DOCSLIB.ORG

Jesus Christ Superstar Is an We Are So Excited That You Have Joined Us Excellent Opening to This Exploration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jesus Christ Superstar Is an We Are So Excited That You Have Joined Us Excellent Opening to This Exploration PATIOBILL Directed by Deborah Zimmer + Produced by Brenda Townsend 116 S. Kalmia Street, Escondido www.patioplayhouse.com ph. 760-746-6669 ~ Welcome ~ It is my unmistakable honor as Artistic and all of North County for over 50 years, Manager to welcome you to the 52nd and we continue to grow each year. Our season of Patio Playhouse and Patio youth program has long provided a Plays in the Park. nurturing environment for kids and teens to explore the theater arts, free of This season we are bringing you shows charge. that explore family and finding where you belong. Jesus Christ Superstar is an We are so excited that you have joined us excellent opening to this exploration. The today and we entreat you to continue to last days of Jesus, told from the join us for the rest of the year. We follow perspective of Judas Iscariot, this Jesus Christ Superstar with Annie and In musical examines the relationships the Heights at Kit Carson Amphitheater. between Jesus and his disciples and If you wish to join the Patio Family and Mary Magdalene as they delve into become involved with Patio Playhouse, whether there was any other way the please speak to any of our ushers or visit story could end. How inevitable was our website at Judas’ betrayal and how does that affect www.patioplayhouse.com. Jesus’ relationships with Judas and Thank you so much for your patronage! everyone else? Matt FitzGerald Patio Playhouse has been providing Artistic Manager affordable theater and performance opportunities to the people of Escondido ~ Director’s Note ~ Thank you for attending this evening's drowned out! One of the songs that is not performance of Jesus Christ Superstar on my original album states exactly how I and sharing one of my most precious feel today: 'Could We Start Again theatrical dreams! I fell in love with this Please?' I point this out in the hope that rock musical in 1970, when I purchased when you leave the theater tonight, you the first released recording on vinyl LP. allow yourself to reflect upon the Having grown up in New York, I was similarities and the differences between privileged to attend many Broadway then and now. productions of the show over the years. This journey has been a labor of love for Some were spectacular, some were odd, me, and would not have been possible but all of them touched my heart. without my most amazing production Whether or not you are a believer, you team, the most talented cast, my loving can still relate to the story of Jesus' last and supportive husband Rick, and my days through the eyes of his friend and reluctantly supportive son Mark! It would betrayer, Judas. Jesus taught love, do my heart proud to have you leave the forgiveness, and acceptance in an park humming any one of the familiar environment controlled by power-hungry songs you hear, like 'I Don't Know How To oppressors—a world where fear made Love Him,' or 'Hosanna,' or 'What's The many lovers of Jesus turn against him. Buzz,' or 'Herod's Song,' or 'Superstar'! Not too unlike the world we live in now, Deborah Zimmer where hatred and divisiveness permeate Director almost every area of the globe, where the lesson of 'love thy neighbor' just gets ~ Jesus Christ Superstar ~ ~ Act I ~ ~ Act II ~ Overture .....................................Orchestra The Last Supper ... Jesus, Judas, Apostles Heaven on Their Minds .................... Judas Gethsemane (I Only Want to Say) ..... Jesus What's the Buzz? .............. Jesus, Apostles The Arrest ................. Judas, Jesus, Peter, Strange Thing Mystifying ..... Judas, Jesus, Apostles, Annas, Caiaphas, Ensemble Apostles Peter's Denial ...... Maid by the Fire, Peter, Everything's Alright ...Mary, Judas, Jesus, Old Man, Mary Women, Apostles Pilate and Christ .................. Pilate, Jesus, This Jesus Must Die ....... Caiaphas, Annas, Ensemble Priests King Herod's Song .... Herod and Company Hosanna ......... Jesus, Caiaphas, Company Could We Start Again Please? ......... Mary, Simon Zealotes ........ Simon and Company Peter Poor Jerusalem ............................... Jesus Judas' Death ....................... Judas, Annas, Pilate's Dream ................................. Pilate Caiaphas, Ensemble The Temple .................... Jesus, Ensemble Trial by Pilate/39 Lashes ................. Pilate, Caiaphas, Annas, Jesus, Ensemble Everything's Alright (reprise) Mary, Jesus Superstar ......... Judas, Soul Girls, Angels, I Don't Know How to Love Him .......... Mary Ensemble Damned for All Time ........................ Judas The Crucifixion ............... Jesus, Ensemble Blood Money ................... Caiaphas, Annas, John Nineteen: Forty-One ......... Orchestra Judas, Choir ~ Cast ~ Judas Iscariot ................ Alyssa Guttendorf King Herod .................. Jennifer Purviance Jesus ................. Mario Arambula-Damian Peter ................................ Wyatt Rhinehart Mary Magdalene...............Adriana Zuniga- Simon Zealotes ......................... Kai Brown Williams Priest #1 ............................ Doug Shattuck Caiaphas ................ Noah Zuniga-Williams Priest #2 ................... Samantha Goldstein Annas .................................... Sarah Slaven Priest #3 ........................... Geoffrey A. Cox Pontius Pilate ....................... David Guthrie Apostles ..................................Chris Braden, Diego Castro, Jovani Chavez, Jolyon Maxilom, Karen Nolte, Elias Questenberg, Izaiah Rhinehart, Laurissa Rudgers, Jason Schlarmann Soul Girls ........................ Sydney Joyner, Violeta Ruiz-Lopez, Dawn Marie Zuniga-Williams Ensemble ..................................... Cindy Alfonso, JJ Barlow, Lillian Broschart, Abby Cason, Catalina Colby, Kami Dickerson, Ali Flores, Alexander Guthrie, Cassiopeia Guthrie, Hannah Henson, Priscilla Ju, Dylan Lally, Lea LeBrun, Danielle Muckle, Maille Riggs, Jazmin Sanchez, Debra Thomas, Sierra Weis, Dominique Brown Roman Guards ........... Mark Broschart, John Paul Evert, Dorian Rodriguez, Ashton Wright ~ Orchestra ~ Conductor/Keyboard ...... Emily Awkerman Guitar ........................ Michael Laughbaum Bass ................................. Bruce Blackwell Drums ................................ Dan Townsend ~ Crew ~ Director .......................... Deborah Zimmer Production Assistant .............. Joan Harris Producer....................... Brenda Townsend Sound Board Operator............. Brian Keon Music Director ................ Emily Awkerman Light Board Operator ....... Jack Shomphe, Assistant Director .................. Kat Perhach Shasta Fox Choreographer ........................ Erin Collins Paint Crew .................... Emily Awkerman, Stage Manager .................... Sarah Pistone Kelli Harless, Brenda Townsend, Deborah Zimmer Dance Captains .............. Danielle Muckle, Jovani Chavez Spotlight Operators ................. Steve Rich, Cydney Harris Set Designer .................... Spencer Farmer Backstage Crew ............... Tony O'Donnell, Lighting Designer................ Maisy Holmes Lorelei Zuniga-Williams Costume Designer ......... Felicia Broschart Headshots ......... Adriana Zuniga- Williams Assistant Costume Designer ... Jet Fleuret Promo Photography ..... Brenda Townsend Audio Supervisor ................ Dan Townsend Publicity ...................... Cassiopeia Guthrie Makeup ............................... Debra Thomas Publicity Video .................. Matt FitzGerald Makeup Assistant ............. Kami Dickerson Rehearsal Video .................... Rick Zimmer Props .............................. Deborah Zimmer Production Video.................. James Storm Master Builder ..................... Mike Harless Programs ............................ Steve Warrick Cross ............................... Robert Rukavina Construction Crew ......... Spencer Farmer, Matt FitzGerald, Kelli Harless ~ Special Thanks ~ Gary Beckman, Cathy Chan, Ann Savage, Jerusalem Walk: Tiffanie Roman, Betsy Methodist Church, House of Prayer Debos, Sebastin Roman, Stephanie Lutheran Church, CCAE, The Costume Roman, Mary Bright, Dane Driscoll, Shop, Escondido Chamber of Commerce, Angela Hernandez, Ricky Hernandez, Kennedy Pest Control, Matt FitzGerald, Ruth Ketchum, Kay Guy, Mary Anne Dijak, Spencer Farmer, Maisy Holmes, Mike Dick Dijak, Jill Crowe, Joyce Bonds, Kim Harless, Kelli Harless, Victoria Silva- Hinrichs, Robert Hinrichs, Jon Wilder, Davis, Visit Escondido, Jill Campbell, Deborah Wilder, Sarah Colling, Camp David Guthrie, Caitlin LaMar, Mark Family, Christopher Pair, Jack Kroeker, Zimmer Karel Kroeker ~ Profiles ~ Abby Cason (Ensemble) is thrilled to be a part of Jesus Christ Superstar and to join Patio in the Park for the first time! She previously played Jovie in Elf the Musical Jr. and Alice in Alice in Wonderland. Abby would like to thank her family and friends