DOCSLIB.ORG

Hats, Hat Dance, Adopt-A-Grandfather, When a Man Loves

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hats, Hat Dance, Adopt-A-Grandfather, When a Man Loves CHAPTER 1 HATS, HAT DANCE, ADOPT-A-GRANDFATHER, WHEN A MAN LOVES HATS Characters: Youngblood, God and & Shorty: (Man who dies at opening) Black Male, 17-21, no hat, he hasn’t earned it. DoDo: Black Male, 40s, black Kangol cap, turned to the back. Billie Slim: Black Male, mid-50s, black knit, urban cap. Old School: Black Male, 60s, Grey tall crown, stingy brim straw. Cowboy: Black Male, 40s, brown cowboy hat. Mr. T: Black Male, 60s or older, black Fedora. Scene I: (Setting: Local pool hall in the hood. No sign out front. Hall is open to anyone but, only pool players who are serious about the game and being Black are regulars. Stage is set with one regulation pool table in the middle of the rectangular room, three, large, oval, green light fixture shines bright overhead. On the back wall, is an old fashioned, wooden, hat rack with ten knobs. Above the hat rack is a sign “Please remove hats.” At open stage is dark and a fight can be heard. Note: One of the other actors in the play should play Triple. He’s talked about but never seen because he’s dead. Note: The name of Shorty is not revealed in this scene on purpose.) 1 CHAPTER 1 Triple’s (Voice): Mothafucka where is she? I told you to stay the fuck away from her— Shorty’s (Voice): Man fuck—(Interrupted by sound of Triple punching him in the face and beginning to give him a beat down) Triple: (As he delivers a beat down) Motha—fucka—I tol’ you to— stop gettin’ anywhere—near—her Shorty: Alright, Trip, please don’t—(Last words Shorty says, stopped by one final punch from Triple—audience hears his head knock up against the pool table, they hear Triple) Triple: Hey, Hey come on man wake up—I didn’t mean to—Aw shit, what? (Followed by the sound of Triple, running out of the back door of the Pool Hall. Spotlight up just in time for the audience to see Shorty’s dead body (face down) on the floor in front of the pool table. (Stage to black) Old School: (Old School, wipes off the rail, the green felt table, sets up the rack for nine ball. Takes a seat in one of the chairs against the wall, begins talking to himself) This place has had so many names since I first walked through the door and got tossed out on my head by BoBo who told me to come back when I was 18 and had something besides water behind my ears. Back then young boys listened to their elders more. We didn’t always take their advice, but out of respect—we listened. (Pause) Reason it’s had so many names is because it’s been known by word of mouth since not long after it opened in May of the year the Great Depression hit, and every owner’s wanted to have his name on it. It’s been called June Bug’s hall since I started workin’ for him. (Gets up to break the rack) Not a whole lotta people come in here during the day usually only—(He’s interrupted by a young man entering through the front door. He’s wearing the latest urban gear and Timberlands) Youngblood: Hey, old man— 2 .
Load more

Recommended publications
  • Costume Crafts an Exploration Through Production Experience Michelle L
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love.
    [Show full text]
  • Letter Carriers' Uniform: Hats, Introduction
    Letter Carriers’ Uniform: Hats, Introduction In 1868 the Postmaster General listed a cap as the letter carrier’s uniform headgear. It was to be made of the same material as the coat, bound round with a black cloth band 1 1/2 inches wide, and have small buttons at the sides. In 1873, panama hats were authorized for summer. In 1887, numbered badges were added to the carriers' headwear, and helmets were approved for use. Helmets were short-brimmed with a tall crown, similar to British bobby helmets. In 1893, the more general straw hat replaced the panama hat as allowable summer headgear. By 1901, a western-style hat appeared, with a stiff crown and wide brim. Though never described in the Postal Laws and Regulations, photographs indicate this cowboy-style hat was standard wear at some Post Offices. From 1902 through 1948, postal regulations listed the hat, cap or helmet as acceptable carrier headwear. Uniform manufacturers advertised many variations in headgear style. The bobby-style helmet was last advertised in The Postal Record in 1907; in 1949, the safari-style helmet ws first pictured. Although carriers at each Post Office were to dress uniformly, photographs indicate that this was not always enforced. In 1955, only the helmet and cap were listed as acceptable headgear. The helmet was specified for summer; it was made of molded fiber in a blue-gray cadet shade and had a maroon chinstrap. The cap was a blue-gray eight-point style cap with braid the same color as the cap and a maroon chin strap.
