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(Roy Halston Frowick) (1932-1990) by Shaun Cole
Halston (Roy Halston Frowick) (1932-1990) by Shaun Cole Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The first international fashion superstar, Halston was a master of cut, detail, and finish. He dressed and befriended some of America's most glamorous women. Jackie Kennedy Onassis, Elizabeth Taylor, Babe Paley, Barbara Walters, Lauren Bacall, Bianca Jagger, and Liza Minnelli were just some of the women who wore Halston. Roy Halston Frowick was born on April 23, 1932 in Des Moines, Iowa, the second son of a Norwegian- American accountant with a passion for inventing. Roy developed an interest in sewing from his mother. As an adolescent he began creating hats and embellishing outfits for his mother and sister. Roy graduated from high school in 1950 then attended Indiana University for one semester. After the family moved to Chicago in 1952, he enrolled in a night course at the Chicago Art Institute and worked as a window dresser. Frowick's first big break came when the Chicago Daily News ran a brief story on his fashionable hats. In 1957 he opened his first shop, the Boulevard Salon, on Michigan Avenue. It was at this point that he began to use his middle name as his professional moniker. With the help of a lover twenty-five years his senior, celebrity hair stylist André Basil, Halston further developed his career by moving to New York later in 1957. Basil introduced Halston to milliner Lilly Daché, who offered him a job. Within a year he had been named co-designer at Daché, become the new best friend of several fashion editors and publishers, and left Daché's studio to become head milliner for department store Bergdorf Goodman. -
HI 280 Summer 2019 There Is a Lot of Work
HistoryofRock’n’Roll Professor WILLIAM McKEEN O"ce: 131 COM; Phone: 353-3484 Email: wmckeen@ bu.edu O"ce hours: Mondays, Tuesdays and Wednesdays, 1:30 - 3 pm and by appointment Home page: williammckeen.com Twitter: @wmckeen emphasis on rock 'n' roll and its impact on America in the last 40 years, especially the 1954-1970 era. Ersel Hickey, the quintessence of Although this early rock’n’roll. course is a lot of fun, it is not easy. HI 280 Summer 2019 There is a lot of work. We have one required book: the course: ✓ William McKeen, Rock and Roll is Here to Stay About this course industry in the United States, (W.W. Norton, 2000). but focus most of our energies This course examines the role on tracing the threads of For those of you who are of popular music in American mainstream music during the music geeks, I culture. 20th century. recommended these two: We will attempt to integrate It is not a music course, but ✓ Charlie Gillett, The Sound the general social and more of an examination of the of the City (Da Capo Press, effects of recorded sound on intellectual history of the 1996; second edition) popular culture. country into the story of popular music. ✓ Greil Marcus, Mystery We will study the origin and Train (Plume, 2000; fifth growth of the recording There will be a special edition) !1 Grading and other issues There will be a major research paper on a rock’n’roller of your choice. We will also We follow the standard grading scale: have mini writing assignments during each • 93 and up A class period. -
IN MY ROOM Feuille D’Information Consacrée À Brian Wilson Et Aux Beach Boys N° 5 – Eté 2006
IN MY ROOM Feuille d’information consacrée à Brian Wilson et aux Beach Boys N° 5 – Eté 2006 DENNIS WILSON Edito C’est l’été ! Comme promis, voici donc la deuxième et les BEACH BOY S partie de l’histoire de Dennis Wilson. Et comme un bonheur n’arrive jamais seul, 2ème partie, 1969 - 1983 un de nos reporters a croisé Carolyn Edwards. Dennis trouve sa voie (1969 √ 1975) Et comme deux bonheurs n’arrivent jamais A la fin des années soixante, les Beach Boys sont globalement largués : les seuls, un nouvel album (sic) des Beach problèmes de Brian, leur identification tenace avec la Californie de papa au Boys, une possible réunion sur scène des moment où celle-ci devient « l’épicentre de la contre-culture underground »1, tout cela et le reste – à commencer par leur nom ridicule Garçons et Capitol qui innove follement ! les renvoie dans les poubelles de l’histoire musicale californienne dont on ne souhaite pas vraiment les voir ressortir, malgré leur bonne volonté (Mike Mais, bientôt l’automne, avec un n° 6 accompagne les Beatles à Rishikesh, Carl est objecteur de conscience, ils consacré à la période « Brian’s Back ». jouent régulièrement au Fillmore East, tournent avec le Buffalo Toutes les contributions sont les bienvenues. Springfield…). C’est le moment justement que choisit Dennis pour tout tenter et, provisoirement, tout réussir. Vous savez où nous trouver ! Enjoy ! Charlie Dontsurf une version, elle aussi magnifique, 2 ans plus tard3. Déclaration d’indépendance ? Difficile à affirmer puisque « Lady » fait partie des nombreux morceaux enregistrés pour le premier album chez Warner qui finira par s’intituler « Sunflower » (voir IMR 2) ; quant à « Sound of free », il bénéficie de larges contributions des frères Wilson : Carl à la guitare, Brian aux backing vocals. -
THE BEATLES IMAGE: MASS MARKETING 1960S BRITISH and AMERICAN MUSIC and CULTURE, OR BEING a SHORT THESIS on the DUBIOUS PACKAGE of the BEATLES
