Jack Benny Program 1953 Sep-Dec.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Jack Benny Program 1953 Sep-Dec.Pdf -'^:AD-IH TO THE COMMERCIAL Bv JACK BENRY Affi} TAG DI'.iEOTLYBY JACK BENNY IdAS RELEASED FflCM a>)C SOS ANGELES, BECAUSE OF TV PROGRAM BEING SEEN AT 10 P1S-LOS ANGELES TIME, RY ;KU1 016+2-1 0 1 PROGRAM $`1 REVISID SCRIPT 11~7 it /15 IJrOGC/CUSf' AbIERICAN''16SACC~O COMP~ LUCK? STRII~ TfIE JACK SRPIPIY PROGHAM SurIDas, SEPTEMW 13, 1953 CES 4 :00-4 :30 PM PDT (TRANSCRI3ED Sr PT . 9, 1953) KT R1'Y;tJ1 018410 2 THE .TA.CK BF~NNY PROGRAM AMIIdTCPN TOBACCO CO . "SEPTEMBER 13, 1953 (Transcribed September 9, 1953) OPENING COM[uIERCIAL : WILSON : The Jack Benny program . transcribed ar.d presented by Lucky Strike! (Pause) You know, friends . smoking enjoyment is all a matter of taste! And the fact of the matter is . ~ ' COLLINS ; Luckies taste better CHORUS : Cleaner, fresher, smoother COLISNS : Luckies taste better CHCRUS ; Cleaner, fresher, smoother For Lucky Strike means fine tobacco Richer tasting fine tobacco COLLINS ; Luckies taste better CHORUS : Cleaner, fresher, smoother Lucky Strike . Lucky StriKe WITSON : This is Don Wilson . You know, your enjoyment of a I cigarette depends on its taste . That's true, friends . Smoking enjoyment is all a matter of taste . And the fact of the matter,is -- Luckies taste better . cleaner, fresher, smoother . Now there are two mighty good reasons for that . The first one you already know . iS/MFT, :.ucky 1 Strike means fine tobacco . light, naturally mi':d, good-tasting tobacco . And second, Luckies are made to taste better -- made round and firm and fully packed to draw freely and smoke evenly . So, friends, if you want all the real, deep-down smoking enjoyment you can get from a cigarette -- be happy -- go Lucky! Because smoking enjoyment is all a matter of taste . And the fact of the - matter is -- Luckies taste better! . Next time, ask _°or a carton of Lucky Strike . TH 0 1 0184)0a PAvii 2 . -N- (GPENIDiG CoMMERCIP.L -- SE-PTE:MB=t 7.3, 1953) COLISf7S : Luckles taste better CHORUS : Cleaner, fresher, s moother COLLINS : Luckies taste tetter CHORUS : Cleaner, fresher, smoother Lucky Strike . Luckg Strike T R r X01 01841104- (F'_RST ROUTLhE) (AFTER COMMERCIAL, DT.ISIC UP AND DO'rIN) . DON : THE LUCKY STRDSE PROGRAM, STARRING JACK BENNY . .WITH MARY LSVINGSTONE, ROCHESTE3, DENNIS DAY, BOB CROSBY, AND "YOURS TRIILY" DON WILSON . (APPLAUSE . MUSIC UP P1VD DOWN) DON: LADIES AND GENTLEM,dN . .THIS IS JACK BENIVY'S FIRST RADIO BROADCAST OF THE t9;W SEASON . .AM IMiiEDLATEIy AFTF,.'R, HE WILLNo~ DO HIS OPENING TELEVISION SHOW OVER THE CBS NETGdOR{. .BUT SN 'H~ WFdW@T3IH LIKE TO TAKE YOU 3P.CK TC A FRIDAY MORNING SEVERAL WEIISS AGO AND LOQK Iid OP: J4C.K ??EPIIVY'S HOME IN BEVERLY I ffiISS . ROCH: (SINGS) SIID7MFd2 TIME, qIID THE LIVIN' IS EASY (APPIAJSE) RCC=: : (SINGS) FISH A .RE JUhff'IN', APID THE COTTON IS HIGH . (HF: HLM A LITTLE MORE . .THEN SF'.,AK9) . .THAT SONG SUREIS TRUE . .IT'S EASY LP]IN' IN THE SL M1'9!,.R . .I'VE B EEN SIEEPING LAPE EVERY MORNING . .GOING TO TfE BEACH IN TFIEPFTERNOON . .SP.3II`IDING TFIE W EEK-ENi S FISHING WITH P4Y FRIENDS . YAfiBr . .MM7 NIIvIM . .I SvISH. MR . BENNY WO'JLD COME BACK FROM HIS VACATION SO I CAN GO ON MINE . ~"a"T-- .