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Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Critical Perspectives on American Musical Theatre Thea
Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up. -
Clifton Truman Daniel's Visit to Oak Ridge and Y‐12, Part 2
Clifton Truman Daniel’s visit to Oak Ridge and Y‐12, part 2 President Harry S. Truman’s grandson, Clifton Truman Daniel, after visiting Japan to attend an anniversary of the bombing of Hiroshima and Nagasaki, recently visited Oak Ridge to learn the history of the place where the uranium 235 was separated for Little Boy, the world’s first atomic bomb used in warfare, and the world’s first uranium reactor to produce plutonium. He also wanted to understand the history of Oak Ridge since the Manhattan Project. It was this uranium 235 and the plutonium from Hanford, WA, that resulted in President Truman’s decision to use atomic bombs to end World War II. This momentous decision accepted as necessary to stop the horrible killing of World War II by Truman has been called the most controversial decision in history. Clifton was six years old before he realized that his “grandpa” had actually been president of the United States and was only 15 years old when former President Harry S. Truman died. Yet, he has taken an active role in the Harry S. Truman Library and Museum as honorary Chair of the Board of Directors. It is an important function that he says he is proud to fulfill. He has also written two books about his famous grandfather and now has accepted a grant to write another book that goes well beyond President Truman’s life to the study of the long‐term impact of his decision to use atomic bombs to end World War II. This project is what brought him to Oak Ridge and will take him to other Manhattan Project sites as well as other visits to Japan where he will seek survivors of the atomic bombs or their families and seek to understand their stories. -
PAL JOEY Book by John O’Hara Lyrics by Lorenz Hart Music by Richard Rodgers
PRESENTS PAL JOEY Book by John O’Hara Lyrics by Lorenz Hart Music by Richard Rodgers Directed by Esther Jun OCTOBER 10 -19, 2019 Five Points Theatre, Barrie | 705-792-1949 www.tift.ca Presented by | Season Partner Artistic Producer Arkady Spivak Justin Stadnyk in PAL JOEY Book by John O’Hara Lyrics by Lorenz Hart Music by Richard Rodgers Director Esther Jun Musical Director Dan Rutzen Choreographer Alyssa Martin Set and Lighting Designer Joe Pagnan Costume Designer Michelle Bohn Production Manager Jeff Braunstein Stage Manager Barry W Cook Apprentice Stage Manager Jeff Soucy Head Carpenter Diane Frederick Properties Coordinator Michele Schwemmer Fight Director Jennifer Dzialoszynski CAST OF CHARACTERS AND BAND Cast Gladys----------------------------------------------------------------------------------------------------------------------------------Tess Benger Stage Manager, Mr. Armour, O’Brien-----------------------------------------------------------------------------Aidan deSalaiz Mike-----------------------------------------------------------------------------------------------------------------------------------Izad Etemadi The Kid, The Girl----------------------------------------------------------------------------------------------------------------Sierra Holder Louis, Ernest, Harry, Manager--------------------------------------------------------------------------------------------Derek Kwan Terry-----------------------------------------------------------------------------------------------------------------------------------------Billy -
19856492.Pdf
The Harry S. Truman Library Institute, a 501(c)(3) organization, is dedicated to the preservation, advancement, and outreach activities of the Harry S. Truman Library and Museum, one of our nation’s 12 presidential libraries overseen by the National Archives and Records Administration. Together with its public partner, the Truman Library Institute preserves the enduring legacy of America’s 33rd president to enrich the public’s understanding of history, the presidency, public policy, and citizenship. || executive message DEAR COLLEAGUES AND FRIENDS, Harry Truman’s legacy of decisive and principled leadership was frequently in the national spotlight during 2008 as the nation noted the 60th anniversaries of some of President Truman’s most historic acts, including the recognition of Israel, his executive order to desegregate the U.S. Armed Forces, the Berlin Airlift, and the 1948 Whistle Stop campaign. We are pleased to share highlights of the past year, all made possible by your generous support of the Truman Library Institute and our mission to advance the Harry S. Truman Library and Museum. • On February 15, the Truman Library opened a new exhibit on Truman’s decision to recognize the state of Israel. Truman and Israel: Inside the Decision was made possible by The Sosland Foundation and The Jacob & Frances O. Brown Family Fund. A traveling version of the exhibit currently is on display at the Harry S. Truman Institute for the Advancement of Peace, The Hebrew University, Jerusalem, Israel. • The nation bade a sad farewell to Margaret Truman Daniel earlier this year. A public memorial The Harry S. Truman service was held at the Truman Library on February 23, 2008; she and her husband, Clifton Daniel, were laid to rest in the Courtyard near the President and First Lady. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
