DOCSLIB.ORG

Honolulu Mcorv

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Honolulu Mcorv HONOLULU MCORV voi. 1^10. Ojc. Libr" iuu^Miay, ^iiy ^/, laou Liquor Comm. Ignores Own Law Ackerman Denies Sky Is Limit for Big Boys Have Two Open Fight On Kageyama Due Morals Profest, C S. Politicos As Strikes On Kona's As C&C Dept. Heads Chafe Chief Tony Cambra O.K.'s Ala Wai Bar T.H. Comm. Falters KONA, Hawaii—Kona’s Police The City and County Liquor* By STAFF WRITER status as a supervisor continues Chief Anthony Cambra has his By EDWARD ROHRBOUGH Commissioners have become par­ Barely concealed by a 'thin to be; passed from hand to hgnd, •foot in. the bucket, waiting for ties to scrapping their own rules screen of official silence, the like a-hot potato, by City Hall The formation of rules govern- - the third strike. and regulations by issuing a liqutm ing the political activity of civil officials. Because the passing has “Will Tony strike out?” people license to a concession, operator* question of Richard Kageyama’s service employes has been thrown are asking, “or will he walk?” .failed to-answer the question of at the Ala .Wai Golf Course under into a series of confused dol­ In the eyes of the public, he most peculiar conditions, the REC­ ■whether Kageyama is or is not a drums,; a number of concerned has made some bad plays. ORD learned this week. parties told .the RECORD this supervisor to the satisfaction of Two Strikes On Cambra While the commission’s rules and . Britannica Ad Is some departments, the whole week, by the recent opinion of “Strike One” was called when Attorney'General Walter D. Ack­ regulations say, under Rule 5* thing is due to be blown into an he kowtowed to Walter 'D. Acker­ "There must be installed on all open fight again very shortly, -the erman Jr., to. the effect that man, Sr., who ran into a school Violation of Law Thomas G. S. Walker’s participar licensed premises upon which RECORD learned exclusively this bus while coming out of a side liquor is consumed, adequate-toilet The advertisement run by En­ • week. tion in the Republican Territorial road. The bus driver was arrested, cyclopedia Britannica, Ltd, in a Convention did not constitute po­ facilities for both males and- fe­ ■ The quandry which has stirred not Ackerman, manager of the males,” the bar at the Ala: Wai local daily (see RECORD last litical ; activity, Wlalker is now Bank of Hawaii branch. When week) is illegal “per se” in the C-C departments is as follows: chairman of the City-County Civil golf course, known commonly as the case came up, Cambra testified the Fair Grounds, does not have opinion of--government officials C-C Attorney Wilford D. God­ Service Commission; that an adult held the tape while ■who know the operation of the bold has expressed the opinion ' toilets as prescribed by law. Thus, “The law. seems explicit on ■he took the measurements-at the patrons of the bar must use.tire Taft-Hartley law. The advertise­ that Kageyama is not legally a ^commissioners,” Said' Herman scene of the accident. The bus ment set up as qualifications for supervisor since he revealed, at toilets in adjacent buildings used G. Lemke, chairman of the Ter­ driver’s side put up a'witness by the .public, including “juveniles. employment by the company the House un-American Activi­ ritorial Civil Service Commission who testified that a child held one "Haole and Japanese only—High ties Committee hearings in May, which has the task of making end of the tape. He called Cam- All licensed bars are'required school grads over 25. Non-union.” that he lied when he took the the: rules.' “You7 can see how bra’s testimony a lie and •said he to have -toilets, within the four The illegality of the advertise- non-Communist oath upon en­ bad it would be for - one of the could put; up a dozen students who walls of the building in which ment lies in the fact that discrim- tering office. Controller Paul commissioners to'be known as were riding the bus to testify as to liquor is served, Norman' Lee^ -tniiHmi ■ ngainat union men .is- im- ■ Keppeler has withheld Kage- an active politician. , We _ don’t howAhe measurements were taken.. acting secretary of the commis­ plied. ' yama’s salary since that time, - 'know whatto do untliwe get ’ This caused' the~case to he dis­ sion, told the -RECORD. Uris . indicating an official confirma­ missed. - ’ enables the toahagement to bOn- : Though he would not be tion of Godbold’s opinion. together. with the' attorney gen- quoted on this particular case, . eral and find out what his “Strike Two” was called when