for their support. Adriana Zuniga-Williams (Mary Magdalene) is happy to return to the Patio Playhouse stage after 10 years. Patio audiences may remember her from City of Angels, Man of La Mancha, and Working. Adriana would like to thank the entire cast and production crew, and especially Dawn Marie for being her favorite Superstar! Alexander Guthrie (Ensemble) is making his Patio Playhouse (and theater) debut! Xander is no stranger to Patio—his parents first got involved with the theater 8 years ago, when he was a newborn—but he is having a great time onstage with three generations of his family and hopes you love it as much as he does! Ali Flores (Ensemble) is thrilled to be part of this show! She is attending CSUSM and works as a performer
Load more

Recommended publications
  • Star Wars: the Fascism Awakens Representation and Its Failure from the Weimar Republic to the Galactic Senate Chapman Rackaway University of West Georgia
    STAR WARS: THE FASCISM AWAKENS 7 Star Wars: The Fascism Awakens Representation and its Failure from the Weimar Republic to the Galactic Senate Chapman Rackaway University of West Georgia Whether in science fiction or the establishment of an earthly democracy, constitutional design matters especially in the realm of representation. Democracies, no matter how strong or fragile, can fail under the influence of a poorly constructed representation plan. Two strong examples of representational failure emerge from the post-WWI Weimar Republic and the Galactic Republic’s Senate from the Star Wars saga. Both legislatures featured a combination of overbroad representation without minimum thresholds for minor parties to be elected to the legislature and multiple non- citizen constituencies represented in the body. As a result both the Weimar Reichstag and the Galactic Senate fell prey to a power-hungry manipulating zealot who used the divisions within their legislature to accumulate power. As a result, both democracies failed and became tyrannical governments under despotic leaders who eventually would be removed but only after wars of massive casualties. Representation matters, and both the Weimer legislature and Galactic Senate show the problems in designing democratic governments to fairly represent diverse populations while simultaneously limiting the ability of fringe groups to emerge. “The only thing necessary for the triumph of representative democracies. A poor evil is for good men to do nothing.” constitutional design can even lead to tyranny. – Edmund Burke (1848) Among the flaws most potentially damaging to a republic is a faulty representational “So this is how liberty dies … with structure. Republics can actually build too thunderous applause.” - Padme Amidala (Star much representation into their structures, the Wars: Episode III Revenge of the Sith, 2005) result of which is tyranny as a byproduct of democratic failure.
    [Show full text]
  • Grease Teaching Resource.Pages
    2016-2017 SEASON 2016-2017 SEASON Teacher Resource Guide and Lesson Plan Activities Tickets: Featuring general information about our production along with some creative activities to thalian.org help you make connections to your classroom curriculum before and after the show. 910-251-1788 The production and accompanying activities address North Carolina Essential Standards in Theatre or Arts, Goal A.1: Analyze literary texts & performances. CAC box office 910-341-7860 Look for this symbol for other curriculum connections. Grease Book, Music & Lyrics by: Jim Jacobs and Warren Casey October 14-23, 2016 7:30 PM Friday - Saturday and 3:00 PM Sunday Hannah Block Historic USO / Community Arts Center Second Street Stage 120 South 2nd Street (Corner of Orange) Resource About This Teaching Resource This Teaching Resource is designed to help build new partnerships that employ theatre and the arts Overview: to address some of today’s pressing issues such as peer pressure & bullying. It provides a backdrop Page 2 to an exploration of youth peer pressure, stereotypes, prejudice and the romances of young people Characters, Vocabulary, caught in the struggle to fit in. The fun & electrifying music of Jim Jacobs and Warren Casey, paint a Grease Day picture as relevant today as it was more than 40 years ago. About The Musical Page 3 Rydell High’s senior class of 1959: duck-tailed, hot-rodding “T-Birds” and their gum-snapping, hip- Listening for Lines, shaking “Pink Ladies” in bobby sox and pedal pushers, evoking the look and sound of the 1950s in Expressions, Music this rollicking musical.
