Fall 2017 Culture and Arts Guide
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Merchant, Jimmy Merchant, Jimmy
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 4-7-2006 Merchant, Jimmy Merchant, Jimmy. Interview: Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Merchant, Jimmy. 7 April 2006. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Jimmy Merchant Interviewers: Alessandro Buffa, Loreta Dosorna, Dr. Brian Purnell, and Dr. Mark Naison Date: April 7, 2006 Transcriber: Samantha Alfrey Mark Naison (MN): This is the 154th interview of the Bronx African American History Project. We are here at Fordham University on April 7, 2006 with Jimmy Merchant, an original and founding member of Frankie Lymon and the Teenagers, who has also had a career as an artist. And with us today, doing the interviews, are Alessandro Buffa, Lorreta Dosorna, Brian Purnell, and Mark Naison. Jimmy, can you tell us a little about your family and where they came from originally? Jimmy Merchant (JM): My mom basically came from Philadelphia. My dad – his family is from the Bahamas. He – my dad – was shifted over to the south as a youngster. His mother was from the Bahamas and she moved into the South – South Carolina, something like that – and he grew up there. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print t>leedthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to t>e removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in ttie original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI* CHARITY WORK AS NATION-BUILDING: AMERICAN JEWISH WOMEN AND THE CRISES DSr EUROPE AND PALESTINE, 1914-1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary McCune, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor Susan M. -
A Music Critic on His First Love, Which Was Reading
them over, and get its mitts on record distribution in the bargain. Nor is it all about the Benjamins. If by popular music you mean domestic palliatives from “Home Sweet to Celine Dion, OK, that’s another realm. But most of what’s now played in concert halls and honored at the Kennedy Center has its roots in antisocial impulses—in a carpe diem hedonism that is a way of life for violent men with money to burn who know damn well they’re destined for prison or the morgue. Most music books assume or briefly acknowledge these inconvenient facts when they don’t ignore them altogether. But they’re central to two recent histories and two recent memoirs, all highly recommended. Memphis-based Preston Lauterbach’s The Chitlin’ Circuit and the Roots of Rock ’n’ Roll For anyone who cares about the history of pop—and also, in a better world, anyone relishes the criminal origins of a mostly southern black club scene from the early ’30s to who cares about the history of the avant-garde—Between Montmartre and the Mudd the late ’60s. Journalist-bizzer Dan Charnas’s history of the hip-hop industry, The Big has a big story to tell. Popular music is generally identified with the rise of Payback, steers clear of much small-timeClub thuggery and leaves brutal LA label boss Suge Knight to Ronin Ro’s Have Gun, Willsong Travel, publishing butROBERT plenty and of piano crime manufacture stories rise up inas theprofits mid-nineteenth century. But starting snowball. Ice-T’s Ice devotes twenty-fivein the 1880s, steely artists pages toand the other lucrative fringe-dwelling heisting operation weirdos have been active as pop the rapper-actor ran before he madeperformers, music his composers, job. -
Facing the Sea: the Jews of Salonika in the Ottoman Era (1430–1912)
Facing the Sea: The Jews of Salonika in the Ottoman Era (1430–1912) Minna Rozen Afula, 2011 1 © All rights reserved to Minna Rozen 2011 No part of this document may be reproduced, published, stored in an electronic database, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, for any purpose, without the prior written permission of the author ([email protected]). 2 1. Origins, Settlement and Heyday, 1430–1595 Jews resided in Salonika many centuries before the Turkic tribes first made their appearance on the borders of Western civilization, at the Islamic world’s frontier. In fact, Salonika was one of the cities in whose synagogue the apostle Paul had preached Jesus’ teachings. Like many other Jewish communities is this part of the Roman (and later the Byzantine) Empire, this had been a Greek-speaking community leading its life in much the same way as the Greek pagans, and later, the Christian city dwellers around them. The Ottoman conquest of Salonika in 1430 did little to change their lifestyle. A major upheaval did take place, however, with the Ottoman takeover of Constantinople in 1453. The Ottoman Sultan Mehmet II, the Conqueror (Fatih in Turkish), aimed to turn the former Byzantine capital into the hub of his Empire, a world power in its own right on a par with such earlier grand empires as the Roman and the Persian. To that effect, he ordered the transfer of entire populations— Muslims, Greeks, and Jews—from other parts of his empire to the new capital in order to rebuild and repopulate it. -
