1Stdibs September, 2010 in the Gallery
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L;L 7 T7lb Ilh W=1~ IA F I NEWSPAPER OF THE UNDERGRADUATES_ OF THE MASSACHUSETTS INSTITUTE__ OF TECHNOLOGY .V0L. LXXX No. 18I8 CAMBRIDGE, MASSACHUSETTS, FRIDAY, APRIL 29, 1960 $ Cents Dorm tories and Fraternitzes s Drs. Wiesner, Luris of MIT Elected To !iPlan Full and Festive Weekerads National Academy of Sciences; Total Now 36 The apex of the Tech social season will come on May 6 and 7 with the IFC Two of MIT's most distinguished faculty members have just been elected to membership in the National Acad- and Dormitory Weekends. All Tech students are invited by Henry McCCarl, Co- emy of Sciences, the highest honor in American science. `Chairman of the Dorm Weekend, and Bob Dulsky, Chairman of the IF(C Week- The new members are Dr. Jerome B. Wiesner, dilrector of thle Research Laboratory of Electronics, and Dr. Sal- ,end to bring their dates and have "an especially good time." vador E. Luris, international authority on viruses and genetics. Dorm Weekend begins on Friday night, May 6, with cocktail paarties in With their election, MIT now has a total of 36 faculty and corporation member s who are members of the Nation- Talbot Lounge in East Campus. A semi formal dance will highlight the eve- al Academy. ning in The Parker House, spirited by music from the lively Jerry Daviss Combo. Dr. Wiesner received his doctoral degree in 1950 flrom the Univelrsity of Michigan, where he assisted in devel- Saturday afternoon, students and their dates are invited to attend a Beach oping modern electronic techniques for speech correction. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Tom Marshall's Weekly News, September 12, 2016 Actors And
Tom Marshall’s Weekly News, September 12, 2016 Actors and Actresses Depicting Famous People: The Weekly News of December 11, 2006, was entitled “Let’s Go to the Movies.” When I was young during the Golden Age of Hollywood, I loved the movies, culminating in the Club House Theater in Yorklyn, which I operated for two seasons in 1947 and 1948. From the 1930s through the ‘50s, leading stars of the screen were under contract with the big studios and often took roles not to their liking. Among the features during this period was the portrayal of American heroes in full-length films, which carried over to historical documentaries on TV. The earlier movies took liberties with actual facts, but they were popular. Big name stars were often asked to portray historical figures. Sometimes they were honored to do it; often they “had to.” Following is the list of those I can recall. Spencer Tracy: Clarence Darrow, Father Flanagan, Christopher Jones, Jimmy Doolittle, Thomas Edison, Robert Rogers. Edward Arnold: Pawnee Bill, Daniel Webster Walter Hampden: Thomas Jefferson Hal Holbrook: John Adams, Mark Twain, Abraham Lincoln Henry Fonda: Abraham Lincoln James Stewart: Glenn Miller, Charles A. Lindbergh Cary Grant: Cole Porter Don Ameche: Alexander Graham Bell, Stephen Foster James Cagney: George M. Cohan Gary Cooper: Lou Gehrig, Sergeant York Joel McCrea: Buffalo Bill Cody Louis Calhern: Buffalo Bill Cody Raymond Massey: Abraham Lincoln, John Brown Robert Walker: Jerome Kern Jose Ferrer: Sigmund Romberg Tony Curtis: Harry Houdini Charlton Heston: Andrew Jackson (twice) Van Heflin: Andrew Johnson Ronald Reagan: George Custer, George Gipp Errol Flynn: Earl of Essex, Gentleman Jim Corbett, Jeb Stuart, George Custer Howard Keel: Frank Butler Fess Parker: Swamp Fox Marion, Davy Crockett, James J. -
Glenn Ballard Director of Fine Arts & Theatre the Brook Hill School
2012 UIL Super Conference Presenter: Glenn Ballard Director of Fine Arts & Theatre The Brook Hill School Bullard, Texas Musical Theatre in High School The Advantages of a Musical Theatre program in High School. 1. Exposes students to a larger performance opportunity 2. Growth of students. “Life-changing experience.” 3. Increased student involvement. Draw new students into program. (cast, crew, sets, lights, props, etc.) 4. Defining moment of the school year. 5. Public relations opportunity. Showcase School or program. 6. Can re-energize a school or community. 7. “You have to.” All other commitments depend on yours. 8. Job satisfaction. Resources Musicals101.com How to Put on a Musical: A Guide for Schools and Amateur Groups by John Kenrick (2003) Being Part of a High School Musical by Chris Sherwood at eHow.com Covers topics such as auditioning, backstage issues, rehearsal schedules and directing technique My List of Things to Know 1. Know Yourself. A. What kind of shows do I prefer? (Music, story-line, effect on audience, little- known or well-known) B. How much time can I afford to spend? (family commitments)(organizer?) C. What are my personal strengths and weaknesses? (casting, character development, sets, staging) D. Understand the role of the director (and your style of directing. E. Watch as many shows as you can. 2. Know your kids. A. How deep is your talent pool? B. Feeder program – lower school, middle school. C. What do the kids want to do? What will challenge them? D. What will make them successful? E. How many schedule conflicts do they have? (best time of year?) F. -
