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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
The Comet Newsletter January 2020
1 The Comet Newsletter January 2020 A Family Divide It was Christmas Eve, and my extended family had just sat down for dinner. We began to eat, smiling and joking all around. You could almost say it was like the early 2000’s -- except, well, I hadn’t been born yet. There was one stark contrast, though. As I looked around, each of my relatives had a device less than one foot away from them, at hand’s reach. My little cousin had put his iPad next to his plate, grubby fingerprints smeared all over. My aunt’s Samsung was daintily resting on her water cup. Even my dad -- who claims to be a technology abstainer -- had slipped his phone into his jeans pocket, one tap away from seeing the weather forecast, or the latest New York Times article, or a photo from our last trip. At first, the technology that surrounded our dinner didn’t seem to be a distraction. But one by one, as the meal progressed, family members began to succumb to the urge to peek at their devices, perhaps discreetly swipe a few times under the tablecloth. My cousins, for one, went all out, hefting their tablets sturdily onto their half-full plates and going to town with games. Conversation across the table went on, but it became more absent-minded and preoccupied. Believe it or not, this is a real scenario across the US that happens in more than just our household. When each member of the family has a device, it’s easy to forget the simple pleasure of spending quality time with one another. -
Between Jamaica, Queens, and Williamsburg Bridge Plaza, Brooklyn
Bus Timetable Effective as of September 1, 2019 New York City Transit Q54 Local Service a Between Jamaica, Queens, and Williamsburg Bridge Plaza, Brooklyn If you think your bus operator deserves an Apple Award — our special recognition for service, courtesy and professionalism — call 511 and give us the badge or bus number. Fares – MetroCard® is accepted for all MTA New York City trains (including Staten Island Railway - SIR), and, local, Limited-Stop and +SelectBusService buses (at MetroCard fare collection machines). Express buses only accept 7-Day Express Bus Plus MetroCard or Pay-Per-Ride MetroCard. All of our buses and +SelectBusService Coin Fare Collector machines accept exact fare in coins. Dollar bills, pennies, and half-dollar coins are not accepted. Free Transfers – Unlimited Ride MetroCard permits free transfers to all but our express buses (between subway and local bus, local bus and local bus etc.) Pay-Per-Ride MetroCard allows one free transfer of equal or lesser value if you complete your transfer within two hours of the time you pay your full fare with the same MetroCard. If you pay your local bus fare with coins, ask for a free electronic paper transfer to use on another local bus. Reduced-Fare Benefits – You are eligible for reduced-fare benefits if you are at least 65 years of age or have a qualifying disability. Benefits are available (except on peak-hour express buses) with proper identification, including Reduced-Fare MetroCard or Medicare card (Medicaid cards do not qualify). Children – The subway, SIR, local, Limited-Stop, and +SelectBusService buses permit up to three children, 44 inches tall and under to ride free when accompanied by an adult paying full fare. -
Program Exception Application Instructions
