The Ac I Is S

Total Page:16

File Type:pdf, Size:1020Kb

The Ac I Is S The Activists Devised by Meredith College Theatre Playwrights • Laura Austin* • Kylie Hunt • Grace Bolton* • Zoe Matney • Stella Bowers • Caroline O'Dekirk • Laura Corum • Anna Phillips • Carolina Gao • Sarah Richardson • Natalie Gaster • Emily Spain * Indicates Lead Student Devisers 2 Production Team • Director: Catherine B. Rodgers • Set Designer/Technical Director: Michael Allen • Costume Designer: Rebecca Bailey • Lead Deviser/Music Supervisor: Lormarev Jones • Directorf o Videography: Eric Leary • Stage Manager: Anna Phillips • Assistant Stage Manager: Kate Polaski • Camera Operators: Laura Corum, MacKenzie Ulibarri, Anna Phillips 3 Cast • Laura Austin: Nancy, Student/Woman Warrior 5, Sarah Grimke, Commercial 1 & 2 • Grace Bolton: Student/Woman Warrior 4, Dr. Alice Paul, Asa Mahan • Jasmin Brown: Student/Woman Warrior 2, Addie Waites Hunton, Commercial 1 • Vivian Porch: Student/Woman Warrior 1, Lila Hardaway Meade Valentine, Tacie Paul, Commercial 1 • Emily Spain: Student/Woman Warrior 3, Lucy Stone 4 Catherine B. Rodgers Director Catherine Rodgers holds a Bachelor of Arts in American Civilization & Religion from Meredith College, a Master of Arts in Speech Communication & Theatre from Wake Forest University, and a Master of Fine Arts in Acting/Directing from UNC-G. Professor Rodgers is currently the Director of Meredith in Italy Program, having taught in Sansepolcro most recently in the fall of 2019. She also is privileged to direct the study abroad program in London, where she enjoys rededicating her life to theatre each summer. Catherine last directed Company for Meredith College Theatre, and is a proud member of the North Carolina Theatre Conference as a past president of their executive board. Ms. Rodgers received the NCTC Herman Middleton Distinguished Service Award in 2011 for her contributions to theatre education in North Carolina. 5 Michael Allen Set Designer/Technical Director Michael Allen is pleased to join the Meredith family for a third year. National Tours: Spiderman-Live!, The Wiz, West Side Story, National Tours (adaptations): Miss Saigon, Oklahoma!, Sweet Charity, Hairspray. Regional: Journey’s End, Othello, The Sound of Music, Annie, 9 to 5, On Your Toes!, Barefoot in the Park, The 25th Annual Putnam County Spelling Bee, The Imaginary Invalid. TV: Comedy Central, MTV, PBS, MajorLeagueBaseball.com . Michael’s designs for the Animated Holiday Window displays at Macy’s, Saks Fifth Avenue, Lord and Taylor, and the former Marshall Field’s State Street, were seen by millions, including the award-winning Macy’s Herald Square “pop-up” Christmas windows in 2005. 6 Rebecca Bailey Costume Designer Rebecca Bailey received her PhD from Michigan State in Interdisciplinary Studies that included the areas of Visual Art, Theatre and Textiles, and Clothing. Rebecca had a long career at Meredith College where she held positions as Head of the Art Department and Dean of the School of the Arts. Following retirement she has taught at the Sansepolcro, Italy, Meredith campus, planned and directed Meredith International Travel opportunities for alums and friends of the college, and designed costumes for Meredith Theatre productions. It is a real pleasure to be back one more time working with Cathy, Lormarev, Michael and Steven and the great students in Theatre! 7 Lormarev Jones Lead Deviser/Music Supervisor Lormarev Jones is a Freelance Director, Choreographer, and Educator currently based in Raleigh. She received her MFA in Theatre from Sarah Lawrence College. Lormarev has served as a director and choreographer at many theatres and high schools in the Triangle, including North Carolina State, Meredith College, Raleigh Charter High School, Raleigh Little Theatre, and many others. She is also a deviser, playwright, and solo performer. Lormarev currently teaches at NCSU while continuing to freelance in all her areas of expertise. 8 Eric Leary Director of Videography Lately Eric Leary’s production credits are for Meredith College, where he is the Assistant Director of Campus Events, supporting the performing arts and conference spaces on campus. His recent video credits include: Videographer for“ Lost Music from the Heart of Everything,” done for NC Opera (part of the Burning Coal 19th Amendment Project) and choral concerts for the Meredith Music Department including premier works by Timothy Takach “How to Triumph Like a Girl” and “Mantra”. His sound design credits include: “Annie Get Your Gun,” “Xanadu,” and “She Kills Monsters” for Meredith College Theatre. He attended college at UNCG twice, first as a BFA Theatre Major, and the 2nd time as a BLS Social Science major. He finally did get a degree. Past credits include: Studio Manager at Duke University Recording Studios, Office Manager as Full Frame Documentary Film Festival, Lighting Designer at Colorado Actors Theatre and Lighting Director at Cats Cradle night club in Chapel Hill. Eric is an avid devotee of trip hop electronic music. 