DOCSLIB.ORG

Calle, Admits M, Lai Partidpation FT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

HIGH TIDE LOW TIDE 2-18-71 2-18-71 3.9 at 0924 2.0 at 0218 2.9 at 2130 t-tOURGlJ.\SS 2.6 at 1630 KWAJALEIN, MARSFALL ISLANDS Wednesday, February 17, 1971 Calle, Admits M, Lai Partidpation FT. BENNING, GA (UPI)--Defense attorneys admitted for the first time today that Lt W~lliam L Calley participated in a slaughter at My Lal, but said he didn't feel he was "killing humans." , "Lt. ('alley will testIfy that he belleved he was following orders to kill every I1vlng thing in the village," RIchard Kay, one of the defense attorneys, said. The adm1ssion coincIded with disclosure of a statement which the defense had pre­ pared for two psychiatrists who appeared In Calley's behalf. Purpose of the statement, later read into the court record, was to acquaint the Eban .ejects UN doctors with Calley's personal background and legal case so they could answer hypo­ Withdrawal Proposal thetical questions concerning the 27-year- (UPI)--Israell Forelgn Mlnister Abba old officer Eban rejected today a reported proposal Defense attorneys succeeded in winning by U N. Mldeast envoy Gunnar V. Jarring clearance for the psychiatrists, Dr. Da­ that Israel withdraw all its forces from,vid G. Crane, Indianapolis, Ind' J and the Slnai Penlnsula. He also r1dlculed Wilbur A. Hamman, Arlington, Va., to an Egyptian suggestlOn that Israel limit testify in open court. Military Judge immlgration of Jews. Col. Reid W. Kennedy first heard what the "We hear of limiting immigration," meta) experts had to say with the six- Eban told Parh.ament. "But we wlll not officer jury panel out of the room. ask Egypt to limlt its blrth rate" The Jury finally was recalled at mid- Eban was referring to an offer put for-afternoon, the first time it had been in ward by Egypt's U.N. ambassador, Moham- court since the trial resumed yesterday med el Zayyat, to recognize Israel as a after a month long recess. During the sovereLgn state on conditlon that Isra- recess Calley underwent a mental examina­ elis restrlct the admission of Jewish 'tion by the Army at Walter Reed Hospital ~w4)1j*~~~':'/~"':;' / imm1grants in Washington and was found sane in every -.J _ .... _~# Parliament also heard Defense Minister respect. n JUNGLE AIO-LC'd by three ammo-toting US ",oldlels, Moshe Dayan report that 30 residents of Crane testified that as a result of ,1 US Almy tclnk plows down a nOlrow dut load the occupled Gaza Strlp were 1njured by "stress reaction" to the combat zone Cal­ lhlOUgh ,I fo!(~~t In South VIetnam neal L<lotlUn bOld(,l "unwarranted and unauthorized violence" ley had limited mental capacity and could at the hands of Israeli troops sent ln not "appreciate the complexity of any or­ to curb a rash of Arab guerrilla attacks der" he received at My Lai. Damage .esponsibility Enters last month The young officer is charged with the As a result, he said, one Israeli of- murder of 102 South Vletnamese civilians Alaska Pipeline Discussions ficer and a number of soldiers would be on March 16, 1968, the day his infantry brought before a disc1plinary court, platoon carried out a search and destroy WASHINGTON (UPI)--Sen Mlke Gravel, D­ three officers have recleved adm1nistra- mission in the village. Alaska. urged constructl0n of a controver­ t1 ve reprimands and three soldl_era sen- His defense has been that he was. merely s~al trans-Alaska all plpellne today but tenced to 35 days in jail for stealing following the orders of his commanding sald its bU11ders and operators should fr~m Arab residents of the Gaza Strip. officer. Capt. Ernest L. Medina, but the have "total and absolute" responslbllity prosecution has taken the stand that if for any damage to the environment Medina issued an order to kll1 civilians, Gravel urged federal approval for the Nixon Wants Emergency Calley should have recognized such an proposed $1 bi1l10n project at the second 111egal order. day of Interl0r Department hearIngs on the Powers to Ha't 'ai' Strile "Lt. Calley states that he did not feel pIpellne which would carry all from Alas­ WASHINGTON (UPI)--Presldent Nixon as If he was killing humans, but rather ka's rich North Slope to south of Valdez urged Congress today to grant hlm emer­ they were the enemy with whom one could for shipment by tanker to the U S. West gency powers to head off a threatened not speak or reason," the defense told Coast nat10nWlde rail strike March I, either the court. More hear1ngs are scheduled Feb 24-25 bv Imposing a contract settlement or by In Anchorage They were called largely at allowing only a lim1ted strike or lock Border Patrol Assistance the urglng of conservatl0n groups WhlCh