Abba's Benny Andersson
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EARLY MORNING and AFTER SCHOOL CLUBS Summer Term 2021
Founded 1936 EARLY MORNING and AFTER SCHOOL CLUBS Summer Term 2021 Early Morning Clubs start at 8am After School Clubs finish at 4.15pm Clubs will commence on Wednesday 21st April and finish on Thursday 1st July 2021 The online booking system will open on Monday 15th March at 9.30am and close on Friday 19th March 2021 at 4pm after this no further changes can be accommodated. If your child wishes to attend Early Morning or After School Clubs for the Summer Term 2021, please book online via the SchoolBase portal https://schoolbase.online Please note that all Clubs need a minimum number of 6 children attending to make them viable and are limited to a maximum number of children. Once the Clubs are full you will be placed on a waiting list. Parents will be informed as soon as possible if a Club is not able to go ahead. Bookings for AM Sports Academy clubs (AMSA) (Chess, Cricket, Football, Gymnastics and Multi- Sports) are made direct with them via their website: (www.amsportsacademy.co.uk/Clubs). If you have any questions please email them direct at: [email protected] Bookings for Sean McInnes Early Morning Clubs (Cricket, Football, and Tennis) are to be made direct through his website: https://seanmcinnessportscoaching.com/book-now If you have any questions please email Sean direct at: [email protected] Bookings for Mandarin are to be made direct by contacting Jing You at: [email protected] or by telephone: 07738696965 Piano & Violin Lessons Piano and Violin lessons are available during the week on a rotational basis, so that your child will not miss the same school lesson each week. -
The Dinner Theatre of Columbia P R E S E N T S
The Dinner Theatre of Columbia P r e s e n t s August 1 - September 8 Next at TOBY’S September 13 - November 3 HOWARDHUGHES.COM DOWNTOWNCOLUMBIAMD.COM 15-COL-00013 Columbia Ad Resize - Downtown Columbia Brand Ad-4.5X3.75BW.indd 1 8/27/15 2:30 PM THE DINNER THEATRE OF COLUMBIA Production of MAMMA MIA! Music and Lyrics by BENNY ANDERSSON and BJÖRN ULVAEUS And some songs with STIG ANDERSON Book by CATHERINE JOHNSON Originally Conceived by JUDY CRAYMER MAMMA MIA! Was originally produced in London by Judy Craymer, Richard East and Björn Ulvaeus for Littlestar in association with Universal. Additional Material & Arrangements MARTIN KOCH Music Published by Universal Music Publishing Group and EMI Grove Park Music Inc. And EMI Waterford Music Inc. Director & Choreographer Mark Minnick Music Director/Orchestrations Ross Scott Rawlings Scenic/Lighting Designer Sound Designer David A. Hopkins Mark Smedley Costume Designer AT Jones & Sons INC MAMMA MIA! Is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019 Phone: 212-541-4684 Fax: 212-397-4684 www.MTIShows.com Video and/or audio recording of this performance is strictly prohibited. Fog, haze and strobe effects are used in this performance. Toby’s Dinner Theatre of Columbia • 5900 Symphony Woods Road • Columbia, MD 21044 Box Office (410) 730-8311 • (301) 596-6161 • (410) 995-1969 www.tobysdinnertheatre.com The CAST (In Order of Speaking) Sophie Sheridan ………………………..........................………............ Maggie Dransfield Ali ……................................................................................................................ Patricia Targete Lisa ……………………...….....................…….....……......................................Cassie Saunders Tanya …...……….......…....................................................…....................... Coby Kay Callahan Rosie ........................................................................................................... -
SKIVLISTA 3-2018 Hello Music Lovers, the Following Items Will Be Sold on Open Auction Which Means You Can Ask About Leading Bids by Phone Or Mail
AUCTION – AUKTION SKIVLISTA 3-2018 Hello music lovers, The following items will be sold on open auction which means you can ask about leading bids by phone or mail. Please send your starting bids by mail, phone or post before the last day of auction. Hoppas allt är bra med er och era skivspelare. Här kommer en ny lista och jag hoppas du hittar något intressant till Auction deadline is Tuesday, March 27, 2018 at 22.00 / 10 PM Central samlingen. Jag har reflekterat över att vissa artister som tidigare brukade vara mycket efterfrågade nu är tämligen European time (20.00 / 8 PM UTC/GMT) svårsålda. Två bra exempel är Elvis och Spotnicks. Visst, jag förstår att det är ointressant om man redan har alla STOPPDATUM ALLTSÅ TISDAGEN DEN 27 MARS 2018 KL. 22.00 SVENSK skivorna på listan i samlingen. Men då ser jag heller ingen anledning att aktivt leta efter skivor med dessa artister för SOMMARTID. att eventuellt hitta något ni saknar. Det bästa är om ni som bara vill ha Elvis eller någon annan artist skickar en lista på vad ni har eller vad ni söker. Jag hjälper gärna till att leta fram skivor ni saknar men att lägga ner tid och resurser 7" SINGLES/EPs FOR AUCTION på att köpa in speciella artister som ni ändå aldrig köper verkar knappast meningsfullt. Men kom gärna med förslag på vad ni vill se mer av i mina listor. Någon speciell musikgenre? Minimum bid (M.B.) is SEK 50 / US$ 8 / € 6,- / £ 5 unless otherwise noted . Rutan har fått en fettknöl på huvudet bortopererad i dag men är nu hemma igen, pigg och glad. -
