EXTENSIONS of REMARKS July 13, 1987 EXTENSIONS of REMARKS LONG-TERM CARE INITIATIVE Ternatives, but It Does Rely Heavily on the Mr
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“From the Cracks in the Sidewalks of NYC”: The
“From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 by Elizabeth Healy Matassa B.A. in Italian and French Studies, May 2003, University of Delaware M.A. in Geography, May 2006, Louisiana State University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January 31, 2014 Dissertation directed by Suleiman Osman Associate Professor of American Studies The Columbian College of Arts and Sciences of the George Washington University certifies that Elizabeth Healy Matassa has passed the Final Examination for the degree of Doctor of Philosophy as of August 21, 2013. This is the final and approved form of the dissertation. “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 Elizabeth Healy Matassa Dissertation Research Committee: Suleiman Osman, Associate Professor of American Studies, Dissertation Director Elaine Peña, Associate Professor of American Studies, Committee Member Elizabeth Chacko, Associate Professor of Geography and International Affairs, Committee Member ii ©Copyright 2013 by Elizabeth Healy Matassa All rights reserved iii Dedication The author wishes to dedicate this dissertation to the five boroughs. From Woodlawn to the Rockaways: this one’s for you. iv Abstract of Dissertation “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 This dissertation argues that New York City’s 1970s fiscal crisis was not only an economic crisis, but was also a spatial and embodied one. -
Award the Jimmy and Rosemary Breslin
The Jimmy and Rosemary Breslin Award Jimmy Breslin met Rosemary Dattolico verishly scribbled what he saw and heard. while he was a copy boy at the Long Island “Journalism should be truthful and enter- Press in Jamaica, Queens. Jimmy knew taining. You know, with news and important right out of the gate that he was going to facts you can entertain people too, have a write a column for a newspaper in this city. little humor. Life isn’t all that deadly all the “Rage is the only quality which has time, but while you’re having fun, tell the kept me or anybody I have ever stud- truth. If every word of a column is deadly seri- ied, writing columns for newspapers.” JB ous, I can’t read it. It makes me throw up. “ JB Jimmy and Rosemary started out in Rich- Rosemary was his superhuman partner. Rosemary and Jimmy believed mond Hill Queens. They knew the key to get- Before computers, faxes, and texts she stood some young person will be the next ting a column was “legwork.” Going out day right next to him as he pounded the keys of his great writer with a voice in this city. and night, all over the city they loved, look- Hermes Standard Typewriter. Rosemary would “Look out...some kid is going to ing to the other side of the street for a story. come out of nowhere and be big.” JB “If you gather a lot of stuff, then you write grab the copy and quickly dial the city desk, it, write in scenes with dialogue. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
The African National Congress Centenary: a Long and Difficult Journey
The African National Congress centenary: a long and difficult journey RAYMOND SUTTNER* The current political pre-eminence of the African National Congress in South Africa was not inevitable. The ANC was often overshadowed by other organiza- tions and there were moments in its history when it nearly collapsed. Sometimes it was ‘more of an onlooker than an active participant in events’.$ It came into being, as the South African Native National Congress (SANNC)," in $&$", at a time of realignment within both the white and the conquered black communities. In the aftermath of their victory over the Boers in the South African War ($(&&-$&#"), the British were anxious to set about reconciling their former enemies to British rule. This included allowing former Boer territories to continue denying franchise and other rights to Africans, thus disappointing the hopes raised by British under- takings to the black population during the war years. For Africans, this ‘betrayal’ signified that extension of the Cape franchise, which at that time did not discrimi- nate on racial grounds, to the rest of South Africa was unlikely. Indeed, when the Act of Union of $&$# transferred sovereignty to the white population even the Cape franchise was open to elimination through constitutional change—and in course of time it was indeed abolished. The rise of the ANC in context From the onset of white settlement of Africa in $*/", but with particular intensity in the nineteenth century, land was seized and African chiefdoms crushed one by one as they sought to retain their autonomy. The conquests helped address the demand for African labour both by white farmers and, after the discovery of diamonds and gold in $(*% and $((* respectively, by the mining industry.' * I am indebted to Christopher Saunders and Peter Limb for valuable comments, and to Albert Grundlingh and Sandra Swart for insightful discussions. -
CONGRESSIONAL RECORD—HOUSE March 5, 1997