ABBEY ROAD and in the End… the Beatles Come Together for One Last Studio Hurrah
ABBEY ROAD And in the end… The Beatles come together for one last studio hurrah. Steve Harnell wipes a tear away from his eye 106 XXXXX Dr. Ronald Kunze Ronald Dr. Hallowed ground: the junction of Abbey Road and Grove End Road in St John’s Wood in 1969, with the zebra crossing and the studio in the background or the romantics among us, absence from the charts of a year or Recording sessions were a stop-start Abbey Road is The Beatles’ more, although almost unheard-of at affair. The backing track to its darkest swansong, a concerted effort the time, may have alleviated the moment, the biting blues of I Want You by the band to return to the tension which had built up. Perhaps a (She’s So Heavy), was laid down on 22 Fcamaraderie so evident in their solo album or four could have slipped February 1969, before a lengthy gap earlier work, but it’s arguable it also out; Harrison’s backlog of songs, in while Ringo filmed The Magic represents one of the great ‘what particular, was astonishing, and would Christian, a freewheeling black comedy ifs?’ of their career. indeed result in his 1971 double LP starring Peter Sellers, various Monty Thanks to Paul McCartney’s opus All Things Must Pass. Financial Python members and Raquel Welch. workaholic obsession with keeping the disagreements and management issues After a brief session where the band band going at all costs, the quartet which had plagued the band since worked on early ideas for You Never were reconvened for a fresh set of Brian Epstein’s death and the arrival of Give Me Your Money on 6 May, it was recording work just three weeks after Allen Klein could have been smoothed eight weeks before recording began in completing the fractious, debilitating out with less time pressures. -
Sprouse, Mario African & African American Studies Department
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 11-6-2015 Sprouse, Mario African & African American Studies Department. Mario Sprouse Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Sprouse, Mario. November 6, 2015. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Mario Sprouse Interviewer: Mark Naison Date of Interview: November 6, 2015 Transcribers: Andrea Benintendi and Morgan Mungerson Mark Naison (MN): Hello! Mario Sprouse (MS): Hello! MN: Today is November 6, 20015 and today we are interviewing Mario Sprouse for the Bronx African American History Project. Mr. Sprouse who grew up on Ritter Place is a great musician, arranger, composer, musical director and we’re very excited to have him here. With us—joining us are Bob Gumbs, community researcher for the Bronx African American History Project and a great music historian himself, Damien Strecker who is the graduate assistant for the project, and Morgan Mungerson who is one of our student assistants and on the camera Andrea Benintendi. So, Mr. Sprouse, could you please spell your name and give us your date of birth. MS: M-A-R-I-O. Middle name Esteban, E-S-T-E-B-A-N. -
JEWISH PHILANTHROPY BORIS D BOGEN 1917.Pdf
American Jewish Committee LIBRARY JEWISH PHILANTHROPY THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., LIMITED LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, LTD. TORONTO JEWISH PHILANTHROPY AN EXPOSITION OF PRINCIPLES AND METHODS OF JEWISH SOCIAL SERVICE IN THE UNITED STATES BY BORIS D. BOGEN, PD. D. •Nmh f orft THE MACMILLAN COMPANY 1917 Ail rights reserved COPYRIGHT, 1917 BY THE MACMILLAN COMPANY Set up and electrotyped. Published May, 1917. TO MAX SENIOR PREFACE > This book is an attempt to meet the demand on the? part of those who are engaged or are interested in Jewish social service, for a statement of the principles evolved through the experience of the last two decades in various philanthropic efforts of the Jews of this country. It is primarily a compilation of the