out. clalm the BOO-mile plpeline mlght rUln one Leglslatl0n enacted by Congress last of Amerlca's last wilderness areas, des­ Dec 10 bars a strike until March 1. Asled in fugiti" Hunt troy wl1dllfe and deprlve Eskimos, Indlans Since the leglslatl0n was passed, three DALLAS (UPI)--Lawmen, hoping a fugitive and Aletus of their 11vellhood. of the four unions that has threatened ~anted for the murder of three deputy Gravel J01ned Alaska Gov W1l11am Egan to strike have reached agreement wlth sherlt:f's would try to run "because a and Sen. Ted Stevens, a Republican, 1n management But the United Transporta­ running rabbit is eaS1er to catch," called urg~ng the federal government to approve tion Union, representing 90,000 brake­ on border officials today to make sure the plpellne constructlon permit bySept 1. 'men, firemen and other workers, still their wanted man did not escape into " .•. Wlthout North Slope 011, the U S has not slgned. Mexico. percentage of lmported petroleum ln 1985 In a report to Congress, Nlxon said he "We have particularly alerted the border wll1 grow to 55 per cent Shall we rely was submittlng leglslatl0n that would stations," said Dallas County Sheriff on the pOll tical perturbations of the Mid- allow hlm to choose between two alterna­ Clarence Jones. dIe East to determine the warmth of each tive methods of preventing a nationwide The object of the search was Rene Adol­ Amerlcan household? It, Gravel asked. walkout. fo Guzman, 33, one of two brothers. charged But he coupled his plea for construction rhe first alternative, he said, would with murdering three deputy sheriff's Mon­ w1th demands that the builder and operator allow him to impose recommendations made day night aiong a levee of the Trinity of the pipellne be held strlctly liable last November by a presidential emer, River near downtown Dallas. for any damage to the environment. gency board, calling for wage increases A fourth deputy was wounded and a fifth totaling 37 per cent over the next two escaped by rolling down a ledge toward WATER CONDITION YELLOW years and modification of 80mp uork the river. In Storage.. 7,392,000 Gallons rules. The five officers were surpy1sed by two Used Yesterday ...... 486,000 Gallons The second alternative wculd allow a men when they went to a We~t Dallas home I1mlted strike or lockout after March 1. to arrest them on burglary warrants. .. ------------------,. Page 2 HOURGLASS Wednesday, February 17, 1971 Paren'-Teaelter Co.ference Parents of the George Seitz Ele­ mentary School students will be in­ vited to attend parent-teacher con­ ferences during the week of Feb. 22 -26. KMR Hospital Procedures Conferences will be held from Physicans are in attendance at the Outpatient 2:30 to 4 30 pm, Feb 22-25. On Uepartment of KMR Hospital during the following Friday, Feb. 26, the students will hours: be dlsmissed from classes so that MOnday through Saturday--7:30 am to 11:00 am teachers may meet w1th parents the 1:00 pm to 4:00 pm entire day, Parents unable to at­ Physicians begin to see patients at ahout 8:15 tend at the scheduled time may ar­ am. When a patient wishes to see a certain physi­ range a conference at a more con­ cian, it is adv1sable to make appointments ahead venlent time wl.th their chl1d's of t1me whenever possible. Patients are strongly teacher. advised to arr1ve at the clinic 10 minutes before In conjunction WIth the progress their scheduled appointment time. Furthermore, report of each student, teachers all patients should try to arrive at the clinic 3C will offer assistance 1n registra­ minutes before closing t1me so that laboratory tion for the summer "short Block" tests and x-rays can be done 1f indicated. Evening -z..n M1.,.crones-z..a", programs. Each day one phys1cian 1s ass1gned to emergency ~fe Alice who a~ts as narrator. duty. The duty physician remains in the clinic for 30 minutes beyond the closing times Jndicated An Evening in Micronesia COMMANDER'S HOUR above Patl.ents arriving at the clinic just be- "An Evening in Micronesia" which 2105 TONIGHT fore or after c1osl.ng tl.me are assigned to the du- is to be staged at the Rl.chardson ty physician for treatment. Theater this Saturday evening, Feb. Rev and Mrs. Buck On Saturday afternoons the duty physl.cian also 20, at 6 pm, is being produced and discuss with Host ~aj holds clinl.c between 1 pm and 4:30 pm. Patients directed by Rev Elden Buck and Smith "An .l!.venl.ng in are seen on a "fl.rst come" or urgency basis. To sponsored by the Special Services Micronesia,lI which will take place avol.d waitl.ng wl.th minor al.Iments, l.t is strongly division of Global Associates.
Recommended publications
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?