~^;,i~,.~mr KT RT X U1 01B4T05 ~9T. : , 9,,,.,. , (SINGS) SUMNIE'R TIME, AND TF E L1VIN' IS EASY FISH ARE JUALpIN', APiD TEE COl°PON IS HI(3i -- (SOUND : DOOR BUZZER) ROCH; HIMM. .T.°S FRONT DOOR. , (SOUND : FOOTSTEPS) _ ROCH: (HUMS PART OF "SUNMQiTIME" DURING FOOTSTEPS) (SOUND : DOOR OPENS) ROCH: YES . .WfL9T IS IT, GENTLEMEN? RUBIN : We're from the North American Van and Moving Company . ROGH:MOVING COMPA .I'Y? RUBIN : YeA~, .isn't this Ronald Colma.n's house? i ROCH: NO .~.:ARE THE COLMt`.N'S MOVING AWAY? RUBIN ; Y4d1 .we're moving them today . ROCH: WELL ThEY LIVE -=T DOCR . .THG HOUSE ON THE RIGHT . RUBI!C : Thanks . Come on, Joe, let's po get the stuff . (SOUND : D OOR CLOSES . .F004.5TEPS--ABOUT EIGHT) 2CCH : GEE, I THOUGH T IT WAS THE MAIL '4p_N . .I fL'1VEN'^ HEARD A WORD FROM MR . HENNY IN OVER TWO WEE[{S . .AND THEN ALL ~HE SENT ME WAS A POST CA~,RD . .HE SAID HE WAS INVITED TO A BIG LUAU A1-NI1 HAD A WONDERFUL TI.'AE . .I DIDN'T F'NCW WHAT LUAU h EANT SO ~IT LOOKED IT UP . .IT'S A HAFIAIIAN WORD ML+'ANING, "STUFF YOURSELF, THE FOCD IS FRME" . 2-M HEE 3EE . .I REMrJ4B&R ONCE -- (SOUND : DOOR BUZZ E R) IT Ht" :i01 0184106 ROCH : OH-OH . .THE FRONT DOOR AGAIN . (SOU.IDu EIGHT ?00'I'STEPS . .JOOR OPENS) ROCH: YES SIR? HY: WE'RE FROM THE P.EeSNS VAN AND STORACf3 COMPANY . R0lcH: OH, YQU'irL' GOT T'n7! irR^t;G HOUSE . .Tflu OOLNL9P7S LIVE N:f'Ii:P DOOR . "rLY: 61a're not Sociking for Mr . Colman, we"re her.e to mcve Mr . s.n8 Mr3 . JEiTe'S SteWBrit . $R1cK ROGH : ON, THE STEiJbu`iTB . .THr3' LI-0-1 IN `t HC {}F~ffi'sPS HOUSE . .TF1. ONE CN THE LEFT. HY : Thank you . (SOUND : DOOR CLCSES . .FOOTSTF,PS) I ROCH: MfSBE I OUGHT TO DO A LITTiLL, WORK FOR A CHANGE : . .IT'S A GOOD 9e4 sia+i~c~-~+1.-d IDEA TOI SEPARIP IT AGAIN . .I'LL GO IN THE DEN AND SEE IF THAT NEED.S STRAIGHTENING UP . (SOUND : F&W FObTSTEPS . .D00R OPENS) RUBIN : (OFF STA.GE MIKE) (SNORES TWIOE) for ROCH : GEE, MR . HARRIS HAS BEEN M WONDER 0FF THE SH041 4 T4I0 SL9 NOW, I IF I OUGHT TO WAKL+' IiCNl UP ?1VD SEND HINI HOME . .NAH, THAT'S MR . BENNY'S BUSINPSS, ., (SOUND : DOOR BUZZER) KT Hrxat 01841 0; ROCH : DOGGONE, THIS IS THE BIISIEST DAY . (SOTJND: FOOTSTEPS . DOOR OPENS) ROCE: YES? RYAN: We're from Lyons Van and Storage Company, we're here to move Mr . and Mrs . William Powell . 11.a HOCH : 47ILISAM P®AE'Lt . .OH, H~ LI9E4 IN THAT WHITE HOUSE RIGHT ACROSS THE STREET . RY2N : Thanks . (SO-JND : DOOR CIASES) .' ROCH: GOSH, I CAN'T UNDERSTAPAJ WHY -- NbW ~ (SOUN(7 : PHONE RIlTiS . .HURRYING FOOTSTEPS) ROCH : J.no'E&.' ~i EHEN -°.'