The Yeomen of the Guard
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MERCIAD SUCCESSES RELATIVE Published Semi-Monthly by the Students of Mercyhurst College
~*^~ m Vol. XIII.. No. 2 Mercyhurst College, Erie, Pa. November 13, 1942 flemish Art Illustrated Seniors Sponsor I. On November 19, the 2nd lecture of the school year, will room ance be presented by Baron Van Der Elst. His lecture, entitled "Flemish Art of the 15th Cen Tomorrow Night Sees First Large Danc e tury," will be highlighted by the projection of full color Come one! Come all! Join the fun!{ Herejis the?first big photographs of the master Mercyhurst dance of the year—your first opportunity to pieces of Flemish Art. Baron show your school spirit. And what's more—this dance will Van Der Elst is a connoisseur determine the dances to come. For the Freshmen, this will and patron of art who delights be their first Mercyhurst dance; for the Sophs, it will be their in bringing to others a fresh last|Opportunity to cooperate^with their "big sisters"; for view of the Flemish masters. "How To Be Different" \ W the Jrs.,|they will look for ward, land backward, and listen to this! The music will He has several of the origi know what fun awaits them. be furnished by Lucille Sea- nals in his own private collec iStressed At Institute So let's not miss*this oppor brooke and her Music Makers tion. I tunity, but turn out 100%. | —a man's band with a woman \ leader. Novel? You bet! Good I The autumn Prom will be \ To him, art, especially that music? You know it! A good of his native Flanders, is a "How to Be Different" was stitute were Rev. -
Poetry Volume 1.Qxd
The Poems of Frithjof Schuon (1995-1998) The Poems of Frithjof Schuon (1995-1998) Volume 1 Adastra Stella Maris Autumn Leaves The Ring Translated from the German by William Stoddart This is a private edition printed by request only, and is not intended for sale to the general public. © World Wisdom, Inc., all rights reserved. This private edition of the poetry of Frithjof Schuon represents a first translation of the poems written during the last years of his life, as they were created in twenty-three separate volumes. For purposes of economy and space, it comprises the English translation only, without the original German. This translation is the work of William Stoddart, and is largely based on the author's dictated translations, as revised by Catherine Schuon. The order of the books follows the chronology in which they were created, rather than a grouping by collection. www.worldwisdom.com Contents Adastra 9 Stella Maris 81 Autumn Leaves 153 The Ring 237 Notes 306 Index of titles 308 Adastra A Garland of Songs Adastra As an Entry Out of my heart flowed many a song; I sought them not, they were inspired in me — O may the sound of the God-given harp Purify the soul and raise us to Heaven! May the light of wisdom unite With love to accompany our effort; And may our souls find grace: The Path from God to God, eternally. Adastra Ad astra — to the stars — the soul is striving, Called by an unstilled longing. O path of Truth and Beauty that I choose — Of God-remembrance which pervades the soul! Thou art the song that stills all longing — The light of grace; O shine into my heart! The Lord is our Refuge and our Shield — Be thou with Him and He will be with thee. -
Satan's Sibling - Poems
Poetry Series Satan's Sibling - poems - Publication Date: 2008 Publisher: Poemhunter.com - The World's Poetry Archive Satan's Sibling(15/03/1990) I am a poetry enthusiast with a variety of poetry styles. Some are love poems, some are hate poems. But I guess that love and hate are the basis of life, Aren't they? (My motto for life is 'There is no God, he is a figment of our imagination. There is no Karma, we punish ourselves. No destiny, we choose our own path. No freedom. We are bound by our own laws. For now.) www.PoemHunter.com - The World's Poetry Archive 1 1 Million Years Bc (Lyrics) They're calling me, the creatures of the nigh, Beautiful music, Animal instincts survived, the serpent tongue, so ancient before the dawn of time, Spread throughout the ages, On the blood of mankind. I've seen it all. From grace man falls, Babylon, curse of all creation, Winged serpent of the pit, Monstrosity. Ten thousand centuries ago, Cast down from heaven, To pillage below, The serpents eye, Still watching for it's easy prey, Feed upon the hopeless, the weak and afraid. I've seen it all. From grace men fall, Babylon, curse of all creation. Winged serpent of the pit, Monstrosity. 1 million yeasr bc x3 Satan's Sibling www.PoemHunter.com - The World's Poetry Archive 2 8 Line Poem (Lyrics) The tactful cactus by your window Surveys the prairie of your room The mobile spins to its collision Clara puts her head between her paws They've opened shops down West side Will all the cacti find a home But the key to the city Is in the sun that pins the branches to the sky Satan's Sibling www.PoemHunter.com - The World's Poetry Archive 3 A Desirable Complication I sit here in anguish, Silently suffering. -
Witty Songs ©Ted Schaar 2011
