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Media Contact: Liz Bodet 504-583-5550 [email protected] TABLE OF CONTENTS Broussard’s Family Tree.............................................................................. 1 Cocktails Through the Decades...................................................................... 2 Coffee Menu......................................................................................... 3 Spice Menu.......................................................................................... 4 Rice Menu........................................................................................... 5 Pecan Menu.......................................................................................... 6 Citrus Menu: Reveillon............................................................................... 7 819 RUE CONTI | 504.581.3866 | BROUSSARDS.COM As Broussard’s commemorates 100 years of fine dining, we also celebrate our native foods and traditions that share the same rich history as our grande dame restaurant. Louisiana’s hot, humid summers and short, mild winters allow for a variety of sweet citrus to be grown and then harvested in late fall or early winter, just in time for Reveillon. Chef Jimi Setchim showcases Louisiana citrus with several special menu items on the traditional Reveillon menu. “Walk through any neighborhood in New Orleans and you’ll pass countless citrus trees. Some sprouted up on their own long ago. Some were planted by home gardeners because of how well they grow in Louisiana. All of them are stunning— the rich green leaves, -
"Hello, Dolly!" at Auditorium Theatre, Jan. 27
AUDITORIUM THEATRE ROCHESTER JANUARY 27 BROAD'lMAY TO FEBRUARY 1 THEATRE LEAGUE 1969 YVONNE DECARLO m HELLO, gOLL~I llng1na1ly D1rected and ChoreogrJphPd by GOWER CHDIPIOII Th1s Pr oductiOn D1rected by LUCIA VICTOR ~tenens FEATURING OUR SATURDAY NITE SPECIAL Prime Rib of Beef Au Jus Baked Potato with Sour Cream & Chives Vegetable - Salad - Coffee $3.95 . ALSO MANY OTHER DELICIOUS ITEMS Stop in for dinner before the show or after the show for a late evening anack SERVING 7 DAYS & NITES FROM 11 A.M. till 2 A.M. 1501 UNIVERSITY AVE . EXTENSION PLENTY OF FlEE PAIICING For Reservations Call: 271-9635 or 271-9494 PARTY AND BANQUET ACCOMMODATIONS Consult Us For Your Banquets And Part i es . • • we w i ll be glad to hove you . Wm. Fisher, Budd Filippo & Ken Gaston proudly present YVONNE DE CARLO in The New York Critics Circle & Tony Award Winn1ng Mus1cal "HELLO, DOLLVI 11 Book IJy Music & Lyrics by MICHAEL STEW ART JERRY HERMAN Based on the originc~l play by Thornton Wilder also starring DON DE LEO with Kathleen Devine George Cavey Rick Grimaldi Suzanne Simon David Gary Althea Rose Edie Pool Norman Fredericks Settings Designed by Lighting Consultant Costumes by Oliver Smith Gerald Richland freddy Wittop Dance & Incidental Music Orchestration by Arrangements by Musical Dirt!cliun by Phillip J. Lang Peter Howard Gil Bowers [)ances Staged for this Production hy Jack Craig Original Choreography & Direction by GOWER CHAMPION This Production Staged by Lucia Victor PHIL'S PANTRYS J A Y ' S "REAL DELICATESSENS" Fresh Sliced Cold Meats D I N E R Home Made Salads & Baked Beans lWO LOCAnONS 2612 W. -
Maston Tiki Cruise
ARTIFACTS_HawaiianCulture.doc 5/24/06 6:34 PM Page 22 SAVAGE COLLECTION The Hawaiiana Ware collection, which features scenes from Eugene Savage’s murals, is no longer available in stores but can be ordered through the Homer Laughlin China Company (800.452.4462). Savage’s works can also be seen at www.hawaiian-art.net and www.aloha-cruz.com. artifacts / Tiki-chotchke SAVAGE ART, TIKI CULTURE by DAVE HOEKSTRA The dusty country town His life was a passage to adventure. Savage, who died in by Savage in his New York studio and shipped to his 1978 at the age of eighty-five, is enjoying a rebirth hometown. The north wall mural is The Disbursement of of Covington, Indiana, through tiki and Hawaiiana culture. Savage’s 1930s air- Tax Dollars, an irreverent look at the