different ideas expressed by the leaders of the movements on various occasions, as well as a presentation of the actual practical experiences that were met in the dif- ferent lines of philanthropic activity. It is intended to serve as a text-book for beginners, and as a ready résumé for those who are already engaged in the field. No claim for scientific treatment of the subjects is made, but it is hoped that as a first attempt in this direction it may serve as an impetus toward clarifying the indefinite views in vogue at present among Jewish social workers of the country and help beginners to orient themselves in the perplexing problems of Jewish social service. The book is practically a revision of a course of lec- tures on Jewish philanthropy given for the last 6 years at the Hebrew Union College of Cincinnati, Ohio.The leading Jewish social workers of the country should be given credit for their co-operation in reading the manu- script and making emendations and corrections with- vii viii PREFACE out which this book would lose considerable part of its value. -
1974 Timeline
1974 (Excerpted from Solo in the 70s by Robert Rodriguez © 2014) January Topping the US singles chart: “Time In A Bottle” by Jim Croce “The Joker” by Steve Miller “Show and Tell” by Al Wilson “You’re Sixteen” by Ringo Starr On the airwaves: “One Tin Soldier” by Coven “Sister Mary Elephant” by Cheech and Chong “Smokin’ In The Boys Room” by Brownsville Station Topping the US album chart: The Singles: 1969-1973 by The Carpenters Albums released this month include: Court and Spark by Joni Mitchell Sundown by Gordon Lightfoot Hotcakes by Carly Simon The Way We Were by Barbra Streisand January – Beginning this month and running through till February, Paul and Wings work on Mike McGear’s album at 10CC’s Strawberry Studios Tuesday 8 – The Early Beatles, Capitol’s abridgment of Please Please Me, is finally certified gold nearly eleven years after its issue Monday 28 – “Jet”/“Mamunia” (Apple 1871; peaks at #7) Thursday 31 – Paul and Linda appear on the cover of Rolling Stone Thursday 31 – Film producer Samuel Goldwyn dies at 94 February 1974 Topping the US singles chart: “The Way We Were” by Barbra Streisand “Love’s Theme” by Love Unlimited Orchestra On the airwaves: “Doo Doo Doo Doo Doo (Heartbreaker)” by the Rolling Stones “Americans” by Byron MacGregor “Let Me Be There” by Olivia Newton-John Topping the US album chart: You Don’t Mess Around With Jim by Jim Croce Albums released this month include: Radio City by Big Star Can’t Get Enough by Barry White Rock ‘n’ Roll Animal by Lou Reed What Were Once Vices Are Now Habits by the Doobie Brothers -
Tiffany Sues As LVMH Scraps $16.2 Billion
P2JW254000-5-A00100-17FFFF5178F ***** THURSDAY,SEPTEMBER 10,2020~VOL. CCLXXVI NO.60 WSJ.com HHHH $4.00 DJIA 27940.47 À 439.58 1.6% NASDAQ 11141.56 À 2.7% STOXX 600 369.65 À 1.6% 10-YR. TREAS. g 6/32 , yield 0.702% OIL $38.05 À $1.29 GOLD $1,944.70 À $11.70 EURO $1.1804 YEN 106.18 Midday, SaN Francisco: Wildfires Cast Eerie Hue Over West TikTok What’s News Parent Is In Talks Business&Finance To Avoid ikTok’sChinese parent, TByteDance, is discuss- ing with the U.S. government U.S. Sale possible arrangementsthat would allowthe video- sharing app to avoid afull ByteDance, Trump sale of itsU.S.operations. A1 administration discuss LVMH said it wasbacking options as deadline for out of its$16.2 billion take- over of Tiffany. TheU.S.jew- unloading assets looms eler said it filed alawsuit in Delaware ChanceryCourt to TikTok’sChinese parent, enforce the agreement. A1, A8 ByteDanceLtd., is discussing An EU privacyregulator with the U.S. government pos- sent Facebook apreliminary sible arrangementsthat would order to suspend datatrans- allow the popular video-shar- fers to the U.S. about itsEU S ing app to avoid a full sale of users in a potentially prec- PRES its U.S. operations, people fa- edent-setting challenge. A1 miliar with the matter said. TED U.S. stocks rebounded CIA SO By Miriam Gottfried, afterathree-session selloff AS in shares of big tech firms, G/ Georgia Wells with the Nasdaq,S&P 500 and Kate Davidson and Dowgaining 2.7%, 2% RISBER ERIC Discussions around such an and 1.6%, respectively. -
1967-1970 First Appearance in Trade Magazines: April 7, 1973
