CONGRESSIONAL RECORD— Extensions Of
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CONGRESSIONAL RECORD— Extensions of Remarks E62 HON
E62 CONGRESSIONAL RECORD — Extensions of Remarks February 1, 2006 Fayard kept their legend alive by giving lec- Norman J. Pera was born in Gary, Indiana, money in the operations of the culinary depart- tures and demonstrations until 2004, when he where he graduated from Horace Mann High ments, throughout the United States Armed suffered a stroke. School in 1939. He served honorably from Forces. Not only is the Nicholas Brother’s dance 1942 to 1946 in the U.S. Navy, including ac- The Clark County School District will greatly skill to be admired and remembered but so is tive duty in the Pacific Theater during Word miss Mr. Doram, who during his years as a their spirit. With each advancement in their ca- War II. teacher was an outstanding educator who reer, they overcame racial discrimination, Upon completing military service, he at- deeply cared about the youth of Nevada. Yet proving that even ignorance cannot dampen tended the Rose Hulman Institute of Tech- his legacy of service to the community will be one’s skills and drive. The Nicholas Brothers nology in Terre Haute, Indiana, and graduated seen for generations to come. stand as a testament and an example to all by in 1948 with a degree in Mechanical Engineer- Mr. Speaker, it is an honor that I am able finding joy in following one’s passion. I join the ing. He worked for Inland Steel of East Chi- to recognize Tyronne E. Doram today, on the NAACP in remembering Fayard Nicholas. cago, Indiana, and retired in 1982 as the As- floor of the House in front of my colleagues. -
Focus Winter 2002/Web Edition
OKLAHOMA CITY UNIVERSITY • WINTER/SPRING 2002 Focus on The School of American Dance and Arts Management A National Reputation Built on Tough Academics, World-Class Training, and Attention to the Business of Entertainment Light the Campus In December 2001, Oklahoma’s United Methodist university began an annual tradition with the first Light the Campus celebration. Editor Robert K. Erwin Designer David Johnson Writers Christine Berney Robert K. Erwin Diane Murphree Sally Ray Focus Magazine Tony Sellars Photography OKLAHOMA CITY UNIVERSITY • WINTER/SPRING 2002 Christine Berney Ashley Griffith Joseph Mills Dan Morgan Ann Sherman Vice President for Features Institutional Advancement 10 Cover Story: Focus on the School John C. Barner of American Dance and Arts Management Director of University Relations Robert K. Erwin A reputation for producing professional, employable graduates comes from over twenty years of commitment to academic and Director of Alumni and Parent Relations program excellence. Diane Murphree Director of Athletics Development 27 Gear Up and Sports Information Tony Sellars Oklahoma City University is the only private institution in Oklahoma to partner with public schools in this President of Alumni Board Drew Williamson ’90 national program. President of Law School Alumni Board Allen Harris ’70 Departments Parents’ Council President 2 From the President Ken Harmon Academic and program excellence means Focus Magazine more opportunities for our graduates. 2501 N. Blackwelder Oklahoma City, OK 73106-1493 4 University Update Editor e-mail: [email protected] The buzz on events and people campus-wide. Through the Years Alumni and Parent Relations 24 Sports Update e-mail: [email protected] Your Stars in action. -
Completeandleft Felix ,Adler ,Educator ,Ethical Culture Ferrán ,Adrià ,Chef ,El Bulli FA,F
MEN WOMEN 1. FA Frankie Avalon=Singer, actor=18,169=39 Fiona Apple=Singer-songwriter, musician=49,834=26 Fred Astaire=Dancer, actor=30,877=25 Faune A.+Chambers=American actress=7,433=137 Ferman Akgül=Musician=2,512=194 Farrah Abraham=American, Reality TV=15,972=77 Flex Alexander=Actor, dancer, Freema Agyeman=English actress=35,934=36 comedian=2,401=201 Filiz Ahmet=Turkish, Actress=68,355=18 Freddy Adu=Footballer=10,606=74 Filiz Akin=Turkish, Actress=2,064=265 Frank Agnello=American, TV Faria Alam=Football Association secretary=11,226=108 Personality=3,111=165 Flávia Alessandra=Brazilian, Actress=16,503=74 Faiz Ahmad=Afghan communist leader=3,510=150 Fauzia Ali=British, Homemaker=17,028=72 Fu'ad Aït+Aattou=French actor=8,799=87 Filiz Alpgezmen=Writer=2,276=251 Frank Aletter=Actor=1,210=289 Frances Anderson=American, Actress=1,818=279 Francis Alexander+Shields= =1,653=246 Fernanda Andrade=Brazilian, Actress=5,654=166 Fernando Alonso=Spanish Formula One Fernanda Andrande= =1,680=292 driver.=63,949=10 France Anglade=French, Actress=2,977=227 Federico Amador=Argentinean, Actor=14,526=48 Francesca Annis=Actress=28,385=45 Fabrizio Ambroso= =2,936=175 Fanny Ardant=French actress=87,411=13 Franco Amurri=Italian, Writer=2,144=209 Firoozeh Athari=Iranian=1,617=298 Fedor Andreev=Figure skater=3,368=159 ………… Facundo Arana=Argentinean, Actor=59,952=11 Frickin' A Francesco Arca=Italian, Model=2,917=177 Fred Armisen=Actor=11,503=68 Frank ,Abagnale ,Criminal ,Catch Me If You Can François Arnaud=French Canadian actor=9,058=86 Ferhat ,Abbas ,Head of State ,President of Algeria, 1962-63 Fábio Assunção=Brazilian actor=6,802=99 Floyd ,Abrams ,Attorney ,First Amendment lawyer COMPLETEandLEFT Felix ,Adler ,Educator ,Ethical Culture Ferrán ,Adrià ,Chef ,El Bulli FA,F. -