    Exploring Films About Ethical Leadership: Can Lessons Be Learned?

    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
  • Mid-August Lunch

    Mid-August Lunch

    Nashville Director: Robert Altman Country: USA Date: 1975 A review by Roger Ebert: Taking down Pauline Kael's 1976 collection Reeling to re-read her famous review of "Nashville," I find a yellow legal sheet marking the page: my notes for a class I taught on the film. "What is this story about?" I wrote. The film may be great because you can't really answer that question. It is a musical; Robert Altman observes in his commentary on the new DVD re-release that it contains more than an hour of music. It is a docudrama about the Nashville scene. It is a political parable, written and directed in the immediate aftermath of Watergate (the scenes in the Grand Ole Opry were shot on the day Richard M. Nixon resigned). It tells interlocking stories of love and sex, of hearts broken and mended. And it is a wicked satire of American smarminess ("Welcome to Nashville and to my lovely home," a country star gushes to Elliott Gould). But more than anything else, it is a tender poem to the wounded and the sad. The most unforgettable characters in the movie are the best ones: Lily Tomlin's housewife, who loves her deaf sons. The lonely soldier who stands guard over the country singer his mother saved from a fire. The old man grieving for his wife, who has just died. Barbara Harris' runaway wife, who rises to the occasion when she is handed the microphone after a shooting. And even that smarmy country singer (Henry Gibson), who when the chips are down acts in the right way.
  • 159 Minutes Directed & Produced by Robert Altman Written by Joan