& A9 ?H6PL R693 (SOUND : COUPLE FOOTSTEPS . .SELL RINGS. .REC.GIVER i72 ROCH: MR . BENNY'S RESIDENCE . .NO, I'M SORRY, MR. BENNY'S NOT 1 D-ACK FROM HONOLULU YET . .'"^ ~ 3 a3ir'ri8i04f 4piEK -3 EIS --^aFTPAOS-'nSS ~ff., . &-a149L'O' . .WHAT'S THAT? . .HE NWDC+ AN APPOINTMENT FOR A HAIRCUT RC9 NP'.XT T[1ESDAY? . .LIELL, HE DOESN'T HAs7E TO BE N~'~RE FOR THAT, I'LL SEND IT OVER . GOODBYE . I (SOUND : RECEIVSR DOWN. .FEW FOOTSTEPS) I ROCH : . .`nlE:d,, I BETTER G'ET IN Tf E ffiTCHEN AND -- (SOUND : DOOR BUZZER) ROCH: . .AGAIN! : : . .FIRST THE DOOR, THEN THE PHONE . (SOUND : FOOTSTEPS . .SUSTAIN TffiOUGH SPEECH) Y' ;KU7 0184708 -5- ROCH: THEN THE DOOR AGAIN. .ONE THIAI"r Ab"PE.R ANOTHER . (SOUND: FOOTSTEPS STOP. .DOOR OPENS) JACK : Rochester, I'm home . ROCH : BOSS. .BOSS . .BOSS :7 : (APPLAUSE) - - ~ JACK: Rochester, you seemnsurprised that I'm back . ROCH: I AM. .I $AD NO I= T-~ YOU'D CCMG HOME TODAY . JACK: I thought someone would tell you - I wrote to a lot of people t'hat Idwscftd be home today . ROCH: WHO DID YOU WRITE TO? JACK: The Colmans, the Stewarts and the Powells . .I wonder if they got my letters . ROCH: OH, TF E Y GOT 'EM, TFEY GOT 'EM. JACK: Here, help me inside with vq bap,yt U%{~, `j01? (SCUND : SCUFFLING . .DOOR CLOSES) JACK: Rochester, did any of my cast get here yet? ROCA : NO, idE',RE YOU EXPECTIPR'r THEM? JACK: I called them when I got off the boat and told them to come here for an important meeting . Now, Rochester, I take my small suitcase up to my room . ROCH : WHAT ABOUT THE TWO LARGE ONES? JACK : C~ They're filled with dirty laundry . You better wash and iron it right eway : YES SIR . ROCH JACK: And when you're done, I'll give you the names of the people in Hawaii you're to send it back to . .And do a \. good job, wil~ ~oyz ~ ROCH: BOSS, HAVE WE GOT CUSTOMERS IN HAWAII NOW? F3T}i07 018410 -6- JACK: Yes . th4Ny-~. itCG£E 4T{'s-SPR&An.,IT-r rnr-~ynrn°c_'.,[4.3AN-GOSA--COLAr JACK: -Plassep-mindT. .and you better wash the skirts by hand, that gross can stop up the Bendi.x. .Now Rochester, put some chairs #~-- '-k~- -{$ Q 3A4H99 -'iWlib'E}- 3AL'IF:-F:e.'~:4~.a~~..-kell~- . v*a - _ P JAeK; ~- a h Q„g, ++ra Da~_ I ~AGt~:-r~w=.~} goex-Pellf-,-TURr-ARaGa~F~'a s~~nen 1 I d.A,0K,- Rse i ql~qw _yp_ l „ +r,e 9 +„ Swnrr~y nnmrm vmrnr n~n~y ~ra mm'rna'- mn rlrml`ii ~ nii1F mn i Gna~,~mon r_ I , 4e (80iIIVD : DOOR BUZZER) l~eres doa- JACK : ~ I'11 get '_t . (SO[PA] : FOCTSTEPS . .SUSTAIN IN BACKGROUPA7) JACK : Gee, it'll be good gettin.g back on the air . .2 alwsys get such a thrill out of the first check -- I~n program~ (SOUND : DOORBUZZER) JACK : CONLTNG, CCmm . (T = MORE FOOTS'i'EPS . .DOOR OPENS) H rx 0 •t 0 1 s 4110 -7- DENNIS : 6`11 Hello, Ns . Benny. JACK: WELL DENtPIS .> .COME ON IN . (APPLAUSE) ' .(SOUND: DOOR CLOSES) i JACK: QI, Dennis, it's wonderful seeing you again . You know you~re i the first member of my cast Ilve seen since we went off the air in June .