1967-1970 First appearance in trade magazines: April 7, 1973 Label af1 Stereo SKBO-3404 Apple label with blue background and “MFD. BY APPLE” on the full side. Factories: Los Angeles; Jacksonville; Winchester The Scranton plant was about to be shut down in August and sold to North American Music Industries later in the year, but they made some metal parts for this album. The copies that I have appear to have parts from Scranton that were used by the Jacksonville plant. Some of the labels appear more lavender than blue. Cover: The cover has a cardboard cover with paper slicks pasted onto it. The inner cover is glued on top of the (wrapped-around) outer cover. The front cover sports a photograph from the Angus McBean session that produced the cover design to the (unreleased) Get Back/Let it Be album, but it is a different photograph than the one that had been chosen for the cover. Likewise, the back cover sports a photograph from the Angus McBean session that produced the cover to their first British LP, but it is a different photograph than the one that was used for the album. The inner cover slick was one of many photographs taken on the band’s “mad day out” photo session on July 28, 1968. The Beatles, Tony Bramwell, Mal Evans and his son (Gary), Yoko Ono, Francie Schwartz, and three others with cameras traveled around to seven locations in London and took pictures. This shot was taken at the fifth location, St. Pancras Old Church and Gardens. -
Mr. Kapp: This Interview Is Being Conducted on Behalf of the Oral
Mr. Kapp: This interview is being conducted on behalf of the Oral History Project of the Districtof Columbia Circuit Court. The interviewee is E. Barrett Prettyman, Jr. The intervieweris Robert H. Kapp. The interviewtook place at the officesof Hogan & Hartson L.L.P. on the 3rd day of October, 1996, shortly afternoon. Mr. Kapp: I am aware of the fact that sometime in the very early 60's you leftHogan & Hartson and entered the Kennedy Administration. I wonder if you can tell us how it happened that you joined the Kennedy Administration? Mr. Prettyman: I'd be happy to do that, although I probably ought to mention two cases that I had just beforeI went in, if that's okay with you. Mr. Kapp: Yes, go ahead. Mr. Prettyman: Simply because they were each impmtant to me for differentreasons. In 1962 I was appointed by the District Cowt to represent a gentleman namedWilliam Fulwood, who was a Black Muslim at the Dist:Iictof Columbia Jail, and this was now in the very early stages of the Muslim movement among African-Americans. He had recently become a Muslim, and he was attemptingto have possession of the Koran and to wear Muslim medals and so forth, and the prison authorities denied him that 1ight. We had extensive hearings before Judge Burnita Matthews, who was a femalejudge from Mississippi, and she held, I believe forthe first time in this country, that indeed Muslims have the right to practice their religion, to carry their medals, to have the Koran and so forth, in -133- prison, and she entered an order to the prison authorities to that effect. -
WHY DO FOOLS FALL in LOVE? 100% Written & Created by Roger Bean 50%
License Rider SHOW: Why Do Fools Fall in Love? Credit Rider 1. You agree to bill the Play and the Author(s) and all other parties specified below in all programs, houseboards, displays, and in all advertising, and all paid publicity, specified below as follows: CREDIT SIZE TYPE WHY DO FOOLS FALL IN LOVE? 100% Written & Created by Roger Bean 50% Musical Arrangements by Jon Newton Vocal Arrangements by Roger Bean 25% 2. You also agree to include the following on the title page of any program, separated by a line from other staff, as follows: Why Do Fools Fall In Love? premiered at Milwaukee Repertory Theater. Joseph Hanreddy, Artistic Director and Timothy J. Shields, Managing Director. and the following on all posters, fliers, and the title page of any program, separated by a line from other staff, as follows: Performance Rights for Why Do Fools Fall In Love are handled exclusively by Steele Spring Stage Rights, www.stagerights.com 3. In addition, the Author(s) biography (attached RIDER EXHIBIT “A”) must appear in all programs of the Play: The most recent version of the Author’s bio can be found on our website at www.stagerights.com or obtained by request from Stage Rights. 4. All music credits (attached RIDER EXHIBIT “B”) must be printed in the program. A digital version can be found on Stage Rights’ website at www.stagerights.com or obtained by request from Stage Rights. 5. You must include the following warning in your program: "The videotaping or other video or audio recording of this production is strictly prohibited." 6.