way the govern- brush illustrations were used for menu cover art in the ment manages affairs. Savage painted his favorite has never been associat- dining rooms of the now-defunct Matson Lines Cruise Covington teacher Olive Coffeen into the mural. She is ed with tiny bubbles, big Ships. Original Savage cruise line menus fetch between in the Guinness Book of World Records for holding the shorelines $75 and $200 on eBay. His mural-like menus employ longest teaching tenure at sixty-nine years. luaus or grass skirts vivid colors, whimsical faces and flowing lines that move In the bottom right-hand corner of the mural, Savage to a high tide. painted a naked woman, stripped of all earthly goods swaying in the moon- The Matson’s luxury liner was the S.S. -
Tiki-Leaflet-2019.Pdf
Cheers to the nature of Tiki Cheers to Tiki spirits The Tiki trend started in the 20th century as a result of Polynesian-styled restaurants and bars booming in the United States, which soon spread all over the world. Great examples in the cocktail industry were: Don the Beachcomber and Trader Vic’s, which still inspire us today. Historically, Tiki was the first man on earth created by the gods in Māori mythology which is a great part of the Polynesian culture. Polynesian culture is closely linked to nature, in particular the Pacific. The Polynesians were renowned for their seafaring and navigation skills and explored a large part of the islands in the Pacific Ocean. A lot of the ancient Hawaiian gods looked like natural occurrences, due to their strong connection with nature. For them, this explained that also the flowing of lava from volcanoes was part of the Earth’s creation. They had great respect for nature and all living creatures, unfortunately the later generations were less respectful. Since those ancient times a lot has changed and in the last decades we gained our respect for nature and the Earth’s well-being back. A special thanks to: Bar: Nu Lounge, Bologna Italy 2 Bartender: Elis Carriero 3 Breaking old patterns Daniele Dalla Pola* @danieledallapola Kahiko Mai Tai Kahiko Mai Tai Kahiko Zombie Kahiko Zombie 35.5 CL · 12 OZ ≈ 35.5 CL · 12 OZ ≈ 39.9 CL · 13.5 OZ ≈ 39.9 CL · 13.5 OZ ≈ h95.5 mm · Ø89.4 mm ≈ h95.5 mm · Ø89.4 mm ≈ h179.4 mm · Ø62.8 mm ≈ h179.4 mm · Ø62.8 mm ≈ No. -
"To 'P' Or Not to 'P'?": Marking the Territory Between Pacific Islander and Asian American Studies
7R 3 RU1RWWR 3 "0DUNLQJWKH7HUULWRU\%HWZHHQ3DFLILF,VODQGHUDQG$VLDQ $PHULFDQ6WXGLHV 9LFHQWH0'LD] -RXUQDORI$VLDQ$PHULFDQ6WXGLHV9ROXPH1XPEHU2FWREHUSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2, KWWSVGRLRUJMDDV )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by University of California , Santa Barbara (18 Dec 2016 05:24 GMT) TO ‘P’ OR NOT TO ‘P’? • DIAZ • 183 “TO ‘P’ OR NOT TO ‘P’?”: Marking the Territory Between Pacific Islander and Asian American Studies1 vicente m. diaz STOLE THIS TITLE FROM a great Pinoy joke told to me by Gus Espiritu. Its I humor comes from the particularities of Filipino rearticulation of Shakespeare’s famous question (the joke also resonates among Carolin- ian speakers from Micronesia, and perhaps among many other Austronesian-based Pacific Island language speakers), but I also want to suggest that its stronger force likewise comes from a kind of lightness of being that self-mockery can make of ontological fundamentalism. Self-mockery is a serious weapon of cultural resilience and resis- tance—and as someone waiting in line, somewhat impatiently, I want to re-aim the line of “P’s” trajectory in the direction of another culturally and historically specific mode of becoming. The converted question, “To P or not to P?” becomes, then, my way of marking the present territory, a slippery, even sticky sea of historical, political, and cultural determina- tions that exists between Asian Americans and Pacific Islanders in a more turbulent ocean of United States imperialism and colonialism. Choppy too, of course, is the no less innocent world of institutionalized study of these struggles, no matter how noble the motives may be. In this essay, I want to address the tensions raised by the “P Ques- tion” in relation to Asian American Studies from the vantage point of one who has been located in Pacific Studies as viewed from the Islands, par- ticularly from Guam in Micronesia, where I was born and raised, and where I taught in the 1990s. -
