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The Struggle to Redevelop a Jim Crow State, 1960–2000
Educating for a New Economy: The Struggle to Redevelop a Jim Crow State, 1960–2000 by William D. Goldsmith Department of History Duke University Date:_______________________ Approved: ___________________________ Nancy MacLean, Supervisor ___________________________ Edward J. Balleisen ___________________________ Adriane Lentz-Smith ___________________________ Gary Gereffi ___________________________ Helen Ladd Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in The Graduate School of Duke University 2018 ABSTRACT Educating for a New Economy: The Struggle to Redevelop a Jim Crow State, 1960–2000 by William D. Goldsmith Department of History Duke University Date:_______________________ Approved: ___________________________ Nancy MacLean, Supervisor ___________________________ Edward J. Balleisen ___________________________ Adriane Lentz-Smith ___________________________ Gary Gereffi ___________________________ Helen Ladd An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2018 Copyright by William D. Goldsmith 2018 Abstract This dissertation shows how an array of policymakers, invested in uprooting an unequal political economy descended from the plantation system and Jim Crow, gravitated to education as a centerpiece of development strategy, and why so many are still disappointed in its outcomes. By looking at state-wide policymaking in North Carolina and policy effects in the state’s black belt counties, this study shows why the civil rights movement was vital for shifting state policy in former Jim Crow states towards greater investment in human resources. By breaking down employment barriers to African Americans and opening up the South to new people and ideas, the civil rights movement fostered a new climate for economic policymaking, and a new ecosystem of organizations flourished to promote equitable growth. -
Les Ballets Trockedero De Monte Carlo
Le Lac des Cygnes (Swan Lake), Act II Saturday, March 14, 2020, 8pm Sunday, March 15, 2020, 3pm Zellerbach Hall Les Ballet Trockadero de Monte Carlo Featuring Ludmila Beaulemova Maria Clubfoot Nadia Doumiafeyva Helen Highwaters Elvira Khababgallina Irina Kolesterolikova Varvara Laptopova Grunya Protozova Eugenia Repelskii Alla Snizova Olga Supphozova Maya Thickenthighya Minnie van Driver Guzella Verbitskaya Jacques d’Aniels Boris Dumbkopf Nicholas Khachafallenjar Marat Legupski Sergey Legupski Vladimir Legupski Mikhail Mudkin Boris Mudko Mikhail Mypansarov Yuri Smirnov Innokenti Smoktumuchsky Kravlji Snepek William Vanilla Tino Xirau-Lopez Tory Dobrin Artistic Director Isabel Martinez Rivera Associate Director Liz Harler General Manager Cal Performances’ 2019–20 season is sponsored by Wells Fargo. 21 22 PLAYBILL PROGRAM Le Lac des Cygnes (Swan Lake), Act II Music by Pyotr Ilyich Tchaikovsky Choreography after Lev Ivanovich Ivanov Costumes by Mike Gonzales Décor by Clio Young Lighting by Kip Marsh Benno: Mikhail Mypansarov (friend and confidant to) Prince Siegfried: Vladimir Legupski (who falls in love with) Alla Snizova (Queen of the) Swans Ludmila Beaulemova, Maria Clubfoot, Nadia Doumiafeyva, Minnie van Driver, Elvira Khababgallina, Grunya Protozova, Maya Thickenthighya, Guzella Verbitskaya (all of whom got this way because of) Von Rothbart: Yuri Smirnov (an evil wizard who goes about turning girls into swans) INTERMISSION Pas de Deux or Modern Work to be Announced Le Grand Pas de Quatre Music by Cesare Pugni Choreography after Jules -
Dissenter in the Baptist Southland : Fifty Years in the Career of William
