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Transforming Lives
Brooklyn College Foundation Annual Report 2007–2008 Transforming Lives The First Step The doors to Brooklyn College are the doors to opportunity. Compared with other institutions of higher education, a great many of our students shoulder substantial responsibilities, and many are the first in their family to attend college. Diverse in background, interests, and ambition, they share the certainty that higher education is the way to a productive and rewarding future. For many, that future will be secured with the help of the Brooklyn College Foundation Dear Friends of Brooklyn College For students—past and present—Brooklyn College stands as a gateway to a rewarding life. They come because they want to become effective leaders in their chosen profession and engaged citizens of the world. They come because they have heard of our commitment to academic quality and to helping them reach their goals. This commitment is at the heart of who we are and what we do. We have held firm to this principle throughout my presidency and, as I leave Brooklyn College this summer, I am especially proud of what we have done together to give it life and to sustain it. Last fall, we admitted a freshman class larger and better than the year before and we were joined by forty new faculty members, bringing the number of scholars and artists we have recruited over the last nine years to 273, more than half the teaching faculty and more than we appointed in the previous three decades. We also welcomed a new Provost, Dr. William A. Tramontano, who brings proven leadership in initiating and implementing new academic programs. -
Blues Symphony in Atlanta Two Years Ago, Wynton Marsalis Embarked on a New Challenge: Fuse Classical Music with Jazz, Ragtime and Gospel
01_COVER.qxd 12/10/09 11:44 AM Page 1 DOWNBEAT DOWNBEAT BUDDY GUY BUDDY // ERIC BIBB // JOE HENRY JOE HENRY // MYRON WALDEN MYRON WALDEN DownBeat.com $4.99 02 FEBRUARY 2010 FEBRUARY 0 09281 01493 5 FEBRUARY 2010 U.K. £3.50 02-27_FRONT.qxd 12/15/09 1:50 PM Page 2 02-27_FRONT.qxd 12/15/09 1:50 PM Page 3 02-27_FRONT.qxd 12/15/09 1:50 PM Page 4 February 2010 VOLUME 77 – NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Contributing Designer Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
University of Huddersfield Repository
University of Huddersfield Repository Quinones, Jessica Marie Constructing the authentic: approaching the `6 Tango-Etudes pour Flute Seula' by Astor Piazzolla (1921±1992) for interpretation and performance Original Citation Quinones, Jessica Marie (2013) Constructing the authentic: approaching the `6 Tango-Etudes pour Flute Seula' by Astor Piazzolla (1921±1992) for interpretation and performance. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/23457/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 CONSTRUCTING THE AUTHENTIC: APPROACHING THE ‘6 TANGO-ETUDES POUR FLÛTE SEULE’ BY ASTOR PIAZZOLLA (1921–1992) FOR INTERPRETATION AND PERFORMANCE JESSICA QUIÑONES A thesis submitted -
Viewer’S Male Gaze
Women and Children First: American Magazine Image Depictions of Japan and the Japanese, 1951-1960 Xander Somogyi Candidate for Honors in History at Oberlin College Professor Leonard Smith, Advisor Spring 2018 Acknowledgments This paper would not have been possible without the help of my advisor and dear friend, Professor Leonard Smith. Whether giving useful critiques or a simple ganbatte (good luck!), Professor Smith was consistently there to help with this project: thank you. I would also like to thank my parents, Kathleen Chamberlain and Victoria Somogyi, who have always been interested in, and engaged with, my academic pursuits. To my friends who believed in me, helped with and encouraged my research--especially Hannah Kim, Juanbi Berretta, and my fellow classmates in the Honors Seminar--I am deeply grateful. I would finally like to dedicate this paper to the research assistants and librarians at Oberlin’s Mudd Library and the New York Public Library. Not only did they help me greatly throughout this project, but they instilled a great love for research in me I never thought I had. Title page photograph: Contrasting images of the Japanese from National Geographic’s 1960 article “Japan, the Exquisite Enigma.” 2 Note on Japanese Names Because this paper is written with an American frame in mind, I have followed the Western convention, not the Japanese, in organising Japanese name format. All names in this paper will begin with given name first and surnames last (for instance, Michiko Shoda). 3 Table of Contents Introduction -
