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ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
T.Me/Booksandyou
The Mighty Wurlitzer The Mighty Wurlitzer HOW THE CIA PLAYED AMERICA Hugh Wilford HARVARD UNIVERSITY PRESS Cambridge, Massachusetts London, England Copyright © 2008 by Hugh Wilford All rights reserved Printed in the United States of America First Harvard University Press paperback edition, 2009. Library of Congress Cataloging-in-Publication Data Wilford, Hugh, 1965– The mighty wurlitzer : how the CIA played America / Hugh Wilford. p. cm. Includes bibliographical references and index. ISBN 978-0-674-02681-0 (cloth : alk. paper) ISBN 978-0-674-03256-9 (pbk.) 1. United States. Central Intelligence Agency. 2. Intelligence service—United States. 3. Cold War. 4. Political culture—United States—History—20th century. 5. Public-private sector cooperation—United States—History—20th century. 6. United States—Politics and government—1945–1989. I. Title. JK468.I6W45 2008 327.1273009Ј045—dc22 2007021587 For Patty Contents List of Illustrations ix Abbreviations xi Introduction 1 1 Innocents’ Clubs: The Origins of the CIA Front 11 2 Secret Army: Émigrés 29 3 AFL-CIA: Labor 51 4 A Deep Sickness in New York: Intellectuals 70 5 The Cultural Cold War: Writers, Artists, Musicians, Filmmakers 99 6 The CIA on Campus: Students 123 7 The Truth Shall Make You Free: Women 149 8 Saving the World: Catholics 167 9 Into Africa: African Americans 197 10 Things Fall Apart: Journalists 225 Conclusion 249 Notes 257 Acknowledgments 319 Index 321 Illustrations Illustrations follow page 148. Allen Dulles Frank Wisner, 1934 A propaganda balloon release by the National Committee for a Free Europe George Meany and Jay Lovestone Sidney Hook, 1960 Arthur Koestler, Irving Brown, and James Burnham, 1950 Still from film adaptation of Orwell’s Animal Farm Henry Kissinger, 1957 U.S. -
The Mighty Wurlitzer: How the CIA Played America
The Mighty Wurlitzer The Mighty Wurlitzer HOW THE CIA PLAYED AMERICA Hugh Wilford HARVARD UNIVERSITY PRESS Cambridge, Massachusetts London, England Copyright © 2008 by Hugh Wilford All rights reserved Printed in the United States of America First Harvard University Press paperback edition, 2009. Library of Congress Cataloging-in-Publication Data Wilford, Hugh, 1965– The mighty wurlitzer : how the CIA played America / Hugh Wilford. p. cm. Includes bibliographical references and index. ISBN 978-0-674-02681-0 (cloth : alk. paper) ISBN 978-0-674-03256-9 (pbk.) 1. United States. Central Intelligence Agency. 2. Intelligence service—United States. 3. Cold War. 4. Political culture—United States—History—20th century. 5. Public-private sector cooperation—United States—History—20th century. 6. United States—Politics and government—1945–1989. I. Title. JK468.I6W45 2008 327.1273009Ј045—dc22 2007021587 For Patty Contents List of Illustrations ix Abbreviations xi Introduction 1 1 Innocents’ Clubs: The Origins of the CIA Front 11 2 Secret Army: Émigrés 29 3 AFL-CIA: Labor 51 4 A Deep Sickness in New York: Intellectuals 70 5 The Cultural Cold War: Writers, Artists, Musicians, Filmmakers 99 6 The CIA on Campus: Students 123 7 The Truth Shall Make You Free: Women 149 8 Saving the World: Catholics 167 9 Into Africa: African Americans 197 10 Things Fall Apart: Journalists 225 Conclusion 249 Notes 257 Acknowledgments 319 Index 321 Illustrations Illustrations follow page 148. Allen Dulles Frank Wisner, 1934 A propaganda balloon release by the National Committee for a Free Europe George Meany and Jay Lovestone Sidney Hook, 1960 Arthur Koestler, Irving Brown, and James Burnham, 1950 Still from film adaptation of Orwell’s Animal Farm Henry Kissinger, 1957 U.S. -
Theatre Artists
Vol. 48, No. 2, Winter–Spring 2020 IN THIS ISSUE Why MacDowell NOW? New Column 2 Author and Visual Artist Nell Painter Named New Chair 3 Grammy Wins and Nominations 4 Laurie Anderson and Margaret Atwood Talk Creativity 6 Architects | Composers | Filmmakers | Interdisciplinary Artists | Theatre Artists | Visual Artists | Writers 100 High Street, Peterborough, NH 03458-2485 NH Peterborough, Street, High 100 PETERBOROUGH, NH PETERBOROUGH, PERMIT NO. 55 NO. PERMIT PAID U.S. POSTAGE U.S. NON-PROFIT ORG. NON-PROFIT WHY MACDOWELL NOW? At MacDowell with James Baldwin, to Stop and Do Nothing In Order to Start Anew I drove up to MacDowell from New Jersey in early November 2019 with only a beginning of an idea of what I wanted to do. My 2010 book, The History of White People, was still attracting readers. My main point in that book was the constantly changing nature of racial identity, of white identity. Now Trump, campaigning as a white savior and governing as a feckless autocrat, was validating my point and forcing millions of Americans who had thought of themselves as individuals to discover their race. Within Trump’s translucent appeals to white resentment lodged the identity of whiteness, an identity Nazis and white nationalists had, inconveniently, already loudly claimed. Before Trump, most white Americans had assumed that only other Americans, black Americans first and foremost, had race and all its disabilities. Now I needed to talk LETTER FROM THE DIRECTOR about white identity in the time of Trump. Luckily for me, MacDowell offered a perfect place to begin a new project, Why MacDowell a place to begin again, to stop and do nothing in order to start a project anew. -
