Before the Ted Talk, There Was the Awareness Hour
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The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Interview with John Schwarzlose President and CEO of the Betty Ford Center
Published in abridged form in Counselor. Pioneer Series A Purposeful Life: An Interview with John Schwarzlose President and CEO of the Betty Ford Center William L. White, MA In April 1978, former President and First Lady Jerry and Betty Ford announced to the nation that Mrs. Ford had sought treatment and was recovering from addiction to alcohol and other drugs. It was a riveting moment in the history of addiction treatment and recovery in America, but the Ford family had further contributions to make to that history. On October 4, 1982, the Betty Ford Center opened on the grounds of the Eisenhower Medical Center in Rancho Mirage, California. When Mrs. Ford sought a leader for the treatment center that would bear her name, she chose John Schwarzlose. Since then, the Betty Ford Center has achieved international esteem under his leadership and has treated more than 80,000 patients (half of whom have been women). Through these years, the Center also developed specialized treatment for licensed professionals, innovative programs of focused continuing care, state-of-the-art family and children’s programs, and an independent Betty Ford Institute whose mission includes recovery-focused research dissemination, public and professional education, and policy advocacy. I have known John Schwarzlose as a valued colleague and friend for most of my career and welcomed the opportunity to interview him in between sessions of the 2010 annual meeting of the National Association of Addiction Treatment Providers. Join me in this sweeping discussion of John’s career and the work of the Betty Ford Center. Education and Early Career Bill White: John, let me start with the question all of us in this field are often asked: “How did you choose to work in this most unusual profession?” John Schwarzlose: Well, it’s an interesting story. -
Mill Valley Oral History Program a Collaboration Between the Mill Valley Historical Society and the Mill Valley Public Library
Mill Valley Oral History Program A collaboration between the Mill Valley Historical Society and the Mill Valley Public Library David Getz An Oral History Interview Conducted by Debra Schwartz in 2020 © 2020 by the Mill Valley Public Library TITLE: Oral History of David Getz INTERVIEWER: Debra Schwartz DESCRIPTION: Transcript, 60 pages INTERVIEW DATE: January 9, 2020 In this oral history, musician and artist David Getz discusses his life and musical career. Born in New York City in 1940, David grew up in a Jewish family in Brooklyn. David recounts how an interest in Native American cultures originally brought him to the drums and tells the story of how he acquired his first drum kit at the age of 15. David explains that as an adolescent he aspired to be an artist and consequently attended Cooper Union after graduating from high school. David recounts his decision to leave New York in 1960 and drive out to California, where he immediately enrolled at the San Francisco Art Institute and soon after started playing music with fellow artists. David explains how he became the drummer for Big Brother and the Holding Company in 1966 and reminisces about the legendary Monterey Pop Festival they performed at the following year. He shares numerous stories about Janis Joplin and speaks movingly about his grief upon hearing the news of her death. David discusses the various bands he played in after the dissolution of Big Brother and the Holding Company, as well as the many places he performed over the years in Marin County. He concludes his oral history with a discussion of his family: his daughters Alarza and Liz, both of whom are singer- songwriters, and his wife Joan Payne, an actress and singer. -
The Goon Show: the Sahara Desert Statue
THE GOON SHOW: THE SAHARA DESERT STATUE First broadcast on November 3, 1958. Script by Spike Milligan. Produced by John Browell. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by Debby Stark, corrections by Peter Olausson. Greenslade: This is the BBC Secombe: Stop! Spriggs: Ohm, I will stop. Secombe: What's this approaching? It's a lorry driven by a Rolls Royce, isn't it? Yes, it is! It's that great thespian star of brouhaha-ha-ha, Berebohm Sellers! FX: [Considerable cheers] Spriggs: Oh, he's not as popular as he used to be! I'll sing that bit, folks. [Sings] He's not as popular as he used to beeee! Sellers [Heavy actor accent]: Aye [inaudible] pruns. Noxt week I shall be appearing in "The Impotence of Being Ernest," by Oscar Wilde, the blaggard of Redding Jail. Yours, Neddy. Secombe: Ta. Omnes: [Several, each in turn saying Ta, Tee, Ti, Toe, Tuu!] Sellers: All together! Omnes: Tooooo! Sellers: Oh, what it is to have friends! Spriggs: I know, I once... I express sympathy. Secombe: "Dear sir: My wife has just made a pancake thirty foot round. Is this a record?" Voice: I don't know, try playing it on the gramaphone. Sellers: Together, the band. Orchestra: [Shout] Ta-da 1 Sellers: Ah! Caught with their instruments down! Secombe: And now folks! Take us off slack while we unwrap this brown paper parcel. Look! Ah, look! Voice: What a [inaudible] Secombe: It's a life-sized Goon Show in imitation plastic! Spriggs: Oh! And what are these little round things? Secombe: Gad, it's a set of spare glass jokes! Sellers: Let us hear one, Tom. -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