DUKE UNIVERSITY LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/details/dissenterinbaptiOObrya DISSENTER IN THE BAPTIST SOUTHLAND ) William Wallace Finlator in action, chairing a public hearing of the North Car- olina Advisory Committee to the U.S. Civil Rights Commission in August 1977. (Photo by Images Unlimited, from the collection of G. McLeod Bryan. DISSENTER IN THE BAPTIST SOUTHLAND Fifty Years in the Career of William Wallace Finlator BY G. McLeod Bryan MERCER UNIVERSITY PRESS MP — ISBN D-flbSSM-17b-D Dissenter in the Baptist Southland Copyright © 1985 Mercer University Press, Macon GA 31207 All rights reserved Printed in the United States of America All books published by Mercer University Press are produced on acid-free paper that exceeds the minimum standards set by the National Historical Publications and Records Commission. Library of Congress Cataloging in Publication Data Bryan, G. McLeod. Dissenter in the Baptist southland. "Essays and articles by William Wallace Finlator": p. 185. Includes bibliographies and indexes. 1. Finlator, William Wallace, 1913- 2. Baptists—North Carolina—Clergy—Biography. 3. Southern Baptist Convention—North Carolina Clergy—Biography. 4. North Carolina—Biography. 5. Church and social problems—United States. I. Title. BX6495.F46B78 1985 286'.132'0924 [B] 85-13752 ISBN 0-86554-176-0 (alk. paper) 1 4*5 CONTENTS A FINLATOR CHRONOLOGY ix FOREWORD xiii PREFACE xv ACKNOWLEDGMENTS xix Chapter One DEVELOPING A POLITICAL THEOLOGY 1 Chapter Two ENJOYING CONTROVERSY 33 Chapter Three CULTIVATING THE PRESS AND LABOR 65 Chapter Four FIGHTING RACISM 93 Chapter Five MAKING PEACE 123 Chapter Six SEPARATING CHURCH AND STATE 149 vi G. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Romantic Ballet
ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS. -
Marie Taglioni, Ballerina Extraordinaire: in the Company of Women
NINETEENTH-CENTURY GENDER STUDIES # ISSUE 6.3 (WINTER 2010) Marie Taglioni, Ballerina Extraordinaire: In the Company of Women By Molly Engelhardt, Texas A&M University—Corpus Christi <1>The nineteenth-century quest for novelty during the 1830s and 40s was nowhere better satisfied than from the stages of the large theatres in London and Paris, which on a tri-weekly basis showcased ballet celebrities and celebrity ballets as top fare entertainment.(1) While few devotees had the means to actually attend ballet performances, the interested majority could read the plots and reviews of the ballets published in print media—emanating from and traversing both sides of the channel—and know the dancers, their personalities and lifestyles, as well as the dangers they routinely faced as stage performers. During a benefit performance in Paris for Marie Taglioni, for example, two sylphs got entangled in their flying harnesses and audiences watched in horror as a stagehand lowered himself from a rope attached to the ceiling to free them. Théophile Gautier writes in his review of the performance that when Paris Opera director Dr. Veron did nothing to calm the crowds, Taglioni herself came to the footlights and spoke directly to the audience, saying “Gentlemen, no one is hurt.”(2) On another occasion a cloud curtain came crashing down unexpectedly and almost crushed Taglioni as she lay on a tombstone in a cloisture scene of Robert le Diable.(3) Reporters wrote that what saved her were her “highly- trained muscles,” which, in Indiana Jones fashion, she used to bound off the tomb just in time. -
North Carolina's Energy Future? N.C
e North Carolina's Energy Future? N.C. Center for Public Policy Research Board of Directors Thad L. Beyle, Chairman The North Carolina Center is an independent research and Patricia H. Wagner, Vice Chairman educational institution formed to study state government policies Grace Rohrer, Secretary and practices without partisan bias or political intent. Its purpose V.B. (Hawk) Johnson, Treasurer Thomas L. Barringer is to enrich the dialogue between private citizens and public Daniel T. Blue, Jr. officials, and its constituency is the people of this state. The William L. Bondurant Center's broad institutional goal is the stimulation of greater Betty Chafin interest in public affairs and a better understanding of the Fred Corriher, Jr. profound impact state government has each day on everyone in Walter DeVries James S. Ferguson North Carolina. Charles Z. Flack, Jr. A non-profit, non-partisan organization, the Center was Joel L. Fleishman formed in 1977 by a diverse group of private citizens "for the Virginia Ann Foxx purposes of gathering, analyzing and disseminating