trol its patrons, in case of fights Arnold Wills of the National In the meantime, -Kageyama thoughts on-the subject are.” Cambra encouraged one of two in the toilet, he said. Labor Relations Board here said: continues to sit Ss a member of Mr. Lemke said) work on the boys in a scrap to bring charges Another city and county official “It’s a well-established law .that the board and a member of the (more on page 7) against the. other. Cambra caught said that if - juveniles are found you cannot hire people in a important finance committee, them fighting. When the case was drunk by policemen or liquor com­ flisnriminainry manner by re­ making decisions which, 'some de­ being argued in court,’ Cambra, mission inspectors in the outside fusing to hire those who hap-. partments fear, niay hold no more who testified that he saw the fight toilets, law enforcement officers pen to be union—just as you legality than the opinion of any Walk With Cop In from 10 feet, could not say in would have: a problem, on their cannot refuse to hire men be­ man in the street. what position the boy on the hands for the toilets are not the cause they are non-union.” Are measures passed by Kage­ ground was lying, bar operator’s responsibility. Other sources said that such an yama’s vote, especially in the Park Results In Tom Okino, defense -attorney, Why.did the commission issue a; infraction of. the Taft-Hartley three-man finance committee, made a clean case against Cambra license under this circumstance? ' Law as the advertisement, would really laws, or will they soon be when he asked the district’s chief “Poor'Man’s Club” not, however, be punished by any declared void in the-first court Fist Fight, Arrest officer how long he had been a “The commission felt'that the • legal megns unless an individual in which they are tested? Mr. cop. Cambra replied: “14 years.” situation of the toilets was beyond or individuals brought charges that Godbold is known to have given What is proper etiquette when To which Okino countered: "After the control of the owner. ■ The they had suffered because of it. the opinion that such laws will be a policeman invites you for a 14 years and all the police train­ buildings' are owned by the Ter­ Mr. Harry J. Amrock, manager upheld, but there are those who walk in the park? ing you can’t remember two weeks ritorial Fair Commission 'arid you of the company’s Honolulu office, doubt his opinion—so much that Whatever it is, James -M. Mor­ later how the boy who was being can’t expect a private owner to said he was in no position- -to they propose to blast the whble row believes he did the wrong beaten was lying on the ground?" fix them .up," Mr. Lee said. make a statement on the' matter. (more on page 3) thing last Thursday night. He Cambra uncomfortably said Actually,-. Mr. Lee explained, the accepted an invitation by Officer ■ (more on page-6) (more on page 7) . ' Roy Ferreira to take a--walk in Beretania playgrounds. True Story of Kauai Walkouts Far “When we got oxer in the park, all of a sudden he hit me,” says Fruit Fly Gives Backhanded Relief Morrow, telling >of his walk with the policeman, “I fought back. Different From Fern's Distortions I grabbed him by the tie and To Planter Stuck With Pineapple By Special Correspondence official; in other words, individual pretty soon I got him down. But taction! by rank and file members. then two of his friends in civilian The Oriental' 'fruit fly, harm­ pineapple because of recent ■LIHUE,'Kauai—C. S. Fem, edi­ clothes ran out to help him. I ful and destructive as it is to spraying, Haley is reported 'to tor of Kauai’s weekly publication, Rank and File Action plant life in Hawaii, in a round­ the Garden. Island, has stated in Union officials were not apprised. couldn’t lick them all.” have reminded him that the Odds Too High about way, helped a pineapple Pineapple Research' Institute ills July 18 editorial: “The recent (more on page 7) grower on Oahu to get rid of flare-ups at Kilauea, Kekaha, and A witness to the imbroglio says (more on page 7) the two have been- seen working,, his current crop at a higher Fuunene and the fact that we are price than he ever expected. at war with Communism in Korea, out with boxers at a local gymna­ Local ILWU Officers Fred E. Haley, who runs are more than coinddenceshHe sium. All available witnesses ad­ Hog Pen Better goes onto say 'that "At ftnstEhe mit that Morrow quit winning the Hawaiian Avocado Co. prop­ quickie strikes will appear to have For 'Police Action' In when the odds against him rose erty at Pupukea, Oahu, recently .