    159 Minutes Directed & Produced by Robert Altman Written by Joan

    APRIL 17, 2007 (XIV:13) (1975) 159 minutes Directed & produced by Robert Altman Written by Joan Tewkesbury Original music by Arlene Barnett, Jonnie Barnett, Karen Black, Ronee Blakley, Gary Busey, Keith Carradine, Juan Grizzle, Allan F.Nicholls, Dave Peel, Joe Raposo Cinematography by Paul Lohmann Film Editiors Dennis M. Hill and Sidney Levin Sound recorded by Chris McLaughlin Sound editor William A. Sawyer Original lyrics Robert Altman, Henry Gibson, Ben Raleigh, Richard Reicheg, Lily Tomlin Political campaign designer....Thomas HalPhillips David Arkin...Norman Barbara Baxley...Lady Pearl Ned Beatty...Delbert Reese Karen Black...Connie White Ronee Blakley...Barbara Jean Timothy Brown ...Tommy Brown Patti Bryant...Smokey Mountain Laurel Keith Carradine...Tom Frank Richard Baskin...Frog Geraldine Chaplin...Opal Jonnie Barnett...Himself Robert DoQui...Wade Cooley Vassar Clements...Himself Shelley Duvall...L. A. Joan Sue Barton...Herself Allen Garfield...Barnett Elliott Gould...Himself Henry Gibson...Haven Hamilton Julie Christie...Herself Scott Glenn...Private First Class Glenn Kelly Robert L. DeWeese Jr....Mr. Green Jeff Goldblum...Tricycle Man Gailard Sartain...Man at Lunch Counter Barbara Harris...Albuquerque Howard K. Smith...Himself David Hayward ...Kenny Fraiser Academy Award for Best Song: Keith Carradine, “I’m Easy” Michael Murphy...John Triplette Selected for the National Film Registry by the National Film Allan F. Nicholls...Bill Preservation Board Dave Peel...Bud Hamilton Cristina Raines...Mary ROBERT ALTMAN (20 February 1925, Kansas City, Bert Remsen...Star Missouri—20 November 2006, Los Angeles), has developed Lily Tomlin...Linnea Reese the form of interlocked narrative to a level that is frequently Gwen Welles ... Sueleen Gay copied (e.g.
  • Portland State Perspective Productions

    Portland State Perspective Productions

    Portland State University PDXScholar University Archives: Campus Publications & Portland State Perspective Productions 1-1-1984 Portland State Perspective; Spring 1984 Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/perspective Let us know how access to this document benefits ou.y Recommended Citation Portland State University, "Portland State Perspective; Spring 1984" (1984). Portland State Perspective. 25. https://pdxscholar.library.pdx.edu/perspective/25 This Article is brought to you for free and open access. It has been accepted for inclusion in Portland State Perspective by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Portland State University Alumni News Downtown visions Portland State University Alumni News Spring 1984 Portland: Carl Abbott, Urban Studies Urban historian keeps finding things to write about this 'lively city' by Clarence Hein of Denver incl uded a course on the the fact that Portland "has remained a history of Colorado, I had to do a lot lively city at the same time that it has "Writing a book about a city is a of reading really fast. Once I had all grown into a successful metropolis." great way to learn about it. " that material pulled together, I ended Abbott began an intensive study of Carl Abbott, professor of urban up writing a book." the evolution of the city, which studies, is in hi s Francis Manor office The book, Colorado: A History of resfJlted in Portland: Planning, On the inside at PSU 's School of Urban and Public the Centennial State, was not cast Politics, and Growth in a Twentieth Affairs, explaining how a historian - from the mold of traditional state Century City, a book about the Milwaukie Storefront Project / 3 born, raised and educated in the histories.
  • Robert Altman's Nashville Hassan Melehy, University of North Carolina at Chapel Hill, USA

    Robert Altman's Nashville Hassan Melehy, University of North Carolina at Chapel Hill, USA

    Narratives of Politics and History in the Spectacle of Culture: Robert Altman's Nashville Hassan Melehy, University of North Carolina at Chapel Hill, USA Robert Altman's Nashville (1975) has long been recognized as a masterpiece in its treatment of the spectacularization of American culture through an ostensible examination of the country music industry. In this article I will consider the movie's critique of the ways that American politics, history, and culture are produced as simulacra through the media, with attention to the function of narrative in this production. [1] The movie presents these fields as scarcely available except as simulacra in a "society of the spectacle"; the social relations that Nashville denotes are mediated especially by the proliferation of visual images (Debord, 1995: 12). Much previous writing on Nashville has very effectively noted its critique of politics, history, and culture through its staging of their spectacularized forms -- I will refer to many excellent commentaries. What I propose here is that Nashville treats these domains as inseparable from the mechanisms of representation and simulation in which they take place, indeed as taking place solely and uniquely in them. Through reflexive strategies, the film doesn't stop short of implicating cinema, and indeed itself, in the systems of simulation that it examines. [2] As a film that treats U.S. culture and politics in a time of crisis, Nashville's critique underscores cultural operations that persist in their effectiveness into the present day. As in the mid-1970s, the U.S. currently finds itself exhausted from an unpopular war and divided over the proper way to end the term of a president viewed as a failure largely in connection with his handling of the war.
  • Examining the Dialogic Construction of Women In