Danny Daniels Papers LSC.1925
http://oac.cdlib.org/findaid/ark:/13030/c8tm7h6q No online items Finding Aid for the Danny Daniels Papers LSC.1925 Finding aid prepared by Douglas Johnson, 2017; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2020 October 16. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Danny Daniels LSC.1925 1 Papers LSC.1925 Contributing Institution: UCLA Library Special Collections Title: Danny Daniels papers Creator: Daniels, Danny Identifier/Call Number: LSC.1925 Physical Description: 36.2 Linear Feet(61 boxes, 3 cartons, 2 shoe boxes, 16 flat boxes, 2 oversize flat boxes) Date (inclusive): 1925-2004 Date (bulk): 1947-2004 Abstract: Danny Daniels was a tap dancer, choreographer, and entrepreneur. The collection consists primarily of material from his long career on stage and in film and television. There are also records from his eponymous dance school, as well as other business ventures. There is a small amount of personal material, including his collection of theater programs spanning five decades. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are primarily in English, with a very small portion in French and Italian. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements COLLECTION CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisua materials. -
Jazz at Lincoln Center Orchestra
Jazz at Lincoln Center Orchestra Spaces with Lil Buck and Jared Grimes WHEN: VENUE: WEDNESDAY, BING SEPTEMBER 26, 2018 CONCERT HALL 7∶30 PM Program Artists Spaces by Wynton Marsalis: Jazz at Lincoln Center Orchestra Wynton Marsalis, Ch-Ch-Ch-Chicken Music Director, Trumpet Monkey in a Tree Ryan Kisor, Trumpet Pachyderm Shout Kenny Rampton, Trumpet Leap Frogs Marcus Printup, Trumpet Mr. Penguin Please Vincent Gardner, Trombone Chris Crenshaw, Trombone — INTERMISSION — Elliot Mason, Trombone Sherman Irby, Alto and Soprano Like a Snake Saxophones, Flute, Clarinet Those Sanctified Swallows Ted Nash, Alto and Soprano Saxophones, A Nightingale Flute, Clarinet King Lion Victor Goines, Tenor and Soprano Bees Bees Bees Saxophones, Clarinet, Bass Clarinet Greg Tardy, Tenor and Soprano Saxophones, Clarinet This program is generously supported by Paul Nedzela, Baritone and Soprano Stephanie and Fred Harman and the Koret Foundation, Saxophones, Bass Clarinet with additional support from the Western States Arts Federation Dan Nimmer, Piano and the National Endowment for the Arts. Carlos Henriquez, Bass The Koret Jazz Project is a multiyear initiative to support, expand, and celebrate Charles Goold, Drums the role of jazz in the artistic and educational programming of Stanford Live. Lil Buck and Jared Grimes, Dancers Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra Jazz at Lincoln Center’s commissioning of Spaces was made possible, in part, with Wynton Marsalis. by a leadership gift from Jody and John Arnhold and a generous grant from the Howard Gilman Foundation. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms. -
Advanced Beginner Tap Tap Dance Trivia Name
Advanced Beginner Tap Tap Dance Trivia Name: __________________________________________ Period:___________ 1. Which tap dancer is famous for his “Stair Dance?” a. Jimmy Slyde b. Bill “Bojangles” Robinson c. Fred Astaire d. King Rastus Brown 2. In the 1930s, the Nicholas Brothers dance at what famous New York City club? a. The Jazz Club b. The Jazz House c. The Cotton Club d. The Vine 3. Which tap dancer is famous for appearing in movies with Shirley Temple? a. Bill “Bojangles” Robinson b. Willie Coven c. LaVaughn Robinson d. Eddie Brown 4. Which female tap dancers was known for her “machine gun” fast tapping in the 1930s and 1940s? a. Jeni LeGon b. Elenor Powell c. Ginger Rogers d. Ann Miller 5. Which tap dancer appeared with Gene Kelly and Debbie Reynolds in MGM’s “Singing in the Rain?” a. Fred Astaire b. Donald O’Connor c. Fred Kelly d. Buddy Ebsen 6. Some historians think that tap dancing is a mix of which dance forms? a. Irish Step Dance b. African Dance c. English Clog Dance d. All of the above 7. This small room in a New York club served as the “Harlem Headquarters” for tap dancers in the 1930s: a. The Hoofers Club b. The Hoofers Lounge c. The Tappers Club d. The Hoofers Corner 8. Leonard Reed is known for this tap dance routine: a. The Charleston b. The Tack Annie c. The Shim Sham Shimmy d. The Cakewalk 9. The Famous tap dancers who starred in the film “Tap” was: a. Gene Kelly b. Gregory Hines c. -
An African American Experience with Race, Racism, and the White Aesthetic in Dance
