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Copy 7 of Wednesday, May 19, 20
IVOLUME LXXXVI NUMBER 29 PASADENA, CALIFORNIA Dates which might beofinterest:FRIDAY 24 MAY 19851 The Untold Story by Diana Foss Art, and the gallery again started The Baxter Art Gallery is clos presenting shows, mainly of con ing, by order of President Marvin temporary art, "art in the present L. Goldberger. Although the tense," as Michael Smith put it. discovery ofthis news last summer In 1981 the new head ofH&SS, engendered much student interest Roger Noll, decided to expand the in efforts to save the gallery, and oversight committe into a twelve while there already is strong stu member Board of Governors, Ol) dent interest in the gallery itself, which would include a represen- ~ not many students are aware ofthe tative from the Pasadena communi- U • c: long history of art exhibitions at ty and one from the professIOnal art ~ Caltech. In 1967, three members community, as well as the three 1; of the Faculty Committee on In members from the Art Alliance and ~ stitute Assemblies and Programs, faculty members. David Smith, ~ David Smith, Oscar Mandel, and who by this time had recovered I Kent Clark, the chairman, decid enough to become involved with PART OF THE SCENE AT THE OPENING OF BAXART'S LAST SHOW, ed that "Institute Programs" need the gallery again, was appointed not be confined to music and public chairman. This new Board of speaking at Beckman Auditorium, Governors wanted to change the but could also include art exhibi direction BaxArt was going. In BaxArt Gets Enough tions. Dr. Smith was running a stead of the purely contemporary small program in Dabney Lounge, art that Baxter Art Gallery was exhibiting pieces which were hung showing, they wanted to present on the west wall, beneath the more "intellectualized shows," Space, Finally balcony, and they decided to ex shows that would have more ofan pand this program. -
Million Dollar Quartet” by Colin Escott & Floyd Mutrux at the Hippodrome Theatre Through December 2
“Million Dollar Quartet” By Colin Escott & Floyd Mutrux At the Hippodrome Theatre through December 2 By James Cooper MEMORIES ARE MADE OF THIS … PRODUCTION Flashing lights, shimmering jackets and long musical solos radiate through the production of “Million Dollar Quartet,” now at the Hippodrome Theatre. Though the special effects and costumes are beneficial in some instances, the show lacks emphasis in the one area it should stress the most: the music. The whole story focuses on the decisions of four major musicians from the 1950s: Carl Perkins, Johnny Cash, Jerry Lee Lewis and Elvis Presley. Music is the main concept within the script, but it certainly isn’t the main concept within the performance. The show focuses on a single event: the night that all four musicians of the “Million Dollar Quartet” were present in the same space at the same time, the Sun Records Studio in Memphis on December 4, 1956. Elvis (Cody Slaughter) used to be a member of the Sun Records family but then he switched to RCA, a bigger label. Since this change, Elvis has lost contact with his former producer, Sam Phillips (Vince Nappo). As Elvis returns with his girlfriend Dyanne (Kelly Lamont) he makes it clear to Sam that he wishes he had stayed at Sun. Sam too wishes that Elvis had stayed, but his main focus is now on producing Johnny (David Elkins) and the up-and-coming Jerry Lee (Martin Kaye). All the while Carl (Robert Britton Lyons) has to decide whether or not he wants to leave Sun Records or move on to Columbia. -
College of a & L Granted $700000
Photo contest - page 6 VOLXIX.NO. 54 the independent student newspaper serving notrt dame and saint man 's MONDAY, NOVEMBER 12, 1984 College of A & L granted $700,000 By JOHN WALTERS felt that the college was in need of a News S ta ff definitive program designed to en hance research support for college. The College of Arts and Letters of The Institute is under the guid Notre Dame has recently received ance of Hatch. He said, “Notre Dame two grants totalling $700,000. wants to build the best faculty possi Nathan Hatch, associate dean of ble and to achieve that we must the College of Arts and Letters, show the faculty that we support describes one of the grants, from the them in their needs.” Andrew Mellon Foundation, as “the Hatch cited some examples of this largest gift ever ” for the college. support as research grants for fac The Andrew Mellon Foundation is ulty members, time off to research, a large philanthropic institute based stipends for attending summer semi m e O bserver/Lev Cnapelslcy in New York. Its grant is valued at nars designed to improve courses, A Saturday Brunch was one o f the many events Carol Burke, Anne Marie Kollman, her mother, $500,000 and will be directed and programs that bring distin during Saint Mary’s Junior Mother’s Weekend Carita Kollman and Trish Cullo were ju st a few of toward the new Institute for Schol guished visiting scholars to campus. held last weekend. Pictured left to right: (left), the more than 550 participants. -
