DOCSLIB.ORG

Song of Songs Case SS Class Part 7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Song of Songs Case SS Class Part 7 Solomon and Sinatra: The Song of Songs and Romance in the Church Robert Case A Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016 Part 7 Turning to an allegory from the American Songbook, I have two selections: “Ghost Riders in the Sky” "Ghost Riders in the Sky" is an allegorical song written in 1948 by the prolific Stan Jones. Members of the Western Writers of America chose it as the top western song of all time! Those of us from Ellensburg love this song. The song tells the allegorical folk tale of a lone cowboy who has a vision of “red-eyed, steel-hooved” cattle thundering across the sky, being chased by the spirits of Hell-bound cowboys. One cowboy warns our loner, like Dives in Luke 16:27, that “if he does not change his ways today,” he will be doomed to join them, forever "trying to catch the Devil's herd across these endless skies". The song lyrics also have a faint echo of Deuteronomy 33:26, “There is none like God, O Jeshurun, who rides through the heavens to your help, through the skies in his majesty.” I Kings 8:47, “if they turn their heart in the land to which they have been carried”; “Psalm 68:33, “to him who rides in the heavens, the ancient heavens; behold, he sends out his voice, his mighty voice.” and Psalm 7:12, “If he does not turn, [God] will whet his sword; he hath bent his bow, and made it ready.” Mr. Jones also wrote the music for the popular John Wayne western films The Horse Soldiers, The Searchers, Rio Grande and the television series Cheyenne, starring the Christian actor, Clint Walker. The 1949 version of “Ghost Riders” by active churchman and very popular baritone, Vaughn Monroe and His Band first appeared on the Billboard charts, lasting 22 weeks and reaching #1. Billboard ranked the song as the #1 song in America for 1949. “An old cowpoke went riding out one dark and windy day Upon a ridge he rested as he went along his way When all at once a mighty herd of red-eyed cows he saw A'plowin' through the ragged skies and up a cloudy draw Yi-pi-yi-ay, Yi-pi-yi-o Ghost herd in the sky Their brands were still on fire and their hooves were made of steel Their horns wuz black and shiny and their hot breaths he could feel A bolt of fear went through him as they thundered through the sky For he saw the riders comin' hard and he heard their mournful cry Yi-pi-yi-ay, Yi-pi-yi-o Ghost riders in the sky Their faces gaunt, their eyes were blurred, their shirts all soaked with sweat They're ridin' hard to catch that herd but they ain't caught them yet They've got to ride forever in that range up in the sky On horses snortin' flame an' fire, as they ride on, hear them cry Yi-pi-yi-ay, Yi-pi-yi-o Ghost riders in the sky As the riders loped on by him, he heard one call his name "If you want to save your soul from hell a' ridin' on our range. Then cowboy change your ways today or with us you will ride a-tryin' to catch the Devil's herd across these endless skies." Yi-pi-yi-ay, Yi-pi-yi-o Ghost riders in the sky Ghost riders in the sky.” (“Ghost Riders in the Sky” performed by Vaughn Monroe)(2:55) https://www.amazon.com/Ghost- Riders-In-The-Sky/dp/B003VCY7OO/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1474672367&sr=1- 1&keywords=ghost+riders+in+the+sky+vaughn+monroe You might recognize Mr. Monroe’s unique voice as the voice of “Let it Snow, Let it Snow, Let it Snow,” a song popular in Bruce Willis’ movies as well as many other number one hits in the 40s and 50s (eg, “There, I’ve Said it Again,” “Ballerina”). Can you image the most popular song in America in 2016 telling us to turn or burn? “This Ole House” One of the most famous allegorical songs in the American Songbook was written in l951 by evangelical composer/actor, Stuart Hamblin called, “This Ole House.” The song evolved into an analogy for the Christian life as one gets older (cf, Ecclesiastes 12), looking forward to the physical resurrection into heaven (“getting ready to meet the saints”). But the song began as a folk tale when Hamblin and fellow cowboy actor John Wayne were on a hunting trip in the Sierra Mountains of California and stumbled upon a ramshackle cabin with a dead man and a live dog in it. A young Roman Catholic, Rosemary Clooney, recorded the song with Buddy Cole’s orchestra in l954 and it became a Billboard #1 hit – the most popular song in America. This song is like a song selection from the Old Testament Church songbook which used common objects to illustrate the gospel. For instance, in Isaiah 5(1), the great prophet used “The Song of the Vineyard” to preach the good news. “I will sing for the one I love, a song about his vineyard; my loved one had a vineyard on a fertile hillside.” Isaiah assumes the role of a musician in order to reach the heart and conscience of some of the chosen people, who by now had become impervious to the power of his preaching. Mr. Hamblin wanted to do the same thing with his song and he uses the metaphor of a crumbling house to do his preaching. Clooney hit recording features basso profundo singer Thurl Ravenscroft who was the voice of Tony the Tiger (“They’re Great”) in