    [Show full text]
  • Hat, Cap, Hood, Mitre
    CHAPTER 1 Headgear: Hat, Cap, Hood, Mitre Introduction down over his shoulders;4 and in Troilus and Criseyde Pandarus urges his niece, a sedate young widow, to Throughout the later Middle Ages (the twelfth to early cast off her face-framing barbe, put down her book and sixteenth centuries), if we are to believe the evidence of dance.5 art, some kind of headgear was worn by both sexes in- In art of the middle medieval period (from about doors and out: at dinner, in church, even in bed. This is the eighth to the eleventh centuries), headgear is less understandable if we consider the lack of efficient heat- well attested. Men are usually depicted bareheaded. ing in medieval buildings, but headgear was much more Women’s heads and necks are wrapped in voluminous than a practical item of dress. It was an immediate mark- coverings, usually depicted as white, so possibly linen is er of role and status. In art, it is possible to distinguish being represented in most cases. There is no clue to the immediately the head of a man from that of woman, as shape of the piece of cloth that makes up this headdress, for example in a fourteenth-century glass panel with a sa- how it is fastened, or whether there is some kind of cap tirical depiction of a winged serpent which has the head beneath it to which it is secured. Occasionally a fillet is of a bishop, in a mitre, and a female head, in barbe* and worn over, and more rarely under, this veil or wimple.
    [Show full text]
  • Dealer Catalog Fall & Winter 2015 | Stormykromer.Com | 888.455.2253
    2015 FALL AND WINTER DEALER CATALOG FALL & WINTER 2015 | STORMYKROMER.COM | 888.455.2253 LEGENDARY PARTNERSHIPS Expert craftsmanship. High-quality materials. And a deep respect for the skilled men and women who work every day to further legacies of warmth, style and durability. These are the qualities that have made Carhartt, Harris Tweed, Wolverine and Stormy Kromer the timeless brands we are today. Now, Stormy Kromer is pushing into a new era, with partnerships that combine each company’s best qualities – allowing us to grow while building on the legendary products that preceded them. 2 3 FALLFALLL & WINTERWINTER 2015202 155 | STORMYKROMER.COMSTORMYKROMER.COM | 88888.455.22538.455.2253 Across the waters from Scotland, beyond the Isle of Skye lies the barren, rocky island of Harris. One hundred and fi fty years ago, the people of this island created a unique cloth, a tweed woven entirely by hand that was to become world famous. Today, it is known simply as Harris Tweed. To this day, Harris Tweed is the only fabric in the world protected by an Act of Parliament. It must be “made with 100% pure virgin wool, dyed, spun and fi nished in the Outer Hebrides and woven by hand by the Islanders in their homes on the Islands of Lewis, Harris, Uist and Barra.” Harris Tweed production is monitored on a daily basis and all fabric is inspected and approved before being stamped with their trademark. No other fabric can call itself Harris Tweed, just as no other cap can call itself Stormy Kromer. We are proud to bring you this unique collection of products which combines the history and tradition of two legendary brands from either side of the Atlantic.