Bossa Rosa Passos and Fifty Years of Bossa Nova
Jazz Back to Bossa Rosa Passos and fifty years of bossa nova. by Gary Giddins November 26, 2007 Passos, who was six when bossa nova was born, may surpass her musical forebears. Rosa Passos is often described as the heir to, or female equivalent of, João Gilberto, which is a way of saying that she is a distinguished interpreter of bossa nova at a time when gifted young Brazilian singers, like Marisa Monte, have adopted more fashionable pop styles. This won’t necessarily sound appealing to those who recall bossa nova as an easy-listening diversion of the Kennedy years, epitomized by Astrud Gilberto’s girlishly vacant invocation of “The Girl from Ipanema.” But there has always been a difference between the musical phenomenon that began in Brazil in the late fifties and the watered-down version that flourished in the United States. Though the latter inspired brilliant collaborations—Stan Getz and João Gilberto; Frank Sinatra and Antonio Carlos Jobim— bossa nova quickly became a lounge-music punch line. “Blame it on the Bossa Nova,” Eydie Gormé wailed, as Sergio Mendes and Brasil ’66 made a sedative of “The Look of Love.” In Brazil, the perspective is entirely different. While João Gilberto reigns as a god, Astrud is hardly known on the beaches of Ipanema. And many key bossa-nova figures, including the incomparable Elis Regina, never found a North American audience. The divide between the domestic bossa and its export- market derivative is sure to be much brooded over next year, when Brazil celebrates bossa nova’s fiftieth anniversary. -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
Purim Passover Workshops
BULLETIN WINTER 2021 Spring Classes MONDAYS Wilshire Fitness with Sara Berg 9:30 - 10:30 a.m. Music Matters with Cantor Don Gurney 12:00 - 1:00 p.m. TUESDAYS Ten Amazing Jewish Women in History You’ve Never Heard Of with Rabbi Susan Nanus SERVICES @home 12:00 - 1:00 p.m. WEDNESDAYS El Judaismo Sepharadi: Exploring Sephardic Customs, Culture, and Ideas with Rabbi Daniel Bouskila 9:30 -10:15 a.m. From Our Clergy and Their Mentors 12:00 - 1:00 p.m. Purim Passover Workshops March 10 - The Preparation to March 17 - The Seder March 24 - Sharing Traditions, Passover Haggadahs, and Recipes THURSDAYS Wilshire Fitness with Sara Berg 9:30-10:30 a.m. Understanding the Holocaust with Holocaust Educator IN THIS The Jewish Significance of Triangles .............. 2 Randy Fried The Summer of 20Twenty-Fun ...................... 5 12:00 - 1:00 p.m. ISSUE Welcome University Synagogue ..................... 6 Creative Additions to Your Seder Plate............ 8 COMMENTARY What Does Haman Really Represent? While it is well known that the character of Haman in the Purim While we typically link Haman’s evil ways to the lineage of story represents an existential threat to the Jews of ancient Amalek and the unending forces attempting to eradicate the Persia, recent scholarship has revealed that Haman symbolizes Jewish people, there is a more accurate and mathematical a far more menacing and dangerous universal symbol. link between Haman and the forces of evil. Haman’s hat is the According to Biblical, Kabbalistic, and Zoroastrian sources, clue. Beginning around 2900 BCE, the underground forces Haman represents the intergalactic visitation of anti-Semitic of triangular domination began to make themselves known. -
Return of Organization Exempt from Income
lefile GRAPHIC print - DO NOT PROCESS I As Filed Data - I DLN: 934933160554951 990 Return of Organization Exempt From Income Tax OMB No 1545-0047 Form Under section 501 (c), 527, or 4947 ( a)(1) of the Internal Revenue Code ( except private foundations) 201 4 Department of the Treasury Do not enter social security numbers on this form as it may be made public Internal Revenue Service 1-Information about Form 990 and its instructions is at www.IRS.gov/form990 A For the 2014 calendar year, or tax year beginning 07-01-2014 , and ending 01-01-2015 C Name of organization B Check if applicable D Employer identification number THE BETTY FORD CENTER F Address change 95-3863994 F Name change Doing business as BETTY FORD CENTER 1 Initial return E Telephone number Final Number and street (or P 0 box if mail is not delivered to street address) Room/suite 39000 BOB HOPE DRIVE F return/terminated (760) 773-4100 1 Amended return City or town, state or province, country, and ZIP or foreign postal code RANCHO MIRAGE, CA 92270 G Gross receipts $ 17,836,880 1 Application pending F Name and address of principal officer H(a) Is this a group return for MARK MISHEK subordinates? (-Yes No 15251 PLEASANT VALLEY ROAD CENTER CITY, MN 55012 H(b) Are all subordinates 1 Yes (- No included? I Tax-exempt status F 501(c)(3) 1 501(c) ( ) I (insert no ) (- 4947(a)(1) or F_ 527 If "No," attach a list (see instructions) J Website :1- WWWHAZELDENBETTYFORD ORG H(c) Group exemption number- K Form of organization F Corporation 1 Trust F_ Association (- Other 0- L Year of formation 1983 M State of legal domicile CA Summary 1 Briefly describe the organization's mission or most significant activities TO PROVIDE EFFECTIVE ALCOHOL AND OTHER DRUG DEPENDENCY TREATMENT SERVICES, INCLUDING PROGRAMS OF EDUCATION AND RESEARCH, TO HELP WOMEN, MEN AND FAMILIES BEGIN THE PROCESS OF RECOVERY w 2 Check this box if the organization discontinued its operations or disposed of more than 25% of its net assets 3 Number of voting members of the governing body (Part VI, line la) . -