Mudcrutch Släpper Live-EP
2008-11-11 08:00 CET Mudcrutch släpper live-EP Mudcrutch, det legendariska Floridabandet som består av Tom Petty, Tom Leadon, Randall Marsh, Mike Campbell och Benmont Tench kommer att släppa en liveEP 19 november. Extended Play Live kommer att släppas digitalt, på CD samt på en 180g High Performance vinyl. Bandet genomförde en kort men mycket populär turné bestående av små, intima klubbspelningar i Kalifornien i april, där man bland annat sålde ut sex kvällar på Troubadour i Los Angeles. Extended Play Live innehåller fyra låtar som spelades in under den turnén - bland dessa en dramatisk femtonminuters version av bandets mästerverk Crystal River, inspelad live på Troubadour. Alla fyra låtar kan just nu höras via streaming på www.mudcrutchmusic.com. Mudcrutchs självbetitlade debutalbum släpptes 25 april i år och gick i USA rakt in på Billboardlistans åttondeplats. Albumet rosades av kritiker över hela världen, och bland andra beskrev Rolling Stone plattan som "instant classic". Under tidigt 70-tal var medlemmarna i Mudcrutch hjältar i sin egen hemstad, Gainesville, FL och verkade ämnade för stordåd. En radda festivaler som hölls i deras högkvarter, Mudcrutch Farm, drog fans från hela norra Florida och så långväga ifrån som South Georgia. Tyvärr förbjöd de lokala myndigheterna festivalerna men, som den musikaliska succé de var, historierna om festivalerna är många och cirkulerar fortfarande lokalt. Mudcrutch flyttade sedermera till Kalifornien för att bygga vidare på den karriär de grundat hemmavid och släppte en singel på Shelter Records - Depot Street b/w Wild Eyes. Men bandet fick aldrig stå på de stora, inhemska scenerna eller spela in någon fullängdare. -
Behind the Gear Studios and I Worked There for Three Weeks
brothers - I’d had enough. So then I went to A&M Behind The Gear Studios and I worked there for three weeks. The studio This Issue’s Guru of Gadgets sucked then. There was sort of a bad, lean-on-the- by Larry Crane shovel attitude. I felt like everyone there was just collecting paychecks - I like to work. So I went to the Jonathan Little Village Recorders, which is a nice studio. It was owned by Geordie Hormel. I worked there from 1984 to 1987. I’d gotten to know Jimmy Iovine and Shelly Yakus from the Cherokee days. They were working at Cherokee and we did the Tom Petty record Southern Accents and the Eurythmics [Be Yourself Tonight], one of those Talking Heads records [True Stories] with Eric Thorngren engineering, Robbie Robertson’s first [self-titled] solo record with Daniel Lanois and a lot of records with Gary Katz. Being a tech was nice because I didn’t have From the first moment another engineer Phase-Corrected Speaker Systems” (which later I put in to sit in the room all the time, but back then you were raved about a Little Labs DI to me, I knew the end of the IBP manual). I sent that out with my pretty involved in the whole process. I built my first that this company was onto something resume, saying, “This is some of my work.” Tom Lubin, mic pre while I was there. Tchad Blake and Mitchell special. It turns out Little Labs is the editor of RE/P Magazine, said to come see him in Froom really liked it. -
Scanned Using Book Scancenter 7033
Trauma and Visuality in Modernity EDITED AND WITH AN INTRODUaiON BY Lisa Saltzman and Eric Rosenberg Dartmouth College Press Hanover, New Hampshire Published by University Press of New England Hanover and London Dartmouth College Press Published by University Press of New England, One Court Street, Lebanon, NH 03766 www.upne.com © 2006 by Trustees of Dartmouth College Printed in the United States of America 5 4 3 2 1 All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or au thors and publishers who would like to obtain permission for any of the mate rial in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon, NH 03766. Library of Congress Cataloging-in-Publication Data Trauma and visuality in modernity / edited and with an introduction by Lisa Saltzman and Eric Rosenberg.—1st ed. p. cm. — (Interfaces: studies in visual culture) Includes bibliographical references and index. ISBN-13: 978-1-58465-515-2 (cloth : alk. paper) ISBN-10: 1-58465-515-1 (cloth : alk. paper) ISBN-13: 978-1-58465-516-9 (pbk.: alk. paper) ISBN-10: 1-58465-516-X (pbk. : alk. paper) 1. Arts, Modern—Psychological aspects. 2. Psychic trauma in art. 3. Psychoanalysis and the arts. I. Saltzman, Lisa. II. Rosenberg, Eric M. -
