April 2020 VOTER
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April 2020 Newsletter
April 2020 www.rwop.org Board of Directors President Mindy Fischer President-Elect Linda Robertson First Vice-President (Programs) Kathy White Second Vice-President (Membership) Mary Anne Gibson Third Vice-President (Fundraising) Gayle Bennett Treasurer Betsy Landers Republican Women of Assistant Treasurer Linda Fisher Purpose Recording Secretary Peggy Haguewood Corresponding Secretary As Republican Women, we are Lisa Haguewood Chaplain conservative. And as conservatives, we are Dot Wieters cautious. In accordance with the CDC Membership Chair Beth Ueleke directive, we are canceling our meeting on Finance Chair April 1, 2020. Millie Gump By-Laws Chair Public Relations Chair We will continue to monitor the situation Pat Scroggs and will keep our members informed of any Legislation Chair Lucy Doane changes in our regular schedule. Campaign Chair/Volunteer Hours Julie Ethridge LDOH We hope to see the candidates for US Senate Lyna Medlock/Natalie Williams at our June BBQ, scheduled for June 3rd at Kathy White Parliamentarian Halle Plantation Clubhouse from 5:30 p.m. Barbara Trautman Newsletter until 7:30 p.m.. Suzanne Cunningham Special Events Terri Boatright/Lyna Medlock Peggy Larkin Caring for America Kelly Ellington Iris Fund Beth Webb Voter Registration Chair Cynthia Crosby/Kristina Garner Area 9 Vice President Millie Gump IT Liaison Kristina Garner/Barbara Capozella Historian Welcome New Members! Literacy Chair Kay Kelsey/Susie Field Joanna Young, [email protected]; Gail Weaver; Jan Winterburn Directory Chair [email protected]; Lauran Wingo; Dana Kendrick, Diana Taylor Immediate Past President [email protected] Sharon Ohsfeldt Nominating Committee Associate Members: Brandon Weise, Naser Fazlullah, Ben Landers, Sharon Ohsfeldt/Barbara Trautman Beth Webb/Susie Field/Kristina Garner Gail Weaver, John Paul Miles, Nancy Rose, The Honorable Paul Rose, Terri Boatwright/Karen Dunavant John Gillespie, Charlotte Kelly President's Message by Mindy Fischer " We live in a world in which we need to share responsibility. -
TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor a Thesis Submitted to the Faculty at the University Of
TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music. Chapel Hill 2018 Approved by: Annegret Fauser David Garcia Tim Carter © 2018 Erica Fedor ALL RIGHTS RESERVED ii ABSTRACT Erica Fedor: Transnational Smyth: Suffrage, Cosmopolitanism, Networks (Under the direction of Annegret Fauser) This thesis examines the transnational entanglements of Dame Ethel Smyth (1858–1944), which are exemplified through her travel and movement, her transnational networks, and her music’s global circulation. Smyth studied music in Leipzig, Germany, as a young woman; composed an opera (The Boatswain’s Mate) while living in Egypt; and even worked as a radiologist in France during the First World War. In order to achieve performances of her work, she drew upon a carefully-cultivated transnational network of influential women—her powerful “matrons.” While I acknowledge the sexism and misogyny Smyth encountered and battled throughout her life, I also wish to broaden the scholarly conversation surrounding Smyth to touch on the ways nationalism, mobility, and cosmopolitanism contribute to, and impact, a composer’s reputations and reception. Smyth herself acknowledges the particular double-bind she faced—that of being a woman and a composer with German musical training trying to break into the English music scene. Using Ethel Smyth as a case study, this thesis draws upon the composer’s writings, reviews of Smyth’s musical works, popular-press articles, and academic sources to examine broader themes regarding the ways nationality, transnationality, and locality intersect with issues of gender and institutionalized sexism. -
Revue Française De Civilisation Britannique, XXIII-1
Revue Française de Civilisation Britannique French Journal of British Studies XXIII-1 | 2018 Women in Britain since 1900: Evolution, Revolution or 'Plus ça change...' ? La Situation des femmes au Royaume-Uni depuis 1900 : changement ou continuité ? Marc Calvini-Lefebvre et Laura Schwartz (dir.) Édition électronique URL : http://journals.openedition.org/rfcb/1748 DOI : 10.4000/rfcb.1748 ISSN : 2429-4373 Éditeur CRECIB - Centre de recherche et d'études en civilisation britannique Référence électronique Marc Calvini-Lefebvre et Laura Schwartz (dir.), Revue Française de Civilisation Britannique, XXIII-1 | 2018, « Women in Britain since 1900: Evolution, Revolution or 'Plus ça change...' ? » [En ligne], mis en ligne le 15 mars 2018, consulté le 04 septembre 2020. URL : http://journals.openedition.org/rfcb/1748 ; DOI : https://doi.org/10.4000/rfcb.1748 Ce document a été généré automatiquement le 4 septembre 2020. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 SOMMAIRE Confronting Continuity in Women's History Introduction: British Civilization Studies and the “Woman Question” Marc Calvini-Lefebvre et Laura Schwartz « On ne peut pas empêcher les concepts de voyager » : un entretien avec Christine Delphy Marc Calvini-Lefebvre Gendered Implications of the Neoliberal Turn Neo-liberalism and Gender Inequality in the Workplace in Britain Louise Dalingwater A Tale of Female Liberation? The Long Shadow -
PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr
PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr. Paul Borg We begin our season with a generous offering of music from the films of the Walt Disney Company [Walt Disney Productions until 1986]. When Walt Disney died in 1966, the corporation continued his inspired and successful animated-film output. Although not all of nearly 200 animations, live-action films, television series, documentaries, or videos are equally memorable, everyone today has heard many of the songs associated with the films, whether from viewing the films, listening to recordings, or in live concerts such as this one. In the late 1920s and 30s films had newly been furnished with recorded sound, giving motion pictures real-time spoken dialogue among the characters as well as music that could entertain with songs embedded in the storyline. Music could also be employed to enhance or evoke a particular emotion--think the spooky two-note shark approach in Jaws or the "screeching" of the knife in the shower scene of Psycho. Walt Disney and his brother Roy extended these sound element to animated cartoons, short at first (Steamboat Willie) and eventually feature length (Snow White and the Seven Dwarfs). Disney's intent to continue a series of fairy tale animations was interrupted by the Second World War, during which he and his collaborators produced a series of training and propaganda films, even using Donald Duck in some comical short sketches. After the war, Disney turned his vision to television and then his entertainment parks, starting with Disneyland in 1955. -
Movies & Languages 2014-2015 Saving Mr. Banks As and Like
Movies & Languages 2014-2015 Saving Mr. Banks About the movie (subtitled version) DIRECTOR John Lee Hancock YEAR / COUNTRY 2013 / USA GENRE Comedy ACTORS T. Hanks, E. Thompson, C. Farrell, P. Giamatti PLOT Walt Disney, a doting father, promised his daughters that he would bring their favourite fictional nanny, Mary Poppins, to life in the cinema. Little did he know what he was getting into because the author of the book, Pamela Travers, did not like Hollywood and had no intention of letting her most famous creation be manipulated for the marketplace. Years later, when her book sales began to slow, dwindling finances forced her to schedule a meeting with Disney to discuss future movie rights to her beloved story. For two weeks in 1961, a determined Disney did all he possibly could to convince Travers that his film version of Mary Poppins would be wondrous and respectful. In the end, to really convince her, he had to reach back to his early childhood. LANGUAGE Standard American, Australian and British English. GRAMMAR As and Like 1. Similarity We can use like or as to say things that are similar. a. Like is a preposition. We use like before a noun or pronoun. You look like your sister He ran like the wind She's dressed like me We also use like to give examples. He's good at some subjects, like mathematics In mountainous countries, like Switzerland b. As is a conjunction. We use as before a clause, and before an expression beginning with a preposition. Nobody knows her as I do We often drink tea with the meal, as they do in China On Friday, as on Tuesday, the meeting will be at 8.30 2. -
Mary Poppins' and a Nanny's Shameful Flirting with Blackface
Linfield College DigitalCommons@Linfield Faculty Publications Faculty Scholarship & Creative Works 1-28-2019 'Mary Poppins' and a Nanny's Shameful Flirting with Blackface Daniel Pollack-Pelzner Linfield College, [email protected] Follow this and additional works at: https://digitalcommons.linfield.edu/englfac_pubs Part of the Cultural History Commons, Film and Media Studies Commons, Inequality and Stratification Commons, Music Commons, Race and Ethnicity Commons, Race, Ethnicity and Post-Colonial Studies Commons, and the Social History Commons DigitalCommons@Linfield Citation Pollack-Pelzner, Daniel, "'Mary Poppins' and a Nanny's Shameful Flirting with Blackface" (2019). Faculty Publications. Published Version. Submission 73. https://digitalcommons.linfield.edu/englfac_pubs/73 This Published Version is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Published Version must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. ‘Mary Poppins,’ and a Nanny’s Shameful Flirting With Blackface Daniel Pollack-Pelzner The New York Times (Jan. 28, 2019) Copyright © 2019 The New York Times Company Julie Andrews’s soot-covered face in the 1964 film “Mary Poppins” stems from racial caricatures in books. Disney “Mary Poppins Returns,” which picked up four Oscar nominations last week, is an enjoyably derivative film that seeks to inspire our nostalgia for the innocent fantasies of childhood, as well as the jolly holidays that the first “Mary Poppins” film conjured for many adult viewers. -