    Examining the Dialogic Construction of Women In

    “TAKE HER CLOTHES OFF AND BRING HER TO ME!”: EXAMINING THE DIALOGIC CONSTRUCTION OF WOMEN IN ROBERT ALTMAN’S FILMS A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF ENGLISH, SPEECH, AND FOREIGN LANGUAGES COLLEGE OF ARTS AND SCIENCES BY CHARLENE SMITH GREEN B.A., M.A. DENTON, TEXAS DECEMBER 2017 Copyright © 2017 by Charlene Smith Green DEDICATION For my daughters, Christianne and Natalie Build your castles in the air, and then put foundations under them. ii ACKNOWLEDGEMENTS I would like to express deep and sincere gratitude to my advisor and director Dr. Lou Thompson for her support and encouragement throughout my academic journey, which began so many years ago. I am especially grateful for her thoughtful insight and tireless dedication to my research and writing about films, most especially her guidance with this project on the women in Robert Altman’s films. I would have never completed this project without her unwavering commitment to my research and writing. I would also like to thank my committee members Dr. Genevieve West and Dr. Brian Fehler for providing invaluable comments and feedback on my work. I am especially grateful for the tough questions they asked because those questions made me dig deeper and think harder when I made revisions. Their comments and questions have also led me toward ideas for future research and writing, and that is a priceless contribution indeed. Finally, there are two additional professors I would like to thank for their contributions to my research, writing, and academic growth.
  • Year Date Name of Production Description 1917 September 27, 28, 28 Have a Heart a Musical Comedy by Guy Bolton and P. G

    Year Date Name of Production Description 1917 September 27, 28, 28 Have a Heart a Musical Comedy by Guy Bolton and P. G

    Year Date Name of Production Description 1917 September 27, 28, 28 Have A Heart A musical comedy by Guy Bolton and P. G. Wodehouse, music by Jerome Kern 1917 1-Oct Furs and Frills A musical with lyrics by Edward Clark, music by Silvo Hein 1919 6-Oct The Gallo Opera Co. A revival of William S. Gilbert and Sir Arthur Sullivan's The Mikado , music directed by Max Bendix 1922 May 19 and 20 Dulcy A comedy in three acts by George S. Kaufman and Marc Connelly 1924 9-Apr Anna Pavlowa A ballet featuring Hilda Butsova and Corps De Ballet; Ivan Clustine, Balletmaster and conductor Theodore Stier 1924 April 10, 11, 12 Jane Cowl Portraying Juliet in Shakespeare's Romeo and Juliet ; staged by Frank Reicher 1927 1-Sep My Princess A modern Operetta based on a play by Edward A. Sheldon and Dorothy Donnelly; music by Sigmund Romberg 1927 September 5, 6, 7 Creoles A romantic comedy drama by Samuel Shipman and Kenneth Perkins 1927 September 8, 9, 10 The Cradle Song A Comedy in two acts by Gregario and Maria Martinez Sierra translated in English by John Garrett Underhill 1928 January 26, 27, 28 Quicksand A play presented by Anna Held Jr. and written by Warren F. Lawrence 1928 January 30 Scandals A play based on the book by Williams K. Wells and George White 1928 September 17, 18, 19 Paris Bound/Little Accident A comedy by Philip Barry presented by Arthur Hopkins; featuring (1 play per side of one Madge Kennedy sheet) 1928 September 20, 21, 22 Little Accident/Paris Bound A comedy in three acts by Floyd Dell and Thomas Mitchell; staged (1 play per side of one by Arthur Hurley sheet) 1928 October 1, 2, 3, The Shanghai Gesture/The presented by A.
  • The History of the Hartman Theatre, 1938-1963