Recommended publications
  • ESO Highnotes November 2020
    HighNotes is brought to you by the Evanston Symphony Orchestra for the senior members of our community who must of necessity isolate more because of COVID-!9. The current pandemic has also affected all of us here at the ESO, and we understand full well the frustration of not being able to visit with family and friends or sing in soul-renewing choirs or do simple, familiar things like choosing this apple instead of that one at the grocery store. We of course miss making music together, which is especially difficult because Musical Notes and Activities for Seniors this fall marks the ESO’s 75th anniversary – our Diamond Jubilee. While we had a fabulous season of programs planned, we haven’t from the Evanston Symphony Orchestra been able to perform in a live concert since February so have had to push the hold button on all live performances for the time being. th However, we’re making plans to celebrate our long, lively, award- Happy 75 Anniversary, ESO! 2 winning history in the spring. Until then, we’ll continue to bring you music and musical activities in these issues of HighNotes – or for Aaron Copland An American Voice 4 as long as the City of Evanston asks us to do so! O’Connor Appalachian Waltz 6 HighNotes always has articles on a specific musical theme plus a variety of puzzles and some really bad jokes and puns. For this issue we’re focusing on “Americana,” which seems appropriate for Gershwin Porgy and Bess 7 November, when we come together as a country to exercise our constitutional right and duty to vote for candidates of our choice Bernstein West Side Story 8 and then to gather with our family and friends for Thanksgiving and completely spoil a magnificent meal by arguing about politics… ☺ Tate Music of Native Americans 9 But no politics here, thank you! “Bygones” features things that were big in our childhoods, but have now all but disappeared.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • OSHER LIFELONG LEARNING INSTITUTE Spring Seminar Schedule March 12 – May 4, 2018 Online Registration Begins February 5, 2018
    MBA Program OSHER LIFELONG LEARNING INSTITUTE Spring Seminar Schedule March 12 – May 4, 2018 Online Registration Begins February 5, 2018 Celebrating 22 Years of Lifelong Learning! OSHER LIFELONG LEARNING INSTITUTE Celebrating 23 Years of Lifelong Learning! CONTENTS About Us UDOLLI Information 3-5 Index by Topic 6-7 Program Information 47 Moderators 51 What We’re Offering Seminars 8-49 Seminar Calendar 59 Join Us! Membership Information 56 How to Register 58 Directions and Map 60-61 Registration Form 63 2 WELCOME TO THE OSHER OSHER LIFELONG LEARNING LIFELONG LEARNING INSTITUTE INSTITUTE AT THE UNIVERSITY OF DAYTON The University of Dayton Osher Lifelong Learning Institute (UDOLLI) began 23 years ago as the University of Dayton Institute for Learning in Retirement or UDILR. Since 2004, we have been proud members of the Osher Lifelong Learning Network, a group of more than 100 institutes across the country dedicated to meeting the needs of adult learners over 50 years of age who wish to gather for the joy of learning and personal fulfillment. OUR MISSION STATEMENT The purpose of the Osher Lifelong Learning Institute at the University of Dayton is to offer adults 50 years or better a wide variety of seminars based on the peer-learning concept and designed to be intellectually stimulating in an informal and noncompetitive environment. We are a vibrant community We are adults with wide-ranging interests in art, current events, health and fitness, history, literature, music, religion, and science. A curriculum committee works with the Executive Director of Special Programs and Continuing Education to select our curriculum on the basis of member requests, the expertise of moderators, variety, and balance.