Anna and the King: Digesting Difference
Anna and the king: digesting difference Penny Van Esterik Abstract: This paper explores the relationship between food and national identity in ancient Siam and modern Thailand, as represented in the texts and films linked to Anna Leonowens, particularly Anna and the King and The King and I. While the fictional romantic relationship between the Indo–British governess and King Mongkut (Rama IV) has been critically analysed, little attention has been paid to the state banquet organ- ized by the king. In 1860s Siam, state banquets provided an opportunity to demonstrate the civilized status of the Siamese monarch, and hence the kingdom. Developing and building on the concepts of political commensality and culinary colonialism, the paper explores the importance of demonstrating civility through food. Keywords: state banquets; colonialism; nutritional anthropology; Western film performance; Siam Many readers have no doubt seen one or more of the films, Anna and the King of Siam (1946), The King and I (1956) and Anna and the King (1999), and it is equally likely that many readers have eaten some variety of Thai food. This paper draws these two experiences together by discussing the state banquet depicted in the texts and films related to Anna Leonowens’s diaries of her years in Bangkok (1862–67). To do this, I will look briefly at 1850s and 60s Siam during the reign of King Mongkut (Rama IV, r 1851–68), and then examine the textual and film representations of that historical period in twentieth century Thailand. History and its representations – we choose our fictions. For Westerners who have never visited Thailand, their image of the country may well come from seeing The King and I on stage or screen. -
ST. JAMES THEATER (Originally Erlanger Theater), 246-256 West 44Th Street
Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1374 ST. JAMES THEATER (originally Erlanger Theater), 246-256 West 44th Street. Built 1926-27; architects, Warren & Wetmore. Landmark Site: Borough of Manhattan Tax Map Block 1015, Lot 54. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the St. James Theater (originally Erlanger Theater) and the proposed designation of the related Landmark Site (Item No. 70). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness 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 St. James (built as the Erlanger) Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Built in 1926-27, the St. James was designed by the prominent firm of Warren & Wetmore as the last Broadway theater erected for Abraham Erlanger. Abraham Erlanger had been a principal in the infamous Klaw & Erlanger Theatrical Syndicate, which had dominated the American theater industry for several decades on either side of the turn of the century. After the break-up of the Syndicate, Klaw and Erlanger went their separate ways, and each built theaters named for themselves. -
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120792bk King&I 4/2/06 9:36 PM Page 2 Original Broadway Cast, 1951 Studio Recording, 1951 22. March of the Siamese Children 3:37 Music: Richard Rodgers New York Philharmonic Orchestra Lyrics: Oscar Hammerstein II 1. Overture 3:22 13. Overture 3:46 conducted by Richard Rodgers Transfers & Production: David Lennick Orchestra Al Goodman & His Orchestra Columbia CL 810, mx XLP 34520 Digital Restoration: Graham Newton 2. I Whistle A Happy Tune 2:40 14. My Lord And Master 2:36 Recorded 27 December 1954, New York Special thanks to Joe Cascone and Gertrude Lawrence Patrice Munsel with Al Goodman’s Orchestra Anthony Middleton 3. My Lord And Master 2:05 15. A Puzzlement 3:47 Doretta Morrow Robert Merrill with Henri René’s Orchestra Also available in the Naxos Broadway Musicals series … 4. Hello,Young Lovers 3:07 16. I Have Dreamed 3:32 Gertrude Lawrence Tony Martin & Patrice Munsel with 5. March Of The Siamese Children 3:14 Al Goodman’s Orchestra Orchestra 17. Shall We Dance 2:43 6. A Puzzlement 3:30 Robert Merrill & Dinah Shore with Yul Brynner Henri René’s Orchestra 7. Getting To Know You 3:26 RCA Victor LK 1022, mx E1-LVC-45/46 Gertrude Lawrence & Chorus Recorded March 1951, New York (tracks 8. We Kiss In A Shadow 3:26 13, 14, 16) & Los Angeles (tracks 15, 17) Larry Douglas & Doretta Morrow Original London Cast, 1954 9. Shall I Tell You What I Think Of You? 18. Getting To Know You 3:27 3:24 Valerie Hobson, King’s Wives & Children 8.120780 8.120787 8.120788 Gertrude Lawrence Philips PB 194, mz AA 26063 2H6 10. -
