works have been recorded and enjoy international popularity. Additionally, Canadian choirs often perform entire concerts of her compositions.******

LA MÚSICA POPULAR y los MÚSICOS CÉLEBRES de la AMÉRICA LATINA, por A. L. CORTIJO. (POPULAR MUSIC and CELEBRATED MUSIC of LATIN AMERICA, by A. L. CORTIJO.) Published by Casa Editorial Maucci, BARCELONA, Spain, undated but circa 1920. SIGNED (Initialed) and DATED 1930 by JOAQUIN NIN on the title page. Softcovers,

5.5x8.5", 446 pages. Illustrated with drawings and musical snippets. CONDITION: LACKING FRONT COVER AND PRELIMS (first page is the title page); spine covering mostly chipped off, rear cover present but very worn; the first few signatures are disbound and loose, and the rest of the binding is very shaky with some signatures loose and many almost loose; some dark dime size stains here and there throughout (mostly in the blank front or bottom margin); some margin marks; the first few pages have edge wear; nonetheless a textually complete copy of this important book, SIGNED (Initialed) by one of the great Composers and Arrangers of Spanish Music, Joaquin Nin. About JOAQUIN NIN (from Wikipedia): ******Joaquín Nin y Castellanos (September 29, 1879, Havana - October 24, 1949, Havana) was a Cuban pianist and composer. Nin studied piano with Moritz Moszkowski and composition at the Schola Cantorum (where he taught from 1906 to 1908). He toured as a pianist and was known as a COMPOSER and ARRANGER of POPULAR SPANISH FOLK MUSIC. Nin was a member of the Spanish Academy and the French Legion of Honor. He was the father of Thorvald Nin, composer Joaquín Nin-Culmell, and writer Anaïs Nin with singer Rosa Culmell. In her diaries and fiction, his psychoanalytically oriented writer daughter Anaïs Nin often attempts to explain her own personality and problems by recalling how her father treated her as a child. She was also close to him off and on as an adult. Her "unexpurgated" diary volume Incest: From a Journal of Love describes an adult incestuous relationship with him. He also appears in her fiction. She describes him as an egotistical Don Juan, and she imitated him at times by being a "Doña Juana".******

TWO BOOKS by COMPOSER DANIEL GREGORY MASON - SIGNED & INSCRIBED Association Copies. (1) TUNE IN AMERICA, by DANIEL GREGORY MASON. Published by Alfred A. Knopf, New York, 1931. First Edition, so stated. SIGNED and INSCRIBED on the front free endpaper by the AUTHOR to PIANIST HARRY KAUFMAN and his wife: "Cordial regards to / Mr. and Mrs. Harry Kaufman / Daniel Gregory Mason / June, 1932." Hardcover Book in Dustjacket, 5.5" x 7.5", 206 pages. Condition: VERY GOOD book, the covers have some toning to the edges and spine, there is a newspaper review taped onto a blank prelim page that has offset and left pieces of tape to the page and the facing page, otherwise tight, bright, clean and unmarked; in a FAIR dustjacket that is heavily sunned at the spine and margins, has a couple closed tears across the spine, is chipped with tears at the spine ends and corners, and has spotting, but is still in one piece and doing its job. (2) THE CHAMBER MUSIC OF BRAHMS, by DANIEL GREGORY MASON. Published by the Macmillan Company, New York, 1933. First Edition, with the date 1933 on the title page, the statement "Published May, 1933" on the copyright page, and with no indication of additional printings. SIGNED and INSCRIBED on the front free endpaper by the AUTHOR to PIANIST HARRY KAUFMAN: "Why you read this, remember / our playing the G major / Violin Quintet, at Westport, / September 7, 1933. / To Harry Kaufman / Daniel Gregory Mason." Hardcover Book, no dustjacket, 6.5" x 9.5",

276 pages. GOOD condition: The covers are worn through at the spine ends and corner tips, have spotting and rubbing at the margins, and lightly bumped corners; internally the pages are lightly toned, as normal, otherwise tight, bright clean and unmarked. A solid copy. Daniel Gregory Mason (1873-1953) was an American composer and music critic. Harry Kaufman (1894-1961) was a CONCERT PIANIST and MUSIC TEACHER at the CURTIS INSTITUTE OF MUSIC, Philadelphia. For 17 years he headed the Institute's Department of Accompanying. During this time his former piano teacher JOSEF HOFMANN was director of the Institute.