OFFICE OF PUPIL TRANSPORTATION 44-36 Vernon Boulevard 6th Floor Long Island City, N.Y. 11101 (718) 392-8855 Program Exception Application Instructions Principals should use the attached application to request Special Program MetroCards (X-1 cards that are valid only for two trips on a bus or subway) for students who are participating in approved programs held outside of normal school hours or at locations other than the student’s regular school. These cards are also available to provide travel training for special education students who may have difficulty managing with a regular student MetroCard. These are the only authorized uses for these cards. Special Program MetroCards are not intended to be distributed for occasional use by students who lose their regular card or for field trips. The DOE’s transportation eligibility rules may be found on the Web site of the Office of Pupil Transportation (OPT) at: http://schools.nyc.gov/Offices/Transportation/ServicesandEligibility/BusTransportation and should be reviewed before Special Program cards are requested or distributed to pupils. Special Program MetroCards should be provided only to students who meet one or more of the conditions described above. In order for OPT to process your request the attached application is required. When completing the application please remember to: • Type or print clearly and complete all required information •Sign the form—principal’s signature is required, a stamped signature is not acceptable •Complete only one application per school year; do not submit -
New York City Adventure “One If by Land, and Two If by Sea”
NYACK COLLEGE HOMECOMING NEW YORK CITY ADVENTURE “ONE IF BY LAND, AND TWO IF BY SEA” 1 READE S T REE T WASHINGTON MARKET C PARK H G CIV I C T E URC W REE E C E N T E R O ROCKEFELLER C H A M B ERS S T REE T R PARK T E T R K R S RE A T S P N H L WE N W O N R W A RRE N S T REE T S DIS O A A M I C H E R P T T S H R I RE T 2 V E TRI B E C A N E R D AVEN W E T E N K F O R T S T R E CITY O F R A MSURRA YB ST REE T T E HALL BR E T SP W T R O RR PARK R K R O KLY ASHI A L RE O P A U N A P A R K P L A C E S P R U C E S B E D O V E R C RID N A E N G A E S T E MURR A Y S T REE T G T RE RE D D E T E T T T E T 3 Y O E W E N B T B A RCL A Y STREE T E T RE E E LL K M A E T A A N T S S T E RE E RE TRE Y T T S RE M T S R L A P E A I A C K S L L E E L H P I L D I P V ESEY S T REE T E R S T R E T A N N S T R E E T O T W G B EE A T N 4 K W W M A N ES FUL T O N STREE T FRO FU 5 H T C L D E Y T T W O RLD W O RLD T R A D E O S FINA N C I A L C E N T ER SI T E DU F N F T C E N T E R J O H N T S T R E CLI RE E T E T S O U T H S T R E E T T C O R T L A N D T Y E E E S E A P O R T Pier 17 A E M J O T A IDEN E PL H N S T A T T R W S T R R RE N O R T H L E T E E A N T T C O V E D E PEARL STRE T S A T S L I B ERT Y S T REE T LIBER FL W GREENWICH S E R T O T C H Y E R Pedestrian A U S T Bridge S I RE E T H N M CEDA R CED A R S T REE T A I M N BR AID I A S G E T N I T C E L S D A O Y T H A M E S A R S T N L R E E N E T T B AT T E R Y A S L A L B A N Y S T REE T T P O E S RE I PA R K N P U I N E S T T L R E E T T RE E P I N W E CIT Y H A E T T E RE CARLISLE S T REE T T -
S T a T E O F N E W Y O R K 3695--A 2009-2010
S T A T E O F N E W Y O R K ________________________________________________________________________ 3695--A 2009-2010 Regular Sessions I N A S S E M B L Y January 28, 2009 ___________ Introduced by M. of A. ENGLEBRIGHT -- Multi-Sponsored by -- M. of A. KOON, McENENY -- read once and referred to the Committee on Tourism, Arts and Sports Development -- recommitted to the Committee on Tour- ism, Arts and Sports Development in accordance with Assembly Rule 3, sec. 2 -- committee discharged, bill amended, ordered reprinted as amended and recommitted to said committee AN ACT to amend the parks, recreation and historic preservation law, in relation to the protection and management of the state park system THE PEOPLE OF THE STATE OF NEW YORK, REPRESENTED IN SENATE AND ASSEM- BLY, DO ENACT AS FOLLOWS: 1 Section 1. Legislative findings and purpose. The legislature finds the 2 New York state parks, and natural and cultural lands under state manage- 3 ment which began with the Niagara Reservation in 1885 embrace unique, 4 superlative and significant resources. They constitute a major source of 5 pride, inspiration and enjoyment of the people of the state, and have 6 gained international recognition and acclaim. 7 Establishment of the State Council of Parks by the legislature in 1924 8 was an act that created the first unified state parks system in the 9 country. By this act and other means the legislature and the people of 10 the state have repeatedly expressed their desire that the natural and 11 cultural state park resources of the state be accorded the highest 12 degree of protection. -
