Washington University Record, April 29, 1982
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-~.:. Association of Performing Arts Presenters .. .. : . ". VIA ELECTRONIC FILING January 13, 2010 Ms. Marlene H. Dortch Secretary Federal Communications Commission 445 12th Street SW Washington, DC 20554 Re: Ex Parte Communication, Revisions to Rules Authorizing the Operation ofLow Power Auxiliary Stations in the 698-806 MHz Band, WT Docket No. 08-166; Public Interest Spectrum Coalition, Petition for Rulemaking Regarding Low Power Auxiliary Stations, Including Wireless Microphones, and the Digital Television Transition. WT Docket No. 08-167 Dear Ms. Dortch: The Association ofPerforming Arts Presenters ("Arts Presenters") requests that the Commission recognize the legitimate use ofwireless microphones used in the performing arts by expanding eligibility for licensing ofwireless microphones to include performing arts organizations, by permitting incumbent wireless microphone operations to relocate to spectrum in the TV Core (on or below UHF Channel 51), by adopting appropriate technical and service rules for such operations and by affording interference protection for wireless microphone operations from co-channel and adjacent channel unlicensed fixed and mobile white space operations. Arts Presenters includes nearly 2,000 members representing the nation's leading performing arts centers, including civic and university performance facilities, as well as artist agencies, managers, touring companies, national consulting practices that service the field, and a growing roster ofself-presenting artists. Arts Presenters members operate in all 50 states and range from large performing arts centers in major urban cities, outdoor festivals and rural community-focused organizations to academic institutions, artists and artist managers. For the Commission's information, attached is a copy ofthe participants listings from the January 2010 Arts Presenters conference. -
Participant Biographies
Participant Biographies ADETOLA ABIADE the recently completed Denver International Airport and Traces of the Trade the Central American Resource and Education Center. [email protected] Farhad also works closely with Baca’s UCLA class Adetola Abiade is a native of Providence, RI. Adetola has entitled “Beyond the Mexican Mural.” recently been named dialogue coordinator for the film initiative titled Trace of the Trade. Adetola has over 8 MICHIKO AKIBA years of professional experience including 1 0f 13 Managing Director, Hoshinofurusato Foundation selected from 2000 into the highly competitive [email protected] Management. program for Chase Manhattan Bank NY. Since November 2002, Michiko Akiba has been the Adetola also worked as a project manager deveolping managing director of Hoshinofurusato Foundation, an high level trading systems and managed change organization which manages several cultural and management initiatives at State Street Bank Boston. The recreational facilities in Hoshino Village, Fukuoka last three years were spent empowering women to prefecture, in Japan. Ms. Akiba graduated from become economically self-suffivient and prosperous Hitotsubashi University with a degree in economics and through entrepreneurship in RI and MA serving over has held positions in fields including sales promotion, 1000 small businesses. Adetola graduated with a B.S. in music, cultural journalism, and magazine marketing. She is Marketing/Sociology/English from Providence College in a graduate student of Kinki University and has studied 1995. Adetola is also certfied in Organizational Behavior public art and community arts in the United States. PARTICIPANTS Training from Brown University, Mediation, and serves as Rhode Island Small Business Development Ctr. KAREN ALDRIDGE-EASON Consultant. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
1 June 9, 2014 Dear Upper School Students, As You Plan Your Summer
1 June 9, 2014 Dear Upper School Students, As you plan your summer, don’t forget to plan some time to read. On the next page are the titles of required summer reading, followed by two annotated lists of additional reading. Choose two from the additional lists. You may also choose any other book by the authors on these lists, or other books of literary merit. A good way to know that the book is of high quality is to read what the critics say about it. Are these critics from reputable sources (e.g., New York Times, Washington Post, Chicago Tribune)? Another good way to judge the quality of books is to find them in the “literature” section of the bookstore or library. We encourage you to make some of your own choices this summer, but be selective. Ask your friends what they like to read. Ask your parents, your teachers. Also, don’t be afraid to stop reading a book if you don’t like it. Find another one. There are so many good ones; you will eventually find one you like. One of the enclosed annotated lists is compiled from the pre-college reading lists, freshman syllabi, and core programs detailed in Reading Lists for College Bound Students (Estell, Satchwell, and Wright). The titles represent the 100 books most frequently recommended by colleges and universities. We encourage you to read at least one from this list; the more you read from the traditional canon, the more able you will be to compete in college. Please read actively! If you own the book, highlight as you read (e.g., underline, make notes in margins, keep a reading journal). -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell information Company 300 Nortti Zeeb Road Ann Arbor Ml 48106-1346 USA 313 761-4700 800 521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. -