    [Show full text]
  • Second Chances Holy Spirit Touch My Lips, Open Our Hearts, And
    Sermon for Date Church of the Holy Comforter Joseph Klenzmann Second Chances Holy Spirit Touch My Lips, Open Our Hearts, And Transform Our Lives. Amen Well it is a new season, a new year in the life of the church. Advent, a season that is worshiped in a more solemn, quiet, less festive manor than other seasons in the church. There is no joyous Christmas music during the four weeks of advent. Advent is a time where Christians around the world commemorate the first coming of the messiah and our ardent anticipation of Christ’s second coming as Judge. Actually, the word Advent comes from the Latin word adventus which means “coming” or “Arrival”. Advent is a time to prepare for his coming. A time to look at our lives, a second chance to be the kind of person the lord knows we can be. The bible stories of John the Baptist are stories of preparation and transition. John has come to “Make Straight The Path”. To quote one of my favorite songs from the play Godspell “Prepare Ye The Way Of The Lord”. That is actually Mark chapter 1 verse 3, but I really liked Godspell. John the Baptist is a transition from the PROMISE of the Old Testament to the New Testament REALITY of Christ in the flesh. In Advent each year, we remember that reality and the new promise of his second coming. In Jeremiah, we heard God tell Jeremiah: “I Will Fulfill The Promise I Made To The House Of Israel And The House Of Judah” we also heard that god will have “A Righteous Branch Spring Up From David” This is the Messianic message told throughout the Old Testament, told by the Patriarchs and the Profits.
    [Show full text]
  • Blood Money in Sudan and Beyond: Restorative Justice Or Face-Saving Measure?
    BLOOD MONEY IN SUDAN AND BEYOND: RESTORATIVE JUSTICE OR FACE-SAVING MEASURE? A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Liberal Studies By Jacqueline H. Wilson, M.S. Georgetown University Washington, D. C. March 25, 2014 Copyright © 2014 by Jacqueline H. Wilson All Rights Reserved ii BLOOD MONEY IN SUDAN AND BEYOND: RESTORATIVE JUSTICE OR FACE-SAVING MEASURE? Jacqueline H. Wilson, M.S. Mentor/Chair John O. Voll, Ph.D. ABSTRACT This thesis assesses the restorative justice aspects of blood money processes used around the world but focuses primarily on Sudan and South Sudan. It examines sulha, judiya (Darfur), galad (eastern Sudan) and other processes using a mixed methods approach and a multi-site ethnography methodology. The paper scrutinizes these processes from foundational agreements, information gathering and truth-telling, through selecting a third party, and examines truces, exile, women’s roles, compensation agreements, closing rituals, and implementation measures. The paper documents contemporary challenges facing these blood money processes such as collective responsibility, global trends like urbanization, widespread killing and retaliation that rises to a feud, situations where killer and killed are unknown to each other, and situations where blood money is paid by outsiders. I identify shortcomings within these processes relative to international legal norms and human values, as well as areas where they are consistent. Using a restorative justice analytical framework, I determine whether blood money processes are restorative and constitute justice, and ask whether these iii traditional mechanisms are sufficiently robust to stop the cycle of violence.