At the Crossroads of Race, Class and Culture: Identifying the Unintended Consequences of Technology on the Agency of Blues Musicians
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 4-2019 At The Crossroads of Race, Class and Culture: Identifying the Unintended Consequences of Technology on the Agency of Blues Musicians Michael D. Berghoef Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Race and Ethnicity Commons Recommended Citation Berghoef, Michael D., "At The Crossroads of Race, Class and Culture: Identifying the Unintended Consequences of Technology on the Agency of Blues Musicians" (2019). Dissertations. 3424. https://scholarworks.wmich.edu/dissertations/3424 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. AT THE CROSSROADS OF RACE, CLASS AND CULTURE: IDENTIFYING THE UNINTENDED CONSEQUENCES OF TECHNOLOGY ON THE AGENCY OF BLUES MUSICIANS by Michael D. Berghoef A dissertation submitted to the Graduate College in partial fulfillment of the requirements for the degree of Doctor of Philosophy Sociology Western Michigan University April 2019 Doctoral Committee: David Hartmann, Ph.D. Chair Douglas Davidson, Ph.D. Susan Morris, Ph.D. © 2019 Michael D. Berghoef The Blues are the roots, the rest are the fruits. Willie Dixon Somebody has been cashing checks, and they've been bouncing back on us. And these people, the poor class of Negroes and the poor class of white people, they're getting tired of it. Howlin’ Wolf Now that I'm getting’ old enough to get some money, I'd like to have some money. -
TTC Interview
TAPE: A1210705 [SHOW: 1 A ] [AIRDTE: 0 7 / 0 5 / 2 1 ] [AIRTME: 10:00 - 12:00] [HOST: JENN WHITE] [STORY: RED, WHITE AND THE BLUES ] [CONTENT: EMILY ATKIN, DANIEL SWAIN, SAMANTHA MONTANO] 12:00:00 DISCLAIMER Transcripts of WAMU programs are available for personal use. Transcripts are provided "As Is" without warranties of any kind, either express or implied. WAMU does not warrant that the transcript is error-free. For all WAMU programs, the broadcast audio should be considered the authoritative version. Transcripts are owned by WAMU 88.5 FM American University Radio and are protected by laws in both the United States and international law. You may not sell or modify transcripts or reproduce, display, distribute, or otherwise use the transcript, in whole or in part, in any way for any public or commercial purpose without the express written permission of WAMU. All requests for uses beyond personal and noncommercial use should be referred to (202)885-1200. 00:00:08 JENN WHITE This is 1A. I'm Jenn White in Washington and today we celebrate Independence Day with a one hour tribute to an original American art form. We call it Red, White and The Blues. Blues music arose from the African American experience in the South. On the farms and in fields, enslaved Black people sang to keep their spirits up, spread the news and sometimes to relay secret messages. In church, they sang gospel music. At work, the blues. Blues music went on to become the basic DNA for jazz, R&B, rock and roll, rap and most every manner of modern music. -
Donaldson, Your Full Name and Your Parents’ Names, Your Mother and Father
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. LOU DONALDSON NEA Jazz Master (2012) Interviewee: Louis Andrew “Lou” Donaldson (November 1, 1926- ) Interviewer: Ted Panken with recording engineer Ken Kimery Dates: June 20 and 21, 2012 Depository: Archives Center, National Music of American History, Description: Transcript. 82 pp. [June 20th, PART 1, TRACK 1] Panken: I’m Ted Panken. It’s June 20, 2012, and it’s day one of an interview with Lou Donaldson for the Smithsonian Institution Oral History Jazz Project. I’d like to start by putting on the record, Mr. Donaldson, your full name and your parents’ names, your mother and father. Donaldson: Yeah. Louis Andrew Donaldson, Jr. My father, Louis Andrew Donaldson, Sr. My mother was Lucy Wallace Donaldson. Panken: You grew up in Badin, North Carolina? Donaldson: Badin. That’s right. Badin, North Carolina. Panken: What kind of town is it? Donaldson: It’s a town where they had nothing but the Alcoa Aluminum plant. Everybody in that town, unless they were doctors or lawyers or teachers or something, worked in the plant. Panken: So it was a company town. Donaldson: Company town. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Panken: Were you parents from there, or had they migrated there? Donaldson: No-no. They migrated. Panken: Where were they from? Donaldson: My mother was from Virginia. My father was from Tennessee. But he came to North Carolina to go to college. -