1§1 Directed by Lyle W
- 1§1 Directed by Lyle W. Nash THE PLAYERS ... Greta Nissen has been located and lost TO readers are asking about William Janney ... They want again. Film buffs L. Allan Smith and George Smith traced and to know of newsreel collectors or buffs ( especially the silent contacted the elusive petite orwegian star living in Southern era) . .. One reader keeps hoping someone will find a collector California. Recently she was reported living in the Santa Ynez, who knows about lost First National films (silent) . .. Another Calif., area but her whereabouts at the moment are un seeks the whereabouts of Davey Lee who was Sonny Boy in the known ... Kid movie actor Dick Winslow still performs his Singing Fool of 1928. Information would be shared for one and one-man-band act in Hollywood night spots ... lsh Kabibble, all. sad-eyed-comic musician with Kay Kyser's band, is now a Honolulu realtor ... Iris Adrian , as full of zest and the love of living as he wa in the early days of sound films, loves to meet IN 1923 John Hampton knew that his career would center her loyal fan . around silent films. He started to show them in Oklahoma. He has been doing that for the last 51 years. For the last 31 years he has been operating his Silent Theatre in Los Angeles. John Historian-writer William E. Julison, Grand Forks, North and his wife, Dorothy, enjoy the rare modern film that is clean, Dakota , completed his 1973 poll on all-time Western film but both have a special fondness for the silent movie. -
DINNERS ENROLL TOM SAWYER.’ at 2:40
1 11 T 1 Another Film for Film Fans to Suggest Gordon tried out in the drama, "Ch.!« There Is dren of Darkness.” It was thought No ‘Cimarron’ Team. Janet’s Next Role. in Theaters This Week the play would be a failure, so they Photoplays Washington IRENE DUNNE and ^ Wesley Ruggles, of the Nation will * fyJOVIE-GOERS prepared to abandon It. A new man- who as star and director made be asked to suggest the sort of agement took over the property, as- WEEK OP JUNE 12 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY cinematic history in 1931 In “Cimar- Stopping picture In which little Janet Kay signed Basil Sydney and Mary Ellis "Bit Town Olrl." "Manneouln." "Manneouln." are to be "Naughty Marietta" "Haughty Marietta" "Thank You. Ur. ron," reunited as star and Chapman. 4-year-old star dis- to the leads and Academy "alfm*83ifl£L'‘ Jon Hall in Will Rogers in Will Rosen in and ‘•The Shadow of and "The Shadow of Moto.” and "Ride. recently they scored a Broad- " director of a Paramount to Sth »nd O Sts. B.E, "The Hu-rlcane." "The Hurricane." _"David Harum "David Harum."_Silk Lennox."_ Silk Lennox." Ranter. Ride." picture covered by a Warner scout, should be way hit. This Lad in } into in the Rudy Vailee Rudy Valle? in Rudy Vallee in Myrna Loy. Clark Oa- Myrna Loy. Clark Oa- Loretta Yoon* in go production early fall. next seen on the screen. Miss So It Is at this time of Ambassador •■Sm* "Gold Diggers in "Gold Diggers in "Oold in ble and ble Chap- only yea# DuE*niBin Diggers Spencer Tracy and Spencer Tracy "Four Men and a The announcement was made after man the 18th «nd OolumblA Rd. -
A Careful Embrace Race, Gender, and the Consumption of Hawaiʻi and the South Pacific in Mid-Century Los Angeles