Witty Songs ©Ted Schaar 2011 Several years ago through eBay I bought colored-vinyl versions of The Beatles 1962-1966 (The Red Album) and The Beatles 1967-1970 (The Blue Album) from a major fan named Ed. After I paid, he asked if I would be interested in some bootlegs he had that featured sessions recorded while The Beatles were working on their amazing albums—he was willing to transfer them to CD free of charge. I mentioned in my thank you e-mail that I was old enough to have seen the Beatles when they first appeared on The Ed Sullivan Show in 1964. He replied it was "an honor" to meet someone who saw the Beatles live (Ed was born in 1966). This made me think that although those who watched The Beatles that night were part of a huge television audience—almost 74 million1—it's a set whose numbers have decreased tremendously in the 45 years that have passed. That realization, Ed's comment and generous offer to send the CDs, and the about-the-same-time coincidence of having dinner with a man named Bill who saw the Beatles perform in Milwaukee in the fall of 1964 started a chain of events that led me to write two articles. The first, "A Day in the Center of Beatlemania," is about the band's September 4, 1964, appearance at the Arena in Milwaukee. The seed for the second—this one—was planted after Ed's CDs arrived. These were interesting for their roughness and for the insights they provided into the experimentation that produced musical passages such as the unusual Paul McCartney organ part that opens and becomes the backbone of "Lucy in the Sky With Diamonds." On one I was hearing works in progress ranging from the acoustic beginning of "All Together Now" to John Lennon performing an early version of "Good Morning, Good Morning" when out of the blue comes Pete Drake, his talking guitar, and the sliding-steel-words: "I'm just a guitar, everybody picks on me." The track is from the bootleg Through Many Years that focuses on George Harrison and Ringo Starr.2 Ed had combined various bootlegs on each of the CDs he sent. -
The Mikado Program
GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) . -
Lent I March 1, 2020 9:15 Am
Lent I March 1, 2020 9:15 a.m. (pages 2-6) 11:00 a.m. (pages 7-10) A Place for Life 9:15 ORDER OF SERVICE Please turn off all electronic devices. Nursery care is available. These services are live streamed (a live video presentation) PRELUDE “Lifeline” Hillsong Young & Free Chorus: You took me from the wayside called me Your own Throwing me Your lifeline You carried me home Jesus You’re all I want You’re all I want Over the horizon is where I look beyond You’re the silver lining breaking through the storm Jesus You’re all I want You’re all I want A castaway lost in a violent sea Drifting away ‘til You rescued me You set my feet on solid ground When I lost my grip love held on tight Even my worst didn’t change Your mind My guilt and shame lost in Your grace Repeat Chorus A runaway heart in a distant land I wandered so far still to find You there There’s no escaping Your embrace With my hope locked in and future sure My life has a cause worth fighting for My soul exists to know Your Name Bridge And oh You are my hope Jesus forever You’ve forgiven my failures You are my hope You never let go Jesus forever You’ve forgiven my failures You are my hope WELCOME & ANNOUNCEMENTS CONGREGATIONAL SONG PLEASE STAND SING TOGETHER “How Deep the Father’s Love For Us” Townend How deep the Father’s love for us How vast beyond all measure That He should give His only Son To make a wretch His treasure How great the pain of searing loss The Father turns His face away As wounds which mar the Chosen One Bring many sons to glory 2 Behold the man upon a cross -
Footloose” (Rusty, Wendy Jo, Urleen, & Company) “On Any Sunday” (Rev
presents Directed Choreographed by by Lucas Rau Cynthia Parise Technical Direction by Jim Schofield CAST (in alphabetical order) Lulu………………………….…..Julia Alexander Ren McCormick……………..James Cartwright Bickle…………………………….Raymond Case Travis……………………………..Nick Culmone Principal Clark………………….Aaron Dranoff Willard Hewitt………………….Godfrey Fenton Ethel…………………………..Christina Galarza Rusty……………………………..Jacie Gonzalez Vi Moore……………………...Melanie Guerrero Coach Dunbar………………...Samuel Johnson Wendy Jo………………………….Arielle Knapp Reverend Shaw Moore…………..Shavon Lloyd Chuck Cranston…....Richard Nevarez-Guevara Cowboy Bob; Cop……………...Brandon Pierre Irene…………………….......Christina Polichetti Wes Warnicker………………………….Ian Ritter Garvin…………………………….Kevin Romero Betty Blast……………………….Kaliyah Rucker Jeter…………………………………...Justin Ruiz Eleanor………………………….Amber Sanchez Ariel Moore………………………Jewel Sanchez Urleen…………………………..Raelyn Santiago Kyle………………………………...Luke St. John COMPANY (in alphabetical order) Wanda Cheeks, Helena Eason, Patricia Genoski, Ashley Gonzalez, Nicolas Haines, Kane Huslinger, Tapply Mann, Natalie Mirville, Rose Alicea Oliveras, Jayden Santiago, Kelly Simmons, Sydney Taylor, Caroline Woodward CREW Director/Musical Director: Lucas Rau Choreographer: Cynthia Parise Technical Director: Jim Schofield Stage Manager: Nailah Airall Assistant Stage Manager: Tess Costello Set Design: Lucas Rau, Jim Schofield Light Design: Steven Thompson Soundboard operators: Jennifer Staudenmayer, Emma Trosterud Lightboard operators: Ladonna Hudson, Daniel Mulick Deck Manager: Sheema Moore -
The Mutiny at the Nore