Load more

Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Scott Joplin International Ragtime Festival
    Scott Joplin International Ragtime Festival By Julianna Sonnik The History Behind the Ragtime Festival Scott Joplin - pianist, composer, came to Sedalia, studied at George R. Smith College, known as the King of Ragtime -Music with a syncopated beat, dance, satirical, political, & comical lyrics Maple Leaf Club - controversial, shut down by the city in 1899 Maple Leaf Rag (1899) - 76,000 copies sold in the first 6 months of being published -Memorial concerts after his death in 1959, 1960 by Bob Darch Success from the Screen -Ragtime featured in the 1973 movie “The Sting” -Made Joplin’s “The Entertainer” and other music popular -First Scott Joplin International Ragtime Festival in 1974, 1975, then took a break until 1983 -1983 Scott Joplin U.S. postage stamp -TV show possibilities -Sedalia realized they were culturally important, had way to entice their town to companies The Festival Today -38 festivals since 1974 -Up to 3,000 visitors & performers a year, from all over the world -2019: 31 states, 4 countries (Brazil, U.K., Japan, Sweden, & more) -Free & paid concerts, symposiums, Ragtime Footsteps Tour, ragtime cakewalk dance, donor party, vintage costume contest, after-hours jam sessions -Highly trained solo pianists, bands, orchestras, choirs, & more Scott Joplin International Ragtime Festival -Downtown, Liberty Center, State Fairgrounds, Hotel Bothwell ballroom, & several other venues -Scott Joplin International Ragtime Foundation, Ragtime store, website -2020 Theme: Women of Ragtime, May 27-30 -Accessible to people with disabilities -Goals include educating locals about their town’s culture, history, growing the festival, bringing in younger visitors Impact on Sedalia & America -2019 Local Impact: $110,335 -Budget: $101,000 (grants, ticket sales, donations) -Target Market: 50+ (56% 50-64 years) -Advertising: billboards, ads, newsletter, social media -Educational Programs: Ragtime Kids, artist-in-residence program, school visits -Ragtime’s trademark syncopated beat influenced modern America’s music- hip-hop, reggae, & more.
    [Show full text]
  • The History and Development of Jazz Piano : a New Perspective for Educators
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.
    [Show full text]
  • A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
    A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In­ dividuals and groups of national and international fame, represen­ ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa­ tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre­ quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae­ cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • 1. Charles Ives's Four Ragtime Dances and “True American Music”
    37076_u01.qxd 3/21/08 5:35 PM Page 17 1. Charles Ives’s Four Ragtime Dances and “True American Music” Someone is quoted as saying that “ragtime is the true American music.” Anyone will admit that it is one of the many true, natural, and, nowadays, conventional means of expression. It is an idiom, perhaps a “set or series of colloquialisms,” similar to those that have added through centuries and through natural means some beauty to all languages. Ragtime has its possibilities. But it does not “represent the American nation” any more than some fine old senators represent it. Perhaps we know it now as an ore before it has been refined into a product. It may be one of nature’s ways of giving art raw material. Time will throw its vices away and weld its virtues into the fabric of our music. It has its uses, as the cruet on the boarding-house table has, but to make a meal of tomato ketchup and horse-radish, to plant a whole farm with sunflowers, even to put a sunflower into every bouquet, would be calling nature something worse than a politician. charles ives, Essays Before a Sonata Today, more than a century after its introduction, the music of ragtime is often regarded with nostalgia as a quaint, polite, antiquated music, but when it burst on the national scene in the late 1890s, its catchy melodies and en- ergetic rhythms sparked both delight and controversy. One of the many fruits of African American musical innovation, this style of popular music captivated the nation through the World War I era with its distinctive, syn- copated rhythms that enlivened solo piano music, arrangements for bands and orchestras, ballroom numbers, and countless popular songs.
    [Show full text]
  • Understanding Music Popular Music in the United States
    Popular Music in the United States 8 N. Alan Clark and Thomas Heflin 8.1 OBJECTIVES • Basic knowledge of the history and origins of popular styles • Basic knowledge of representative artists in various popular styles • Ability to recognize representative music from various popular styles • Ability to identify the development of Ragtime, the Blues, Early Jazz, Bebop, Fusion, Rock, and other popular styles as a synthesis of both African and Western European musical practices • Ability to recognize important style traits of Early Jazz, the Blues, Big Band Jazz, Bebop, Cool Jazz, Fusion, Rock, and Country • Ability to identify important historical facts about Early Jazz, the Blues, Big Band Jazz, Bebop, Cool Jazz, Fusion, and Rock music • Ability to recognize important composers of Early Jazz, the Blues, Big Band Jazz, Bebop, Cool Jazz, Fusion, and Rock music 8.2 KEY TERMS • 45’s • Bob Dylan • A Tribe Called Quest • Broadway Musical • Alan Freed • Charles “Buddy” Bolden • Arthur Pryor • Chestnut Valley • Ballads • Children’s Song • BB King • Chuck Berry • Bebop • Contemporary Country • Big Band • Contemporary R&B • Bluegrass • Count Basie • Blues • Country Page | 255 UNDERSTANDING MUSIC POPULAR MUSIC IN THE UNITED STATES • Creole • Protest Song • Curtis Blow • Ragtime • Dance Music • Rap • Dixieland • Ray Charles • Duane Eddy • Rhythm and Blues • Duke Ellington • Richard Rodgers • Earth, Wind & Fire • Ricky Skaggs • Elvis Presley • Robert Johnson • Folk Music • Rock and Roll • Frank Sinatra • Sampling • Fusion • Scott Joplin • George Gershwin • Scratching • Hillbilly Music • Stan Kenton • Honky Tonk Music • Stan Kenton • Improvisation • Stephen Foster • Jelly Roll Morton • Storyville • Joan Baez • Swing • Leonard Bernstein • Syncopated • Louis Armstrong • The Beatles • LPs • Victor Herbert • Michael Bublé • Weather Report • Minstrel Show • Western Swing • Musical Theatre • William Billings • Operetta • WJW Radio • Original Dixieland Jazz Band • Work Songs • Oscar Hammerstein 8.3 INTRODUCTION Popular music is by definition music that is disseminated widely.
