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DRAMATURGY GUIDE School of Rock: the Musical the National Theatre January 16-27, 2019
DRAMATURGY GUIDE School of Rock: The Musical The National Theatre January 16-27, 2019 Music by Andrew Lloyd Webber Book by Julian Fellowes Lyrics by Glenn Slater Based on the Paramount Film Written by Mike White Featuring 14 new songs from Andrew Lloyd Webber and all the original songs from the movie Packet prepared by Dramaturg Linda Lombardi Sources: School of Rock: The Musical, The Washington Post ABOUT THE SHOW Based on the hit film, this hilarious new musical follows Dewey Finn, a failed, wannabe rock star who poses as a substitute teacher at a prestigious prep school to earn a few extra bucks. To live out his dream of winning the Battle of the Bands, he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. While teaching the students what it means to truly rock, something happens Dewey didn’t expect... they teach him what it means to care about something other than yourself. For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue – “America’s Main Street” – and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White House and having the Pennsylvania Avenue National Historic Site as it’s “front yard,” The National Theatre is a historic, cultural presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. The non-profit National Theatre Corporation oversees the historic theatre and serves the DC community through three free outreach programs, Saturday Morning at The National, Community Stage Connections, and the High School Ticket Program. -
Shoosh 800-900 Series Master Tracklist 800-977
SHOOSH CDs -- 800 and 900 Series www.opalnations.com CD # Track Title Artist Label / # Date 801 1 I need someone to stand by me Johnny Nash & Group ABC-Paramount 10212 1961 801 2 A thousand miles away Johnny Nash & Group ABC-Paramount 10212 1961 801 3 You don't own your love Nat Wright & Singers ABC-Paramount 10045 1959 801 4 Please come back Gary Warren & Group ABC-Paramount 9861 1957 801 5 Into each life some rain must fall Zilla & Jay ABC-Paramount 10558 1964 801 6 (I'm gonna) cry some time Hoagy Lands & Singers ABC-Paramount 10171 1961 801 7 Jealous love Bobby Lewis & Group ABC-Paramount 10592 1964 801 8 Nice guy Martha Jean Love & Group ABC-Paramount 10689 1965 801 9 Little by little Micki Marlo & Group ABC-Paramount 9762 1956 801 10 Why don't you fall in love Cozy Morley & Group ABC-Paramount 9811 1957 801 11 Forgive me, my love Sabby Lewis & the Vibra-Tones ABC-Paramount 9697 1956 801 12 Never love again Little Tommy & The Elgins ABC-Paramount 10358 1962 801 13 Confession of love Del-Vikings ABC-Paramount 10341 1962 801 14 My heart V-Eights ABC-Paramount 10629 1965 801 15 Uptown - Downtown Ronnie & The Hi-Lites ABC-Paramount 10685 1965 801 16 Bring back your heart Del-Vikings ABC-Paramount 10208 1961 801 17 Don't restrain me Joe Corvets ABC-Paramount 9891 1958 801 18 Traveler of love Ronnie Haig & Group ABC-Paramount 9912 1958 801 19 High school romance Ronnie & The Hi-Lites ABC-Paramount 10685 1965 801 20 I walk on Little Tommy & The Elgins ABC-Paramount 10358 1962 801 21 I found a girl Scott Stevens & The Cavaliers ABC-Paramount -
Jan 2018 Newsletter
July 2018 2018 JULY SUNDAY FIRST DAY OF WEEK Sunday Monday Tuesday Wednesday Thursday Friday Saturday July Birthdays 01 02 03 04 05 06 07 Nevada Davis-July 1 Office Closed Food Day 1 Helen Sutton-July 3 08 09 10 11 12 13 14 Mary Wainwright-July 7 Johnny Gilliam-July 21 Lorece Tettleton-July 21 15 16 17 18 19 20 21 * Food Day 2 Please remember to bring in your 2018 22 23 24 25 26 27 28 social security earnings statement to re-register for your food box 29 30 31 01 02 03 04 TRIAD of Union Parish 710 Holder Road U.S. Postage Paid Farmerville, LA 71241 Non-Profit Organization (318) 368-0469 Permit No. 25 Farmerville, LA 71241 This institution is an equal opportunity provider Is Sleeping a Problem? Remember the Saddle Oxfords? Make your own--- Your sleeping position can influence your health in the inexpensive way-- with a pair of cheap white many ways. It can relieve your back pain or possibly cause tennis shoes and markers from the dollar store. You it, it can make you snore, it can cause neck discomfort, can even get creative and do them in a different color and it can also affect your level of energy in the morning. or make them wingtips, etc. Have fun with this These are some of the of various sleeping positions creative craft and show off your talent! and their effects: • On Your Stomach: This can be a reason for your neck and back pain. • On Your Back: This position makes snoring worse, but it may also cause lower back pain. -