    [Show full text]
  • Volume CXXXIX, Number 13, February 12, 2021
    The Student Newspaper of Lawrence University Since 1884 THE VOL. CXXXIX NO.LAWRENTIAN 13 APPLETON, WISCONSIN FEBRUARY 12, 2021 (RIGHT) Lawrence University Community Council’s logo. Photo from lawrence. Inequity Report pushes LUCC to edu. adjust funding policies Caleb Yuan surer junior Tarrel Nedderman said. ing allows LUCC Staff Writer “We, as a governing body, need to be to discuss the _____________________________________ intentional in the phrases that are funding in- Following an internal funding re- used for our legislation. Legislation equity in view from the past academic year, can always be improved on for the fu- the future. the Lawrence University Community ture, and we will continue to address Ac- Council (LUCC) is working to address issues or misunderstandings of the cording inequities in the funding of student or- legislation as they arise.” to Bern- ganizations on campus. LUCC has be- Although addressing the funding gun its attempt to establish equitable inequities is still a work in progress, a funding policies for all of the student few beginning steps have been made. body. In response to the result, LUCC and According to junior Jason Bern- CODA came to an agreement to set heimer, heimer, the Vice Chair of the Com- aside $7,000 to CODA as a compensa- CODA mittee on Diversity Affairs (CODA), tion for underfunding towards diver- has been CODA looked at the budget allocation sity organizations in the last academic told by made by the Finance Committee for year, according to Bernheimer. The various stu- the 2018-2019 academic year. After set aside funds were partially spent dent orga- calculating the percentage of funds during the last academic year, and the nizations that requested versus funds allocated, the rest was reallocated to CODA for this funding has al- data showed that, on average, diver- academic year.
    [Show full text]
  • Freier Download BA 67 Als
    BAD 67 ALCHEMY 1 Martin Büsser gewidmet 1968 - 2010 2 WHAT A DIFFERENCE A NIGHT MAKES Ah, Serenade kommt tatsächlich von sereno. Weil sie unter heiterem Himmel stattfindet. Der 10. August 2010 ist so ein Abend, ideal, um ihn beim WÜRZ- BURGER HAFENSOMMER mit dem PORTICO QUARTET zu genießen. Vier le- ger gekleidete Jungmänner entern die schwimmende Bühne hinter dem Heiz- kraftwerk und beginnen, die genial verhuschten Federwölkchen über uns abzu- malen. Duncan Bellamy an den Drums, Milo Fitzpatrick am Kontrabass, Nick Mul- vey klöppelt auf etwas, das sich Hang Drums nennt und aussieht wie drei Wok- pfannen und Jack Wyllie bläst abwechselnd Tenor- und Sopranosaxophon. Sie präsentieren ihr Isla-Programm und wenige Takte genügen, um auf den voll be- setzten Treppenstufen zu begreifen, warum die Londoner für den Mercury Prize 2008 nominiert waren, auf Peter Gabriels Label Real World publizieren und eu- ropaweit als Darlings herumgereicht werden. Der melodische Sound des Hang, einer Percussion-Novität von Panart in Bern, verbreitet mit repetitiven, harmoni- schen Mustern aus nur einer Handvoll Tönen die Wärme und den hypnotischen Sog von Trinidad-Steel-Drums, erinnert stellenweise an Harfenarpeggios, mit bloßen Händen gespielt auch an eine Mbira. Das Quartett lässt in seinen Mustern Debussy und Nyman mit Tortoise vexieren. Fitzpatrick zupft warme Bassriffs. Bellamy tickelt, tüpfelt und wischt dazu funkelnde und federleichte Beats. Und schon ist jeweils der schönste Groove beieinander, etwa bei ‚Dawn Patrol‘ mit seinem simplen Pizzikatodrive, in den Wyllie hell und sanglich betörend einfädelt. Der Clou sind jedoch klangliche Accessoires, die er mit Delay- und Loop-Effekten unterlegt, einfach das Klacken der Klappenmechanik, lang gezogene oder kas- kadierende Dauertöne, das Fiepen einer Melodica.