The Goon Show: the Rent Collectors
THE GOON SHOW: THE RENT COLLECTORS First broadcast on January 17, 1957. Script by Spike Milligan and Larry Stephens. Produced by Pat Dixon. Announced by Wallace Greenslade. Starring Bernard Miles. The orchestra was conducted by Wally Stott. Transcribed by Peter Harris, corrections by Peter Olausson. Greenslade: This is the BBC. Seagoon: And so say all of us, Wal! Greenslade: I say, it's dashed decent of you to concur. Seagoon: Ah-ha, isn't it? What's this 1957-bill affair, mate? Greenslade: It's a Goon Show called, ’The Rent Collectors’. Seagoon: Now, yes... Orchestra: [Olde English link (a la 'Greensleeves', silly Milligan singing off)] Greenslade: In a lonely mountain bog in the Pennines, the chill wind blew a tattered fragment of newspaper onto the face of a sleeping gentleman. Grytpype: Moriarty, do you see that fragment of newspaper which has just been blown onto the frontal lobes of that disgusting Lithuanian shepherd? Moriarty: Oww, yes! Hand me my mutton-chop telescope. Grytpype: There you are. Moriarty: Yes, I can read it. Grytpype! Listen to this! Grytpype: What? Moriarty: Crun and Partners, Commissioners for Oaths... Grytpype: [Gasps] Moriarty: ...Will pay handsomely for men willing to face the hazards of rent collecting in the fiend district of East Acton. 1 Grytpype: Moriarty, quick! Let's to it! FX: [Whoosh! Whoosh!] FX: [Pen scratching paper, over] Crun: Er, now, now, now [mutters], what next? Now um, [reads] Mister Patrick Murphy, of no fixed abodee, sevenpence-ha'penny behind in his rent. Mrs... Bannister (off): Henry, er... Crun: [Writing stops] What, what, what? Bannister (off): Oh.. -
The Goon Show: Wings Over Dagenham
THE GOON SHOW: WINGS OVER DAGENHAM First broadcast on January 10, 1957. Script by Spike Milligan and Larry Stevens. Produced by Pat Dixon. Announced by Wallace Greenslade. Starring George Chisholm. Orchestra conducted by Wally Stott. Transcription by Christopher P. Thomas, corrections by Peter Olausson. Greenslade: This is the BBC. Seagoon: So! You admit it, then? Six months hard labour, to be done in twelve monthly installments. FX: [Gavel] Greenslade: I shall appeal. Seagoon: Very well. Released on bail of five long twisted things with holes in the end. Next case. Sellers: A mental picture of the Goon Show, sir. Seagoon: What? Sentenced to half an hour a week on the electric wireless, to commence this week with ’Wings over Dagenham’. FX: [Dramatic horns] Spriggs: Hear that sirring music, folks? It was specially composed to give you a mental picture of an aeroplane carrying supplies for the beseiged garrison at Fort Spon in 1902, one year before the invention of the aeroplane! Oohhhh... FX: [Gunshots] Sellers: Yes, we of the beseiged garrison were grateful for that mental picture of an aeroplane bringing us supplies. It must [bad edit] prayed for the day when someone would invent one and save us all at Fort Spon. FX: [Gunshots] Milligan: Little did he know, poor fellow, that in a shed off Lyle Street, a genius in grease stained evening dress, assisted by a dour Scots gentleman in a... FX: [Hammering noises] Milligan (over): ...Grease stained body, were at work on a strange and wonderous, grease stained machine... 1 Seagoon & McChisholm (in time with hammering): Yin ton, yin ton, yin ton, yin ton, yin ton-a-yiddle-i-pohhhh. -
Community Health Needs Assessment
2018 Community Health Needs Assessment: Implementation Plan Betty Ford Center License #250000049 To provide feedback about this Implementation Strategy, please email [email protected] HARC, Inc. (Health Assessment and Research for Communities) is a nonprofit research and evaluation firm located in Palm Desert, CA. For more information about HARC, please visit www.HARCdata.org. Community Health Needs Assessment Team: Dr. Jenna LeComte-Hinely, Chief Executive Officer Chris Morin, MS, Research Associate Dr. Casey Leier, Director of Research Gerardo Quintana, BA, Research Assistant HARC would like to thank the Betty Ford Center team members who contributed to this project, including: Dr. Christopher Yadron, Vice President of the West Region and Administrator of the Betty Ford Center Jerry Moe, National Director of the Children’s Program Dr. Tracy Pobuda, Manager of Mental Health Services Mark Baumgartner, Executive Director of Betty Ford Center Dr. Stanton Segal, Medical Director Laurie Skochil, Executive Assistant to Dr. Yadron Contents Introduction ........................................................................................................................ 4 About Betty Ford Center .................................................................................................. 4 Programs & Services ..................................................................................................... 4 About the Community Health Needs Assessment .......................................................... 5