STEIN on WRITING
Sol Stein STEIN on WRITING STEIN ON WRITING. Copyright © 1995 by Sol Stein, All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y. 10010. Production Editor: David Stanford Burr Design: Pei Loi Koay Library of Congress Cataloging-in-Publication Data Stein, Sol. Stein on writing : a master editor of some of the most successful writers of our century shares his craft techniques and strategies by Sol Stein. p. cm. ISBN 0-312-13608-0 1. Authorship. I. Title. PN151.S84 1995 808’.02—dc20 95-31793 CIP First Edition: December 1995 10 9 8 7 6 5 4 3 2 1 For Liz, who knows better, with love Acknowledgments I am grateful for the experienced advice on this book, as on many of my other books, from Patricia Day and Elizabeth Day Stein. My editors at St. Martin’s Press, Tom McCormack and Marian Lizzi, provided me with both encouragement and thoughtful suggestions, as did Loretta Hudson. For their insights, I am indebted beyond easy measure to the writers famous, infamous, and not-yet-known, as well as the teachers, readers, and students with whom I shared a life of editorial work and joy, and from whom I learned much of what is between these covers. Contents Acknowledgments............................................................................................................... 4 Contents -
Trilling's Students in the 1950S Josh
Letters of Recommendation: Trilling’s Students in the 1950s Josh Lambert Lionel Trilling’s career as myth The story of Lionel Trilling’s career has been told so many times—by memoirists, literary scholars, intellectual and cultural historians, critics, and essayists of every conceivable stripe—that it might be fair to call it one of the central myths of American intellectual culture in the twentieth century. In outline, it usually goes something like this: Trilling (1905-1975), the son of Orthodox Jewish, unusually Anglophilic immigrants, grew up in Queens, matriculated at Columbia, and in his twenties began to publish short stories and reviews in The Menorah Journal, a Jewish magazine. In the early 1930s, he turned decisively away from the journal and what it represented: without ever desiring to deny that he was Jewish, he sought less parochial venues in which to explore questions about literature and politics, and explicitly denied that Jewishness influenced or inspired him.1 In the years that followed, he finished and published his dissertation on Matthew Arnold, and gained a reputation for reviews and essays in Partisan Review and other magazines. He was awarded a professorship in English at Columbia and tenured in that position (which many accounts emphasize was a first for a Jewish person).2 In the 1940s, he published a handful of short stories and a novel, The Middle of the Journey (1947). Reviews of the novel were tepid, and some readers questioned why Trilling had conspicuously avoided identifying any of its main characters as Jews.3 He did not publish any fiction after that, but went on to produce increasingly widely read essays and collections of criticism treating major touchstones of European and American culture, which included The Liberal Imagination (1950), The Opposing Self (1955), Beyond Culture (1965), and Sincerity and Authenticity (1972). -
Study Guide Contents Director of Community Engagement & Education Joann Yarrow (315) 443-8603
Study Guide Contents Director of Community Engagement & Education Joann Yarrow (315) 443-8603 3.) Production Information Associate Director of Education 4.) Letter from Community Engagement and Education Team Kate Laissle (315) 442-7755 5.) Educational Outreach at Syracuse Stage 6.) Synopsis Group Sales & Student Matinees Tracey White 7.) Meet the Playwright (315) 443-9844 8.) Meet the Director 9.) James Baldwin Box Office (315) 443-3275 11.) Evolution of LaGuardia Airport 12.) Harlem, 1940s To Donate To Our Education Programs: 13.) Paris, 1940s Wendy Rhodes Director of Development 14.) Baldwin and the Civil Rights Movement 315-443-3931 15.) People to Know [email protected] 16.) Baldwin’s Work and Speeches Research and text by J.R. Pierce 