Disney Takes
And so—before you could say “Try the mime, and reached out to gauge her interest. grey stuff!”—Disney Theatrical Group (initially (Spoiler alert: She was.) He once said, “With christened Walt Disney Theatrical Productions) The Lion King, the idea was to redefine what was born. First helmed by Walt Disney Enter- one can do with theater. How do you do a tainment’s Ron Logan, now a Disney Legend, show with animal [characters] in a way that lets DISNEY TAKES the division eventually came under the pur- the audience discover something?” At the time view of Peter Schneider and Thomas Schum- Taymor said, “I was particularly inspired by the acher—Walt Disney Feature Animation execs minimalist ways animals are portrayed in Af- who, as luck would have it, had extensive rican art.” The result was an innovative stage theatrical backgrounds. Together, they spear- production unlike anything audiences had ever headed Disney’s The Lion King on Broadway. seen before. CENTER Schneider left to form his own theater produc- Following The Lion King, Schumacher and tion company in 2001; since then, Schumacher Disney Theatrical Group brought a dazzling has lead what’s ripened into one of the world’s array of musical productions to the Broadway most successful commercial theater enterprises. stage—including Aida, Tarzan, The Little Mermaid, and Mary Poppins. And away from ACT I Times Square, there was a hugely successful “Beauty and the Beast was intended, [with] the stage adaptation of Disney Channel juggernaut original concept, to be very faithful to the High School Musical—as a national tour that movie,” Schumacher says. -
Red Gray Steps to Bicycle Safety Infographic
HOW TO MAKE A SUFFRAGETTE SASH Method One: For those low on time and/or resources 1 SUPPLIES NEEDED 1.Any white ribbon at least 1.5" wide. This one was purchased second-hand, most likely floral ribbon 2. Scissors 3. Newspaper 4. Purple, yellow and black permanent markers 5. Safety pin 2 MEASURING Hold the ribbon at your shoulder and stretch it diagonally to approximately 2" past your opposite hip. Double the ribbon and then cut it. 3 ADDING THE STRIPES Using newspaper to protect your work surface, color a stripe of purple down one entire side of your ribbon and a yellow stripe down the other. 4 ADDING THE SLOGAN Choose a slogan. Fold your sash in half so you make sure you are only writing the slogan on what will be the front. Use a black permanent marker and your best handwriting to add the slogan. 5 FINISHING Put your slash on so the slogan is in front. Use a saftey pin to pin the two ends together. 6 WEAR WITH PRIDE As Lebanon Township Committeman Tom McKee did at a township meeting where a proclamation honoring 100 Years of Suffrage was read by Councilwoman Beverly Koehler, seen here in full costume. C R E A T E D B Y T H E L E B A N O N T O W N S H I P M U S E U M HOW TO MAKE A SUFFRAGETTE SASH Method Two: For those with slightly more time or resources 1 SUPPLIES NEEDED 1. White grosgrain ribbon, 3" wide 2. -
Woman's Journey for Equality in the 20Th Century
EDU 6710 C15- The Enduring Legacy of the American Revolution – Equality Image vs. Reality: Woman’s Journey for Equality in the 20th Century This unit was created by Jill Dawson and Aubrey Garrison Colchester Middle School Jill Dawson and Aubrey Garrison 2 Table of Contents Table of Contents…………………………………………………………………………….……..…………………2-3 Project Proposal (Unit Description)………………………………………………………………..…….4-11 Unit Calendar (teacher tool)…..………………………………………………………………………………12 Unit Notes (teacher tool)……………………………………………………………………………..…………13-22 Unit Overview (student handout)…………………………………………………………………………..23-24 Key Vocabulary for Unit (student handout)……………………………………………………….25-26 Notes Sheet (student handout)……………………………………………………..........................27-31 Analyzing Primary Sources: The Declaration of Independence (teacher lesson plan, including student handouts)……………………………………………..32-41 Analyzing Primary Sources: Letters Between John and Abigail Adams (teacher lesson plan, including student handouts)……………………………………………42-43 Analyzing Primary Sources: Elizabeth Cady Stanton’s Declaration of Sentiments (teacher lesson plan, including student handouts)……………………………………………44-53 Introducing the Women’s Suffrage Movement (teacher lesson plan, including student handouts)……………………………………………54-55 Analyzing Primary Sources: Women of 1900 – 1920 (teacher lesson plan, including student handouts)……………………………………………56-64 Study Guide for Accommodated Pop Quiz #1 (student handout/assessment)………………………………………………………………………………65-66 Accommodated Pop Quiz #1 (student handout/assessment)………………………………………………………………………………67-68 -