Final I Just Want to Get My Groove On: An African American Experience with Race, Racism, and the White Aesthetic in Dance by Tracey Owens Patton, Ph.D. Director of African American & Diaspora Studies and Associate Professor, Department of Communication & Journalism The University of Wyoming Tracey Owens Patton ([email protected] ) is Director of African American & Diaspora Studies as well as an Associate Professor of Communication in the Department of Communication and Journalism at The University of Wyoming. She earned her Ph.D. in Communication at the University of Utah. Her area of specialization is critical cultural communication and rhetorical studies. Her work is strongly influenced by critical theory, cultural studies, womanist theory, and rhetorical theory. She has authored a number of academic articles on topics involving the interdependence between race, gender, and power and how these issues interrelate culturally and rhetorically in education, media, and speeches. Dr. Patton presents her research at numerous academic conferences, and has published extensively in academic journals and books. Abstract Dance, like other sports, operates through the frame of cultural identity. However, while there may be freedom in bodily movement, the body is constrained when it comes to who is able to dance. Oftentimes dancers do not fit into a certain racial aesthetic. Using an autoethnographic approach, examples in this paper stretch over three decades to examine the question of race, power, and White aesthetic. The personal narratives shared are through the lens of an African American, non-professional dancer whose dance experiences have been solely in largely White homogenous dance studios or companies (an earlier version of this paper was presented in 2011 at the National Council for Black Studies conference in Cincinnati, Ohio. -
Schooltime Performance Series Beats, Rhymes and Tap Shoes
teacher resource guide schooltime performance series beats, rhymes and tap shoes with Maurice Chestnut about the performance Explosive, rhythmic, soulful, and beautiful. Lincoln Center’s Jazz for Young People (JFYP) program. and Midnight Marauders. ATCQ’s debut was heralded Beats, Rhymes and Tap Shoes with Maurice Chestnut is For Lincoln Center’s JALCYO (Jazz at Lincoln Center as groundbreaking and revolutionary. They brought an innovative journey through tap dance, celebrating Youth Orchestra) programs, he is an instructor and a laid-back, playful element to rap while widening the the music of the seminal rap group A Tribe Called Quest. ensemble leader. For Jazz House Kids, a New Jersey vocabulary and emotional landscape that rappers Created by Newark, New Jersey native and dance community arts organization dedicated to educating could inhabit. They did not have a tough-guy image impresario Maurice Chestnut, and with musical direction children through jazz, he is also a drum instructor and compared to other groups and hip-hop artists at the by Jerome Jennings, this interactive performance highlights ensemble leader. At NJPAC, Jennings is a teen mentor, time. The group was having fun and didn’t seem to the jazz sampling that is part of A Tribe Called Quest’s ensemble coach and drum instructor. take themselves too seriously in songs like “I Left DNA. The performance by tap dancers and a live band As a drummer, he has performed at every major jazz My Wallet in El Segundo.” The group also brought will also explore the social issues of today, which are club in the New York City area: the Village Vanguard, in samples from jazz, R&B, and rock artists—like Lou present in the songs of this classic hip-hop unit. -
Cab-Calloway
“The Harlem Renaissance: Rebirth of African-American Arts” Westbury Arts Remembers Cab Calloway 1907 – 1994 Bandleader, songwriter, composer, singer, actor and author Photograph of Cab Calloway by Carl Van Vechten National Portrait Gallery, Smithsonian Institution, © Carl Van Vechten Trust Cab Calloway’s persona and performance style symbolized the spirit of night life in Harlem during its “Renaissance.” His stage act has been described “lively and energetic,” and “injecting his band's performances with a festive exuberance.” Calloway became one of the most popular entertainers of the 1930s and '40s, in no short measure due to his charm, energy, and his eccentric dancing. Born in Rochester, New York on Christmas Day in1907 and named Cabell “Cab” Calloway III, the second of Cabell and Eulalia Reed Calloway's six children. His father, Cab Senior, practiced law and sold real estate. Young Cab enjoyed singing in church, but he was expected to follow in his father's footsteps and study law. However, his older sister Blanche was appearing as a singer with a show called Plantation Days in Chicago, and after high school graduation, Calloway appealed to her for advice. She sent him a train ticket and helped him find a job as a singer, too. This was the start of what became a 67-year career in show business. By 1925 Calloway was working as a drummer with the Sunset Cafe band in Chicago. While performing at the Sunset Club, Calloway met Louis Armstrong, who became his mentor and taught him the art of scat singing (improvised jazz singing in which the voice is used in imitation of an instrument). -