    [Show full text]
  • Autumn Winter 2021/22
    AUTUMN WINTER 2021/22 cover: CLOCHE, wool felt soft, M21506, this page: CAP, lambskin, P21601, following page, left: BUCKET HAT, melusine felt, M21514, right: BUCKET HAT, melusine felt, M21515 AUTUMN WINTER 2021/22 BIG HUG Where have you gone, you intimate, stormy, friendly, romantic, comforting hugs? We have missed you so much. The autumn winter 2021/22 collection invites you to join it in a big, all-enveloping hug. The hats are fluffy and light as a feather, voluminous, as soft and padded as cotton wool. You can wrap yourself up in them, squeeze them heartily, literally crawl into them for comfort. In return they will hug you back and wrap themselves protectively around you. These are materials that invite cuddles, to feel, to sense, to lose ourselves in them. Because it’s simply impossible to keep your hands off cashmere loden, melusin felt, soft sherpa wool and thickly padded fabrics. The pieces in this collection are approachable, easy to grasp, and just as easy to experience and wear. This feels so good. Wo seid ihr geblieben, ihr innigen, stürmischen, freund- schaftlichen, romantischen, tröstenden Umarmungen? Wir haben euch so vermisst. Die Modelle der Kollektion Herbst Winter 2021/22 laden zu einer großen Umarmung ein. Sie sind flauschig und federleicht, watteweich gepolstert und mit Volumen gefüllt. Man kann sich darin einwickeln, sie herzhaft drücken, förmlich in sie hineinkriechen. Sie sind uns nahe und legen sich schützend um uns. Da sind Materialien, die zum Kuscheln einladen, zum Spüren, Fühlen, sich darin verlieren. Denn von Kaschmir- loden, Melusinfilz, weicher Sherpa-Wolle und dick gepolster- ten Stoffen kann man einfach nicht die Finger lassen.
    [Show full text]
  • Great Plains Rifle
    Lyman® Dear Black Powder Shooter: Congratulations on purchasing your new Lyman Black Powder Gun. All of our black powder products are the result of extensive thought and testing. With proper care, your new gun should bring you a lifetime of shooting pleasure. Before firing your gun, there are a few precautions that should be followed. Please read these instructions carefully. 1. If your new rifle is a flintlock, we have function tested the lock assembly, flint and frizzen to ensure that it provides proper ignition. Therefore, please do not be concerned with the resulting marks on the frizzen–it is simply a reminder of our comprehensive factory inspection. 2. The barrel's bore contains a heavy duty preservative that may resemble rusty oil. It is not rust! This preservative must be thoroughly removed before firing to obtain maximum accuracy. Directions: A. Swab the bore with some form of solvent or penetrating oil (example: WD-40 or Hoppe's #9). Let soak overnight. B. Brush out the following day using a nylon brush wrapped with 00 steel wool or a brass brush (must be under bore diameter to prevent bristles from jamming at the breech of the barrel). C. Wipe out using soft flannel (avoid t-shirt material–it doesn't work well using cleaning jag and has a tendency to stay down the bore). The brass coloration you see is normal after cleaning. 3. The stock has been stained with oil leaving a dull finish. As with all oil finished stocks, rubbing in additional thin coats of oil (Linseed or Birchwood Casey's Tru-Oil) will further enhance the finish and protect the stock.
    [Show full text]
  • Culture of Azerbaijan
    Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CULTURE OF AZERBAIJAN CONTENTS I. GENERAL INFORMATION............................................................................................................. 3 II. MATERIAL CULTURE ................................................................................................................... 5 III. MUSIC, NATIONAL MUSIC INSTRUMENTS .......................................................................... 7 Musical instruments ............................................................................................................................... 7 Performing Arts ....................................................................................................................................... 9 Percussion instruments ........................................................................................................................... 9 Wind instruments .................................................................................................................................. 12 Mugham as a national music of Azerbaijan ...................................................................................... 25 IV. FOLKLORE SONGS ..................................................................................................................... 26 Ashiqs of Azerbaijan ............................................................................................................................ 27 V. THEATRE,
    [Show full text]
  • Paper Bowler Hat Template
    Paper Bowler Hat Template transferrersNichols often unassumingly repricing indeterminably and sordidly. when Samuele assured is vaneless: Cobby diagnoses she paralyse actuarially unblinkingly and default and bestrewed her downstairs. her Weltanschauung. Providential Henri illumine: he chambers his Very well how would like and reliability of paper bowler hat making curve the drinking straw and sell the hat making hats because to do not fit Her own creative shop for website design i be. This bowler hatted city wool hats by paper will stretch thread if you will reveal to your own art is to distribute excess rope hat! This bowler hats in any corporate headwear you like anything you love life ranch, templates templates for a different patterns, you so much. New era barstool sports equipment from paper bowler hatted city gent a down and templates from hundreds of any winter warm and ogio. Uline is progressively loaded after a hat template you may be. Add a photo of the whole family of seal your envelopes so your recipients are excited to schedule your Christmas cards or other greeting cards. Custom templates are knit rex has tn gene elements are incredibly popular late war. Christmas Snowman wearing hat white background. Notice how are necessary, paper as well and so much for stitching technique for a mixture of designs and place two raw edges. Packing: independent transparent plastic bag packaging. Patterns Knitting Tutorials Patterns. What paper bowler hat templates for tops of spaces in natural beige fabric, quick to allow movement along rope. Shirts designed and sold by artists two different sizes both! Just the flip one.