The Inventory of the Beatrice Lillie Collection #1566
The Inventory of the Beatrice Lillie Collection #1566 Howard Gotlieb Archival Research Center 1 Lillie, Beatrice #1566 Box 1 I. Manuscripts. Folders 1-2 A. Plays. 1. “Magdalena,” author unknown, draft of Acts I and II, TS with holo. corrections, approx. 110 p., n.d. Folder 3 2. “You’ll Get Used to It,” by M. Andersen-Kenrick, final draft, TS, 143 p., 1935. Folder 4 3. “Time Remembered,” by Jean Anouilh, final draft, TS, 83 p., 1956; includes TLS to BL from Ethel Adler (Secretary to Roger L. Stevens) re: "Time Remembered." Folder 5 4. “God Bless Our Bank,” by Max N. Benoff, final draft, TS, 145 p., n.d. Folder 6 5. “Cassandra Kelly,” by Ralph Berton and Eugene Berton, final draft, TS, 114 p., n.d. Folder 7 6. “Little Boxes,” by John Bowen, final draft, TS, n.d., includes “Trevor,” 82 p., and “The Coffee Lace,” 74 p. Folder 8 7. "Fumed Oak," by Noel Coward. a. Draft, TS with holograph corrections, 31 p., n.d. 2 Box 1 cont’d. b. Bound copy, final version, TS, 31 p., 1936. Folder 9 8. "Set to Music," by Noel Coward, final version, TS, 64 p., n.d. Folder 10 9. "Hands Across the Sea,” by Noel Coward. a. Final version, approx. 28 p., n.d. b. Final version, subtitled “A Light Comedy in One Act,” TS with holograph notes, 30 p., n.d. Folder 11 10. “A Christmas Carol,” by Charles Dickens, draft, TS with holograph notes, 24 p., n.d. Folder 12 11. “Wait the Phoenix: A Rhythmical-Comedy in Three Acts of Variant Verse,” by Clement ffuller [sic], TS, 132 p., 1963. -
Review of CSULA Theatre and Dance Departments
Review of CSULA Theatre and Dance Departments Reviewed by: Dr. Jeffrey Koep, Professor of Theatre/Dean Emeritus, UNLV Dr. John Mayer, Professor/Chair of Theatre, CSU Stanislaus Dates of Visit: Monday and Tuesday, February 21 and 22, 2017 Table of Contents General Overview of Department 3 Evaluation of Program Quality 4 - 13 Commendations of Strengths, Innovations, and Unique Features 14/15 Opportunities for Improvement 16/17 Overall Recommendation to the Review 18 2 General Overview of Department The focus of this report was on two of the three entities, theatre and dance, within the Department of Music, Theatre, and Dance at CSULA. The external reviewers were fortunate to interview members of all constituencies related to those areas including students, staff, faculty and administrators. This appeared to be the first meaningful external review since 2004. The department has an impressive history and continues to offer majors a positive and meaningful educational experience; however, the department is in strong need of redefining itself through a thorough internal planning process. From the reviewer’s perspective, one of the first steps in this planning process is to separate the individual departments, so that music and theatre/dance become standalone departments, due to the unique needs of each individual area. The marriage of the two departments that occurred approximately 6 years ago has reaped few discernable benefits, and in fact, has probably hindered growth in the individual areas. The relentless changing of leadership both departmentally, as well as in upper administration, has further delayed important decision-making that might have helped the theatre/dance area to develop a consistent plan for moving forward. -
Celia Ipiotis and Jeff Bush Eye on the Arts Archive [Finding Aid]. Music
Celia Ipiotis and Jeff Bush Eye on the Arts Archive Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2011 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2013572127 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018016 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Celia Ipiotis and Jeff Bush Eye on the Arts Archive Span Dates: 1994-2009 Call No.: ML31.I65 Creator: Ipiotis, Celia; Bush, Jeffrey C. Extent: 12,546 items Extent: 54 containers Extent: 28 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2013572127 Summary: The collection consists of programs, clippings, and press materials that cover New York City performances of music, dance, theater, as well as film and video. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Bush, Jeffrey C. Bush, Jeffrey C. Bush, Jeffrey C. Celia Ipiotis and Jeff Bush Eye on the Arts archive. 1994-2009. Ipiotis, Celia. Ipiotis, Celia. Organizations Arts Resources in Collaboration, Inc. Subjects Ballet. Dance companies--United States. Dance in motion pictures, television, etc.--United States. Dance--United States--History. Dance--United States. -