THE MUTINY AT THE NORE. IN TWO ACTS. BY DOUGLAS JERROLD, AUTHOR OF Black Eyed Susan, Rent Day, Painter of Ghent, Prisoners of War, Ambrose Gwinnett, Bride of Ludgate, John Overy, Housekeeper, Hazard of the Die, Martha Willis, Nell Gwynne, Schoolfellows, Vidoeq, Descart, Tower of Lochlian, Smoked Miser, Ramfylde Moore Carew, Devil's Ducat, Beau Nash, Doves in a Cage, Wedding Gown, Wives by Advertisement, Statue Loves, Law and Lions, White Milliner, Drunkard's Life, Bubbles of the Day, Two Eyes between Two, Time Works Wonders, Gipsy of Derncleugh, &c, &c. WITH AN ILLUSTRATION, AND REMARKS BY D. G---- . THOMAS HAILES LACY, 89, STRAND, LONDON. REMARKS. To resist oppression is a duty that we owe to ourselves and to mankind. He who tamely submits to insult and injury, though he claim the merit of passive fortitude, forges chains for himself and his fellow men. We mean not that resistance which accompanies the word with the blow. It is the ruffian's characteristic to oppose brute force, when the evil demands discretion and policy. To choose the right means, and the proper time for employing them, belongs to the reflecting mind. No man is a Coward who smothers his resentment till its exercise becomes most effectual. The best part of moral courage is timely forbearance:— " I did not slab him,— For that were poor revenge !" While thus we advocate resistance against tyranny, we would not intrust with the illiterate the means, or the degree. To resist lawful authority is the peculiar privilege of the vulgar, who forget that their station, however humble, in society, is upheld by its due main- tainance; for gradations in fortune are as natural to man, as in stature or intellect:— " Order is heaven's first law ; and, sins confess'd, Some are, and must be, greater than the rest,— More rich, more wise ; but who infers from hence That such are happier, shocks all common sense." Your jack tar is not the most efficient legislator. -
I Have a Song to Sing O! Program.Pdf
Musical Numbers With Cat-like Tread, Upon Our Prey We Steal (The Pirates of Penzance) ...........................Ensemble I Have a Song to Sing, O! (The Yeomen of the Guard) ..................... James Mills and Sarah Caldwell Smith Am I Alone and Unobserved? (Patience)............................................... James Mills A British Tar (H.M.S. Pinafore) ................................Alex Corson, Albert Bergeret, Artistic Director Matthew Wages, David Wannen I’m Called Little Buttercup Wand’ring Minstrels (H.M.S. Pinafore) .............. Angela Christine Smith in We’re Called Gondolieri (The Gondoliers) ...................................Alex Corson and Matthew Wages Take a Pair of Sparkling Eyes (The Gondoliers) ...................................Alex Corson Oh, Better Far to Live and Die (The Pirates of Penzance) ................. Matthew Wages and Men Director: James Mills When All Night Long a Chap Remains (Iolanthe) ..........................................David Wannen Music Director & Conductor: Albert Bergeret Executive Producer: David Wannen Three Little Maids From School are We (The Mikado) .............................Rebecca Hargrove, Editor: Danny Bristoll Angela Christine Smith, Sarah Caldwell Smith Sarah Caldwell Smith, Soprano The Sun, Whose Rays are All Ablaze Rebecca Hargrove, Soprano (The Mikado) ..............................Rebecca Hargrove Angela Christine Smith, Contralto Here’s a How-de-do! Alex Corson, Tenor (The Mikado) ......................................Alex Corson, James Mills, Comic Baritone James -
Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
BOBBY CHARLES LYRICS Compiled by Robin Dunn & Chrissie Van Varik
BOBBY CHARLES LYRICS Compiled by Robin Dunn & Chrissie van Varik. Bobby Charles was born Robert Charles Guidry on 21st February 1938 in Abbeville, Louisiana. A native Cajun himself, he recalled that his life “changed for ever” when he re-tuned his parents’ radio set from a local Cajun station to one playing records by Fats Domino. Most successful as a songwriter, he is regarded as one of the founding fathers of swamp pop. His own vocal style was laidback and drawling. His biggest successes were songs other artists covered, such as ‘See You Later Alligator’ by Bill Haley & His Comets; ‘Walking To New Orleans’ by Fats Domino - with whom he recorded a duet of the same song in the 1990s - and ‘(I Don’t Know Why) But I Do’ by Clarence “Frogman” Henry. It allowed him to live off the song-writing royalties for the rest of his life! No albums were by him released in this period. Two other well-known compositions are ‘The Jealous Kind’, recorded by Joe Cocker, and ‘Tennessee Blues’ by Kris. Disenchanted with the music business, Bobby disappeared from the music scene in the mid-1960s but returned in 1972 with a self-titled album on the Bearsville label on which he was accompanied by Rick Danko and several other members of the Band and Dr John. Bobby later made a rare live appearance as a guest singer on stage at The Last Waltz, the 1976 farewell concert of the Band, although his contribution was cut from Martin Scorsese’s film of the event. Bobby Charles returned to the studio in later years, recording a European-only album called Clean Water in 1987.