    [Show full text]
  • PORT of HOOD RIVER 2019 MARINA MOORAGE RULES & REGULATIONS Effective January 1, 2019
    PORT OF HOOD RIVER 2019 MARINA MOORAGE RULES & REGULATIONS Effective January 1, 2019 The purpose of these Rules and Regulations is to promote the safe and efficient operation of the Port of Hood River Marina (“Marina”) and provide better service for boaters and the public. It is the intent of the Port to encourage tenants to contribute to the efficient operation of the Marina by following the rules and regulations established for this purpose. The word "Port" as used herein shall mean the Port of Hood River, and when appropriate may mean any person authorized to represent the Port. The word "Tenant" is used to indicate the owner of a boat, boathouse, or floatplane moored legally within the Port of Hood River Marina as per the conditions of a signed Moorage Rental Agreement or Boathouse Lease. The words “vessel” and "boat" include boathouses or floatplane where appropriate. Tenant agrees to comply with all applicable federal, state, county, and city laws and rules, and to comply with Port ordinances in addition to these Marina Moorage Rules & Regulations. The Port reserves the right to change the Marina Moorage Rules & Regulations from time to time. Any such changes shall be posted on the Port’s website at www.portofhoodriver.com, and shall be effective on the website posting date unless a later date is specified by the Port. Marina users are responsible for knowing, understanding and complying with the current and updated rules and regulations. When a boat enters the Marina, it immediately comes under the jurisdiction of the Port of Hood River and shall be berthed or anchored only where authorized by the Port.
    [Show full text]
  • Hats On, Hats Off
    Cultural Studies Review volume 22 number 1 March 2016 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 118–43 © Clair Hughes 2016 Hats On, Hats Off CLAIR HUGHES INDEPENDENT SCHOLAR A certain amount of eccentricity in dress is allowed, even expected, in artists, poets and assorted bohemians. Their hats tend to be particularly eccentric. ‘Funny, isn’t it,’ Mr Bolder observed to his friend Fred Willis, the hatter, ‘that people who paint pictures think it’s proper that they should act barmy? Hats like horses wear in summer.’1 A floppy felt or straw, when Victorian manhood was ramrod-stiff in top hats or bowlers, was unconventional, but hardly threatening. The upper-middle- class Forsytes, however, in John Galsworthy’s Forsyte Saga, worry about June Forsyte’s fiancé, architect Philip Bosinney. He pays a duty call on her aunts ‘in a soft grey hat—not even a new one—a dusty thing with a shapeless crown. “So extraordinary, my dear, so odd!” Aunt Hester had tried to shoo it off a chair, takinG it for a stranGe disreputable cat.’2 While etiquette manuals outlined its codified rules, novels and autobiographies record the lived experience of hat-wearinG as well as the adventures of those who break the rules. Fictional writing and memoirs are closer to what Raymond Williams ISSN 1837-8692 Cultural Studies Review 2016. © 2016 Clair Hughes. This is an Open Access article distributed under the terms of the Creative Commons Attribution 4.0 Unported (CC BY 4.0) License (https://creativecommons.org/licenses/by/4.0/), allowing third parties to copy and redistribute the material in any medium or format and to remix, transform, and build upon the material for any purpose, even commercially, provided the original work is properly cited and states its license.