Kellogg’s Frosted Flake commercials and sang “You’re a Mean One, Mr. Grinch” in the movie How the Grinch Stole Christmas. Mr. Ravenscroft is buried in the Chrystal Cathedral memorial gardens in Anaheim. “This ole house once knew my children This ole house once knew my wife This ole house was home and comfort As we fought the storms of life This ole house once rang with laughter This ole house heard many shouts Now she trembles in the darkness When the lightnin' walks about Ain't a-gonna need this house no longer Ain't a-gonna need this house no more Ain't got time to fix the shingles Ain't got time to fix the floor Ain't got time to oil the hinges Nor to mend no window pane Ain't gonna need this house no longer I'm a-gettin' ready to meet the saints This ole house is a-gettin' shaky This ole house is a-gettin' old This ole house lets in the rain This ole house lets in the cold On my knees I'm gettin' chilly But I feel no fear or pain 'Cause I see an angel peekin' Through a broken window pane Ain't a-gonna need this house no longer Ain't a-gonna need this house no more Ain't got time to fix the shingles Ain't got time to fix the floor Ain't got time to oil the hinges Nor to mend no window pane Ain't gonna need this house no longer I'm a-gettin' ready to meet the saints Now this ole house is afraid of thunder This ole house is afraid of storms This ole house just groans and trembles When the night wind flings its arms This ole house is a-gettin' feeble This ole house is a-needin' paint Just like me it's tuckered out But I'm a-gettin' ready to meet the saints Ain't a-gonna need this house no longer Ain't a-gonna need this house no more Ain't got time to fix the shingles Ain't got time to fix the floor Ain't got time to oil the hinges Nor to mend no window pane Ain't gonna need this house no longer I'm a-gettin' ready to meet the saints know I'm gonna leave Else he'd wake up by the fire place And he'd sit down, howl and grieve But my huntin' days are over Ain't gonna hunt the coon no more Gabriel done brought in my chariot When the wind blew down the door Ain't a-gonna need this house no longer Ain't a-gonna need this house no more Ain't got time to fix the shingles Ain't got time to fix the floor Ain't got time to oil the hinges Nor to mend no window pane Ain't gonna need this house no longer I'm a-gettin' ready to meet the saints.” (“This Ole House” performed by Rosemary Clooney)(2:23) https://www.amazon.com/This-Ole- House/dp/B013THGLDA/ref=sr_1_7?s=dmusic&ie=UTF8&qid=1474672589&sr=1- 7&keywords=this+ole+house+rosemary+clooney “The House I Live In” The song, “The House I Live In,” originally appeared on Broadway in the musical revue, Let Freedom Sing, in war year 1942 and was written by Earl Robinson. The lyrics were written in 1943 by Abel Meeropol. The song was the title song of a 1946 ten-minute short film of the same name starring Frank Sinatra. Made to oppose anti-Semitism at the end of World War II, the film received an Honorary Academy Award and a special Golden Globe award in 1946. In 2007, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Load more

Recommended publications
  • 1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
    1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr.
    [Show full text]
  • 100 Years: a Century of Song 1950S
    100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary
    [Show full text]
  • Pioneers of the Concept Album
    Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St.
    [Show full text]
  • 1 POPULAR MUSIC in the MERCER ERA, 1910-1970 Building Bridges
    1 POPULAR MUSIC IN THE MERCER ERA, 1910-1970 Building Bridges: Hank Williams and the Hit Parade (Draft version submitted November 2010) By Dr. Steve Goodson University of West Georgia Carrollton, GA Hank Williams is widely regarded as the archetypal country music singer, songwriter, and performer. Phenomenally successful during his brief lifetime, he has become -- in the nearly six decades since his death -- something of a national cultural institution. He appeared on a U.S. postage stamp in 1993, he was the focus of a Smithsonian Institution symposium in 1999 – the first country artist to be so honored – and he was the subject of a documentary featured on the PBS American Masters series in 2004. When Mercury Records released a 10-CD compilation of his work – The Complete Hank Williams – the groundbreaking set received substantial reviews from a remarkable array of prestigious mainstream publications, including The New York Times, The Wall Street Journal, the Village Voice, and the Times and the Guardian of London. Fans – most of them too young to remember Williams personally, continue to trek to his grave in his hometown of Montgomery, Alabama, often visiting as well as the city's Hank Williams museum and the nearby Williams statue. Artists continue to record his songs, not only in the country field, but in a variety of genres – Norah Jones and Van Morrison being recent examples. The enduring popularity of and ever-growing esteem – even reverence – for this star- crossed performer are remarkable given that his recording career lasted but six years, and that he did not live to see thirty years of age.
