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Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
In Nineteenth-Century American Theatre: the Image
Burlesquing “Otherness” 101 Burlesquing “Otherness” in Nineteenth-Century American Theatre: The Image of the Indian in John Brougham’s Met-a-mora; or, The Last of the Pollywogs (1847) and Po-Ca-Hon-Tas; or, The Gentle Savage (1855). Zoe Detsi-Diamanti When John Brougham’s Indian burlesque, Met-a-mora; or, The Last of the Pollywogs, opened in Boston at Brougham’s Adelphi Theatre on November 29, 1847, it won the lasting reputation of an exceptional satiric force in the American theatre for its author, while, at the same time, signaled the end of the serious Indian dramas that were so popular during the 1820s and 1830s. Eight years later, in 1855, Brougham made a most spectacular comeback with another Indian burlesque, Po-Ca-Hon-Tas; or, The Gentle Savage, an “Original, Aboriginal, Erratic, Operatic, Semi-Civilized, and Demi-savage Extravaganza,” which was produced at Wallack’s Lyceum Theatre in New York City.1 Both plays have been invariably cited as successful parodies of Augustus Stone’s Metamora; or, The Last of the Wampanoags (1829) and the stilted acting style of Edwin Forrest, and the Pocahontas plays of the first half of the nineteenth century. They are sig- nificant because they opened up new possibilities for the development of satiric comedy in America2 and substantially contributed to the transformation of the stage picture of the Indian from the romantic pattern of Arcadian innocence to a view far more satirical, even ridiculous. 0026-3079/2007/4803-101$2.50/0 American Studies, 48:3 (Fall 2007): 101-123 101 102 Zoe Detsi-Diamanti -
General Vertical Files Anderson Reading Room Center for Southwest Research Zimmerman Library
“A” – biographical Abiquiu, NM GUIDE TO THE GENERAL VERTICAL FILES ANDERSON READING ROOM CENTER FOR SOUTHWEST RESEARCH ZIMMERMAN LIBRARY (See UNM Archives Vertical Files http://rmoa.unm.edu/docviewer.php?docId=nmuunmverticalfiles.xml) FOLDER HEADINGS “A” – biographical Alpha folders contain clippings about various misc. individuals, artists, writers, etc, whose names begin with “A.” Alpha folders exist for most letters of the alphabet. Abbey, Edward – author Abeita, Jim – artist – Navajo Abell, Bertha M. – first Anglo born near Albuquerque Abeyta / Abeita – biographical information of people with this surname Abeyta, Tony – painter - Navajo Abiquiu, NM – General – Catholic – Christ in the Desert Monastery – Dam and Reservoir Abo Pass - history. See also Salinas National Monument Abousleman – biographical information of people with this surname Afghanistan War – NM – See also Iraq War Abousleman – biographical information of people with this surname Abrams, Jonathan – art collector Abreu, Margaret Silva – author: Hispanic, folklore, foods Abruzzo, Ben – balloonist. See also Ballooning, Albuquerque Balloon Fiesta Acequias – ditches (canoas, ground wáter, surface wáter, puming, water rights (See also Land Grants; Rio Grande Valley; Water; and Santa Fe - Acequia Madre) Acequias – Albuquerque, map 2005-2006 – ditch system in city Acequias – Colorado (San Luis) Ackerman, Mae N. – Masonic leader Acoma Pueblo - Sky City. See also Indian gaming. See also Pueblos – General; and Onate, Juan de Acuff, Mark – newspaper editor – NM Independent and -
Movie-Going on the Margins: the Mascioli Film Circuit of Northeastern Ontario
Movie-Going on the Margins: The Mascioli Film Circuit of Northeastern Ontario A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY JESSICA LEONORA WHITEHEAD GRADUATE PROGRAM IN COMMUNICATION AND CULTURE YORK UNIVERSITY TORONTO, ONTARIO February 2018 © Jessica Leonora Whitehead 2018 ii Abstract Northeastern Ontario film exhibitor Leo Mascioli was described as a picture pioneer, a business visionary, “the boss of the Italians,” a strikebreaker and even an “enemy alien” by the federal government of Canada. Despite these various descriptors, his lasting legacy is as the person who brought entertainment to the region’s gold camps and built a movie theatre chain throughout the mining and resource communities of the area. The Porcupine Gold Rush—the longest sustained gold rush in