THE BEATLES IMAGE: MASS MARKETING 1960s BRITISH AND AMERICAN MUSIC AND CULTURE, OR BEING A SHORT THESIS ON THE DUBIOUS PACKAGE OF THE BEATLES by Richard D Driver, Bachelor of Arts A Thesis In HISTORY Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Aliza S Wong Randy McBee John Borrelli Dean of the Graduate School May, 2007 Copyright 2007, Richard Driver Texas Tech University, Richard D Driver, May 2007 ACKNOWLEDGMENTS This work could not have been possible without the encouragement and guidance of a number of individuals, as well as countless persons who pulled books, worked through interlibrary loans, and simply listened to me talk about it. Without the guidance, tolerance, insight, time, and encouragement of my committee, Aliza S Wong and Randy McBee, this thesis would have remained nothing more than a passing thought. Aliza, more than any other professor has been there for me since this project truly began over two years ago. It was her initial push for me to write about something I loved that drove me to attend Graduate school and then build upon what I had done previously with The Beatles “image.” Dr. McBee provided excellent guidance into understanding many of the post-war American facets of this work, not simply those related to The Beatles or music in general. Additional thanks are reserved for Dr. Julie Willett for her class on sexuality and gender where new methods and modes of historical thought were founded in this work. Finally, this thesis would have been impossible had I not been accepted into and granted a teaching position in the History Department at Texas Tech University, and it is to the entire department that I owe my greatest thanks. -
'Brian Wilson Presents Smile!'
’Brian Wilson presents Smile!’ En studie av omständigheterna kring Smileskivans nedläggning Calle Strand C-uppsats 2004 Institutionen för musikvetenskap Uppsala universitet 2 Calle Strand: Brian Wilson presents Smile! – a study of the circumstances surrounding the abandonment of Smile - Uppsala University, Department of Musicology, C-essay. This essay is about the course of events that led to the abandonment of the Beach Boys album Smile in 1967. The purpose of the essay is to differentiate the medial assumption of why Smile was never released and also investigate to what extent media have influenced this assumption. The medial assumption is compared to actual events of the time of the abandonment and the difference is then being discussed in a media-theoretical perspective. The theoretical framework is based on theories by Denis McQuail. His ideas about media’s influences on the reception of its audience are of great importance for the essay and the notions of agenga-setting and framing has a central role. Finally the conclusion is drawn that the medial assumption is a simplified and distorted explanation to why Smile was never released. The actual events discover several alternative reasons, but media choose to focus on the assumption that gain them the most (they set the agenda and frame the information to their advantage) and present it as the only reason to the abandonment of Smile. 3 4 Innehållsförteckning 1. Inledning........................................................................................................... 5 Introduktion........................................................................................................ -
Penguin Group (USA)
PENGUIN GROUP (USA) Here is a round-up of the Penguin Group (USA)’s great selection of Music titles. Click on the 13-digit ISBN to get more information on each title. Examination and personal copy forms are available at the back of the catalog. For personal service, adoption assistance, and complimentary exam copies, sign up for our College Faculty Info Service at http://www.penguin.com/facinfo MUSIC STUDIES 2009 Daniel J. Levitin eTHE WORLD IN SIX SONGS How the Musical Brain Created Human Nature The author extends the argument of his This Is Your Brain on Music by showing how the brain evolved to listen to music in six fundamental forms— knowledge, friendship, ceremony, joy, comfort, and love. “Leading research- ers in music cognition are already singing its praises.”—Evolutionary Psychology. “Works much like a great piece of pop music whose combined elements can induce feelings of enlightenment and euphoria.”—The New York Times. Dutton • 368 pp. • 978-0-525-95073-8 • $25.95 Plume • 368 pp. • 978-0-452-29548-3 • $16.00 Paperback available August 2009 THIS IS YOUR BRAIN ON MUSIC The Science of a Human Obsession “Endlessly stimulating, a marvelous overview, and one which only a deeply musical neuroscientist could give….An important book.”—Oliver Sacks, M.D. “Levitin is a deft and patient explainer of the basics for the non-scien- tists as well as the non-musician….By tracing music’s deep ties to memory, Levitin helps quantify some of music’s magic without break its spell.” —Los Angeles Times Book Review. -
Green Berets and Gay Deceivers: the New Left, the Vietnam Draft and American Masculinity
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-23-2015 12:00 AM Green Berets and Gay Deceivers: The New Left, The Vietnam Draft and American Masculinity Anna L. Zuschlag The University of Western Ontario Supervisor Dr. Robert MacDougall The University of Western Ontario Joint Supervisor Dr. Joseph Wlodarz The University of Western Ontario Graduate Program in History A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Anna L. Zuschlag 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the American Film Studies Commons, American Popular Culture Commons, Cultural History Commons, Feminist, Gender, and Sexuality Studies Commons, History of Gender Commons, Nonfiction Commons, Other Film and Media Studies Commons, Public History Commons, Social History Commons, and the United States History Commons Recommended Citation Zuschlag, Anna L., "Green Berets and Gay Deceivers: The New Left, The Vietnam Draft and American Masculinity" (2015). Electronic Thesis and Dissertation Repository. 2809. https://ir.lib.uwo.ca/etd/2809 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. GREEN BERETS AND GAY DECEIVERS: THE NEW LEFT, THE VIETNAM DRAFT AND AMERICAN MASCULINITY (Thesis Format: Monograph) by Anna L. Zuschlag Graduate Program in History A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Anna L. -