In Focus the Making of the Visitors
People Need Love – the first ABBA song Waterloo was ABBA’s first single, right? Yes – and no. Join us as we explore the story behind People Need Love, the very first single released by the group that later reached worldwide fame under the name ABBA. Party people failure In this day and age, when pop stars with little previous stage experience achieve instant number one hits through participation in television shows such as Pop Idol and American Idol, it is sobering to be reminded how long it actually took before ABBA achieved worldwide success. Although many in the 1970s regarded the four Swedes as a ”manufactured” band, very much along the lines of the groomed, styled and choreographed overnight sensations of the early 21st Century, nothing could be further from the truth. Not only had the individual members spent a decade performing, touring and recording in earlier groups or as solo artists before they grabbed the world’s attention with ’Waterloo’ in April 1974, by that time ABBA themselves had already been making pop music together for two years – and four years had passed since they first attempted a collaboration. Confused? Read on. The early 1970s was a somewhat insecure period for Björn, Benny, Agnetha and Frida. Benny had left his previous group, The Hep Stars, and although Björn was still making records with his group, the Hootenanny Singers, he knew he couldn’t count on them for any future career advancement. Furthermore, Björn and Benny wanted to focus their attention on their partnership in songwriting and record producing, and perhaps not be performers so much anymore. -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
Dream Cast Announced for Disney's Aladdin
DREAM CAST ANNOUNCED FOR DISNEY’S ALADDIN An exceptional group of Australia and New Zealand’s most outstanding musical theatre performers and exciting fresh faces has been announced for Disney’s new musical comedy, Aladdin. They will be joined by Broadway performer Michael James Scott in the role of the Genie. Based on the classic Academy Award®-winning animated film,Aladdin will open in Sydney at the Capitol Theatre in August 2016. Tickets go on sale to the GP 8th March 2016. The dream cast for Aladdin has been achieved after intense and competitive auditions throughout Australia. It will be one of the most diverse multi-cultural casts to appear on the Australian stage. American performer Michael James Scott will play the pivotal role of the Genie. Michael has performed in many Broadway shows including the original company of The Book of Mormon, the 2010 Broadway and London revival of Hair, as well as the standby Genie in the original Broadway cast of Aladdin. He was most recently seen in Casey Nicholaw’s third current Broadway hit, Something Rotten. Joining him will be the exciting new discovery Ainsley Melham making his mainstage debut in the title role of Aladdin. Ainsley is a graduate of the Western Australian Academy of Performing Arts (WAAPA). The principal cast features international musical theatre star Adam Jon Fiorentino (Saturday Night Fever, Mary Poppins) as Kassim, stage & television performer Adam Murphy as Jafar and Robert Tripolino in the role of Omar. Filling out the principal ranks is one of Australia’s most accomplished character actors and musical theatre stars Troy Sussman as Babkak and stage and television actor Aljin Abella as Iago. -
Benny's Road to ABBA
Excerpt from the book »Benny’s Road To ABBA« © Premium Publishing 2004 Meeting Björn IN THE MID-SIXTIES there must have been few contrasts greater than that between work- ing in a bank and touring with a rock band. Working days starting and ending at normal office hours, the sound of clattering calculators, discreet financial transactions, low-key conversations – as opposed to »days« that started in the afternoon and ended in the early hours of the morning, shouting and screaming, loud rock’n’roll, long car rides, con- stantly new hotels. But that was the contrast that young Thomas Nordlund had to face when he quit his secure job at the bank in Uppsala to take care of The Hep Stars’ brand new production company, Hep House. For the first thing he did was to throw himself right into events and spend 10 days with the band on their second folkpark tour. A year had passed since Thomas helped The Hep Stars with the Tio i topp »coup«, which resulted in three songs on the chart. Later in 1965, through his friendship with Lennart Hegland, Thomas had got a job at Europa-Produktion for a couple of months. Although his time with the company was brief, he learned a lot about showbusiness from Åke Gerhard and his associates. His task was to book gigs for the acts signed to the pro- duction company, and his own contribution to that procedure was not insignificant. At the time, the folkpark arrangers implemented an extremely severe rule, which stipulated that if an act arrived late, the arrangers could make a deduction on the fee. -