“Isn't It Swell... Nowadays?”: the Reception History of Chicago On
“Isn’t It Swell . Nowadays?”: The Reception History of Chicago on Stage and Screen A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Michael M. Kennedy BM, Butler University, 2004 MM, University of Hartford, 2008 Committee Chair: bruce d. mcclung, PhD Abstract The musical Chicago represents an anomaly in Broadway history: its 1996 revival far surpassed the modest success of the original 1975 production. Despite the original production’s box-office accomplishments, it received disparaging reviews regarding the cynicism of the work’s content. The musical celebrates the crimes and acquittals of two murderesses, and is based on Maurine Dallas Watkins’s coverage as a Chicago Tribune reporter of two 1924 murder cases, from which she generated a 1926 Broadway play. The 1975 Broadway production of Chicago: A Musical Vaudeville utilized this historical source material to comment on contemporary American society, highlighting parallels between the U.S. justice system and the entertainment industry, which critics and audiences of the post-Watergate era deemed as too cynical. Although Chicago initially achieved a mixed reception, the revival’s producers made few changes to John Kander’s music, Fred Ebb’s lyrics, and Ebb and Bob Fosse’s book, aside from simplifying the title to Chicago: The Musical. This suggests that the musical’s newfound success can be attributed to a societal shift in the perception of its subject matter. With further success from Chicago’s 2002 film adaptation, the originally dark and sardonic material became a smash hit and found itself as mainstream entertainment at the turn of the millennium. -
MARTIN LUTHER on TRIAL Max Mclean, Founder & Artistic Director Presents MARTIN LUTHER on TRIAL Written by Chris Cragin-Day & Max Mclean
Max McLean, Founder & Artistic Director MARTIN LUTHER ON TRIAL Max McLean, Founder & Artistic Director presents MARTIN LUTHER ON TRIAL Written by Chris Cragin-Day & Max McLean Featuring Mark Boyett Kersti Bryan Paul DeBoy John FitzGibbon Jamil A.C. Mangan Fletcher McTaggart Set Design Costume Design Lighting Design Original Music & Sound Design Kelly James Tighe Nicole Wee Geoffrey D. Fishburn Quentin Chiappetta Marketing, Advertising & Press Relations Digital Advertising Casting Director Cheryl Anteau The Pekoe Group Carol Hanzel Production Manager Technical Director Stage Manager General Management Lew Mead Katie Martin Alayna Graziani Aruba Productions Executive Producer Ken Denison Directed by Michael Parva The performance will run two hours and 10 minutes with one 15-minute intermission. Please turn off all electronic devices before the performance begins. Thank you. 3 CAST AND LOCATIONS CAST (In Order of Appearance) Paul DeBoy ..............................................................................................................................The Devil Kersti Bryan ............................................................................................................... Katie Von Bora John FitzGibbon .....................................................................................................................St. Peter Mark Boyett ..............................Hitler, St. Paul, Josel, Freud, Hans Luther & Pope Francis Fletcher McTaggart .................................................................................................. -
Camille Billops and James V. Hatch Archives at Emory University
Camille Billops and James V. Hatch archives at Emory University Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Digital Material Available in this Collection Descriptive Summary Title: Camille Billops and James V. Hatch archives at Emory University Call Number: Manuscript Collection No. 927 Extent: 47.25 linear feet (95 boxes), 12 oversized papers boxes and 16 oversized papers folders (OP), 6 extra oversized papers (XOP), AV Masters: 9.25 linear feet (9 boxes and LP1-4), and 10 GB born digital material (231 files) Abstract: The Camille Billops and James Hatch Archives at Emory University consists of a variety of materials relating to African American culture and art. Language: Materials entirely in English. Administrative Information Restrictions on Access Special Restrictions: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library in advance for access to this material. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Please note that some of the items in this collection are copies of materials held in other archival repositories. The Library will not provide researchers with copies of those items. Researchers wishing to obtain copies of these materials should contact the repository that owns the originals. Related Materials in Other Repositories Hatch-Billops Oral History at the City College of New York Emory Libraries provides copies of its finding aids for use only in research and private study. -
Pulitzer Prize Winners and Finalists
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70