17.) Questions for Discussion Designed by Kate Laissle 18.) Elements of Drama 19.) Elements of Design 20.) Sources 2 | SYRACUSE STAGE EDUCATION Dear Educator, The best way of learning is learning while you’re having fun. Live theatre provides the opportunity for us to connect with more than just our own story, it allows us to find ourselves in other people’s lives and grow beyond our own boundaries. While times are different, we still are excited to share with you new theatrical pieces through pre-recorded means. We’re the only species on the planet who makes stories. It is the stories that we leave behind that define us. Giving students the power to watch stories and create their own is part of our lasting impact on the world. And the stories we choose to hear and learn from now are even more vital. -
Introduction to the 2021 Edition
Introduction to the 2021 Edition When I began the research for Talking at the Gates, in January 1988, the book-length bibliography on James Baldwin could be counted on the fin- gers of one hand. There was a short academic study by the Nigerian writer Stanley Macebuh (1973); two assortments of critical essays—in one case original, in the other gleaned from journals; a Twayne United States Authors volume; and a lively biography by Fern Marja Eckman that had its origins in a series of articles published in the New York Post in 1966. The mention of The Furious Passage of James Baldwin at the dinner table during my first visit to Baldwin’s home in St-Paul de Vence prompted eye- rolling on his part and a sardonic comment from his assistant Bernard Hassell, with the words “Jimmy’s biographer” held at arm’s length in invis- ible quotation marks. I recently reread it, however, and enjoyed again the up close, honest portrait it presents of a life lived at a dangerous pace in the mid-1960s. Shortly after Baldwin’s death, on November 30, 1987,* the critical study Stealing the Fire by Horace Porter was published, and another journalist, W. J. Weatherby, set to work on a biography, James * Baldwin’s official date of death is often given as December 1, a Tuesday. I heard it announced on the nine o’clock news on the BBC that morning. In the evening, I telephoned Bernard at St-Paul de Vence and was told that “Jimmy passed” the previous night. -
University Microfilms. a XEROX Company, Ann Arbor. Michigan
71-22,452 BURMAN, Howard Vincent, 1942- A HISTORY AND EVALUATION OF THE NEW DRAMATISTS COMMITTEE. The Ohio State University, Ph.D., 1971 Speech-Theater University Microfilms. A XEROX Company, Ann Arbor. Michigan © Copyright by Howard Vincent Burman 1971 A HISTORY AND EVALUATION OF THE NEW DRAMATISTS COMMITTEE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Howard Vincent Burman, B.A* ***** The Ohio State University 1971 Approved by Adviser Division of Theatre ACKNOWLEDGMENTS The author wishes to express his appreciation to the many persons whose assistance has contributed to the completion of this dissertation* Special thanks are due to Mrs. Letha Nims and the present and former members of the New Dramatists Committee particu larly Robert Anderson, Paddy Chayefsky, Mary K, Frank, the late Howard Lindsay, and Michaela 0*Harra» who generously made both their time and files available to the author; to Dr. David Ayers for proposing the topic; to my advisers Drs. Roy Bowen, Arthur Housman and John Morrow for their prompt and valuable advice and direction; to Mrs. Tara Bleier for valuable re-writing assistance; to Mrs. Irene Simpkins for expert final typing and editing; to Mrs. Susan Holmes for her critical reading; to Mrs. Mary Ethel Neal for "emergency" typing aid; to my brother-in-law Frank Krebs for his "messenger" service; and to the U.S. Post Office for not losing my manuscript during its many cross-country trips. Also, to my wife, Karen, who, in addition to devoting countless hours of editing, proofreading and typing, has been a inexhaustible source of advice and encouragement. -
I Am Not Your Negro
[DATE] THE LIBRARY OF CONGRESS [Company address] I Am Not Your Negro Curriculum Guide “Freedom is not something that anybody can be given. Freedom is something people take, and people are as free as they want to be” ― James Baldwin “I love America more than any other country in the world and, exactly for this reason, I insist on the right to criticize her perpetually.” ― James Baldwin “To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.” ― James Baldwin “I remember when the ex-Attorney General, Mr. Robert Kennedy, said it was conceivable that in 40 years in America we might have a Negro President. That sounded like a very emancipated statement to white people. They were not in Harlem when this statement was first heard. They did not hear the laughter and bitterness and scorn with which this statement was greeted. From the point of view of the man in the Harlem barber shop, Bobby Kennedy only got here yesterday and now he is already on his way to the Presidency. We were here for 400 years and now he tells us that maybe in 40 years, if you are good, we may let you become President.” ― James Baldwin Page | 2 Table of Contents A Message from the Director 4 Who Was James Baldwin? 