    The History of the Hartman Theatre, 1938-1963

    This dissertation has been microfilmed exactly as received 69-11,698 RODGERS, Charles Andrew, 1932- THE HISTORY OF THE HARTMAN THEATRE, 1938-1963. The Ohio State University, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE HISTORY OF THE HARTMAN THEATRE 1938 - 1963 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Charles Andrew Rodgers, B„Sc0, M.A„ ****** The Ohio State University 1968 Approved by p/ p s Adviser PREFACE The popular, even the scholarly, concept of the American theatre has tended to center about theatrical ac­ tivities in New York City0 Only recently, with increasing emphasis placed upon educational, community, and summer theatre, has there arisen increasing recognition of the theatrical world outside New York. And though the ex­ istence of the road has long been acknowledged, a substan­ tial part of that theatre history--made when the theatre’s most important personalities in their original roles were criss-crossing America--still remains to be written. In the professional theatre of the nineteen sixties the road is confined to a relatively small group of larger cities privileged to view Broadway successes and mediocrities Columbus, Ohio is one of these cities. Over the years Columbus has had many legitimate playhouses (Market House, Comstock's Theatre, The Great Southern Theatre), but the Hartman Theatre, since its opening in 1911, has been the busiest and most important theatre in central Ohio. From its opening until the present except for a period of dark­ ness between 1963 and 1964, the Hartman has made profes­ sional theatre available to Ohio audiences.
  • PN—Savage Eye, Long Version

    PN—Savage Eye, Long Version

    Joseph Strickʼs The Savage Eye and Muscle Beach Wednesday, February 18, 2009 – Yerba Buena Center for the Arts Uniquely intersecting the realm of documentary and narrative cinema, The Savage Eye pairs three innovative filmmakers (Joseph Strick, Ben Maddow and Sidney Meyers) with three stellar cinematographers (Haskell Wexler, Helen Levitt and Jack Couffer) to create a snapshot of late- 1950s American life in transition. This masterpiece of vérité filmmaking, culled from discordant materials yet remarkably unified in a fictive context, remains as compelling today as the year of its initial release. We present The Savage Eye with Joseph Strickʼs earliest documentary short, Muscle Beach, both beautifully restored by the Academy Film Archive. (Jonathan Marlow) Muscle Beach (1948) by Joseph Strick and Irving Lerner; 35mm, b&w, sound, 9 minutes, print from the Academy Film Archive “In 1948, Joseph Strick and co-director Irving Lerner cast a more benign eye on a then- disreputable civic landmark, Muscle Beach, an outdoor gym on the sand with bleachers for spectators, just south of the Santa Monica pier. In those days, weight-lifting and gymnastics were sports for freaks and queers, but Strick and Lerner make them look wholesome, helped along by a buoyant, kitschy talking blues composed and sung by Earl Robinson, with lyrics by Edwin Rolfe. Muscle Beach captures a brief moment of innocence and optimism before the Korean War and the politics of hysteria it engendered.” (Thom Andersen) The Savage Eye (1959) by Joseph Strick, Ben Maddow and Sidney Meyers; 35mm, b&w, sound, 67 minutes, print from the Academy Film Archive “Our first idea was Los Angeles as seen by Hogarth.
  • The Vera Mowry Roberts Papers Finding Aid