    [Show full text]
  • Loretta Lynn: Writin' Life Article 1
    Online Journal of Rural Research & Policy Volume 5 Issue 4 Loretta Lynn: Writin' Life Article 1 2010 Loretta Lynn: Writin’ Life Danny Shipka Louisiana State University Follow this and additional works at: https://newprairiepress.org/ojrrp This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Shipka, Danny (2010) "Loretta Lynn: Writin’ Life," Online Journal of Rural Research & Policy: Vol. 5: Iss. 4. https://doi.org/10.4148/ojrrp.v5i4.205 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Online Journal of Rural Research & Policy by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Online Journal of Rural Research and Policy Vol. 5, Issue 4 (2010) Loretta Lynn: Writin‟ Life DANNY SHIPKA Louisiana State University Recommended Citation Style: Shipka, Danny. “Loretta Lynn: Writin‟ Life.” The Online Journal of Rural Research and Policy 5.4 (2010): 1-15. Key words: Loretta Lynn, Van Leer Rose, Country Music, Content Analysis, Textual Analysis This is a peer- reviewed essay. Abstract The release of Loretta Lynn‟s 2004 album Van Leer Rose welcomed back after 33 years one of the premier feminist voices in recorded music. The songs that Loretta wrote in 60s and early 70s were some of the most controversial and politically charged to hit the airwaves. They encompassed a microcosm of issues that rural women were facing including the changing sexual roles of women, ideas on marriage, the ravages of war and substance abuse.
    [Show full text]
  • Music Order Form Date______
    Music Order Form Date__________ BRAND NEW CD! (see CDs below) From: _________________________________ Ship To: ____________________________________ _________________________________ ____________________________________ _________________________________ ____________________________________ _________________________________ ____________________________________ Phone: _________________________________ E-mail: ____________________________________ 7 Please add me to your new CD release announcements. Stuart & Suzy Hamblen’s CD’s, Albums & Cassettes: CDs NEW ____ BEST OF BIRTH OF A SONG (CD) $16.99 $____________ True stories of how these songs were written. Narrated and performed by Stuart Hamblen, includes songs: Blue Bonnets - This Ole House - It Is No Secret - Oklahoma Bill - But For The Grace Of God - Until Then - That's Just Livin' - Big Wicked Bill ____ SPELL OF THE YUKON (CD) $16.99 $____________ Shake the Hand of a Man - The Shooting of Dan McGrew - The Lure of the Little Voices - Pokolodie Bill Left His Soul Behind - Spell Of The Yukon - Send Me the Lady - The Cremation of Sam McGee - Make-Believe Bay - Big Wicked Bill - Mush ____ STUART HAMBLEN - GOSPEL (CD) $16.99 $____________ It Is No Secret - Until Then - Friends I Know - He Bought My Soul - My Religion’s Not Old-Fashioned - Dear Lord, Be My Shepherd - Teach Me, Lord, To Wait - How Big Is God - The Workshop Of The Lord - It’s A Brand New Day - One Day Nearer Home - I’ve Got So Many Million Years ____ STUART HAMBLEN - COUNTRY (CD) $16.99 $____________ Remember Me - Tho’ Autumn’s Coming On - A Few Things To Remember - Nothing Changes - Just A Man - So Dear To My Heart - This Ole House - Texas Plains - Blue Bonnets - Walkin’ My Fortune - Across the Great Divide - Lonesome Like Nobody Knows ALBUMs / LPs ____ THE LEGACY OF STUART HAMBLEN (record album - LP) $10.99 ea.
