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§TORY by Lloyd E
YJEIJE YJEID)JMIJEYN §TORY by Lloyd E. Klos Ted Meyn, a theatre organist whose work took him to several areas of the United States, was born in 1901 in Kansas City, Kansas. From his debut in show business in 1907 until his retirement in the sixties, his life was one adventure after another, but all so interesting that Ted agreed to work with the writer in preparing his biog raphy for publication in "THEATRE ORGAN." Ted Meyn's introduction to en tertainment began at the tender age of six, on the stage of one of his father's six nickelodians. It was not at a piano or organ, but as a participant in an amateur night, and in the most daring fashion. Tom Daley, a tight-wire acrobat and escape artist, attempted to dem onstrate his skill with a machete in splitting a potato atop a volunteer's head. Having seen the performer prac tice this feat on a block of wood, Ted leaped to the stage. The potato was placed on his head, the audience sat Ted Meyn at the console of his one-man-trio instrument with which he made appearances throughout the east in the late fifties and early sixties. Third manual controls the Wurlitzer in deathly silence, until one swish of electric piano. - (Meyn collection) the blade split the potato. Ted bowed to the audience which went wild over butcher, selling peanuts, popcorn, stead of "Hearts and Flowers " while his bravery. Daley got first prize, a Cracker Jack, and chewing gum, up little Eva was dying, he would have $5 gold piece, but Ted merely got a and down the aisles. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
The Brooklyn College Foundation Annual Report, 2004–2005
The Brooklyn College Foundation Annual Report, 2004–2005 On the cover: Architectural plan for realization of the campus design envisioned by Brooklyn College’s founding architect, Randolph Evans, in 1935. The plan proposes new entrances to Roosevelt and James Halls, a new West Quad to mirror the existing East Quad, and a new building to anchor the entire campus west of Bedford Avenue. The West Quad Project is one of several ambitious plans the College has launched to build a modern, student-centered campus conducive to learning and scholarship. Dear Friends of Brooklyn College At Brooklyn College in the last year, we have been busy building— not only the physical campus, but also the educational environment that best encourages vigorous learning and scholarship. Our priorities result largely from initiatives we launched during the first five years of my presidency—and particularly within the last twelve months. These include expanding the campus, renewing the natural sciences, and broadening our fiscal base. The physical transformation of the campus continues apace. We have doubled the size of the Morton and Angela Topfer Library Café, and it is open again 24/7. Over the summer, we renovated and modernized eleven lecture halls in Ingersoll Hall. We move ahead with the West Quad Project, laying out a new quadrangle and pouring the foundation for a new building. We have begun a major rebuilding of our science facilities and our science curriculum. The project will proceed in two stages. First, Roosevelt Hall will be transformed into a science building; then we will renovate Ingersoll Hall. The science faculty meanwhile has been discussing and defining the shape science teaching and research should take at the College. -
Wendy Oxenhorn (January 1, 1950
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. WENDY OXENHORN NEA Jazz Master (2016) Interviewee: Wendy Oxenhorn (January 1, 1950 - ) Interviewer: Ted Panken Engineer: Ken Kimery Date: March 24, 2016 Depository: Archives Center, National Music of American History, Smithsonian Institution. Description: Transcript. 40 pp. [March 24th, PART 1, TRACK 1] Panken: I am Ted Panken, and I am in the apartment of Wendy Oxenhorn for her interview for the NEA Oral History Project for NEA Jazz Masters, which she was appointed for 2016. She’s the Executive Director of the Jazz Foundation of America, and is a blues harmonica player, and many other things that we will get to in the course of this interview. Welcome, Wendy, and thank you for making your place available to us. Oxenhorn: Sure. It’s a great honor. Panken: There are two broad themes I’d like to discuss during the course of our conversation... [START-OVER] Panken: I’m Ted Panken, and I am representing the National Endowment of the Arts for an interview this afternoon, March 24, 2016, with Wendy Oxenhorn, one of the four NEA Jazz Masters for the year 2016. She is the Executive Director of the Jazz Foundation of America and a blues harmonica player, and we are going to speak for the next couple of hours about her personal biography, which is quite rich and fascinating, and also to go into some detail about what the Jazz Foundation of America does, an extraordinary institution whose growth and evolution she is largely responsible for. -
King Oliver, Jelly Roll, and Satchmo 14 3 Bix, Austin High, and Chicago Style 31 4 Pops and Smack 41