    [Show full text]
  • This Jesus Must Die ]Esus Christ Superstar Moderato Annas                 Good Cai-  A- Phas The Coun- Cil Waits for You
    This Jesus Must Die ]esus Christ Superstar Moderato Annas Good Cai- a- phas the coun- cil waits for you. Tbe Pha- ri- Moderato f 4 sees and Priests are here for you. Caiaphas Ah gent tle 2 6 men you why we arehere.We'venot much time and quite a pro-blem here. Mob (outside )Boys Ho Mob (Outside) Girls 10 Ho sannaSu per star ho san nasup per star san-naSu-per-star,Ho- san.na Su-per-star,Ho- san-na Su-per-star,Ho- san- na Su-per- star cresc poco a poco 3 14 Annas listen tothat howl-ingmobofblock-headsinthe street! A [guide part poco ad lib ] Fm7 Bb7 Fm7 Bb7 16 Annas and Preist2 trickortwowith le-persandthewholetown'son it'sfeet. Heis dan ger Preist1 Caiaphas & Priest 3 He is dan ger Fm7 Bb7 Fm7 Bb7 Bb E Bb 4 19 Preist 3 ous He is dan ger ous that ous He is dan ger ous Mob (outside) Je-susChrist Su-per-star TeIl that you're who they Je-susChrist Su-per-star TeIl that you're who they B
    [Show full text]
  • Elevating Voices Across Stage and Screen
    Elevating voices across stage and screen clients include beginners, aspiring singers Based in London, Fiona continued to coach and performing arts students as well as singers and, in 2010, started working for top-tier professionals. Passionate about Andrew Lloyd Webber and his production vocal health and technique, Fiona believes company, the Really Useful Group. She that anyone can sing and tailors each worked on her first major international lesson to the client’s needs. She works production in 2012, as the vocal coach on remotely via Skype and in person from her Lloyd Webber’s Jesus Christ Superstar, studio at the London Palladium. and has since worked on dozens of major shows across television, film and theatre Fiona grew up on a farm outside around the world. Edinburgh where she immersed herself in music from a young age, initially training Fiona is always at the leading edge of in dance. In 2006, she left Scotland to vocal education. She travels globally to FIONA study Music at the Paul McCartney conferences that are advancing the field Liverpool Institute for Performing Arts, of vocal science and is supported by MCDOUGAL where her vocal coach inspired her to a network of exceptional ENT doctors, study voice education alongside her speech and language therapists, and degree. When she graduated with a first physiotherapists. She is considered a Fiona has worked with some of the biggest class honours degree in 2010, she already valuable link between singers and industry names in the entertainment industry, from had three years of coaching experience. representatives and consults for record Glenn Close to Taylor Swift, Judi Dench to She was the lead singer in a pop duo labels, agents, managers, performing Jennifer Hudson – but her busy studio also called Untouched (along with songwriting arts colleges, choreographers, directors, embraces people who sing for pleasure partner David Wilson), which later signed songwriters, film studios, musicians and and want to improve their voice.
    [Show full text]
  • A Career Overview 2019
    ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour)
    [Show full text]
  • Scenic Design for the Musical Godspell
    Scenic design for the musical Godspell Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in the Graduate School of The Ohio State University By Sarah Sugarbaker Graduate Program in Theatre The Ohio State University 2009 Master’s Examination Committee: Professor Dan Gray, M.F.A. Advisor Professor Mandy Fox, M.F.A. Professor Kristine Kearney, M.F.A. Copyright by Sarah Sugarbaker 2009 Abstract In April of 2009 the Ohio State University Theatre Department produced Godspell, a musical originally conceived by John‐Michael Tebelak with music by Stephen Schwartz. This production was built and technically rehearsed in the Thurber Theatre, and then moved to the Southern Theatre in downtown Columbus, OH. As the scenic designer of this production I developed an environment in which the actors and director created their presentation of the text. Briefly, the director’s concept (Appendix A) for this production was to find a way to make the production relevant to the local population. Godspell centers around the creation and support of a community, so by choosing to reference the City Center Mall, an empty shopping center in downtown Columbus, the need for making a change as a community was emphasized. This environment consisted of three large walls that resembled an obscured version of the Columbus skyline, inspired by advertisements within the shopping center. Each wall had enlarged newspapers that could be seen under a paint treatment of vibrant colors. The headlines on these papers referenced articles that the local paper has written about the situation at the shopping center, therefore making the connection more clear.
    [Show full text]
  • Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
    Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind.