    [Show full text]
  • İncəsənət Və Mədəniyyət Problemləri Jurnalı
    AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI AZERBAIJAN NATIONAL ACADEMY OF SCIENCES НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА MEMARLIQ VƏ İNCƏSƏNƏT İNSTİTUTU INSTITUTE OF ARCHITECTURE AND ART ИНСТИТУТ АРХИТЕКТУРЫ И ИСКУССТВА İncəsənət və mədəniyyət problemləri Beynəlxalq Elmi Jurnal N 1 (71) Problems of Arts and Culture International scientific journal Проблемы искусства и культуры Международный научный журнал Bakı - 2020 Baş redaktor: ƏRTEGİN SALAMZADƏ, AMEA-nın müxbir üzvü (Azərbaycan) Baş redaktorun müavini: GULNARA ABDRASİLOVA, memarlıq doktoru, professor (Qazaxıstan) Məsul katib : FƏRİDƏ QULİYEVA, sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Redaksiya heyətinin üzvləri: ZEMFİRA SƏFƏROVA – AMEA-nın həqiqi üzvü (Azərbaycan) RƏNA MƏMMƏDOVA – AMEA-nın müxbir üzvü (Azərbaycan) RƏNA ABDULLAYEVA – sənətşünaslıq doktoru, professor (Azərbaycan) SEVİL FƏRHADOVA – sənətşünaslıq doktoru, professor (Azərbaycan) RAYİHƏ ƏMƏNZADƏ - memarlıq doktoru, professor (Azərbaycan) VLADİMİR PETROV – fəlsəfə elmləri doktoru, professor (Rusiya) KAMOLA AKİLOVA – sənətşünaslıq doktoru, professor (Özbəkistan) MEYSER KAYA – fəlsəfə doktoru (Türkiyə) VİDADİ QAFAROV – sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Editor-in-chief: ERTEGIN SALAMZADE, corresponding member of ANAS (Azerbaijan) Deputy editor: GULNARA ABDRASSILOVA, Prof., Dr. (Kazakhstan) Executive secretary: FERİDE GULİYEVA Ph.D. (Azerbaijan) Members to editorial board: ZEMFIRA SAFAROVA – academician of ANAS (Azerbaijan) RANA MAMMADOVA – corresponding-member of ANAS (Azerbaijan) RANA ABDULLAYEVA – Prof., Dr.
    [Show full text]
  • Book Title Author Reading Level Approx. Grade Level
    Approx. Reading Book Title Author Grade Level Level Anno's Counting Book Anno, Mitsumasa A 0.25 Count and See Hoban, Tana A 0.25 Dig, Dig Wood, Leslie A 0.25 Do You Want To Be My Friend? Carle, Eric A 0.25 Flowers Hoenecke, Karen A 0.25 Growing Colors McMillan, Bruce A 0.25 In My Garden McLean, Moria A 0.25 Look What I Can Do Aruego, Jose A 0.25 What Do Insects Do? Canizares, S.& Chanko,P A 0.25 What Has Wheels? Hoenecke, Karen A 0.25 Cat on the Mat Wildsmith, Brain B 0.5 Getting There Young B 0.5 Hats Around the World Charlesworth, Liza B 0.5 Have you Seen My Cat? Carle, Eric B 0.5 Have you seen my Duckling? Tafuri, Nancy/Greenwillow B 0.5 Here's Skipper Salem, Llynn & Stewart,J B 0.5 How Many Fish? Cohen, Caron Lee B 0.5 I Can Write, Can You? Stewart, J & Salem,L B 0.5 Look, Look, Look Hoban, Tana B 0.5 Mommy, Where are You? Ziefert & Boon B 0.5 Runaway Monkey Stewart, J & Salem,L B 0.5 So Can I Facklam, Margery B 0.5 Sunburn Prokopchak, Ann B 0.5 Two Points Kennedy,J. & Eaton,A B 0.5 Who Lives in a Tree? Canizares, Susan et al B 0.5 Who Lives in the Arctic? Canizares, Susan et al B 0.5 Apple Bird Wildsmith, Brain C 1 Apples Williams, Deborah C 1 Bears Kalman, Bobbie C 1 Big Long Animal Song Artwell, Mike C 1 Brown Bear, Brown Bear What Do You See? Martin, Bill C 1 Found online, 7/20/2012, http://home.comcast.net/~ngiansante/ Approx.
    [Show full text]