Candle Lighting Song Suggestions
Candle Lighting Song Suggestions Below you will find a list of song suggestions for candle lighting ceremonies. We are consistently asked for suggestions, so here are the most popular. However, we really suggest that you get creative in your selection process and find songs that directly represent the honorees. There’s no right or wrong here… just pick songs that feel like the best choices. Very often the song selections to relate to a person's name or city they live in for example "California Girls" by the Beach Boys or ""Call Me Al" by Paul Simon. Additionally, there is no right or wrong order to call guests up to light candles however most commonly the order looks like this: First candle: Memory Candle Next candle(s): Grand Parents Next candle(s): Aunts, Uncles, Cousins Next candle(s): Close friends of the Family Next candle(s): Friends of the guest of honor (can be grouped such as camp friends, soccer friends, etc. Next candle(s): Siblings Next candle: Parents Last candle: Good luck candle for the guest of honor Memory Candles SONG TITLE ARTIST Memory Barbra Streisand I Will Remember You Sarah MacLachlan My Heart Will Go On Celine Dion One Sweet Day Mariah Carey Somewhere, Out There Linda Ronstadt/James Ingram Tears In Heaven Eric Clapton Candle in the Wind Elton John I'll be Missing You Puff Daddy See you again Wiz Khalifa ft. Charlie Puth 100 Years Five for Fighting Because you Loved Me Celine Dion Family (grandparents, aunts, uncles, cousins) SONG TITLE ARTIST Can You Feel The Love Tonight Elton John Circle Of Life Elton John Forever -
Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun. -
Program Notes by Joshua S
PROGRAM NOTES BY JOSHUA S. RITTER Cole Porter, the composer and lyricist of Do It, Let’s Fall in Love,” was a smash, and its Anything Goes, honed his distinctive style success helped propel him to a new level of during the 1920s while living the gilded notoriety and acclaim. The following year life of a bon vivant and socialite abroad. brought the panic of the stock market crash Porter was part of the “lost generation” of and the subsequent Great Depression. expatriate artistic and literary minds who Yet, Porter’s songs during the trying 1930s fled the austere materialism of American served to lift the spirits of the downtrodden cities for the more permissive artistic and and affluent alike. In fact, of all the shows intellectual scene, which flourished in during this tumultuous and challenging places such as Paris and Venice. Porter’s period, none proved to be more closely travels and opulent experiences enriched associated with the decade than Anything his work and helped set the stage for shows Goes. that would establish him in the upper echelon of musical-comedy writers. In 1933, the year before Anything Goes opened on Broadway, Franklin D. Roosevelt For example, he was cruising down the was inaugurated as president, and Rhine River in Germany in 1934 while Prohibition ended. These monumental he wrote the classic music and iconic events brought glimmers of hope to a lyrics to the song “You’re the Top” from people reeling from economic catastrophe Anything Goes. Purportedly, he asked fellow and failed government policies. Theatre passengers to name their favorite objects historian Miles Kreuger described and places to help him pen the topical lyrics Anything Goes as “the bright and cheerful to the song. -
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores. -
GIRLS5EVA “Pilot”