    [Show full text]
  • FLORIDA REPERTORY THEATRE GREG LONGENHAGEN, Artistic Director • JOHN MARTIN, Managing Director 2018-2019 SEASON ARTSTAGE STUDIO THEATRE • FORT MYERS RIVER DISTRICT
    FLORIDA REPERTORY THEATRE GREG LONGENHAGEN, Artistic Director • JOHN MARTIN, Managing Director 2018-2019 SEASON ARTSTAGE STUDIO THEATRE • FORT MYERS RIVER DISTRICT PRESENTS THE ROSEMARY CLOONEY MUSICAL BY JANET YATES VOGT & MARK FRIEDMAN SPONSORED BY SAM GALLOWAY FORD LINCOLN STARRING SUSAN HAEFNER* • MICHAEL MAROTTA* DIRECTED BY ELEANOR HOLDRIDGE** MUSICAL DIRECTOR CHOREOGRAPHER VICTORIA CASELLA MK LAWSON SET DESIGNER COSTUME DESIGNER LIGHTING DESIGNER JORDAN MOORE CHARLENE GROSS*** TODD O. WREN*** ensemble member SOUND DESIGNER PRODUCTION STAGE ASST. STAGE MANAGER KATIE LOWE MANAGER KATELYNN FOSTER AMY L. MASSARI* ensemble member TENDERLY, THE ROSEMARY CLOONEY MUSICAL is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide (TRW), 1180 Avenue of the Americas, Suite 640, New York, NY 10036. (866) 378-9758 www.theatricalrights.com 2018-19 GRAND SEASON SPONSORS IN THE KNOW. IN THE NOW. This entire season sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. Florida Repertory Theatre is a fully professional non-profit LOA/LORT Theatre company on contract with the Actors’ Equity Association that proudly employs members of the national theatrical labor unions. *Member of Actors’ Equity Association. **Member of the Stage Directors and Choreographers Society. ***Member of United Scenic Artists. ABOUT THE PLAYWRIGHTS MARK FRIEDMAN fell in love with musicals at THE an early age when he
    [Show full text]
  • State Highlights 10/1/1952
    Western Michigan University ScholarWorks at WMU Western's high school newspaper Western Michigan University 10-1-1952 State Highlights 10/1/1952 Western State High School Follow this and additional works at: https://scholarworks.wmich.edu/high-school-news Part of the Secondary Education Commons WMU ScholarWorks Citation Western State High School, "State Highlights 10/1/1952" (1952). Western's high school newspaper. 173. https://scholarworks.wmich.edu/high-school-news/173 This Newspaper is brought to you for free and open access by the Western Michigan University at ScholarWorks at WMU. It has been accepted for inclusion in Western's high school newspaper by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. State Highlights Volume IX Kalamazoo, Michigan, October 11 1952 Number 1 Summer Survey Mr. Sack Welcomed Library It seems that teachers too, like to Gets Face make the most out of the summer break. For instance, Mr. Stauffer Lifting turned his talents to managing his resort-restaurant up north and enter- Big things have happened in our tai.ning the customers by playing the library since we left school last Hammond organ during the supper hour, while Miss Crisman spent a Spring. Miss Lowrie is very pleased relaxing summer at home "just keep- with the improvement of facilities ing house." and she is certain that the wholt. Westward bound were two of the school will benefit from the changes. luckier faculty members. Miss Steke- tee got a first-hand view of the Cana- The old eighth grade room has been dian Rockies and saw a real rodeo directly connected to the main Ii" complete with cowboys.
    [Show full text]
  • “Tenderly” Tells Story of Rosemary Clooney with Songs You Will
    “Tenderly” tells story of Rosemary Clooney with songs you will remember https://morganhilllife.com/2018/05/07/curtains-up-theater-review-by-camille-bounds-tenderly-tells- story-of-rosemary-clooney-with-songs-you-will-remember/ By Camille Bounds Published online on May 7, 2018 “Tenderly” is the first musical of Gilroy’s Limelight’s 2018 season. It tells the little-known poignant life story of Rosemary Clooney. It is written by Janet Yates Vogt and Mark Friedman, produced by Kevin Heath and Alan Obata, and directed by the talented Diane Milo, (Always-Patsy Cline), who also marvelously plays Rosemary from her neglected, destitute childhood to her final return to stage and screen after a rollercoaster ride at life. Milo’s voice carries throughout the performance with a fine resonance. All Clooney’s songs are threaded through the production from her “Come On A My House,” “Botch-a Me,” Mambo Italiano,” Tenderly,” “Count Your Blessings,” “It’s Only a Paper Moon,” and “Straighten Up And Fly Right” just to name a few. Clooney had two rocky marriages to actor Jose Ferrer, with whom she had five children and struggled to maintain mental stability throughout her life. Liquor and pills finally took her stardom for about eight years when she was invited to perform by her good friend Bing Crosby in his “50th Anniversery Special” and be in the movie ” White Christmas.” She then maintained her stability until her death from lung cancer in 2002. (She was George Clooney’s aunt.) Michael Hirsch as Dr. Victor Monke, her psychiatrist, also plays all the other characters from her mother to Jose Ferrer to Bing Crosby.