Frederick S. Litten a Mixed Picture Drawn Animation/Live Action Hybrids
Frederick S. Litten A Mixed Picture drawn animation/live action hybrids worldwide from the 1960s to the 1980s In 1977, Bruno Edera suggested that full-length animated films had entered “a new „Golden Age‟” (Edera, 93), with directors working in “new modes of cinema”, including what he called “films in mixed media” (ibid., 14), otherwise often described as “mixed” or “hybrid” animation. Combining animation and live action is about as old as animation itself, or to be more pre- cise, as the perception of animation as something distinctly separate from live action (Crafton, 9). It can be found, to give just two early examples, in Sculpteur Moderne (France, 1908) by Segundo de Chomón, where live action and clay animation are presented, or in Winsor McCay‟s Little Nemo (USA, 1911), which combined live action and drawn animation. Yet, as a genre, hybrid animation has not been studied much from a historical point of view. In his recent book Animating Space, for example, J. P. Telotte is concerned with hybrid animation, but mostly from the United States. Moreover, the period between two of the acknowledged masterpieces and commercial successes of their kind – Mary Poppins (USA, 1964) and Who Framed Roger Rabbit (USA, 1988) – is covered in less than two lines (Te- lotte, 180). This paper will, in contrast to Telotte, focus on feature films (60 minutes and longer) and TV series combining drawn animation and live action which were produced in various coun- tries from the 1960s to the 1980s.1 It will propose first a descriptive classification scheme us- ing examples from the United States and Great Britain, assuming these are known best and are easiest to access internationally. -
MARY POPPINS CHARACTER DESCRIPTIONS Admiral Boom: A
MARY POPPINS CHARACTER DESCRIPTIONS Admiral Boom: A retired Royal Navy man and neighbor of the Banks family. A physically large man with a loud and booming voice, he speaks in Navy jargon and has a soft spot for his neighbor, Miss Lark. Can be any vocal range as needed. If Admiral Bloom doubles as the Banks Chairman, he can be a baritone. Male, 50 - 60 yrs old Bank Chairman: The head of the bank where Mr. Banks is employed, is an Edwardian stuffed- shirt. He can speak/sing his lines if necessary. Male, 50-60 yrs old Range: C3 - D4 Bert: The narrator of the story, is a good friend to Mary Poppins. An everyman, Bert has many occupations, including hurdy-gurdy player, sidewalk artist and chimney sweep. Bert watches over the children as well as the goings on in Cherry Tree Lane. He has charm, speaks with a Cockney accent and is a song-and-dance man. Male, 30 - 39 yrs old Range: B2 - F#4 Bird Woman: Covered in a patchwork of old shawls, and her pockets are stuffed with bags of crumbs for the birds. She tries to sell her crumbs for the birds. She tries to sell her crumbs to passersby, who ignore her as if she doesn't exist. Sings "Feed the Birds." There can be a gruff, folksy quality to her voice that reflects the hardness of her life. Female, 50 - 60 yrs old Range: Gb3 - C5 Ensemble George Banks: The father to Jane and Michael Banks, is a banker to the very fiber of his being. -
Mary Poppins Characters
Mary Poppins Characters Mary Poppins Jane and Michael Banks's new nanny. She is extraordinary and strange, neat and tidy, delightfully vain yet particular, and sometimes a little frightening but always exciting. She is practically perfect in every way and always means what she says. Bert The narrator of the story is a good friend to Mary Poppins. An everyman, Bert has many occupations, including hurdy-gurdy player, sidewalk artist and chimney sweep. He has charm, speaks with a Cockney accent and is a song-and-dance man. George Banks The father to Jane and Michael Banks is a banker to the very fiber of his being. He demands "precision and order" in his household. His emotional armor, however, conceals a sensitive soul. Winifred Banks George's wife and Jane and Michael's mother. She is a loving and distracted homemaker, and she suffers from the conflicting feelings that she's not up to the job of "Being Mrs. Banks," yet, she is, and more. She has great warmth and simplicity to her tone. Jane The high-spirited daughter of Mr. and Mr. Banks is bright and precocious but can be willful and inclined to snobbishness. Age: 10-12 Michael The cute and cheeky son of Mr. and Mrs. Banks is excitable and naughty. He adores his father and tries to be like him. Age: 10-12 Mrs. Brill The housekeeper and cook for the Banks family. Overworked, she's always complaining that the house is understaffed. Her intimidating exterior is a cover for the warmth underneath. Robertson Ay The houseboy to the Banks family.