Episode #101 Script #101 Production #01001 GIRLS5EVA “Pilot” Written by Meredith Scardino Directed by Kat Coiro PRE-PRODUCTION DRAFT - 10/8/20 WHITE SHOOTING DRAFT - 10/14/20 BLUE REVISED - 10/21/20 PINK REVISED - 10/23/20 YELLOW REVISED - 11/16/20 © 2020 Universal Television LLC ALL RIGHTS RESERVED. NOT TO BE DUPLICATED WITHOUT PERMISSION. This material is the property of Universal Television LLC and is intended solely for use by its personnel. The sale, copying, reproduction or exploitation of this material, in any form is prohibited. Distribution or disclosure of this material to unauthorized persons is also prohibited. GIRLS5EVA 101: "PILOT" YELLOW REVISED 11/16/20 CAST LIST DAWN.............................................................................................................................SARA BAREILLES WICKIE.......................................................................................................RENÉE ELISE GOLDSBERRY GLORIA ..................................................................................................................................PAULA PELL SUMMER ..........................................................................................................................BUSY PHILIPPS LARRY......................................................................................................................JONATHAN HADARY SCOTT...........................................................................................................................DANIEL BREAKER NICK..................................................................................................................................DEAN -
Created and Written by Katori Hall Based on Her Play DRAFT 08-23-17
PUSSY VALLEY Pilot "Perpetratin'" Created and Written By Katori Hall Based on her play DRAFT 08-23-17 APPROVED EXT. APARTMENT - BALCONY - DUSK A WOMAN (20s, black, “Flawless AF”) looks out at the view--a dilapidated COMMERCIAL STRIP running on fumes. Wrapped in cashmere and sorrow, she fingers the rusty rails of the balcony with a peeling French manicure. WOMAN I’ll take it. OFF-SCREEN the JANGLE of KEYS. WOMAN (CONT’D) Anywhere to get some groceries around here? ATTENDANT (O.S.) Naw. Gotta walk a bit down the road aways to get to a Kroger. Club ‘cross the skreet got a mean buffet though. The woman steps back in from the balcony, sliding the door behind her. But the sounds of REGGAETON and a COUPLE SCREAMING in SPANISH continue to make the walls vibrate. WOMAN Are they going to keep that up all night? ATTENDANT All day, too. We don’t call this complex ‘The Holler’ for no reason. She rolls her eyes, as the attendant SLAMS the door shut behind him. INT. APARTMENT - CONTINUOUS The woman looks at the greige walls of her empty cocoon as the sun sets. She kneels in front of a SUITCASE and begins unpacking. We hear the RUSTLE of TISSUE PAPER as she unwraps: A pencil skirt. Loubies. Pearls. Louis Vuitton purse. She gets to the bottom to reveal... A WHITE SHIRT CAKED WITH BLOOD... CUT TO: August 23, 2017 - 2. INT. APARTMENT - BATHROOM - NIGHT ...the woman leaning over the sink, scrubbing in her panties and bra. It’s hella hot, if the sweat skiing down her back is any indication. -
Representation of 1980S Cold War Culture and Politics in Popular Music in the West Alex Robbins
University of Portland Pilot Scholars History Undergraduate Publications and History Presentations 12-2017 Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West Alex Robbins Follow this and additional works at: https://pilotscholars.up.edu/hst_studpubs Part of the European History Commons, Music Commons, Political History Commons, and the United States History Commons Citation: Pilot Scholars Version (Modified MLA Style) Robbins, Alex, "Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West" (2017). History Undergraduate Publications and Presentations. 7. https://pilotscholars.up.edu/hst_studpubs/7 This Thesis is brought to you for free and open access by the History at Pilot Scholars. It has been accepted for inclusion in History Undergraduate Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West By Alex Robbins Submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in History University of Portland December 2017 Robbins 1 The Cold War represented more than a power struggle between East and West and the fear of mutually assured destruction. Not only did people fear the loss of life and limb but the very nature of their existence came into question. While deemed the “cold” war due to the lack of a direct military conflict, battle is not all that constitutes a war. A war of ideas took place. Despite the attempt to eliminate outside influence, both East and West felt the impact of each other’s cultural movements. -