    [Show full text]
  • 44Th Street 44Th Street
    44th Street March 2005 Vol. 20, No. 3 TES NThe Association of the Bar of the City of New York The Association of the Bar of the City of New York Program Highlights Human Rights and Due Process: INSIDE 3/1 Gonzales Nomination Focuses Spotlight Elderlaw Project Pro Bono by Bettina B. Plevan, President Training . .7 he recent confirmation ment in response to suits brought on Judge Gonzales avoided confronting 3/24 hearings on Alberto behalf of detainees seeking due the issues raised, except to say he United Nations: Proposals Gonzales’ nomination to process. We addressed these issues did not support torture (a stance for the 21st Century . .9 T serve as attorney general in amicus briefs filed in three cases articulated by President Bush). The provided an opportune time to bring involving challenges by persons legal positions, except for some in CLE . .12 into focus the government’s purport- detained as enemy combatants the now infamous – and later – Hedge Funds - ed legal justification for a series of (Padilla v. Rumsfeld, Rasul v. Bush, retracted – August 2002 Justice Current Developments 3/3 policies developed in the post-9/11 and Hamdan v. Rumsfeld). Department memo, which attempted environment. A series of legal After his nomination was to limit the liability of U.S. person- – The IRS’s New “Tax Exempt memoranda, originally kept secret announced, we wrote directly to nel for committing torture, have not Compensation Enforcement Project” 3/7 until they were leaked, and Judge Gonzales setting forth our been retracted. Rather, they remain eventually made public by the questions and concerns regarding in effect as support for the adminis- – Check 21: What You Need Administration, supported the these memoranda, the legal argu- tration’s approach to detainees and To Know 3/21 policies.
    [Show full text]
  • The Bolshevik Revolution and Tin Pan Alley: Anti-Revolutionary Song in the United States, 1917-1927
    THE BOLSHEVIK REVOLUTION AND TIN PAN ALLEY: ANTI-REVOLUTIONARY SONG IN THE UNITED STATES, 1917-1927 By BRIAN HOLDER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Brian Holder 2 To Lauren, Murphy, and Rufio. 3 ACKNOWLEDGMENTS I wish to thank the members of my supervisory committee and the many other professors who have guided me through my years at the University of Florida. Specifically I thank David Z. Kushner for his mentorship and inspiration. It has been an honor to study and work within his musicology program. Additional help and advice came from Robena Cornwell, Michele Wilbanks, and Mary Wood at the University of Florida Music Library, Jim Liversidge at the University of Florida Popular Culture Collections, the Performing Arts Reading Room staff at the Library of Congress, Nancy Mason, assistant to the Milne Special Collections at the University of New Hampshire, the Duke University Special Collections staff, sheet music collector and lecturer Lee Schreiner, and Bernard Parker, author and World War I song collector. I am very grateful for their assistance. My colleagues at Santa Fe College have also been very supportive during the preparation of this study. I appreciate their encouragement and understanding. I thank David Goldblatt for his willingness to both sing and accompany himself in performance of Let’s knock the bull out of the Bolsheviki. Finally I thank my mother, whose gift of the sheet music Johnny’s in town sparked an interest in the music of the First World War.
    [Show full text]
  • James W. Phillips Collection
    JAMES W. PHILLIPS COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gigi Monacchino, spring 2013 Revised by Gail E. Lowther, winter 2019 1 TABLE OF CONTENTS Description of Collection . 3 Description of Series . 5 INVENTORY Sub-Group I: Composer Subdivision Series 1: Irving Berlin . 7 Series 2: George Gershwin, Victor Herbert, and Jerome Kern . 35 Series 3: Jerome Kern and Cole Porter . 45 Series 4: Cole Porter and Richard Rodgers . 60 Series 5: Richard Rodgers . 72 Series 6: Richard Rodgers and Sigmund Romberg . 86 Sub-Group II: Individual Sheet Music Division . 92 Sub-Group III: Film and Stage Musical Songs . 214 Sub-Group IV: Miscellaneous Selections . 247 2 DESCRIPTION OF COLLECTION Accession no. 2007/8/14 Shelf location: C3B 7,4–6 Physical extent: 7.5 linear feet Biographical sketch James West Phillips (b. August 11, 1915; d. July 2, 2006) was born in Rochester, NY. He graduated from the University of Rochester in 1937 with distinction with a Bachelor of Arts in Mathematics; he was also elected to the academic honors society Phi Beta Kappa. In 1941, he moved to Washington, DC, to work in the Army Ordnance Division of the War Department as a research analyst. He left that position in 1954 to restore a house he purchased in Georgetown. Subsequently, in 1956, he joined the National Automobile Dealers Association as a research analyst and worked there until his retirement in 1972. He was an avid musician and concert-goer: he was a talented pianist, and he composed music throughout his life.
    [Show full text]