Kinsmen & Co Return to Jupiters with Showbiz Superstars
Media Release Tuesday August 16, 2016 Kinsmen & Co Return to Jupiters with Showbiz Superstars Promising a night of spine tingling entertainment, Kinsmen & Co. are returning to Jupiters Gold Coast with their singing, dancing and comedy variety show and will feature guest appearances from dynamic showbiz sensation Denise Drysdale, and actor and singer Marty Rhone all taking place on Saturday September 10. Starring ‘Pearson & Harvey’ from the internationally acclaimed act The Four Kinsmen, guests will be treated to a magnificent night of world-class entertainment with the new show appealing to a wide audience who are guaranteed to be left smiling and in awe of the heart stopping and hilarious performances. Joining them for the show, Denise Drysdale is a dynamic and personable performer who is a legend of Australian show business and rated as one of the best entertainers across the nation. With Shirley Temple as her original idol, Denise’s television career started at a young age and she has appeared on every major television show in the country endearing herself to millions of Australians and maintaining enormous popularity across her career. She was recently one of the stars of top rating show The Circle, and this year has joined the panel for Channel 10 show Studio 10. Whether it’s singing great songs, doing impersonations (particularly her famous ‘chook walk’) or cracking gags, this lady has no peer as she totally entertains her audiences. Internationally acclaimed actor and singer Marty Rhone is celebrating an amazing 50 years in show business in 2016 with a career that spans music, theatre, television and film. -
Piscikdw Nominated “ANASTASIA” Hinged Specimen As the Chap Bob Katharine Best Actresa •In Color * at 1:29
¦ 5 45, 7:45 and 9:45 p.m. , THE EVENING STAR, Washington, D. THE PASSING SHOW Playhouse C. A-11 t “Hie Ten Com- SATIRDAY. MARCH 2. 19A7 WHERE mandments”; 10 a.m., 2 and 8 p.m. PATRICK HAYES PRESENTS \LATE SHOW TONIGHT I Love's a Mad Farce AND WHEN Plaza "The Snow Was TONIGHT—B:3O P.M. Current Theater Attractions Black”; 12:10. 2:10, 4:10. 6:10, l.l*intr Box Office Open* 7:30 P.M. and Time of Showing 8:10. 10:10 and 12:10 p.m Trans-Lux— The Iron Petti- USNEIt AUDITORIUM On Palace's Screen Singe coat”; 11:30 a.m., 1:10, 2:50. By JAY CARMODY Arena Stage—" Dream Girl”; 4:40, 6:30, 8:15, 10 and 11:45 IVA KITCHELL 2:30 and 8:30 pun. p.m. DANCE SATIRIST 'Oh. Men! Oh. Women!” a bouncing farce on Broadway a •*. Mowed them down ' Ililllify ¦' National—" The Apple Cart”; Cptown—"Oklahoma!” 2,5, John Martin. N. Y Times couple of back is its old self in a new guise on the t ”. seasons jr and p.m. Hilarioue —Walter Terry. screen at Lowe's Palace. 'n? ¦ 2:30 and 8:30 p.m. 8:30 N Y Herald-Tribune Shubert “Orpheus Descend- Warner—" Seven Wonders of GOOD SEATS AV*ILAB?F by Nunnally Johnson, a droll fellow, the $1.89, 75, As converted Jest ing”; p.m. $1,25. fCse. S’! S 3 39 psychiatrist by patients may bounce 2:30 and 8:30 p.m. -
MAKING MEMORIES at the MOVIES – a Guide to Watching at Home
MAKING MEMORIES AT THE MOVIES – A Guide to Watching at Home Celebrating Women in Film All films in this program have something in common: Their stars are legendary women in film. Do you recall seeing these films? Let’s spark some memories! A little background information about women in film According to the Study of Women in Television and Film at San Diego State University, male characters continued to control the big screen in 2018. about 35% of films contained 10 or more female characters in dialogue roles about 82% had 10 or more male characters in speaking roles. ….research is still revealing that women are overwhelmingly valued in film based on their identification as a mother, wife, or lover (Lang, 2015). Women are often portrayed as dependent on other characters, over-emotional, and confined to low-status jobs when compared to enterprising and ambitious male characters. So… let’s celebrate some of our outstanding female actor’s who have endured throughout the years! ____________________________________________________________________________ Judy Garland The Wizard of Oz (1939) is an American musical fantasy film. Widely considered to be one of the greatest films in cinema history, it is the best-known and most commercially successful adaptation of L. Frank Baum's 1900 children's book The Wonderful Wizard of Oz. The film stars Judy Garland as Dorothy Galea, alongside Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Billie Burke and Margaret Hamilton. Theme: Dorothy Gale lives with her dog Toto on a Kansas farm belonging to her Aunt Em and Uncle Henry. She is not able to join her family in their storm cellar during a tornado, so instead, takes shelter in her bedroom where she is hit by flying debris.