9 Anna Phillips Stage Manager/Camera Operator Anna Phillips is a junior Theatre Ed major who is the Stage Manager for The Activists. This is her first- time stage managing, and though COVID-19 has gotten in the way of a traditional management experience, she is extremely grateful for this extremely unique, once in a lifetime opportunity. 10 Kate Polaski Assistant Stage Manager Kate Polaski is a sophomore at Meredith, where she is pursuing her teacher's licensure in History. This is her third show at Meredith, after being on crew for Company and Julius Caesar last year. She hopes you enjoy this show which combines her three favorite things: theatre, history, and feminism. 11 Laura Corum Camera Operator Laura Corum is a junior Theatre major with a Musical Theatre concentration. She is also a Biology major. Her favorite play with Meredith College was No Exit, when she played the Valet! She is very excited to be helping with The Activists! 12 MacKenzie Ulibarri Camera Operator MacKenzie Ulibarri is happy to be a part of this long-awaited production as a camera operator. She is experienced in Technical Theatre and is excited to try out film for a change! She thanks her mentors and professors for their guidance and support. She also makes really cool earrings, or whateva, available on her Instagram @artsyartbymac, and encourages everyone to VOTE! 13 Laura Austin Nancy, Student/Woman Warrior 5, Sarah Grimke, Commercial 1 & 2 Laura Austin is a senior Theatre major with a minor in English. She is the President of Extra Theatre Company and a proud third time Student Adviser. She is excited as always to share stories on the Meredith stage, and she treasures each moment with her Theatre family, in her final year at Meredith. 14 Grace Bolton Student/Woman Warrior 4, Dr. Alice Paul, Asa Mahan Grace Bolton, a recent alumna of the class of 2020, feels very lucky that in spite of everything happening in the world, she still gets to tell one last story with the people who made her college experience the fulfilling adventure that it was. 15 Jasmin Brown Student/Woman Warrior 2, Addie Waites Hunton, Commercial 1 Jasmin Brown is a 3rd year Music Education Major at Meredith College. Jasmin has aspirations of receiving her hunters license and collecting all 7 dragon balls. If you ever need to find her look to the ground... she probably got recked while trying to act like Tony Hawk. She loves science, photography, music, Christ, and WonkaTok. 16 Vivian Porch Student/Woman Warrior 1, Lila Hardaway Meade Valentine, Tacie Paul, Commercial 1 Vivian Porch is a senior at Meredith, glad to be part of a show while COVID takes control of the world. She is thankful for the experience to show the world just how powerful women can be, and how powerful women have always been. 17 Emily Spain Student/Woman Warrior 3, Lucy Stone Emily Spain is a junior, pursuing a Major in Psychology and Musical Theatre. She is excited to be in this meaningful production! Some of her past performances include: Meredith Ensemble Theatre’s Company as Amy, Ms. Courageous and Annie Get Your Gun; White Iris Light Opera’s Strike Up the Band as Joan and Patience. She would like to thank everyone who made this show possible! 18 Meet the real-life Suffragists 19 Sarah Grimke Born on November 26, 1792, Sarah Grimke came from a rich family of slave holders in Charleston, South Carolina. She and her sister Angelina were educated at home where they taught some of the hundreds of slaves their father owned until he forbade them to do so. Both sisters then moved north, joining anti-slavery groups and writing booklets addressing women’s rights and the reasons they should help African American people. Sarah walked the streets of Boston, passing out copies of John Stuart Mills’ Subjection of Women until her health declined. She died in 1873. 20 Addie Waites Hunton Addie Waites Hunton was an African American suffragist who was born in Norfolk, Virginia in 1875, but raised in Boston. She graduated from Spencer College of Commerce and became a teacher in Alabama. After the death of her husband in 1916, Addie Hunton volunteered for YMCA service during World War I, assisting African-American troops in France for over a year. She was a strong civil rights activist, serving on the board of numerous councils and clubs. Ms. Hunton died in 1943 leaving behind a legacy of civic engagement and fearless outspokenness. 21 Dr. Alice Paul Dr. Alice Paul (1885-1977) was a New Jersey native who held multiple degrees from several universities. She studied social work in England and while there became active in the fight for women’s rights. When she returned to the states, Dr. Paul became a vocal leader of the women’s suffrage movement, adopting British tactics such as hunger strikes when arrested. She advocated for and helped secure passage of the 19th Amendment to the US Constitution, granting women the right to vote.