    [Show full text]
  • Jazz in America • the National Jazz Curriculum Test Bank 3 - Jazz’S Beginnings
    Jazz in America • The National Jazz Curriculum Test Bank 3 - Jazz’s Beginnings Select the BEST answer 1. In the 1600’s, African music was predominantly A. Christian music B. taught in African music conservatories C. artistic music D. functional music E. performed by professional musicians 2. One of the traits in jazz that is primarily of African origin is A. the number of musicians performing B. unexpressive musical content C. the use of polyrhythms D. the type of instruments used E. the chord progressions utilized 3. One of the traits in jazz that is primarily of European origin is A. the use of polyrhythms B. the type of instruments used C. the time of day the music was performed D. the number of musicians performing E. its utilization as purely functional music 4. The basic difference between the concept of African music versus European music is A. African music was Christian music B. European music was functional C. the basic concepts are the same D. European music was more art music whereas African music was more functional music E. African music was a written tradition whereas European music was an aural tradition 5. The blues evolved from A. the types of instruments being played together B. slave field hollers and African American folk songs C. European art music D. the blending of particular chords and rhythms E. dance music 6. The blues are usually characterized by A. fast march-like tempos B. the sweet blending of harmonies C. a plaintive and melancholy melodic line D. an unemotional quality when played E.
    [Show full text]
  • Mercury 19410408.Pdf
    A11D UIIIND YCIU 1 '!'hat Eut.tr Vtcatloa Dula .,..., The Glenvt e Mercury Momi,.. at I O'dock. Don't PoiPU ENTERTAIN CHEMISTRY DAY CROWD To Speak Here LYCEUM NUMBER Student Election SniDENTS FORM SEVENTY -FIVE WGH WIU BE · HEARD In Progress Today SCHOOLS INVrrED TO ATIEND TENTH MUSINGS ANNUAL PROGRAM, SAnJRDAY, APRD. A~ol ......... MONDAY EVENING t,-· p_ ............. liME_.- ... ~ ........ JOliN T...,a. - D. wbo ~ .W be tha _.aeemtnt .. ......r hen ~ 4. ... had an -llfo.Bofoa....Saato ~.._....~-·- :.u.:::r: =.: ~ :::0.: ...... a. - Ute iloWv of dte a- Alia- .............. ......---llllldpia ·li!M.Bearftd-­ wta t&ilactioa ill the paenl ............ of .... -Ez. -..... ..._ ...... tllo Job.D T ..ple Gravea. 11. editor, Wor.ld War aU wp Jatar atiached author, lecturer, of BlnaiJlP.am, &o t.U .hace ....... C'Oarift. Ala., wOI deUTtt tb oC'OIIUIIUC..ant Bia lnt DOftl, wturia appe&.ll&d addrullllert! on JUlie 4. See Kercory lit 1110..... wu _. eontiallJ' nc.md bJ' IIIIIIDIS eohunn t.llla week for mon _ __ abow.t .,. era... .,._,........,jhrtM_____ .. ......._ ......................... .. ,.... ,_.._.M.......,.edkorol~•---- ..,_ _. it - editor et tile ........_ Aae-B...W .... of ........ ':.. !'~*~ U. UXTH YOUTH ll'ftDN'AL Y..U. , A .......... II t1r Asabny WUU... ~ ~__ tMre&..OIIo..,.. JI1'Apo._o.-,"'''le_, __ _ _.. _'1' __ ....::::::~~= ._ ___ _ ,..... -........_..·--- _-. ......,___ ....... ....._. ___ ...,.. o• oawt....-. vrojecta .......,........... • ....-- ...... 1N111T SPLU<S OUII Uatentepr, Americ&a Lpoet aDd c:ritic:-, told Ul.e Ollul•to.. Opea Forv.m aadlenoa tH ,.a. Tv.HdaJ' \hat America ia 6owia• ~ of co•ifta' of ... ta die laa area ud caltai'L Be aid that whenu tiM artieU of tWI coutrJ oaee bonowad from Duop., Eai'Ope&Bai are now bor· •wilt&' from Americ:L llr.