March 5, 1997 CONGRESSIONAL RECORD Ð HOUSE H739 Blagojevich Hamilton Pease Conyers Johnson, E. B. Pascrell Commandments can be displayed in Govern- Bliley Hansen Peterson (MN) Coyne Kaptur Pastor Blunt Hastert Peterson (PA) Cummings Kennedy (MA) Payne ment buildings, I would have voted ``yes'' had Boehner Hastings (WA) Petri Davis (IL) Kennedy (RI) Pelosi I been present. Bonilla Hayworth Pickering DeFazio Kennelly Pickett Bono Hefley Pitts DeGette Kilpatrick Rangel f Borski Hefner Pombo Delahunt Kind (WI) Rivers Boucher Herger Pomeroy DeLauro Kleczka Rothman ELECTION OF MEMBERS TO Boyd Hill Portman Dellums Kucinich Roybal-Allard COMMITTEE ON SCIENCE Brady Hilleary Poshard Deutsch Levin Sabo Brown (OH) Hinojosa Price (NC) Dicks Lewis (GA) Sanders Mr. LAHOOD. Mr. Speaker, I offer a Bryant Hobson Pryce (OH) Dingell Lofgren Sawyer resolution (H. Res. 82) and I ask unani- Bunning Hoekstra Quinn Dixon Lowey Schumer Burr Holden Radanovich Doggett Luther Scott mous consent for its immediate consid- Burton Hooley Ramstad Dooley Maloney (NY) Serrano eration. Buyer Hostettler Regula Edwards Markey Sherman The Clerk read the resolution, as fol- Callahan Houghton Reyes Engel Martinez Skaggs lows: Calvert Hoyer Riggs Evans Matsui Slaughter Camp Hulshof Riley Fattah McCarthy (MO) Smith, Adam Resolved, That the following named Mem- Campbell Hunter Roemer Fazio McCarthy (NY) Snyder bers be, and they are hereby, elected to the Canady Hutchinson Rogan Foglietta McDermott Stark following standing committee of the House Cannon Hyde Rogers Frank (MA) McGovern Stokes of Representatives: Capps Inglis Rohrabacher Frost McKinney Tauscher Committee on Science: Mr. English of Cardin Istook Ros-Lehtinen Furse McNulty Thompson Castle Jenkins Roukema Gejdenson Meehan Thurman Pennsylvania; Mr. -
Eleanor Roosevelt
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○ Matters A Newsletter for The City University of New York • Fall 1998 FROM A HENRY ROTH MEMOIR Call It Writing: “Streetwise” in the City: A City College Epiphany Language and Culture on the Beat en years before publishing his By Leslee Oppenheim tal theme of this initiative, developed by classic novel Call It Sleep in 1934 Director of Curriculum and Instruction, CUNY for the NYPD, from Police Commis- T to mixed reviews, Henry Roth (pic- Adult and Continuing Education, Office of sioner Howard Safir’s opening remarks: tured right at about that time) began his Academic Affairs police officers who know about the lan- freshman year at the City College of New guage and culture of the communities they York. In one of several volumes of mem- leven hundred new NYPD officers, serve, equip themselves with powerful oirs Roth wrote late in life under the um- day-old graduates of the Police tools for ensuring the safety and well-being brella title Mercy of a Rude Stream, he EAcademy, file into darkened audito- of themselves, their colleagues, and the devoted more than 150 pages to his colle- riums at four CUNY campuses on July 2. public at large. giate days. This volume, A Diving Rock on The crackle of a police radio can be heard. the Hudson, was published by St. Martin’s As the lights dim, the volume rises. In total he newly-assigned officers in the audi- in 1995 (Picador paperback, 1996), which darkness now, the graduates hear a Tence that day are about to plunge into was also the year he died at the age of 89. -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Little Miss Marker by John F
Little Miss Marker By John F. Kasson “Little Miss Marker” is a film about losers and win- ners, heels and heroes, defeat and dreams. Re- leased during the Great Depression in May 1934, it charmed audiences eager for comedy and sentiment, hope and redemption. In March of the previous year, Franklin D. Roosevelt famously declared, “The only thing we have to fear is fear itself,” and in its own way “Little Miss Marker” showed how confidence and cheer could triumph over gloom and suspicion. Loosely based on a Damon Runyon short story, the second of a score adapted to the screen, the movie casts a cheerful and trusting little girl into the unlikely custody of a motley mob of raffish bookies, race- horse touts, gangsters, gold-diggers, pugs, mugs, and petty crooks. The film also cast Shirley Temple, still under six years old when the movie was made, into her first starring role. Her co-star and comic foil , the elegant, urbane Adolphe Menjou played against type as a sour, scruffy, and stingy bookie with the wonderfully Runyonesque name of Sorrowful Jones. Lynne Overman brought his sardonic nasal delivery to Sorrowful’s clerk Regret, burly Charles Bickford swaggered as the gangster Big Steve, and Willie Best sleepily pushed a broom in the painfully stereo- typical role of Dizzy Memphis. As Big Steve’s some- time girlfriend Bangles Carson, nineteen-year-old for- mer beauty queen Dorothy Dell squeezed into a low- cut gown and sang torch-songs. Perhaps her best performance, it was also one of her last. She died in Studio publicists reckoned they’d sell more tickets if they a car crash a month after the film’s release. -
Sexual Implications in Shirley Temple's Movies