The Development of the Beach Boys' Sound
When I Grow Up: The Development of the Beach Boys’ Sound (1962-1966) Author O'Regan, Jade Simone Published 2014 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/2556 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367243 Griffith Research Online https://research-repository.griffith.edu.au When I Grow Up: The Development of the Beach Boys’ Sound (1962-1966) Volume One Jade Simone O’Regan B.PopMus (Hons) Queensland Conservatorium of Music Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December, 2013 2 Abstract The Beach Boys are an American rock group whose career has spanned over fifty years. However, it was between 1962 and 1966 that the group had most of their chart success and that their unique ‘sound’ was crystallised. This study takes a broad, big- picture overview of the Beach Boy’s repertoire from this period and charts the development of their sound through the apprentice-craft-art (ACA) framework. The concept of a ‘sound’ is able to draw together the musical, technological, sociological and historical elements that, when combined, create the sound of the Beach Boys during the 1962-1966 period. The flexibility of this concept means that areas often overlooked in popular music studies and in studies on the Beach Boys in general (particularly the roles of production and instrument types), are able to be woven into analyses of more traditional musical elements (such as song structure or chord progressions). -
February 5Th, 2010 President Barack Obama the White House 1600 Pennsylvania Avenue NW Washington DC 20500 Dear Mr. President: A
February 5th, 2010 President Barack Obama The White House 1600 Pennsylvania Avenue NW Washington DC 20500 Dear Mr. President: As marine scientists who are deeply concerned about the health of the world's oceans, we commend you for initiating America's first National Ocean Policy and urge you to make conservation the foundation of this policy. When America’s current laws and ocean agencies were established after the 1969 Stratton Commission report, Our Nation and the Sea. A Plan for National Action, the prevailing view was that oceans are invulnerable. But 40 years of scientific research has shown that our oceans are imperiled. As 1,605 scientists from 70 countries warned in Troubled Waters: A Call for Action in 1998, we are rapidly emptying our oceans of fish, degrading coastal waters with nutrients and toxic chemicals, and threatening marine ecosystems by adding CO2 to our atmosphere. The oceans are, by far, the largest component of the Earth’s life support system, and the United States has the world’s biggest stake in protecting, recovering and maintaining their diversity and productivity because we have more ocean under our control than any other nation, an expanse greater than our land area. The biodiversity and productivity of these waters protect our coastal communities and generate many millions of jobs and many billions of dollars to our economy. Unfortunately, federal agencies have long focused mainly on their individual mandates rather than the overall health of our oceans, thereby jeopardizing the interests of the American people. A National Ocean Policy needs to direct federal agencies unambiguously to work together effectively to protect, maintain and restore the diversity and productivity of America’s marine ecosystems as economic activities in our oceans expand. -
IN THIS ISSUE GREETINGS from LA by ANDY WANG the MODERN METROPOLIS by ANDY WANG NY Vs
SPRING / SUMMER 2014 IN THIS ISSUE GREETINGS FROM LA by ANDY WANG THE MODERN METROPOLIS by ANDY WANG NY vs. LA by SIMON DOONAN HAMPTONS TROPHY RENTALS by STEVEN GAINES DEMANDING MORE by JONATHAN MILLER CONTRIBUTORS SIMON DOONAN is the Creative Ambassador at Large for Barneys New York, writer, bon vivant, window dresser, and fashion commentator. Simon has worked in fashion for over 35 years. He has written regularly for the New York Observer and the Daily Beast, as well as authored five books, including his latest, Gay Men Don’t Get Fat. ANDY WANG covered luxury real estate and destinations for a decade at the New York Post, where he edited the residential Real Estate and Travel sections. At the Post he helped launch both the Thursday Home section and high-end Alexa Luxe Living real estate edition. His work has also appeared regularly in publications including the New York Times, msnbc.com, Ocean Drive, and Vegas magazine. MICHAEL WITTE is one of the nation’s top comic illustrators, his work has appeared in virtually every major publication during a career of more than 30 years. A native of St. Louis, he graduated from Princeton University, where he was Art Editor of the campus humor magazine. Recently, he has embarked on a second career as a pitching/hitting consultant to several major league baseball teams. STEVEN GAINES is the bestselling author of twelve books, including Philistines at the Hedgerow: Passion and Property in the Hamptons and The Sky’s the Limit: Passion and Property in Manhattan. His journalism has appeared in Vanity Fair, the New York Observer, the New York Times, and New York Magazine.