Izu-Ltck\ Chair, Department of English
To the root: adopted memoirs of a Samoan princess in exile Item Type Thesis Authors Hassel, Jody Marie Download date 01/10/2021 06:09:46 Link to Item http://hdl.handle.net/11122/11317 TO THE ROOT: ADOPTED MEMOIRS OF A SAMOAN PRINCESS IN EXILE By Jody Marie Hassel RECOMMENDED: Advisor)' Committee Chair iZU-LtCk\ Chair, Department of English APPROVED: TO THE ROOT: ADOPTED MEMOIRS OF A SAMOAN PRINCESS IN EXILE A THESIS Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS By Jody Marie Hassel, B.A. Fairbanks, Alaska December 2012 Ill Abstract To the Root: Adopted Memoirs of a Samoan Princess in Exile traces the author’s eventful search for and reunion with members of biological family In a memoir of personal essays. The author’s search for her birthfather explores thematic elements of loss, abandonment, cultural identity, racial identity, and reconciliation. The memoir explores and challenges boundaries of creative nonfiction through a mosaic of extended narrative scenes and lyric personal reflection. Autobiographical scenes convey the author’s family life and upbringing in Interior Alaska tracing her journey through to adulthood, when she travels to Samoa to receive a traditional rite-of-passage tattoo and familial royal title. Resisting an entirely linear retelling of accounts, impressionist reflections on yoga and Polynesian dance are connected to the author’s experience of adoption. To the Root reaches a deeper understanding of self as adoptee, as daughter, as agent of lineage. iv Dedicated to Joan Marie Braley, Gerald Lee Hassel, and Diana Marie Hunter and in memory of Seagai Saimana Faumuina v Table of Contents Page Signature Page ............................................................................................................................ -
Teenage Sexual Attitudes, Norms, Desires and Intentions: the Impact of Preferred Musical Genres
TEENAGE SEXUAL ATTITUDES, NORMS, DESIRES AND INTENTIONS: THE IMPACT OF PREFERRED MUSICAL GENRES A thesis submitted for the degreeof Doctor of Philosphy by SenaAgbo-Quaye Schoolof Social Scienceand Law Brunel University September2006 ABSTRACT This thesis focuses on teenage sexual attitudes and norms as moderated by their preferred music genre. The research questions addressedhere are: What are the genre differences in lyrical representations of relationships and male and female characteristics? What are young peoples' perceptions of the impact of these genre differences on their lives? How does genre preference influence teenage safer sex attitudes, desires, norms, control, group identity and intentions? Three studies investigated these research questions. Firstly, the lyrics to 50 songs across five genres were rated on a number of dimensions. Relationships in hip hop are significantly different to relationships in pop; in the former they are presented as more casual, exploitative, sexual and impulsive. They are portrayed in the latter as more committed, nurturing, romantic and responsible. Secondly, six focus group discussions were conducted with 41 young people aged 14-19 years. It was found that influence from music is heavily denied.However, it becameapparent that preferredgenre and artists influence all aspectsof teenagelives and culture; specifically, music functions as an educationaltool into adult relationships.Music assistsin the transitionfrom childhood to adulthoodwith genrepreference used as a marker of maturity. Thirdly, an omnibus questionnaire utilising theory of planned behaviour and social identity/self categorisationtheory constructsexamined genre preferenceand safer sex attitudes, normsand intentions.It was found that hip hop listenersare significantly more likely to choose condom use as their preferred safer sex method than listeners of pop music.