『영미연구』 제41집 (2017): 161-180 Docile Child and Pedophilic Sentimentality: Sexual Implications in Shirley Temple’s Movies Kim, Myungsung [Abstract] This essay explores the “sentimental sexuality” of the child movie star Shirley Temple. The pedophilic child fetishism implicit in her movies, which stimulated a male fantasy of an obedient female during the Great Depression, was an outcome of a cultural dynamic where the U.S. film industry attempted to find a way to relive the patriarchal failure of the era in a female body. Assuring the male ownership of a female body, this essay argues, Shirley Temple’s sentimental sexuality satisfies a paternal white gaze and, more importantly, “functions both to expose the constraints and limitations that the capitalistic unclear family imposes on women and, at the same time, to ‘educate’ women to accept those constraints as ‘natural,’ inevitable-as ‘given’” (Kaplan 124). Released by the time the Production Code Administration began prohibiting sexually suggestive scenes, Shirley Temple’s movies use family drama as a basic platform to stabilize the potential perversity of a white adult male desire. Such a construction of female child images promised the emotional stability of the nation under the Great Depression, while simultaneously fulfilling a patriarchal fantasy that identified female sexuality with child immaturity. 162 영미연구 제41집 Key Words: Shirley Temple, pedophilia, child sexuality, child sentimentality, Motion Picture Production Code Ⅰ. Introduction Shirley Temple was one of the most popular movie stars of 1930s Hollywood. The popularity of the ten-year-old celebrity was comparable to adult actors such as Clark Gable, Robert Taylor, and Bing Crosby. -
The Legacy of Inkosi Albert John Luthuli's Christian-Centred Political
Faith and politics in the context of struggle: the legacy of Inkosi Albert John Luthuli’s Christian-centred political leadership Simangaliso Kumalo Ministry, Education & Governance Programme, School of Religion and Theology, University of KwaZulu-Natal, Pietermaritzburg, South Africa Abstract Albert John Mvumbi Luthuli, a Zulu Inkosi and former President-General of the African National Congress (ANC) and a lay-preacher in the United Congregational Church of Southern Africa (UCCSA) is a significant figure as he represents the last generation of ANC presidents who were opposed to violence in their execution of the struggle against apartheid in South Africa. He attributed his opposition to violence to his Christian faith and theology. As a result he is remembered as a peace-maker, a reputation that earned him the honour of being the first African to win the Nobel Peace Prize. Also central to Luthuli’s leadership of the ANC and his people at Groutville was democratic values of leadership where the voices of people mattered including those of the youth and women and his teaching on non-violence, much of which is shaped by his Christian faith and theology. This article seeks to examine Luthuli’s legacy as a leader who used peaceful means not only to resist apartheid but also to execute his duties both in the party and the community. The study is a contribution to the struggle of maintaining peace in the political sphere in South Africa which is marked by inter and intra party violence. The aim is to examine Luthuli’s legacy for lessons that can be used in a democratic South Africa. -
Mary Benson's at the Still Point and the South African Political Trial
Safundi The Journal of South African and American Studies ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: https://www.tandfonline.com/loi/rsaf20 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem To cite this article: Louise Bethlehem (2019) Stenographic fictions: Mary Benson’s AttheStillPoint and the South African political trial, Safundi, 20:2, 193-212, DOI: 10.1080/17533171.2019.1576963 To link to this article: https://doi.org/10.1080/17533171.2019.1576963 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 08 May 2019. Submit your article to this journal Article views: 38 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 SAFUNDI: THE JOURNAL OF SOUTH AFRICAN AND AMERICAN STUDIES 2019, VOL. 20, NO. 2, 193–212 https://doi.org/10.1080/17533171.2019.1576963 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem Principal Investigator, European Research Council Project APARTHEID-STOPS, The Hebrew University of Jerusalem, Jerusalem, Israel ABSTRACT KEYWORDS From the mid-1960s onward, compilations of the speeches and trial South African political trials; addresses of South African opponents of apartheid focused atten- Mary Benson; the Holocaust; tion on the apartheid regime despite intensified repression in the Eichmann trial; wake of the Rivonia Trial. Mary Benson’s novel, At the Still Point, multidirectional memory transposes the political trial into fiction. Its “stenographic” codes of representation open Benson’s text to what Paul Gready, following Foucault, has analyzed as the state’s “power of writing”: one that entangles the political trialist in a coercive intertextual negotiation with the legal apparatus of the apartheid regime.