Recommended publications
  • Bring Your Family Back to Cary. We're in the Middle of It All!
    Bring Your Family Back To Cary. Shaw Uni- versity North Carolina State University North Carolina Museum of Art Umstead State Park North Carolina Museum of History Artspace PNC Arena The Time Warner Cable Music Pavilion The North Carolina Mu- seum of Natural History Marbles Kids Museum J.C. Raulston Arbore- tum Raleigh Little Theatre Fred G. Bond Metro Park Hemlock Bluffs Nature Preserve Wynton’s World Cooking School USA Baseball Na- tional Training Center The North Carolina Symphony Raleigh Durham International Airport Bond Park North Carolina State Fairgrounds James B. Hunt Jr. Horse Complex Pullen Park Red Hat Amphitheatre Norwell Park Lake Crabtree County Park Cary Downtown Theatre Cary Arts Center Page-Walker Arts & History Center Duke University The University of North Carolina at Chapel Hill We’re in the middle of it all! Book your 2018 or 2019 family reunion with us at an incredible rate! Receive 10% off your catered lunch or dinner of 50 guests or more. Enjoy a complimen- tary upgrade to one of our Hospitality suites or a Corner suite, depending on availability. *All discounts are pretax and pre-service charge, subject to availability. Offer is subject to change and valid for family reunions in the year 2018 or 2019. Family reunions require a non-refundable deposit at the time of signature which is applied to the master bill. Contract must be signed within three weeks of receipt to take full advantage of offer. Embassy Suites Raleigh-Durham/Research Triangle | 201 Harrison Oaks Blvd, Cary, NC 27153 2018 www.raleighdurham.embassysuites.com | 919.677.1840 .
    [Show full text]
  • EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
    EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage.
    [Show full text]
  • Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
    Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms.
    [Show full text]
  • IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
    MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril.
    [Show full text]
  • Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
    Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists.
    [Show full text]
  • '7/I/Od-- Signatur ~~Icial I Date T
    USDIINPS Registration Fprm Depot Historic· District Wake County, North Carolina NPS Form l0-900 OMB No. l024-00l8 (Rev. l0-90) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM ============================================================================= 1. Name of Property ============================================================================= historic name Depot Historic District other names/site number Warehouse District, Westside Area ============================================================================= 2. Location ============================================================================= street & number bounded by W. Hargett, S. McDowell, S. Dawson, W. Cabarrus, and streets N/A not for publication city or town ~R~a~l~e~l~·g~h~---------------------------------------- vicinity N/A state North Carolina code NC county Wake code 183 zip code 27602 ============================================================================= 3. State/Federal Agency Certification ============================================================================= As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this X nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets -does not meet the National
    [Show full text]
  • Paul D. Miller, Aka DJ Spooky That Subliminal Kid: Ice Music Collection CAE1217
    Paul D. Miller, aka DJ Spooky that Subliminal Kid: Ice Music Collection CAE1217 Introduction/Abstract For his book and exhibition titled Ice Music, Miller worked through music, photographs and film stills from his journeys to the Antarctic and Arctic, along with original artworks, and re-appropriated archival materials, to contemplate humanity’s relationship with the natural world. Materials include graphics from The Books of Ice, copies of four original scores composed by Paul Miller, DVD of Syfy Channel clips, the CD Ice Music, press, photographs, and pieces of personal gear used in the Polar Regions. Biographical Note: Paul D. Miller Paul D. Miller, also known as ‘DJ Spooky, That Subliminal Kid’, which is his stage name and self constructed persona, is an experimental and electronic hip-hop musician, conceptual artist, and writer. He was born in 1970 in Washington DC but has been based in New York City for many years. He is the son of one of Howard University's former Deans of Law who died when he was only three, and a mother who was in charge of a fabric shop of international repute. Paul Miller then spent the main part of his childhood in Washington DC’s nurturing bohemia. Paul Miller is a Professor at the European Graduate School (EGS) where he teaches Music Mediated Art. DJ Spooky is known amongst other things for his electronic experimentations in music known as both “illbient” and “trip hop.” His first album, Dead Dreamer, was released in 1996 and he has since then released over a dozen albums. Miller, as DJ Spooky, has collaborated with drummer Dave Lombardo of thrash metal band Slayer; singer, songwriter and guitarist Thurston Moore of Sonic Youth; Chuck D of Public Enemy fame; rapper Kool Keith; Towa Tei, formerly of Deee-Lite; Vernon Reid of Living Colour; The Coup; artists Yoko Ono and Shepard Fairey and many others.