Old Fulton NY Post Cards by Tom Tryniski
THECIT.ZEN AUBURN NY FRIDAY APRIL 19. 1985 21 DOONESBURY Torn Petty's new album explores his southern roots. UPI photo Tom Petty explores roots on new album By FRANK SPOTNITZ More within 30 minutes of their meeting. UPI Feature Writer Petty rose to prominence in 1977 with the hit. Breakdown. He continued to have minor hits until the VZZZWSJM&SX^A NEW YORK - Tom Petty had been working on his release of 1979's Damn the Torpedoes, which was a new album, Southern Accents, for the better part of critical and commercial smash, producing Top 20 HI & LOIS two years and had reached the conclusion that there singles including Don't Do Me Like That and Refugee. was no way he could finish it by the end of 1964. Petty, a Gainesville, Fla., native, said the idea of Partly out of anger, partly out of despair. Petty last writing an album about the South came to him while October slapped his left hand against the wall of the he was touring in support of the Long after Dark LP stairwell outside his Los Angeles recording studio and and making frequent visits to Florida. broke three bones. The album still was incomplete and now Petty had "Initially I was going to do it as a double album," to face the possibility he would never play the guitar he said. "I wrote 26 songs and got really immersed in again, or perhaps for only short periods. it and it was just too vast. I had to trim it back. It was "I think from the time I did it, I just realized what I a harder album to record than to write." On the title track. -
Singing in English in the 21St Century: a Study Comparing
SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. -
28 the Exeter Bulletin FALL 2010 FA10 Crossroads 10 11 10.Qxp:Layout 1 10/11/10 12:17 PM Page 29 Down a Dream How One Exonian Became a Heartbreaker by Ketch Secor ’96
FA10_crossroads_10_6_10.qxp:Layout 1 10/6/10 11:10 AM Page 28 Runnin’D 28 The Exeter Bulletin FALL 2010 FA10_crossroads_10_11_10.qxp:Layout 1 10/11/10 12:17 PM Page 29 Down a Dream How one Exonian became a Heartbreaker By Ketch Secor ’96 n Indio,CA,in the dark of night, with strobe lights flashing and four stages of live (Left) Ketch Secor music blasting, I trip over a pile of club kids with their glow sticks ablaze while I ’96 on the road with search for Benmont Tench ’71. I am hoping to meet him here, in the wee hours BenmontTench ’71, of Coachella, the hip, annual California Desert music festival where my band, keyboardist forTom Old Crow Medicine Show, performed an afternoon set, but I lost track of Ben- Petty &The Heart- montI earlier in the day.Now I am supposed to find him by a sign that says “AmExVIP,” breakers. (Above) but all I see are plumes of smoke rising from the sweaty throngs of spent music lovers. I The author is lead check my phone again for messages. Nothing. singer of Old Crow Up past the food vendors and the ATMs, the press area and the free cigarette kiosk, I Medicine Show, a think I see what I’m looking for:a plain,white tarpaulin tent with a placard out front that band based in reads “AmEx VIP Charging Station.”The tent radiates a purplish glow. I pull back the Nashville,TN. flap, startling Benmont, who smoothes the pleats of his fine tailored coat and reaches out to greet me. -
Wildflowers E-Edition