San Pedro Sing
THE SOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING JULY - AUGUST &2007 OTHER RELATED FOLK ARTSFolkWorks IN THE GREATER LOS ANGELES AREA Page FREE BI-MONTHLY Volume 7 Number 4 July-August 2007 New World Flamenco Festival La Flor de la Vida, August 10-19 See page 3 INSIDE THIS ISSUE FREE SUMMER CONCERT LISTINGS HAWAIIAN FESTIVALS SEA SHANTIES PLUS... KEYS TO THE HIGHWAY ..that reminds me... ...and More!... cover photo: PHOTO OF JUAN OGALLA BY MIGUEL ANDY MOGG Page 2 FolkWorks JULY - AUGUST 2007 EDITORIAL his July/August issue in your musician teaching listings, etc. Be hands lists a plethora of sum- sure to look at the website and Yahoo PUBLISHERS & EDITORS Tmer concerts. Look at page 3 Group for announcements. We plan to Leda & Steve Shapiro for this summer’s offerings at the Skir- continue our ongoing columns about LAYOUT & PRODUCTION ball, Culver City, Japan American Mu- Music Theory, Old Time Music, Events Alan Stone Creative Services seum, Grand Performances, the Santa Around Town and all the other regular FEATURED WRITERS Monica Pier and the Levitt Pavillion. columnists you love. In fact now you Ross Altman, How Can I Keep From Talking At this time each year, we search will be able to read them online and David Bragger, Old-Time Oracle through the listings and mark in our not have to worry about finding that Valerie Cooley, ...that reminds me... calendar all the wonderful concerts old newspaper article. There is a good Linda Dewar, Grace Notes Roger Goodman, Keys to the Highway we plan on attending. We want here search engine on the site and you can David King, Dirt to thank all the producers who spend find what you want. -
FOLK CLUB of SOUTH FLORIDA ------FOLK NOTES ------Visit Us at for Music Links and Upcoming Events May, 2002
FOLK CLUB OF SOUTH FLORIDA --------------- FOLK NOTES --------------- Visit us at http://members.aol.com/souflafolk for music links and upcoming events May, 2002 ACOUSTIC UNDERGROUND national audience suggests that God, if not dead, may be seriously tone deaf.” Jeff Murphy, New Times, CONCERT SERIES PRESENTS Miami. “Surgically deep and personal songs … a voice that DIANE WARD caresses your soul like hot butter on pancakes.” Bob Weinberg, City Link, Ft. Lauderdale Few artists visiting Luna Star have the Visit: http://www.dianeward.com credentials and Luna Star Café, Saturday, May 4, 2002 8:00 P.M. background of Diane th Ward. A Miami native, 775 NE 125 Street North Miami, FL 305-892-8522 she has countless Requested Contribution: $7.00 ($6.00 Members) awards for both vocal performance and song Visit: http://members.aol.com/souflafolk writing. She went from drummer, to vocals, to keyboard, to guitar. Her 1995 CD “Mirror” reached the top ten nationally on several AAA radio stations. FOLK FRIDAY PRESENTS Her CD “Move” was awarded Best Rock CD (2000) by City Link. Many of her songs are played FLORIDA FOLK FESTIVAL PREVIEW frequently and have reached the top ten in many cities. She has opened for The Indigo Girls, Cher, For its fiftieth year in May, the 850-acre Stephen Jennifer Kimball. With a smooth voice and a Foster Folk Culture Center State Park in White Springs, masterful pen Diane has been embraced as South Florida on the Suwanee River will ring with the sound Florida’s “musical gem”. of Florida’s finest music, dance and stories. -
Students Aren't Just Data Points, but Numbers Do Count
LUMINAFOUNDATIONL U M I N A F Winter 2008 Lessons Students aren’t just data points, but numbers do count Lessons: on the inside Page 4 ’Equity for All’ at USC 12 Page Chicago’s Harry S Truman College Page 22 Tallahassee Community College Writing: Christopher Connell Editing: David S. Powell Editorial assistance: Gloria Ackerson and Dianna Boyce Photography: Shawn Spence Photography Design: Huffine Design Production assistance: Freedonia Studios Printing: Mossberg & Company, Inc. On the cover: Indonesia-born Kristi Dewanti attends Tallahassee Community College, where a concerted emphasis on outcomes data is boosting student success. PRESIDENT’SMESSAGE Our grantees wield ‘a powerful tool:’ data Having spent most of the last two decades as a higher education researcher and analyst, I’ve developed some appreciation for the importance and value of student-outcomes data for colleges and universities. Such information is used for a variety of purposes, from informing collaborative action planning on campus, to the actual implementation of those plans, to the assessment or benchmarking of results based on the work undertaken. Robust, reliable data are vital for institutional decision mak- ing and accountability. Compelling data can be the driving force in fostering a “culture of evidence,” leading to measur- able impacts on students and lasting campus change. Too often, casual observers might think that a data-driven institution is one that focuses mainly on the processes of collection and analysis. But at Lumina Foundation for Education, we have always considered data a power- ful tool to better meet students’ needs. From the Achieving the Dream initiative – which has done ground- breaking work to support data-driven decision making at community col- leges – to the important results that have been attained at minority-serving institutions under the Building Engagement and Attainment for Minority Stu- dents (BEAMS) project, Lumina’s investments in data-driven campus change have been gratifying. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.