    [Show full text]
  • The History of Rock Music - the Nineties
    The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.
    [Show full text]
  • 394 GLOSSARY Acid Jazz Late 1980S and 1990S
    GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture.
    [Show full text]
  • Krautrock and the West German Counterculture
    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
    [Show full text]
  • Edition 4 | 2019-2020
    2019-2020 ADVISORY BOARD Jack Alphin Shelley Crisp Judi Wilkinson Sue Tucker Briggs Keith Kapp Larry Wilson Chris Brown Mike McGee Smedes York Bud Coggins Gail Smith Steve Zaytoun Kristin Cooper Scott Sutton 2019-2020 BOARD OF DIRECTORS Officers: Members At Large: Volunteer Representative: Heather Strickland Amy Bason Aliana Ramos President David Bennett Phyllis Parish Howard Scott Falmlen City Staff Liaison: Vice President Natasha Gore Belva Parker Stuart Byham Lisa Hoskins Secretary Leslie Ann Jackson Attorney: Pam Swanstrom Gene Jones Wyatt Booth Treasurer Adrienne Kelly-Lumpkin Georgia Donaldson Sejal Mehta Past President Tim McKay Kristie Nystedt Nicole Rogers Graham Satisky Debra Schafrath Kirk Smith Sam Spilman Jackie Williams LIFE MEMBERS Linda Bamford Eleanor Oakley David and Judi Wilkinson Steve and Ellen Landau Vicki and Wayne Olson Rick Young RALEIGH LITTLE THEATRE I YOU’RE A GOOD MAN, CHARLIE BROWN (REVISED) Based on The Comic Strip “Peanuts” by CHARLES M. SCHULZ Book, Music and Lyrics by CLARK GESNER Additional Dialogue by Michael Mayer Additional Music and Lyrics by Andrew Lippa Original Direction for this version of “You’re A Good Man, Charlie Brown” by Michael Mayer Originally Produced in New York by Arthur Whitelaw and Gene Persson YOU’RE A GOOD MAN, CHARLIE BROWN is presented by arrangement with TAMS-WITMARK www.tamswitmark.com The videotaping or other video or audio recording of this production is strictly prohibited. Directed by Matthew Hurley Musical Direction by Michael Santangelo Choreography by Shannon Carr Scenic
    [Show full text]
  • Exploring the Drugs-Crime Connection Within the Electronic Dance Music and Hip-Hop Nightclub Scenes
    The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes Author(s): Tammy L. Anderson, Ph.D. ; Philip R. Kavanaugh ; Ronet Bachman ; Lana D. Harrison Document No.: 219381 Date Received: August 2007 Award Number: 2004-IJ-CX-0040 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes Final Report to the National Institute of Justice Grant # 2004-IJ-CX-0040 April 30, 2007 Tammy L. Anderson, Ph.D. Principal Investigator Philip R. Kavanaugh Ronet Bachman Lana D. Harrison Department of Sociology and Criminal Justice University of Delaware 322 Smith Hall Newark, DE 19716 We would like to thank all of the study participants for their effort, candor and cooperation.
    [Show full text]