information Karen E. Gottovi R. Darrell Hancock concerning North Carolina's institutions of government." It is William G. Hancock, Jr. guided by a self-electing Board of Directors, and has some 600 James E. Harrington individual and corporate members across the state. The Center's Watts Hill, Jr. staff of associate directors, fellows, and interns includes various Wilbur Hobby Mary Hopper scholars, students, journalists, and professionals from around the Sandra L. Johnson state. Several advisory boards provide members of the staff with Walter T. Johnson, Jr. expert guidance in specific fields such as education, publications, Betty Ann Knudsen and fund raising. -
A Romantic Tutu Inspired by the Costumes of the Pas De Quatre Ballet of 1845
Allycia Coolidge wearing a romantic tutu inspired by the costumes of the Pas de Quatre ballet of 1845. Photograph by Joanna Lupker. MAKING HISTORY: A ROMANTIC TUTU By Allycia Coolidge & In our Making History project, we chose to analyze and recreate a Romantic Joanna Lupker tutu inspired by the Pas de Quatre ballet. This ballet was first performed in BDes Fashion Students London, England during the Romantic era on July 12, 1845 and choreographed by Jules Perrot. This ballet featured four prima ballerinas of the Romantic era: January 20, 2017 Lucile Grahn, Taglioni, Carlotta, and Fanny Cerrito. They were icons of the time and often appeared in each other’s benefit performances, but this was the first performance to showcase all four leading female dancers in a single ballet. Prior to the Romantic period, female dancers wore heavy constrictive dresses resembling court fashion that weighed them down and limited their ability to dance. The key change in ballet costuming was the rise of skirt hems, which was seen as quite scandalous at the time (Mida 37). The changes allowed ballerinas to show off their much improved and intricate footwork. This new shortened ballet skirt fell to just below the knee. The Romantic tutu endures as a classic costume of ballet that continues to be featured in performances of major dance companies around the world. Each element of the costume emphasizes the femininity of the dancer. 1 When this ballet was presented in 1845, the bodices of the costumes were constructed very similarly to those seen in regular clothing. Like the corsets of the time, they were tight (Bicat), with low cut necklines to put the dancer’s long necks on display (Victoria and Albert Museum). -
E Cnronicie Weather
Special Primary Preview Weather May rain toda y—temp- eiature should he in the 70's. Goodbye/ Tonight will be coc 50's—and tomorrow e cnronicie with more 70 degree n • Volume 67, Number 135 Durham, North Carolina Wednesday, May 3, 1972 Sanford, Wallace meet in'Dixie Classic' battle By Rick Melcher sales and property taxes Wallace would reduce taxes Staff Writer employed by Wallace as for the lower and middle The battle between George governor of Alabama. classes while increasing taxes Wallace and Terry Sanford It is his progressivism on the wealthy and for North Carolina's 64 which Sanford hopes to corporations. delegate votes is considered convey to voters to erase the Tax reform by many to be a "Dixie notion that the South is a Although Wallace recently classic." bastion of regressivism, as said that he had been in the A more apt classification represented by Wallace. "The vanguard of the tax reform would be a confrontation South can take the lead in movement while the other between "alternatives." solving national problems," Democratic candidates "have Wallace contends that he is a Sanford says. only recently" come out for Southern "populist" who is Wallace is leading the (Continued on Page 2) George Wallace most capable of the support protest of those " 'federal up' of the disenchanted working with taxes-breaks for the fat classes, unlike the remainder cats, with welfare cheaters, of his Democratic opposition. On the other hand, Sanford Peace Vigil here set for tomorrow says that his campaign A news analysis provides an alternative to the In conjunction with a order to "accomplish true that they support the The call for national regressive populism of 'pointy-headed' bureaucrats, National Moritorium against Vietnamization in which the Gravel-Mondale-Drinan bill." demonstrations tomorrow Wallace. -