North America—started in 1909, and one year later Mascioli began showing films in the back of his general store. Mascioli first came to the Porcupine Gold Camp as an agent for the mining companies in recruiting Italian labourers. He diversified his business interests by building hotels to house the workers, a general store to feed them, and finally theatres to entertain them. The Mascioli theatre chain, Northern Empire, was headquartered in Timmins and grew to include theatres from Kapuskasing to North Bay. His Italian connections, however, left him exposed to changes in world politics; he was arrested in 1940 and sent to an internment camp for enemy aliens during World War II. This dissertation examines cinema history from a local perspective. The cultural significance of the Northern Empire chain emerges from tracing its business history, from make-shift theatres to movie palaces, and the chain’s integration into the Hollywood-linked Famous Players Canadian national circuit. -
Indianapolis, IL – ACRL 2013
ArtsGuide INDIANAPOLIS ACRL 15th National Conference April 10 to April 13, 2013 Arts Section Association of College & Research Libraries WELCOME This selective guide to cultural attractions and events has been created for attendees of the 2013 ACRL Conference in Indianapolis. MAP OF SITES LISTED IN THIS GUIDE See what’s close to you or plot your course by car, foot, or public transit with the Google Map version of this guide: http://goo.gl/maps/fe1ck PUBLIC TRANSPORTATION IN INDIANAPOLIS Indianapolis and the surrounding areas are served by the IndyGo bus system. For bus schedules and trip planning assistance, see the IndyGo website: http://www.indygo.net. WHERE TO SEARCH FOR ARTS & ENTERTAINMENT NUVO is Indiana’s independent news organization: http://www.nuvo.net/ Around Indy is a community calendar: http://www.aroundindy.com/ THIS GUIDE HAS BEEN PREPARED BY Editor: Ngoc-Yen Tran, University of Oregon Contributors: | Architecture - Jenny Grasto, North Dakota State University | Dance - Jacalyn E. Bryan, Saint Leo University | Galleries - Jennifer L. Hehman, Indiana University-Purdue University Indianapolis | Music - Anne Shelley, Illinois State University | Theatre - Megan Lotts, Rutgers, the State University of New Jersey | Visual Arts & Museums - Alba Fernández-Keys, Indianapolis Museum of Art *Efforts were made to gather the most up-to-date information for performance dates, but please be sure to confirm by checking the venue web sites provided 1 CONTENTS ii-vi INTRODUCTION & TABLE OF CONTENTS ARCHITECTURE & DESIGN 5 Col. H. Weir Cook -
Du Concert Au Show Business. Le Rôle Des Impréssarios Dans Le Développement International Du Commerce Musical, 1850-1930 Laetitia Corbière
Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930 Laetitia Corbière To cite this version: Laetitia Corbière. Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930. Histoire. Université de Lille, 2018. Français. NNT : 2018LILUH025. tel-01989103 HAL Id: tel-01989103 https://tel.archives-ouvertes.fr/tel-01989103 Submitted on 22 Jan 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE LILLE 3 – CHARLES DE GAULLE / UNIVERSITE DE GENEVE ÉCOLE DOCTORALE DES SCIENCES DE L’HOMME ET DE LA SOCIETE Doctorat Histoire Lætitia CORBIERE DU CONCERT AU SHOW BUSINESS. Le rôle des imprésarios dans le développement international du commerce musical, 1850-1930 Thèse dirigée par Sylvie APRILE / Ludovic TOURNES Soutenue le 19 juin 2018 Jury : Philippe DARRIULAT Didier FRANCFORT Michel PORRET Jean-Claude YON 1 2 Du concert au show business. Le rôle des imprésarios dans le développement international du commerce musical, 1850-1930. Résumé : Cette recherche porte sur le développement international des tournées musicales entre 1850 et 1930, période caractérisée par l’affirmation de la fonction d’intermédiation et par une approche commerciale de plus en plus assumée du concert. -
Broadside Read- a Brief Chronology of Major Events in Trous Failure
NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION Volume 17, Number 1/Volume 17, Number 2 SPECIAL DOUBLE ISSUE Summer/Fa111989 EXHIBITION SURVEYS MANHATTAN'S EARLY THEATRE HISTORY L An exhibition spotlighting three early New York theatres was on view in the Main I Gallery of The New York Public Library at Lincoln Center from February 13, 1990 through March 31, 1990. Focusing on the Park Theatre on Park Row, Niblo's Garden on Broadway and Prince Street, and Wal- lack's, later called the Star, on Broadway and 13th Street, the exhibition attempted to show, through the use of maps, photo- graphic blowups, programs and posters, the richness of the developing New York theatre scene as it moved northward from lower Manhattan. The Park Theatre has been called "the first important theatre in the United States." It opened on January 29, 1798, across from the Commons (the Commons is now City Hall Park-City Hall was built in 1811). The opening production, As You Like It, was presented with some of the fin- est scenery ever seen. The theatre itself, which could accommodate almost 2,000, was most favorably reviewed. It was one of the most substantial buildings erected in the city to that date- the size of the stage was a source of amazement to both cast and audience. In the early nineteenth century, to increase ticket sales, manager Stephen Price introduced the "star sys- tem" (the importation of famous English stars). This kept attendance high but to some extent discouraged the growth of in- digenous talent. In its later days the Park was home to a fine company, which, in addition to performing the classics, pre- sented the work of the emerging American playwrights. -
Moving Toward the Picture Palace: the Tampa Theatre Comes to Town
Sunland Tribune Volume 29 Article 5 2003 Moving Toward the Picture Palace: The Tampa Theatre Comes to Town Janna Jones Follow this and additional works at: https://scholarcommons.usf.edu/sunlandtribune Recommended Citation Jones, Janna (2003) "Moving Toward the Picture Palace: The Tampa Theatre Comes to Town," Sunland Tribune: Vol. 29 , Article 5. Available at: https://scholarcommons.usf.edu/sunlandtribune/vol29/iss1/5 This Article is brought to you for free and open access by Scholar Commons. It has been accepted for inclusion in Sunland Tribune by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Moving Toward the Picture Palace: The Tampa Theatre Comes To Town Dr. Janna Jones yellow and brown shadows captured on nineteenth century film.Indistinct soldiers od Bless America, my pick up blurry boxes of supplies and place home sweet home!" them on a loading dock. When the soldiers The Tampa Theatre au disappear into bright light, we applaud re dience finishes singing spectfully. The next film, as brief as the first, with patriotic enthusiasm and applauds Lee offers century-old images of war preparation. Erwin, the Mighty Wurlitzer virtuoso who Filmed from the window of a slow moving leads them in this nostalgic sing-a-long. train, the panoramic footage shows groups of Tonight is "An Evening of Silent Classics," soldiers standing in front of railway cars. and the elfish Erwin, who has played the After a few minutes of silent attention, we Mighty Wurlitzer organ in more than 400 applaud the brittle film and its enduring venues around the world, is providing the images of life in Tampa a century ago. -
NEA-Annual-Report-1980.Pdf
National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1980. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1981 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Deputy Chairman’s Statement 8 Dance 10 Design Arts 32 Expansion Arts 52 Folk Arts 88 Inter-Arts 104 Literature 118 Media Arts: Film/Radio/Television 140 Museum 168 Music 200 Opera-Musical Theater 238 Program Coordination 252 Theater 256 Visual Arts 276 Policy and Planning 316 Deputy Chairman’s Statement 318 Challenge Grants 320 Endowment Fellows 331 Research 334 Special Constituencies 338 Office for Partnership 344 Artists in Education 346 Partnership Coordination 352 State Programs 358 Financial Summary 365 History of Authorizations and Appropriations 366 Chairman’s Statement The Dream... The Reality "The arts have a central, fundamental impor In the 15 years since 1965, the arts have begun tance to our daily lives." When those phrases to flourish all across our country, as the were presented to the Congress in 1963--the illustrations on the accompanying pages make year I came to Washington to work for Senator clear. In all of this the National Endowment Claiborne Pell and began preparing legislation serves as a vital catalyst, with states and to establish a federal arts program--they were communities, with great numbers of philanthro far more rhetorical than expressive of a national pic sources. -