THE JAZZ AGE This page intentionally left blank ARNOLD SHAW THE JAZZ AGE Popular Music in the 1920's Oxford University Press New York Oxford OXFORD UNIVERSITY PRESS Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1987 by Ghita Milgrom Shaw First published in 1987 by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 First issued as an Oxford University Press paperback, 1989 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press, Inc. Library of Congress Cataloging-in-Publication Data Shaw, Arnold. The Jazz Age. Bibliography: p. Includes index. 1. Music, Popular (Songs, etc.)—United States—History and criticism. 2. Jazz music—United States. 3. Musical revue, comedy, etc.— United States. 4. United States—History—1919-1933. I. Title. ML3477.S475 1987 780'.42'0973 86-33234 ISBN 0-19-503891-6 ISBN 0-19-506082-2 (pbk.) Lyrics from "Night and Day" by Cole Porter © 1921 Warner Bros. Inc. (Renewed). All Rights Reserved. Used by permission. "I've Come to Wive it Wealthily in Padua" by Cole Porter, Copyright © 1948 by Cole Porter. Copyright Renewed & Assigned to John F. Wharton, as Trustee of the Cole Porter Musical & Literary Property Trusts. Chappell & Co., Inc., owner of publication and allied rights throughout the world. -
Download- the Center for Arts Education, Chaired Ed from the Computer
www.EDUCATIONUPDATE.com AwardAward Volume XII, No. 5 • New York City • JANUARY 2007 Winner FOR ParENTS, EDucaTORS & STUDENTS Lois Wadler Schilling/ New York Life Insurance U.S. POSTAGE PAID U.S. POSTAGE V P PRSRT STD. PRSRT OO ermit No.500 RH EES , NJ NY LIFE GIVES $10 M TO COLIN POWEll CENTER, CUNY EDUCATION UPDATE ■ FOR ParENTS, EDucaTORS & STUDENTS ■ JANUARY 2007 GUEST COMMENTARY Education updatE Mailing Address: 17 Lexington Avenue, A1207 “Racial Balance” Programs: The New Racism New York, NY 10010 By DEBI GHatE and relegated to “colored” institutions. This was potential. By decisively rejecting the claim that Email: [email protected] Earlier this month the Supreme Court heard a monstrous injustice. It mattered not how intel- members of a racial group (who have nothing in www.EducationUpdate.com arguments by two public school boards seek- ligent or talented a student was, it mattered not common but a physiological attribute) are inter- Tel: 212-477-5600 Fax: 212-477-5893 ing its sanction of “racial balance” programs. where he lived or what his study interests were-- changeable. And by denouncing “diversity” as an If upheld, the boards will possess the power to he had black skin. anti-value—and as the new racism. PUBLISHER & EDITOR IN CHIEF: shuffle around students of various racial back- In the supposed name of correcting this wrong, A private school, such as the Kamehameha Pola Rosen, Ed.D. grounds in order to forcibly “integrate” them and today’s public school boards claim the need for School—which recently won its federal court ADVISORY COUNCIL: create a “diverse community.” “racial balance” programs. -
Eddie Pepitone, Robert Pepitone, Sarah Silverman, Patton Oswalt, Zach Galifianakis, Jen Kirkman, B.J
Posted: Thu., Feb. 21, 2013, 6:44pm PT New U.S. Release The Bitter Buddha (Documentary) By JOE LEYDON A Gravitas Ventures release of a Cheremoya Films production. Produced by Mikki Rosenberg, Steven Feinartz. Executive producers, Daniel Smekhov, Spencer Willis, Brad Rutter, Neil Bagg. Co-producers, Matthew Braun, Tyler Condon. Directed by Steven Feinartz. With: Eddie Pepitone, Robert Pepitone, Sarah Silverman, Patton Oswalt, Zach Galifianakis, Jen Kirkman, B.J. Novak, Paul Provenza, Dana Gould, Todd Glass. By turns robustly amusing and wistfully melancholy, "The Bitter Buddha" persuasively argues that attention must be paid to Eddie Pepitone, a fiftysomething Los Angeles standup comic who hasn't yet graduated from cult favorite to breakthrough success. Widely admired as "a comic's comic" by better-known peers -- some of whom, including Sarah Silverman and Patton Oswalt, offer oncamera testimonials -- Pepitone appears understandably frustrated by his relative obscurity, but determined to pursue what he unironically calls "the big career." Steven Feinartz's well-crafted docu may provide the boost he needs if this pic finds the aud it merits in VOD and limited release. Pepitone -- whose appearance and demeanor suggest an angrier yet more enlightened version of Paulie, Rocky Balboa's underachieving brother-in-law -- rants about humiliating auditions and unresponsive audiences. But the picture isn't entirely bleak: He seems to land frequent if not remunerative club gigs and online-media work. And while he admits to battling personal demons, he also acknowledges his "flash anger" is high-octane fuel for his humor. Snippets of his show at Manhattan's Gotham Comedy Club indicate why he might be an acquired taste, and why those who acquire that taste find him hilarious. -
Ralph Edwards Productions Production Records PASC.0336
http://oac.cdlib.org/findaid/ark:/13030/kt767nf2nr No online items Finding Aid for the Ralph Edwards Productions production records PASC.0336 UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2020 July 27. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Ralph Edwards PASC.0336 1 Productions production records PASC.0336 Contributing Institution: UCLA Library Special Collections Title: Ralph Edwards Productions production records Creator: Ralph Edwards Productions Identifier/Call Number: PASC.0336 Physical Description: 156.5 Linear Feet(313 boxes) Date (inclusive): 1940-circa 2001 Abstract: The collection consists of materials pertaining to the various Ralph Edwards Productions projects such as Truth or Consequences , This is Your Life, and Name That Tune . Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.