    The Vera Mowry Roberts Papers Finding Aid

    The Vera Mowry Roberts Papers Finding Aid AArrcchhiivveess aanndd SSppeecciiaall CCoolllleeccttiioonnss TABLE OF CONTENTS General Information 3 Biographical Sketch 4 - 7 Scope and Content Note 8 Series Description 9 - 11 Container List 12 - 34 2 GENERAL INFORMATION Accession Number: 06-01 Size: 13.5687 cu. ft. Location: Range 1 Section 7 Shelves 38 - 42 Provenance: Vera Mowry Roberts Restrictions: None. Archivist: Prof. Julio L. Hernandez-Delgado Associate: Mr. Eli Arthur Schwartz Volunteer: Ms. Toby Schwartz Date: November, 2006 Revised: December, 2012 3 BIOGRAPHICAL SKETCH Vera Mowry (Roberts) was born in Pittsburgh, Pennsylvania on October 21, 1913, the second daughter of Joseph E. and Emma C. Mowry. Her elementary and high school education was in the Pittsburgh public Schools. Early identified as “gifted,” she entered school six months before her sixth birthday, being placed in the second grade, since she was already reading fluently. She subsequently “skipped” another full grade finishing the eighth year at the age of twelve. She attended South High School, graduating as valedictorian of a class of sixty. She was active in extra- curricular affairs, particularly the honorary Literary Society and the Dramatic Club, playing featured roles in their annual productions. She wrote a column for the school newspaper and edited the senior yearbook. Through the Exceptionally Able Youths’ Committee of the Civic Club of Allegheny County, she was offered a college scholarship to the University of Pittsburgh. In 1932, she was a speaking extra in famed actress Ethel Barrymore’s The Kingdom of God at the Nixon Theatre in Pittsburgh. She was awarded the bachelor’s degree in June, 1934—in the midst of the Great Depression.
  • Convert Finding Aid To

    Convert Finding Aid To

    Anne Jackson and Eli Wallach An Inventory of Their Papers at the Harry Ransom Center Descriptive Summary Creator: Jackson, Anne, 1925-2016 and Wallach, Eli, 1915-2014 Title: Anne Jackson and Eli Wallach Papers Dates: 1928-2016 Extent: 85 document boxes, 7 oversize boxes (osb) (39 linear feet), 9 oversize folders (osf), 2 galley files (gf) Abstract: The Anne Jackson and Eli Wallach Papers document the lives and careers of the prominent American acting couple from their early stage and television appearances in the 1940s through their final performances on film in the 2000s and include scripts, photographs, posters, theater programs, clippings, correspondence, and scrapbooks, as well as manuscripts and other material relating to their memoirs and other writings, all dating from 1928 to 2016. Call Number: Film Collection FI-05251 Language: English, Hebrew, Italian, and Spanish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.
  • She Loves Me Study Guide

    She Loves Me Study Guide

    Civil War Study Guide.qxd 9/13/01 10:31 AM Page 3 MUSIC THEATRE INTERNATIONAL MUSIC THEATRE INTERNATIONAL is one of the world’s major dramatic licensing agencies, specializing in Broadway, Off-Broadway and West End musicals. Since its founding in 1952, MTI has been responsible for supplying scripts and musical materials to theatres worldwide and for protecting the rights and legacy of the authors whom it represents. It has been a driving force in cultivating new work and in extending the production life of some of the classics: Guys and Dolls, West Side Story, Fiddler On The Roof, Les Misérables, Annie, Of Thee I Sing, Ain’t Misbehavin’, Damn Yankees, The Music Man, Evita, and the complete musical theatre works of composer/lyricist Stephen Sondheim, among others. Apart from the major Broadway and Off- Broadway shows, MTI is proud to represent youth shows, revues and musicals which began life in regional theatres and have since become worthy additions to the musical theatre canon. MTI shows have been performed by 30,000 amateur and professional theatrical organizations throughout the U.S. and Canada, and in over 60 countries around the world. Whether it’s at a high school in Kansas, by an all-female troupe in Japan or the first production of West Side Story ever staged in Estonia, productions of MTI musicals involve over 10 million people each year. Although we value all our clients, the twelve thousand high schools who perform our shows are of particular importance, for it is at these schools that music and drama educators work to keep theatre alive in their community.