    [Show full text]
  • The Grotesque in the Fiction of Joyce Carol Oates
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1979 The Grotesque in the Fiction of Joyce Carol Oates Kathleen Burke Bloom Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Bloom, Kathleen Burke, "The Grotesque in the Fiction of Joyce Carol Oates" (1979). Master's Theses. 3012. https://ecommons.luc.edu/luc_theses/3012 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Kathleen Burke Bloom THE GROTESQUE IN THE FICTION OF JOYCE CAROL OATES by Kathleen Burke Bloom A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy March 1979 ACKNOWLEDGEMENTS I would like to thank Professors Thomas R. Gorman, James E. Rocks, and the late Stanley Clayes for their encouragement and advice. Special thanks go to Professor Bernard P. McElroy for so generously sharing his views on the grotesque, yet remaining open to my own. Without the safe harbors provided by my family, Professor Jean Hitzeman, O.P., and Father John F. Fahey, M.A., S.T.D., this voyage into the contemporary American nightmare would not have been possible.
    [Show full text]
  • Greenpeace, Earth First! and the Earth Liberation Front: the Rp Ogression of the Radical Environmental Movement in America" (2008)
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2008 Greenpeace, Earth First! and The aE rth Liberation Front: The rP ogression of the Radical Environmental Movement in America Christopher J. Covill University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Environmental Sciences Commons Recommended Citation Covill, Christopher J., "Greenpeace, Earth First! and The Earth Liberation Front: The rP ogression of the Radical Environmental Movement in America" (2008). Senior Honors Projects. Paper 93. http://digitalcommons.uri.edu/srhonorsprog/93http://digitalcommons.uri.edu/srhonorsprog/93 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Greenpeace, Earth First! and The Earth Liberation Front: The Progression of the Radical Environmental Movement in America Christopher John Covill Faculty Sponsor: Professor Timothy Hennessey, Political Science Causes of worldwide environmental destruction created a form of activism, Ecotage with an incredible success rate. Ecotage uses direct action, or monkey wrenching, to prevent environmental destruction. Mainstream conservation efforts were viewed by many environmentalists as having failed from compromise inspiring the birth of radicalized groups. This eventually transformed conservationists into radicals. Green Peace inspired radical environmentalism by civil disobedience, media campaigns and direct action tactics, but remained mainstream. Earth First’s! philosophy is based on a no compromise approach.
    [Show full text]
  • Buffy & Angel Watching Order
    Start with: End with: BtVS 11 Welcome to the Hellmouth Angel 41 Deep Down BtVS 11 The Harvest Angel 41 Ground State BtVS 11 Witch Angel 41 The House Always Wins BtVS 11 Teacher's Pet Angel 41 Slouching Toward Bethlehem BtVS 12 Never Kill a Boy on the First Date Angel 42 Supersymmetry BtVS 12 The Pack Angel 42 Spin the Bottle BtVS 12 Angel Angel 42 Apocalypse, Nowish BtVS 12 I, Robot... You, Jane Angel 42 Habeas Corpses BtVS 13 The Puppet Show Angel 43 Long Day's Journey BtVS 13 Nightmares Angel 43 Awakening BtVS 13 Out of Mind, Out of Sight Angel 43 Soulless BtVS 13 Prophecy Girl Angel 44 Calvary Angel 44 Salvage BtVS 21 When She Was Bad Angel 44 Release BtVS 21 Some Assembly Required Angel 44 Orpheus BtVS 21 School Hard Angel 45 Players BtVS 21 Inca Mummy Girl Angel 45 Inside Out BtVS 22 Reptile Boy Angel 45 Shiny Happy People BtVS 22 Halloween Angel 45 The Magic Bullet BtVS 22 Lie to Me Angel 46 Sacrifice BtVS 22 The Dark Age Angel 46 Peace Out BtVS 23 What's My Line, Part One Angel 46 Home BtVS 23 What's My Line, Part Two BtVS 23 Ted BtVS 71 Lessons BtVS 23 Bad Eggs BtVS 71 Beneath You BtVS 24 Surprise BtVS 71 Same Time, Same Place BtVS 24 Innocence BtVS 71 Help BtVS 24 Phases BtVS 72 Selfless BtVS 24 Bewitched, Bothered and Bewildered BtVS 72 Him BtVS 25 Passion BtVS 72 Conversations with Dead People BtVS 25 Killed by Death BtVS 72 Sleeper BtVS 25 I Only Have Eyes for You BtVS 73 Never Leave Me BtVS 25 Go Fish BtVS 73 Bring on the Night BtVS 26 Becoming, Part One BtVS 73 Showtime BtVS 26 Becoming, Part Two BtVS 74 Potential BtVS 74
    [Show full text]