Broadcastingtathe Newsweekly of Broadcasting and Allied Arts Our26 47Th Year 1978
First annual report and ranking: The top 100 in electronic communications BroadcastingtaThe newsweekly of broadcasting and allied arts Our26 47th Year 1978 nI lN3mr- n w N Nr1 N0. -1 y..c_4"r Outstanding Host of a Talk, Service or Variety Series r CJ i7C_ Phil Donahue J+ 3D ti0 r.è G1A z mc1 Outstanding Talk, Service or Variety Series . Z. I1 r,n -i 1nr Executive Producer Producer >111N -i2'G Richard Mincer Patricia McMillen n n cr -4 O C Produced and Distributed by -s C1 T rrTirv-.c11, 'i G ÿ ®DÍÌÌ Q Multimedia Program Productions, Inc. V Cincinnati, Ohio 45202 4, r vd ,X) t; ^1 Cy C-, ru N ''.. J` That's the opinion of Don D. Wear, vice "Cox Data emerged president and general manager of our newest customer, WAPI Television and Rodio, Birmingham - which began using clearly a winner. Cox Data's television automation system June 26. As Mr. Wear explains, "Our decision was reached after minute comparisons with other types of television computer control systems, and Cox Dato emerged clearly o winner. We eagerly look forward to the many capabilities that your splendid system will render our station: We're not only attracting new customers to our list of 26, we're also retaining the confidence of stations we're already servicing. As D.C. Gale, president of Niagara Television Limited (Toronto -Hamilton, Ontario), states: "We wonted the BEST computer system available, and we believe the Cox Don D. Weor System is it: The Cox System is your Vice President computer. -
Women and Children First: American Magazine Image Depictions of Japan and the Japanese, 1951-1960
Oberlin Digital Commons at Oberlin Honors Papers Student Work 2018 Women and Children First: American Magazine Image Depictions of Japan and the Japanese, 1951-1960 Alexander Adorjan Somogyi Oberlin College Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the History Commons Repository Citation Somogyi, Alexander Adorjan, "Women and Children First: American Magazine Image Depictions of Japan and the Japanese, 1951-1960" (2018). Honors Papers. 174. https://digitalcommons.oberlin.edu/honors/174 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. Women and Children First: American Magazine Image Depictions of Japan and the Japanese, 1951-1960 Xander Somogyi Candidate for Honors in History at Oberlin College Professor Leonard Smith, Advisor Spring 2018 Acknowledgments This paper would not have been possible without the help of my advisor and dear friend, Professor Leonard Smith. Whether giving useful critiques or a simple ganbatte (good luck!), Professor Smith was consistently there to help with this project: thank you. I would also like to thank my parents, Kathleen Chamberlain and Victoria Somogyi, who have always been interested in, and engaged with, my academic pursuits. To my friends who believed in me, helped with and encouraged my research--especially Hannah Kim, Juanbi Berretta, and my fellow classmates in the Honors Seminar--I am deeply grateful. I would finally like to dedicate this paper to the research assistants and librarians at Oberlin’s Mudd Library and the New York Public Library. -
The Brooklyn College Foundation Annual Report, 2004–2005