CHAPTER 18 A Careful Embrace Race, Gender, and the Consumption of Hawaiʻi and the South Pacific in Mid-Century Los Angeles Shawn Schwaller Abstract This chapter examines interconnections between race, gender, and global politics in mid-century metropolitan Los Angeles’s Hawaiian and South Pacific-themed restau- rants and cocktail lounges. After opening for business in the early 1930s, Don the Beachcomber in Hollywood was the first establishment to bring a real and imagined Hawaiʻi and South Pacific into mainland American food and drink culture. This chapter argues that gendered and racialized fantasies of the South Pacific played a key role in the popularity of these establishments. They allowed patrons to experience an exotic, yet safe and predictable Hawaiʻi and South Pacific within the continental United States during World War II. Chinese, Filipino Americans and Polynesians contributed to the creation and success of these establishments as chefs, bartenders, and musicians. However, racialized and sexualized stereotypes of Chinese and Filipino American ser- vility and Polynesian hypersexuality overshadowed this influence. Keywords Hawaiʻi – South Pacific – Los Angeles – food and drink culture – white heterosexual masculinity – Asian American history – business – labor – architecture and interior design “If you can’t get to paradise, I’ll bring it to you,” claimed Donn Beach, owner and operator of the first South Pacific-themed restaurant and cocktail lounge in the mainland United States.1 Beach opened his establishment, Don the Beachcomber, in 1930s Hollywood, igniting a trend that came to be known as 1 Jod Kaftan, “Drink in Paradise,” Los Angeles Times Magazine, February 2010, http://www .latimesmagazine.com/2010/02/drink-in-paradise.html (accessed July 24, 2014). -
“If Music Be the Food of Love, Play On
What’s in a Name? As Shakespeare had Juliet say, “That which we call a rose by any other name would smell as sweet.” Maybe so, but in New Orleans there’s more to a name than meets the ear. The Crescent City is home to many sweet-sounding names, especially those of its ladies. What could be more beautiful names than those of Voudou practitioner Marie Laveau or sarong siren Dorothy Lamour? Actually Dorothy was born Mary Leta Dorothy Slaton, but her parents’ marriage lasted only a few years. Her mother re-married a man named Clarence Lambour, and Dorothy took his last name. Lambour became Lamour, a much better choice in that it oozes love (toujours l’amour). She took it along with her on all those “Road” pictures with Bob Hope and Bing Crosby. Dorothy Lamour (1914 – 1996), New Orleans’ own siren in a sarong Inducted into the Rock and Roll Hall of Fame after having recorded over 60 singles for the Imperial label, placing 40 songs in the R&B top 10 charts and 11 top 10 singles on the pop charts, Antoine Dominique “Fats” Domino, Jr. is a New Orleans musical legend with a Creole name to match. It flows from the lips mellifluously like a beignet washed down with café au lait. A sure sign that a name has star potential is the fact that someone has tried, in some way, to usurp its power. In the case of “Fats”, American Bandstand host Dick Clark’s wife Barbara took the name, changed it around ever so slightly and bestowed a new name to an up-and-coming Rock and Roll personality. -
Marlon Riggs
Speaking the Self: Cinema of Transgression Flaming Creatures “At once primitive and sophisticated, hilarious and poignant, spontaneous and studied, frenzied and languid, crude and delicate, avant and nostalgic, gritty and fanciful, fresh and faded, innocent and jaded, high and low, raw and cooked, underground and camp, black and white and white on white, composed and decomposed, richly perverse and gloriously impoverished, Flaming Creatures was something new. Had Jack Smith produced nothing other than this amazing artifice, he would still rank among the great visionaries of American film.” [J. Hoberman] Jack Smith: Flaming Creatures, 1963 • Writer, performance artist, actor. Classic “downtown” underground personality. • Smith endorsed a realm of “secret flix” ranging from B-grade horror movies to Maureen O'Hara Spanish Galleon films, from Busby Berkeley musicals to Dorothy Lamour sarong movies. Singled out Universal Pictures' “Queen of Technicolor,” Maria Montez, star of exotic adventure films such as Arabian Nights (1942), Ali Baba and the Forty Thieves (1944), and Cobra Woman (1944). • Loose tableau set to scratchy needle-drop music: “polymorphous perverse.” • Banned in New York state, 1964. Vigorous defense by Susan Sontag and others. Outsiders • David Lynch: “John Waters opened up an important space for all of us.” Pink Flamingos • Why has this work come to be celebrated? Midnight Movie shock value or esthetic/cultural importance? • What role does this film play in the lives of its actors? • Film as an esthetic experience vs. film as a liberatory social rallying cry. Compare to punk music. • How does this film address its audience? How might “specific, historical audiences” read this differently? Outsiders “The term camp—normally used as an adjective, even though earliest recorded uses employed it mainly as a verb—refers to the deliberate and sophisticated use of kitsch, mawkish or corny themes and styles in art, clothing or conversation. -
Marquee Sponsor
TIKI KON: FANTASY ISLAND JULY 13-14, 2018 RED LION ON THE RIVER PORTLAND, OR Sponsorship Kit Photos ©2017 Kamala Kingsley Celebrating Our Tiki Heritage Tiki Kon is a weekend celebration of exotic tropical destinations and the Tiki bars, cocktails, art, music and fashions they inspire. Now in its 15th year, Tiki Kon gets its inspiration from the highly-stylized Polynesian-themed restaurants and lounges that exploded in popularity in the decades after WWII. Those Tiki temples were a uniquely American creation, fueled by the stories and souvenirs brought back by the brave men and women serving in the Pacific Theater, and they were the heart of a pop culture phenomenon that lasted nearly 30 years. The bars were a dark and mysterious escape from everyday life, their decor was reminiscent of the South Pacific, drinks were strong and well crafted, fashions were bright and colorful, and the music was exotic. It was the golden age of the Tiki bar. Though that glory had mostly faded by the 1970s and 80s, a resurgence of interest in Tiki bars and fine craft cocktails is again making its mark on American pop culture. A new generation has taken up the Tiki torch, new themed bars and restaurants are opening all the time, and weekend events like Tiki Kon are selling out across the country. Tiki Kon started in 2002 as a small Sunday bar crawl, by a group of friends who wanted to show off and share the elaborate home Tiki bars they’d built in their basements and backyards. It now welcomes guests from the Pacific Northwest and across North America and has grown to become an exciting full-weekend gathering. -
Trails of the Cocktail 5 14 18.Pdf
Trails of the Cocktail Few cities can boast more historic significance in their cocktail culture than the Crescent City: birthplace of the Sazerac, Ramos Gin Fizz, the Grasshopper, the Hurricane, and (backed by one of the best apocryphal origin stories ever concocted) even the cocktail itself. In 1769 Spanish Colonial Governor of Louisiana Alejandro O‟Reilly issued a proclamation allowing one limonadier (lemonade seller), twelve taverns and six billiard halls to dispense alcoholic beverages. Closing time was ordained to be 8 pm, but bribes to the necessary officials extended the hours over the years. Rum came into the port of New Orleans and was taxed by the Spanish colonial government. Pat O‟s, Home of “The Hurricane” The “Hurricane”, the most popular drink at Pat O‟Brien‟s in the French Quarter, was created during World War II when liquor such as whiskey was in short supply. In order to purchase just one case of these preferred liquors, liquor salesmen compelled bar owners to purchase as many as 50 cases of rum, which was plentiful. In an effort to utilize the excess of rum, Pat O‟Brien's famous recipe emerged. The name came along soon after when a glass (shaped like a hurricane lamp chimney) was used to serve the popular rum cocktail. Don the Beachcomber (1907 — 1989), founding father of Tiki culture (Tiki bars, restaurants and nightclubs), enjoyed great popularity in the United States — mostly from the late 1940s through the mid-1960s. He and his friendly rival “Trader Vic” Bergeron are still remembered for their cultural influence.