    [Show full text]
  • Volume 31 (Page 1)
    concordia’s independent newspaper shah of the office since 1980 • News 5 Pakistani students clash over religious scholar • News 4 volume 31, issue 3 • tuesday, august 31, 2010 • thelinknewspaper.ca volume 31, issue 3 • tuesday, 10 FRINGE ARTS 12 FEATURES 13LITERARY ARTS 14 SPORTS 16 OPINIONS CFS: NATIONAL LOBBY GROUP GETS TOUGH WITH STUDENT UNIONS President Lucas takes office New Concordia Student Union president doesn’t believe in ‘half-assing it’ • CHRISTOPHER CURTIS Heather Lucas has already made her mark on the Concordia Student Union’s presidential of- fice. After taking over as CSU presi- dent when Prince Ralph Osei’s res- ignation took effect on Aug. 25, Lucas gradually plastered her new office in Post-It notes. Dozens of the fluorescent, color-coded squares now cling to picture frames, cork boards, a computer screen and an assortment of other office supplies. “I definitely have a different leadership style [than Osei],” said Lucas. “I’m a little more organized, a little more structured—and I’m not saying [Osei] wasn’t—there is just a higher level of work ethic I expect from the other executives because I don’t believe in half-ass- CSU President Heather Lucas believes Quebec University students could strike during the 2011-2012 school year. PHOTO GAUL PORAT ing things.” Lucas is still learning the ropes it’s the situation at hand. These ap- a series of accounting reforms de- tration as long as they support tu- something they can connect to,” at her new job, but the former VP pointments all happened within signed to correct sloppy account- ition increases,” said Lucas.
    [Show full text]
  • 2013 May 7 May 14
    MUSIC • FILM • MERCHANDISE • NEW RELEASES • MUSIC • FILM • MERCHANDISE • NEW RELEASES STREET DATES: MAY 7 MAY 14 ORDERS DUE: APRIL 9 ORDERS DUE: APRIL 16 ISSUE 10 wea.com 2013 5/7/13 AUDIO & VIDEO RECAP ORDERS ARTIST TITLE LBL CNF UPC SEL # SRP DUE Campbell, Craig Never Regret BGP CD 093624945673 534592 $13.99 4/10/13 Fitz & The Tantrums More Than Just A Dream NEK CD 075678731921 534918 $13.99 4/10/13 More Than Just A Dream (180 Gram Fitz & The Tantrums NEK A 075678731853 534918 $19.98 4/10/13 Vinyl) Redman, Joshua Walking Shadows NON CD 075597960938 532288 $16.98 4/10/13 Straight No Chaser Under The Influence ATL CD 075678762185 532676 $18.98 4/10/13 Last Update: 03/26/13 For the latest up to date info on this release visit WEA.com. ARTIST: Craig Campbell TITLE: Never Regret Label: BGP/Bigger Picture Group Config & Selection #: CD 534592 Street Date: 05/07/13 Order Due Date: 04/10/13 UPC: 093624945673 Box Count: 30 Unit Per Set: 1 SRP: $13.99 Alphabetize Under: C TRACKS Compact Disc 1 01 Truck-N-Roll 07 Topless 02 Keep Them Kisses Comin' 08 When Ends Don't Meet 03 When She Grows Up 09 Outta My Head 04 Tomorrow Is Gone 10 That's Why God Made A Front Porch 05 Never Regret 11 You Can Come Over 06 My Baby's Daddy 12 Lotta Good That Does Me Now FEATURED TRACKS Outta My Head ALBUM FACTS Genre: Country Producers: Keith Stegall (Grammy winner for Zac Brown Band's Uncaged and has 50 #1 records, amoung those are from Alan Jackson) and Matt Rovey (2-Year CCMA "Album Of the Year" award winner).
    [Show full text]
  • LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM Tviusician
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissert.~tion copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313n61-4700 800/521-0600 LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM tviUSICIAN: A BIOGRAPHICAL SKETCH AND CATALOGUE OF MUSICAL WORKS AND FILMS by Michael L. Kolstad A Dissertation Submitted to the the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 1996 Approved by UMI Number: 9705293 Copyright 1996 by Kolstad, Michael L.