Honours Thesis Game Theory and the Metaphor of Chess in the Late Cold
Honours Thesis Game Theory and the Metaphor of Chess in the late Cold War Period o Student number: 6206468 o Home address: Valeriaan 8 3417 RR Montfoort o Email address: [email protected] o Type of thesis/paper: Honours Thesis o Submission date: March 29, 2020 o Thesis supervisor: Irina Marin ([email protected]) o Number of words: 18.291 o Page numbers: 55 Abstract This thesis discusses how the game of chess has been used as a metaphor for the power politics between the United States of America and the Soviet Union during the Cold War, particularly the period of the Reagan Doctrine (1985-1989). By looking at chess in relation to its visual, symbolic and political meanings, as well in relation to game theory and the key concepts of polarity and power politics, it argues that, although the ‘chess game metaphor’ has been used during the Cold War as a presentation for the international relations between the two superpowers in both cultural and political endeavors, the allegory obscures many nuances of the Cold War. Acknowledgment This thesis has been written roughly from November 2019 to March 2020. It was a long journey, and in the end my own ambition and enthusiasm got the better of me. The fact that I did three other courses at the same time can partly be attributed to this, but in many ways, I should have kept my time-management and planning more in check. Despite this, I enjoyed every moment of writing this thesis, and the subject is still captivating to me. -
“Bo Diddley” and “I'm a Man” (1955)
“Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets. -
Billboard 1976-05-22
08120 NEWSPAPER SOUTH *J09 1331 JUL79 52 +.. 312 318270141214 SOUTHERN MUSIC PUB CO BB 6922 HOLLYWOOD BLVD LCS ANGELES CA 90028 The International Music -Record -Tape Newsweekly May 22, 1976 $1.50 A Billboard Publication v N.Y. Looms As Cut -Rate Mecca; BACK ON ANNUAL BASIS Shelf & Special Prices Plunge Amsterdam Picked By IS HOROWITZ, JIM MELANSON & STEPHEN TRAIMAN holding He characterizes them as IMIC-7 chain has been conditions. For 1977 NEW YORK -Records aren't yet Korvette ® By BOB KIRSCH being given away gratis here. but sales on huge segments of their stock "not too different" from what the thrusts and counter- thrusts by some at $3.64 for $6.98 product. chain has done in the past, but LOS ANGELES -Billboard's In- IMIC that saw a greater injection fig- of the largest area dealers continue Of perhaps even greater signifi- agrees that the extent of the $3.64 ternational Music Industry Confer- than ever before of non -industry to force prices down. cance is the drop by local Korvettes (Continued on page 16) ence (IMIC) returns to an annual ures into the panels and discussions, For two weeks running the giant stores of non -sale shelf prices to a basis next year following several figures from such industries as new standard of $4.99, a level being years of biannual conferences, with (Continued on page 12) matched by some of the Sam Goody Joyce Out With IMIC -7 set for Amsterdam, Hol- TV Time Tight stores and by the string of Alex- land. May 9 -12, 1977. -
Klappersangernes Repertoireliste Alle Sange
KlapperSangernes repertoireliste alle sange Nr Titel Komponist/forfatter 78 When my sugar walks down the street Simmons/Austin/McHugh/Mills 77 Ud ad landevej’n B. Christensen/H.D. Koppel 76 Svantes lykkelige dag B. Andersen 75 Nevertheless B. Kalmar/H. Ruby 74 Keltisk bortsendelsessalme 73 Java Jive M. Drake/B. Oakland 72 All of me S. Simons/G. Marks 71 Over the rainbow H. Arlen/E.Y. Harburg 70 Kvinde min Gasolin 68 In the mood G. Miller 67 Flicka från Backafall G. Turesson/G. Jönsson 66 Scarborough Fair Eng. Trad. 65 Vad har du i fickan, Jan? G. Svensson/H. Alfredson/T. Danielsson 64 Hist, hvor vejen slår en bugt J.C. Gebauer/ H.C. Andersen 63 Den allersidste dans K. Normann Andersen/ B. Müller 62 With a little help from my friends J. Lennon/P. McCartney 61 Save your kisses for me T. Hiller/ L. Sheridan/ M. Lee 60 Moskva-nætter V.Solovjoj-Sedoj/W. Jelsager 59 S.O.S. B. Andersson/S.Andersson/ B.Ulvaeus 58 Byens lys B. Christensen/ P. Henningsen 57 Itsy bitsy teenie weenie yellow Poul Vance/ Lee Pockriss 56 Bei mir bist du schön Cahn-Chaplin/ Scolum Secunda 55 The sound of music R. Rodgers/ O. Hammerstein 54 Joanna Kim Larsen 53 Begynd dagen med en sang B. Christensen/ P. Henningsen 52 That’s Amore H. Warren/ J. Brooks 51 Stemningsmelodien K. Normann Andersen/ A. Müller 50 Sakta vi gå genom sta’n F.E. Ahlert, R. Turk /B. Wolgers 49 Ole sad på en knold og sang A. Toft/ J. Aakjær 48 Gedehyrdens sang R.