8 James Baldwin the Activist: The Pen Is Mightier 9 Medgar, Malcolm, Martin 15 The Influence of Educators, Arts, and Culture on James Baldwin 23 Baldwin and the Importance of Letters 25 France as a Haven for African Americans 29 Major Organizations during the Civil Rights Movement 33 World Events during the Life of James Baldwin 38 Where Do We Go from Here? 41 How the Film, “I Am Not Your Negro” Can be used in the Classroom 45 Indexed Lesson Plans 48 Video Lesson Prompt Resources 50 Lesson Templates 52 Page | 3 A MESSAGE FROM THE DIRECTOR – RAOUL PECK I started reading James Baldwin when I was a 15-year-old boy searching for rational explanations to the contradictions I was confronting in my already nomadic life, which took me from Haiti to Congo to France to Germany and to the United States of America. -
Norman Mailer
Norman Mailer: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Mailer, Norman Title: Norman Mailer Papers Dates: 1919-2005 Extent: 957 document boxes, 44 oversize boxes, 47 galley files (gf), 14 note card boxes, 1 oversize file drawer (osf) (420 linear feet) Abstract: Handwritten and typed manuscripts, galley proofs, screenplays, correspondence, research materials and notes, legal, business, and financial records, photographs, audio and video recordings, books, magazines, clippings, scrapbooks, electronic records, drawings, and awards document the life, work, and family of Norman Mailer from the early 1900s to 2005. Call Number: Manuscript Collection MS-2643 Language: English Access: Open for research with the exception of some restricted materials. Current financial records and records of active telephone numbers and email addresses for Mailer's children and his wife Norris Church Mailer remain closed. Social Security numbers, medical records, and educational records for all living individuals are also restricted. When possible, documents containing restricted information have been replaced with redacted photocopies. Administrative Information Provenance Early in his career, Mailer typed his own works and handled his correspondence with the help of his sister, Barbara. After the publication of The Deer Park in 1955, he began to rely on hired typists and secretaries to assist with his growing output of works and letters. Among the women who worked for Mailer over the years, Anne Barry, Madeline Belkin, Suzanne Nye, Sandra Charlebois Smith, Carolyn Mason, and Molly Cook particularly influenced the organization and arrangement of his records. The genesis of the Mailer archive was in 1968 when Mailer's mother, Fanny Schneider Mailer, Norman Manuscript Collection MS-2643 Mailer, and his friend and biographer, Dr. -
An Analisis of the Teeatment of the Homosexual
ho, zo» AN ANALISIS OF THE TEEATMENT OF THE HOMOSEXUAL CHARACTER IN DRAMAS PRODUCED IN THE NEW YOEK THEATRE FEOM 1950 TO 1968 & Donald L. Loeffler A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOE OF PHILOSOPHY August 1969 11+ ABSTRACT The purpose of this study was to analyze the treatment of the homosexual character on the New York stage from 1950 through 1968. The study was concerned primarily with the male character who has been labeled a homosexual by the playwright and who has been presented on the stages in the established on Broadway and off-Broadway theatres in Manhattan. An evaluation of the accuracy with which the homosexual character was presented was considered. Selected publications and scientific investigations concerning homosexuality over the past twenty years were reviewed. The presentation of homosexual characters in productions on the New York stages was surveyed. Seventy- five scripts of dramas pertinent to the study were available and were analyzed with consideration of the homosexual's attitude towards himself, the family's attitude toward the homosexual, and society's attitude toward the homosexual. These seventy-five scripts were compared with the results of published psychological and sociological studies. The most significant conclusion of the study seemed to be that there was a positive relationship between homosexuality as understood in scientific study and the homosexuality as pre-' sented by playwrights. Whether by intuition or by a know ledge of scientific observation, the playwrights had presented an accurate picture of the homosexual on the stage.