    [Show full text]
  • CAP UCLA Presents Regina Carter's 'Southern Comfort' Plus Sam
    Press Release Friday, December 18th, 2015 Contact: Ashley Eckenweiler [email protected] CAP UCLA Presents Regina Carter’s ‘Southern Comfort’ plus Sam Amidon Feb. 26 at Royce Hall Center for the Art of Performance at UCLA is proud to present the rich stylings of jazz violinist Regina Carter, who will perform from her newest album Southern Comfort—a journey through the musical history of the South. Folk multi-instrumentalist Sam Amidon will bring the American past back to us with re-composed folk songs. Tickets ($29-$59) for Friday, February 26 at 8 p.m. are available now at cap.ucla.edu, via Ticketmaster and at the UCLA Central Ticket Office at 310.825.2101. This performance is supported in part by the Sally & William A. Rutter Endowment for the Performing Arts, the Ginny Mancini Endowment for Vocal Performance and the Roslyn Holt Swartz & Allan J. Swartz Endowment for the Performing Arts. Sam Amidon will also be participating in a special event for local public schools through the Design for Sharing arts education program. In this special performance for student audiences, Sam and his band will share re-imagined Appalachian folk favorites, incorporating elements of jazz, experimental and indie rock music. ABOUT REGINA CARTER Violinist Regina Carter is considered the foremost jazz violinist of her generation – a designation which doesn’t quite paint the picture. As a result of her curiosity, passion, and quest for beauty brought to every stop taken on her full musical journey, she was awarded a MacArthur Fellowship (a “genius grant”). Those are more apparent than ever on her latest album Southern Comfort (Sony Music Masterworks).
    [Show full text]
  • Jack Benny Program 1950 Sep-Oct.Pdf
    A T r) •t rl r~Q -0 1 10 PROGRAM #1 REVISED SCRIPT AMERICAN TOBACCO COMPANY LUCBY STRIKE THE JACK BENNY PROGRAM B D SUNDAY, SE.PTIIVSMAS 10, ROA1950 CASTCBS 4 : 00 -4 : 30 PM CDT , . ._•.~ ~ .u . .F 2t'm~~.v.:+:....... .~__ _ . AT'14 11 .t t~rl9 9 '2 19 THE JACK &MiNY PROGRAM SEPTEIeM 10, 1950 OPEPtI1VG CODOMCIAL RIGGS : (CHANT -- 65 to 68 -- SOLD Ar~RICAN) SHP.RBUTT : THE JACK BENNY PROGRAM . presented by LUCKl.' STRIKE . CHORUS : Be Happy -- Go Lucky Be Happy -- Go Lucky Strike Be Happy -- Go Lucky Go Lucky Strike today! (SHORT CLOSE) ORCH : (SHORT VAMP) MAN : To pick the mildest cigarette You donTt need sleight of hand . Taste Luckies' magic mildness, then They'll be your favorite brand! ORCH : (SHORT VAMP) GIRL : I wash and scrub, and cook and sew And still I sing a song -- Because I never work alone . I've Lucky Strike along ; CHORUS : Be happy - - Go Lucky Be Happy -- Go Lucky Strike Be Happy -- Go Lucky Go Lucky Strike toda9 : (SHORT CLOSE) (CONTID NE$T PAGE) THE JACK BENIVY PROGRAM SEPTEMBER 10,1950 OPENING COMMERCIAL ( CoiVT tD) SHARBUTT : (FRIENDLY AN.D SP IRZTED ) Eri j oy your c igare tte . En j oy truly fine tobacco that combines both perfect mildness and rich taste in one great cigarette -- Lucky Strike! For only fine tobacco gives you both real mildness and rich taste . And, LS/MFT -- Lucky Strike means fine tobacco . So friends, Be Happy -- Go Lucky! Try a carton of Lucky Strike! CHORUS : Be Happy -- Go Luck,F Be Happy -- Go Luck,y Strike Be Happy -- Go Lucks- Go Lucky Strike today ; (LONG CLOSE) , -1- (FIRST ROUTINE) (AFTER CONUIPRCIAL, MUSIC UP AND DOWN) DON : THE LUCKY STRIKE PROGRAM, STARRING JACK BENNY .WITH 'MARY LIVINGSTONE, PHIL HARRIS, ROCHESTER, DENNIS DAY, AND YOURS TRULY" DON WILSOiV .
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]