    [Show full text]
  • Perilous Pop: Ragtime, Jazz and Progressive Social Thought in the Early 20 Century Press, 1900-1930 a DISSERTATION SUBMITTED TO
    Perilous Pop: Ragtime, Jazz and Progressive Social Thought in the Early 20 th Century Press, 1900-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Chani Marchiselli IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Mary Vavrus November, 2009 © Chani Marchiselli 2009 i Acknowledgements First, I want to thank my exceptionally patient committee: Dr. Ed Schiappa for his invaluable advice, Dr. Gil Rodman for the thoughtful responses and long phone calls, Dr. Ron Greene for introducing me to concepts that continue to inform my work. I am indebted to my advisor, Dr. Mary Vavrus for her persistence and her editorial skills. I also want to thank Dr. Karlyn Kors Campbell for teaching me how to write a rhetorical criticism. I am grateful for years of support from family: Dawne Belloise, Dennis Giacomo and Chris Dill. Finally, encouragement from friends and colleagues made my matriculation much more likely. I thank Drs. Roni Shapiro, Josh Gunn and Kristin Swenson for their emotional and intellectual contributions to this and other projects, and Dr. Christopher Swift for insisting that it really is better on the other side. ii Dedication This dissertation is dedicated to my mother, Dawne Belloise, and to Dennis Giacomo iii Table of Contents Introduction 1 Prologue 1 Mass Music and Public Culture 3 Moral Panics and Jazz Literature 12 Chapter One: Progressivism 25 Introduction 25 Historiography Debates 25 Faith and Science 31 Progress and Culture 37 Conclusion 46
    [Show full text]
  • The Regency Memory Care Club – River Edge
    Sunday Monday Tuesday Wednesday Thursday Friday Saturday 9:30 Jigsaw Puzzling Flower Power 9:30 Frisbee Fun 1 2 3 4 10:00 Six Pin 60’s & 70’s Day 10:30 Cranium Crunchers 10:30 Brain Games 11:00 Sit, Sing, Swing There is some serious fun to 11:00 Fitness Fun be had today – Don’t miss it! 12:00 NY-NY Sing A Long Lunch Outing to 60’s & 70’s Moments in Time Recall Trip Out to Alpine Fads & Fashion Red Robin 60’s Art Portfolio Overlook for Great Views 3:00 Italian Ice Social Kenn e dy & Vietnam Reminisce of NYC & Picnic Lunch 3:30 Brain Booster Trivia The Regency Memory Care Club – River Edge Music Scene Celebration 4:00 Moving to the Rhythm w/ Dennis Grau’s Live Music 5:30 Movie Clips PLUS so much more! 9:30 News & Views 5 9:30 Toss & Talk 6 9:30 Puzzling 7 Fabulous 50’s 8 9:30 Brain Benders 9 9:30 Perfect Pitch Challenge10 11 10:30 Gameshow Challenge 10:30 Brain Teasers 10:30 Elvis Trivia Games 9:00 Fun With Color 10:30 Horseshoes 10:30 Memory Joggers 11:00 Senior Zumba 11:00 Recharge Exercise 11:00 Elvis Zumba 11:00 Boogie & Bounce Fitness 11:00 Move & Groove Exercise 10:00 Recall 50’s Commercials Bahama Breeze Dance & Sing with Rock n’ Roller 11:00 Sweating to the Oldies Feel Good Live Matsuya - Super Fun Lunch Trip Joe Paris Chris Durante Ronnie’s Music by Val & Ken Hibachi Lunch Outing 3:30 Happy Hour 3:00 Fresh Fruit Happy Hour 3:00 Malted Milkshakes Rockin’ Grille 3:30 Bingo for Prizes 3:00 You be The Judge 4:00 What’s Trending? 3:30 Music Bingo 3:30 Hoop Heaven Lunch Trip 4:00 “Plastic Painting” 3:30 Bank or Bust Dice Game 4:30 Clay
    [Show full text]