Give My Regards to Market Street Theaters As A
GIVE MY REGARDS TO MARKET STREET THEATERS AS A REPRESENTATION OF URBAN GROWTH IN WILMINGTON, DELAWARE, 1870-1930 by Courtney Lynahan A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Urban Affairs and Public Policy Summer 2010 2010 Courtney Lynahan All Rights Reserved GIVE MY REGARDS TO MARKET STREET THEATERS AS A REPRESENTATION OF URBAN GROWTH IN WILMINGTON, DELAWARE, 1870-1930 by Courtney Lynahan Approved: __________________________________________________________ Rebecca Sheppard, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Maria P. Aristigueta, D.P.A. Director of the School of Urban Affairs and Public Policy Approved: __________________________________________________________ George H. Watson, Ph.D. Interim Dean of the College Education and Public Policy Approved: __________________________________________________________ Debra Hess Norris, M.S. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS This list has grown exponentially over the years, so here goes. First and foremost to Becky for her guidance and patience. Thank you. My committee members David Ames and Debbie Martin. The students and staff at CHAD and at SUAPP, especially Linda for helping me with every crisis that came along and Laura for keeping me going at the end. My sister and brother in law for agreeing to read the drafts of this thesis. My Aunt Carol for being my copy editor. The amazing people at Hagley, the state archives, and my three theaters, The Grand Opera House, The DuPont Theater and The Queen for helping me, often time with no notice. To my amazing friends, particularly Alexandra, Shanna, Megan, Felicity, Steve, Colin, Annie, Anna and Sydney for listening patiently while I bounced ideas off them and especially Nicole for driving me around Wilmington and for calling me to make sure I really was writing. -
Uptown Theater Nomination
GOVERNMENT OF THE DISTRICT OF COLUMBIA HISTORIC PRESERVATION OFFICE HISTORIC PRESERVATION REVIEW BOARD APPLICATION FOR HISTORIC LANDMARK OR HISTORIC DISTRICT DESIGNATION New Designation __X___ Amendment of a previous designation _____ Please summarize any amendment(s) _______________________________________________ Property Name: Uptown Theater______________________________________ If any part of the interior is being nominated, it must be specifically identified and described in the narrative statements. Address 3426 Connecticut Avenue NW Washington, DC 20008 Square and lot number(s) Square 2069, Lot 0816 Affected Advisory Neighborhood Commission 3C Date of Construction: 1936 Date of major alteration(s) _______ Architect(s) _John J. Zink Architectural style(s): Moderne Original use Theater Present use Vacant/Not in Use Property owner Circle Management Company_____________________ ____________________ Legal address of property owner 4018 Brandywine Street NW Washington, DC 20016-1844 NAME OF APPLICANT(S) DC Preservation League and Cleveland Park Historical Society ___ If the applicant is an organization, it must submit evidence that among its purposes is the promotion of historic preservation in the District of Columbia. A copy of its charter, articles of incorporation, or by-laws, setting forth such purpose, will satisfy this requirement. Address/Telephone of applicant(s) 1221 Connecticut Avenue. NW Suite 5A, Washington, DC 200036; 202-783-5144 and P.O. Box 4862 Washington, DC 20008 Name and title of authorized representative: Rebecca Miller, Executive Director, DCPL and Rick Nash, President, Board of Directors, Cleveland Park Historical Society___________________ Signature of applicant representative: ______________________________ Date: 10/29/20 Signature of applicant representative: Date: 10/29/20 Name and telephone of author of application DC Preservation League 202-783-5144; Cleveland Park Historical Society 202-237-5241 Date received ___________ H.P.O. -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items.