Crawling Back to You A critical and personal breakdown of Tom Petty’s masterpiece, “Wildflowers” by Nick Tavares Static and Feedback editor Static and Feedback | www.staticandfeedback.com | September, 2012 1 September, 2012 Static and Feedback www.staticandfeedback.com ooking at the spine of the CD, it’s would resume, the music would begin, and clear that the color has mutated a I’d lie with my head on my pillow and my L bit through the years, trapped in hands over my stomach, eyes closed. sunbeams by windows and faded from it’s Sometimes, I’d be more alert and reading brown paper bag origins to a pale bluish the liner notes tucked away in the CD’s grey. The CD case itself is in excellent booklet in an effort to take in as much shape save for a few scratches, spared the information about this seemingly magic art cracks and malfunctioning hinges so many form as possible. other jewel boxes have suffered through The first time I listened to Wildflowers, I drops, moves and general carelessness. All was in high school, in bed, laying out in all, the disc holds up rather well. straight, reading along with the lyrics, More often than not, however, it sits inspecting the credits, the thanks and the on the shelf, tucked below a greatest hits photographs included with this Tom Petty collection and above a later album. Thanks solo record. One hour, two minutes and 41 to technology, the more frequent method seconds later, I felt an overwhelming rush, a of play is the simple mp3, broadcasting out warmth that covered my entire body from of a speaker the size of the head of a head to toe and reached back within my pencil’s eraser mounted above the skull to fill my insides. -
How the Performances, Song Lyrics, and Activism of the Indigo Girls Demonstrate the Mutable Composition of Southern Identity
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 8-11-2015 How the Performances, Song Lyrics, and Activism of the Indigo Girls Demonstrate the Mutable Composition of Southern Identity Alison Law Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Law, Alison, "How the Performances, Song Lyrics, and Activism of the Indigo Girls Demonstrate the Mutable Composition of Southern Identity." Thesis, Georgia State University, 2015. https://scholarworks.gsu.edu/english_theses/191 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. HOW THE PERFORMANCES, SONG LYRICS, AND ACTIVISM OF THE INDIGO GIRLS DEMONSTRATE THE MUTABLE COMPOSITION OF SOUTHERN IDENTITY by ALISON LAW Under the Direction of Gina Caison, Ph.D. ABSTRACT A common misconception about the southern region of the United States is that any one part of the region can stand alone as an accurate representation of the territory as a whole. To refute any notion of a homogeneous South and demonstrate the dynamic nature of an individual or community identity, I examine the history, song lyrics, performances, and activism of the folk-rock duo the Indigo Girls and their hometown of Atlanta, Georgia. This project applies the theories of locational feminism found in Susan Stanford Friedman’s Mappings and New Southern Studies in Tara McPherson’s text Reconstructing Dixie . Analyzing the biographies, song lyrics, performances, and activism of the Indigo Girls as an archive of southern literature allows us to understand the fluid, multiplex nature of regional identity and view Atlanta as one “borderland” in a heterogeneous U.S. -
College of a & L Granted $700,000
Photo contest - page 6 VOl. XIX, NO. 54 MONDAY, NOVEMBER 12, 1984 ·' College of A & L granted $700,000 ..;., . .# ByJOHN WALTERS felt that the college was In need of a ._,.,• .. .::. News Staff definitive program designed to en· - hance research support for college. "" The College of Arts and Letters of The Institute is under the guid· ... ..;, Notre Dame has recently received ance of Hatch. He said, "Notre Dame two grants toralling $700,000. wants to build the best faculty possi· Nathan Hatch, associate dean of ble and to achieve that we must the College of Arts and Letters, show the faculty that we support ...... /,.... describes one of the grants, from the them in their needs." Andrew Mellon Foundation, as "the Hatch cited some examples ofthis ' largest gift ever " for the college. support as research grants for fac ,... The Andrew Mellon Foundation is ulty members, time off to research, a large philanthropic institute based stipends for attending summer semi· 'Jbe Obscrver/U:v Chapelsky in New York. Its grant is valued at nars designed to improve courses, A Saturday Brunch was one of the many events Carol Burke, Anne Marie Kollman, her mother, S500,000 and will be directed and programs that bring distin durlnR Saint Mary's junior Mother's Weekend Carita Kollman and Trish Gullo were just a few of toward the new Institute for Schol· guished visiting scholars to campus. held last weekend. Pictured left to right: (left), the more than 550 participants. Story below. arship in the Uberal Arts. The college has already received a The National Endowment for the S50,000 grant from Exxon to bring Humanities also provided the col seven distinguished scholars to visit Saint Mary's Jr.