Guide to Dance 2018-2019 Study Guide
GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology.......................................................................................................................................... -
Corruption' Committee, Together with a at This Year's Democratic Recognizing the Progress Convention, Said Last Nig
the DUKE'S DAILY NEWSPAPER chronicle Volume 68, Number 37 Durham, North Carolina Friday, October 20, 1972 Grad student loses post on committee By Martha Elson position was made by the ' 'I believe that my Bill Yeager, president of new chairman of the ex p e r i ence on this the Graduate Student committee, Clifford Perry, committee is a unique Association, has not been and approved by Alex qualification that no other reappointed to the Business McMahon, chairman of the student can match and and Finance Committee of Board of Trustees. would allow me to make a the Board of Trustees. In a Sanford's second letter greater contribution to the confusing sequence of was in response to a letter committee this year than I decisions, it appears that from Yeager protesting the have before." graduate school decision not to reappoint He added "there was no representation on the him. In his letter, Yeager mention of a policy of committee has been said he "expected to be at rotation of membership on eliminated for the present as Duke two more years and this committee" when the well. had planned to continue his (Continued on Page A-5) Yeager claimed earlier work on the committee." this week that his ideological differences with other members of the committee was largely Carolina host responsible for his exclusion from the committee for this Pulitzer Prize winner Arthur Schlesinger speaking on the prospects of the ^^VletIn a lettei r last spring, to McG rally McGovern campaign yesterday at Duke. (Photo by Mary Tietz) President Terry Sanford requested that Yeager By Bill White Arthur M. -
Fall Dance 12-5-08.Indd
Artistic Staff Producer Shellie Cash Ensemble Co-Directors Deirdre Carberry & Shellie Cash Production Manager Ray Dobson Costume Coordinators Shellie Cash & Brian Horton College-Conservatory Costume Assistants James Cunningham, Renata McGraw, Caroline Betancourt, Clayton Mandly, of Music David Odenwelder presents Stage Management Advisor Michelle Kay Resident Technical Advisor Stirling Shelton Resident Lighting Advisor Jim Gage Photographer Rene Micheo Secretary, Dance Division Ann Hirsch Production Staff 2008–09 Lighting Designers Isabella Byrd, Samantha Dix, Derrick Nolte Master Electrician Sean Mullarkey AME / Light Board Op 1 & 2 Taylor Jacobs, John Cahill AME / Spot Op 3 & 4 Aly Alexander, Joe Wolfl e Stage Manager Linda Tettlebach Assistant Stage Manager Lydia Crandall Fall Dance Concert Technical Director Aaron Clements Sound Engineer Sun Hee Kil Production Staff Aly Alexander, Cory Boulieris, John Cahill, Shellie Cash, director Dan Dickman, Alejandro Fajardo, Alice Flanders, Taylor Jacobs, Sean Mullarkey, Chris Weir, Joe Wolfl e Load-in Crew Andrew Goddard, Renee Miller, Stephanie Boyd, Cynthia Hennon, Mary Stebelton Friday, December 5, 2008 Accompanists 8:00 p.m. Phillip Andrews, Christopher Barrick, Wen-Mi Chen, Saturday, December 6, 2008 Gregory Chesney, Robert Conda, Benjamin Fraley, 2:30 p.m. and 8:00 p.m. Galit Gertsenzon, David Ralphs Sunday, December 7, 2008 Tonight’s performance is made possible by 3:00 p.m. the Corbett-McLain Distinguished Chair in Dance. Patricia Corbett Th eater Special thanks to Diana’s Dancewear Performing Arts Series PROGRAM Choreographer Profiles, cont. PAS DE QUATRE Hannah Baumgarten, Visiting Guest Artist Choreography: Anton Dolin Originally from Santa Cruz, California, Hannah Baumgarten is Co-Director of Re-staged by: Suzette Boyer Webb Dance Now! Miami with Diego Salterini and a full time instructor at Dillard Music: Cesare Pugni Center for the Arts in Ft.