The Brooklyn College Foundation Annual Report, 2004–2005 On the cover: Architectural plan for realization of the campus design envisioned by Brooklyn College’s founding architect, Randolph Evans, in 1935. The plan proposes new entrances to Roosevelt and James Halls, a new West Quad to mirror the existing East Quad, and a new building to anchor the entire campus west of Bedford Avenue. The West Quad Project is one of several ambitious plans the College has launched to build a modern, student-centered campus conducive to learning and scholarship. Dear Friends of Brooklyn College At Brooklyn College in the last year, we have been busy building— not only the physical campus, but also the educational environment that best encourages vigorous learning and scholarship. Our priorities result largely from initiatives we launched during the first five years of my presidency—and particularly within the last twelve months. These include expanding the campus, renewing the natural sciences, and broadening our fiscal base. The physical transformation of the campus continues apace. We have doubled the size of the Morton and Angela Topfer Library Café, and it is open again 24/7. Over the summer, we renovated and modernized eleven lecture halls in Ingersoll Hall. We move ahead with the West Quad Project, laying out a new quadrangle and pouring the foundation for a new building. We have begun a major rebuilding of our science facilities and our science curriculum. The project will proceed in two stages. First, Roosevelt Hall will be transformed into a science building; then we will renovate Ingersoll Hall. The science faculty meanwhile has been discussing and defining the shape science teaching and research should take at the College. -
More Than Two Million American Men and Their
More than two million American men and their families are currently battling prostate cancer and three million more men will be compelled to join the battle in the coming decade. Our goal is to keep these families together. We are in a race against time. Prostate CancerKeeping Foundation Families | TogetherAnnual Report 2005 Headline to go here every time. More than 3 years ago, the Prostate Cancer Foundation (PCF) was founded with a single mission: to harness resources – both financial and human – to find better treatments and a cure for recurrent prostate cancer, a cancer that was little known at the time. Back then, who knew that prostate cancer would become the most common non-skin cancer in America? Who knew that prostate cancer would strike one in six men? Who knew that a man would be one-third more likely to develop prostate cancer than a woman is to develop breast cancer? Since then, the PCF has raised more than $260 million for prostate cancer research with the help of tens of thousands of generous supporters and corporate partners. We have funded hundreds of researchers in the United States and throughout the world in an effort to keep families together, longer. Despite the great progress, there is still much to do. In 2005, prostate cancer took the lives of more than 30,000 fathers, brothers, uncles and husbands. One of those men was Mickey Tarnopol, a stalwart supporter and a member of our Board of Directors for 0 years. He was a beloved husband, father and grandfather. It is with him in mind, along with the more than two million American men and their families currently battling this disease, that we move aggressively toward fulfilling our mission. -
Page | 1 Funding for the Smithsonian Jazz Oral History Program NEA
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JACKIE MCLEAN NEA Jazz Master (2001) Interviewee: Jackie McLean (May 17, 1931 – March 31, 2006) Interviewer: William Brower with recording engineer Sven Abow Date: July 20-21, 2001 Repository: Archives Center, National Museum of American History. Smithsonian Institution Description: Transcript, 131 pp. Brower: My name is William Brower. I’m sitting with Jackie McLean at the Artists Collective in Hartford, Connecticut, on Friday, July the 20th, 2001. We’re conducting an oral history interview for the Smithsonian Jazz Oral History Project. The first thing I’d like to do is thank Mr. McLean for agreeing to participate in this oral history. McLean: Oh, it’s my pleasure. It’s very important. Brower: I want to start with what we were talking about before we actually started the formal interview and ask you to tell us about your recent trip to Europe, where you played, with whom you were playing, and then talk about how you’re handling your performance – the performance dimension of your life – right now. McLean: This most recent trip that I made – I made two trips to play with Mal Waldron. The first one was in Verona, Italy, a couple of weeks ago. That was a duo where Mal and I played for about 70 minutes solo, between he and I, duo. Then I went just last week over to the North Sea Festival in the Hague to play with Mal again, this time with his trio, with Andrew Cyrille, Reggie Workman, Mal, and I was special guest.