Milton Berle Papers [Finding Aid]. Music Division, Library of Congress
Milton Berle Papers Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: https://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014572484 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018018 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Milton Berle Papers Span Dates: 1906-2002 Bulk Dates: (bulk 1932-1990) Call No.: ML31.B475 Creator: Berle, Milton Extent: approxiamtely 33,000 items Extent: 287 containers Extent: 128 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014572484 Summary: Milton Berle (1908-2002) was an American vaudevillian, comic, actor, lyricist, producer, and author. Nicknamed "Mr. Television," Berle transitioned from a successful career in radio to become host of NBC's Texaco Star Theatre. The collection contains comedic writings, scripts, correspondence, business papers, photographs, music, and other materials that document his life and career in entertainment. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Allen, Fred, 1894-1956. Benny, Jack, 1894-1974--Correspondence. Berle, Milton--Archives. Berle, Milton--Correspondence. Berle, Milton. Berle, Milton. Writings. Selections. Burns, George, 1896-1996--Correspondence. Buttons, Red, 1919-2006--Correspondence. Cantor, Eddie, 1892-1964. -
Street Beat Performed by River North Dance Company
1 Street Beat Performed by River North Dance Company Chicago-based River North Dance Company was founded in 1989 by several of the city’s well-known dancers and choreographers for the purpose of cultivating and promoting Chicago’s unique wealth of jazz dance talent. Under the leadership of Artistic Directors Sherry Zunker Dow and Frank Chaves, RNDC remains committed to taking jazz dance to new creative heights through concert performances locally and across the U.S. The company continues its commitment to the audiences of tomorrow by performing Street Beat, which strives to instill an appreciation and love of jazz dance to school-age audiences by demonstrating the development of popular jazz dance from the 20s to the present in a social, historical and artistic context. In 1993, River North Dance Company was the subject of an Emmy-winning television special, “Reality of a Dreamer,” which has been aired 12 times in Chicago and nine times nationally. As a result, River North Dance Company has been seen by over one million viewers across the United States. Street Beat is a fast-paced, fun jazz dance retrospective that demonstrates how the social climates and events of the day affected jazz dance throughout the 20th century. Beginning with the Roaring 20s, each decade is brought to life with a fully-costumed dance number. The entire performance is narrated with information about the major events of the day, the fashions, and the key historical figures. Dance is affected by the music and fashions that are popular in any given era. This study guide provides this information and explains its impact. -
Tapitecture Defining the Center of the Philadelphia Sports District
TAPITECTURE DEFINING THE CENTER OF THE PHILADELPHIA SPORTS DISTRICT A Thesis Submitted to the Faculty of Miami University In partial fulfillment of The requirements for the degree of Master of Architecture Department of Architecture By VICTORIA KULBICK Miami University Oxford, Ohio 2010 Advisor_________________________ (Robert Benson) Reader__________________________ (JE Elliot) DEFINING THE CENTER OF THE PHILADELPHIA SPORTS DISTRICT How can the awareness of sonic architecture enhance the built environment? Victoria M. Kulbick P.A.CPERFORMING.ARTST.CENTER FOR TEENS TABLE OF CONTENT Written Thesis Document 1 Thesis Design Documentation 10 Thesis Design Addendum 46 1 WRITTEN THESIS DOCUMENT Tapitecture 2 Tapitecture: Sound as a Foreground Element of Design Victoria Kulbick ABSTRACT: Sound exists as a constant presence involved in and determining the shape of the world. It is used to define our perceptual, emotional, spiritual and psychological spaces; and contributes to our understanding of the self, the environment, and human relationships. The sonic environment extends from the most personal distances to the farthest distances at which sense data can be perceived and therefore requires the direct involvement of the individual. While architecture uses the visual sense to interpret the culture of a location, it may also consider the ways that sound can be used in design as a primary element. One known art form that uses sound as a primary element for interpretation is tap dancing. This essay discusses how architecture can use tap dancing as a precedent for designing based around the idea of sound. Through an exploration of the history, culture, and principles of tap dancing along with examining successful and unsuccessful uses of sound in architecture, the author’s design proposition asks how architecture can employ the use of sound as a foreground element in the design of a place.