Download the DRUMS of Chick Webb
1 The DRUMS of WILLIAM WEBB “CHICK” Solographer: Jan Evensmo Last update: Feb. 16, 2021 2 Born: Baltimore, Maryland, Feb. 10, year unknown, 1897, 1902, 1905, 1907 and 1909 have been suggested (ref. Mosaic’s Chick Webb box) Died: John Hopkins Hospital, Baltimore, June 16, 1939 Introduction: We loved Chick Webb back then in Oslo Jazz Circle. And we hated Ella Fitzgerald because she sung too much; even took over the whole thing and made so many boring records instead of letting the band swing, among the hottest jazz units on the swing era! History: Overcame physical deformity caused by tuberculosis of the spine. Bought first set of drums from his earnings as a newspaper boy. Joined local boys’ band at the age of 11, later (together with John Trueheart) worked in the Jazzola Orchestra, playing mainly on pleasure steamers. Moved to New York (ca. 1925), subsequently worked briefly in Edgar Dowell’s Orchestra. In 1926 led own five- piece band at The Black Bottom Club, New York, for five-month residency. Later led own eight-piece band at the Paddocks Club, before leading own ‘Harlem Stompers’ at Savoy Ballroom from January 1927. Added three more musicians for stint at Rose Danceland (from December 1927). Worked mainly in New York during the late 1920s – several periods of inactivity – but during 1928 and 1929 played various venues including Strand Roof, Roseland, Cotton Club (July 1929), etc. During the early 1930s played the Roseland, Sa voy Ballroom, and toured with the ‘Hot Chocolates’ revue. From late 1931 the band began playing long regular seasons at the Savoy Ballroom (later fronted by Bardu Ali). -
Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
JULY 2017 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of King Richard II. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
Morningside Heights Upper West Side Central Park
Neighborhood Map ¯ Manhattanville Salem United 601 Junior High School 499 431 429 401 305 299 Methodist Church 199 101 99 1 555 W 129 Street W 129 Street W 129 Street W 129 Street Harlem Village Manhattanville National Jazz Museum Green 556 Health Center St. Nicholas in Harlem Edward P. Bowman 2168 3219 Sheltering Arms 30 29 25 Park 368 369 Broadway 601 2401 2406 Amsterdam Bus Depot 2094 3200 Playground Park Rev. Linnette C. Williamson Metropolitan Church of Memorial Park St. Nicholas Baptist Church Jesus Christ of Collyer Brothers 401 Unity Park 12 439 399 301 Playground South 101 Latter-day Saints Park W 126 Street 567 11 St. Nicholas Houses Amsterdam Avenue Amsterdam W 128 Street W 128 Street W 128 Street Convent Avenue St. Nicholas Avenue Old Broadway Blvd Douglass Frederick 559 M2 1361 14 LTD M2 3181 M3 499 M10 LTD 5 6 Maysles 2066 M3 M10 348 M2 Documentary 2160 M2 St. Andrew’s 1 Center 125 St Bx15 Episcopal Church M104 M101 299 201 W 125 StreetBx15 LTD 401 399 363 357 349 301 199 101 99 1 LTD Terrace Nicholas St. M101 W 127 Street W 127 Street W 127 Street M11 LTD Bx15 M100 M104 Bx15 M101 439 LTD M11 04 1 501 M100 M M101 M7 M104 M104 M102 M7 167 166 327 332 2130 2133 2358 2359 Clayton M102 2050 George Bruce 499 3170 William B. Williams 8 Avenue 8 Library Avenue 5 Washington Community Avenue Lenox 401 399 349 Garden Garden 299 201 199 101 99 1 Malcolm X Boulevard W 126 Street W 126 Street W 126 Street Broadway General Grant Houses Adam Clayton Powell, Jr. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.