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Thompson Hall Overturns, Sinks Nto Ravine, No Serious Injuries
© je J^eU) ^am psfjjtre PRICE — SEVEN CENTS VOLUME NO. 44 ISSUE 9 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, N. H. — April 1, 1954 Committee Considering Designs Thompson Hall Overturns, Sinks And Location For Student Union The committee in charge of selecting a final design for the new nto Ravine, No Serious Injuries Student Union building has been considering the designs of current Neil Sherman ly built student union buildings, and has decided that a building This morning- the town of Durham was stunned by an occurance almost beyond belief. At 11.59 combining the elements of several of these should be erected. The n., T-Hall slowly began to sink, turned over completely, and slid into the ravine behind it. location of the new structure, as well hs the style of architecture, For a matter of minutes the whole scene was obscured by sheets of paper and records blown about have been the subject of long and heated discussion at UNH. The by a high wind. Amazed staff members on the basement level suddenly found themselves at their desks ravme, notch hill, the town dump, and the “ Pit” between North and South Con in the open air. One of them remarked later, “ It was rather drafty.” __________ greve are several of the locations that ~ The first observers on the scene were — ■_____. T a „ m_|J| have been suggested. /* C f r l i r l o n f c passingpassing students.students. TheyThey werewere followedfollowed byby R on Hill D 6l6 gQ T e lO A r n o ld Cylindrical Motif 5 W U V . -
BENNY GOLSON NEA Jazz Master (1996)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 108 CONGRESS, FIRST SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 108 CONGRESS, FIRST SESSION Vol. 149 WASHINGTON, MONDAY, OCTOBER 20, 2003 No. 147 House of Representatives The House met at 12:30 p.m. and was the fiscal year ending September 30, civil rights issue has touched my no- called to order by the Speaker pro tem- 2004, and for other purposes,’’ requests tion of fairness in government policy in pore (Mr. ADERHOLT). a conference with the House on the dis- very profound ways. Since I chaired the f agreeing votes of the two Houses there- Oregon Legislature’s first hearing on on, and appoints Mr. STEVENS, Mr. nondiscrimination some 30 years ago, I DESIGNATION OF SPEAKER PRO COCHRAN, Mr. SPECTER, Mr. DOMENICI, have observed the ebb and flow of the TEMPORE Mr. BOND, Mr. MCCONNELL, Mr. BURNS, debate on gay rights, attended hear- The SPEAKER pro tempore laid be- Mr. SHELBY, Mr. GREGG, Mr. BENNETT, ings, and learned the stories of real fore the House the following commu- Mr. CAMPBELL, Mr. CRAIG, Mrs. people. I have also developed a wide nication from the Speaker: HUTCHISON, Mr. DEWINE, Mr. circle of friends and have many col- WASHINGTON, DC, BROWNBACK, Mr. BYRD, Mr. INOUYE, Mr. leagues who are gay and in committed October 20, 2003. HOLLINGS, Mr. LEAHY, Mr. HARKIN, Ms. relationships. I have come to under- I hereby appoint the Honorable ROBERT B. MIKULSKI, Mr. REID, Mr. KOHL, Mrs. stand the equality for gays and les- ADERHOLT to act as Speaker pro tempore on MURRAY, Mr. -
July 1910) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1910 Volume 28, Number 07 (July 1910) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 28, Number 07 (July 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/560 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. VASSA* COLLEGE LIBRARY JULY 1910 SEETH0V1 AbbeGELlNEK MoIaHT BEETHOVEN AND MOZART Baroness DOROTHEA MOZART'S WIFE Princess ERDODY S'Year THEO. PRESSER CO THE ETUDE Intermediate Studies LEADING TO VELOCITY PLAY¬ ING AND MUSICIANSHIP New Publications MELODIC STUDIES -— FOR EQUALIZATION OF THE HANDS Premiums and Special Offers By ARNOLDO SARTORIO Easy Engelmann Album Op. 853 Price, SI.00 Nature Studies Musical Thoughts lor Third grade studies of unusual excel¬ of Interest to Our Readers A Song Cycle for the Ten lence, suitable for a variety of pur¬ A MONTHLY JOURNAL FOR THE MUSICIAN, THE little Tots FOR THE PIANO poses ; independence of hands, equal¬ MUSIC STUDENT, AND ALL MUSIC LOVERS. -
Past Playlist
Jan. 11, 2020 Set 1 Roy Eldridge, Complete Verve Studio Sessions, “Tin Roof Blues” Vic Dickenson, Ding Dong, “Rosetta” Milt Jackson & Big Brass, For Someone I Love, “Save Your Love For Me” Set 2 Duke Ellington, Latin American Suite, “The Sleeping Lady and the Giant Who Watches Over Her” Thelonious Monk, “You Took The Words Right Out of My Heart” Rob McConnell, Three for the Road, “A Sleepin’ Bee” Set 3 Thad Jones, The Magnificent Thad Jones, “Billy Doo” Weslia Whitfield, September Songs, “I Only Have Eyes for You” John Coltrane & Paul Quinichette, Cattin’ with Coltrane & Quinichette, “Tea for Two” Set 4 Marc Copland & Greg Osby, Round and Round, “Balloonman” Yazz Ahmed, Polyhymnia, “2857” Louis Smith, Soon, “Mike” Set 5 SF Jazz Collective, Live 2009: 6th Annual Concert Tour, “Migrations” Teddy Charles, New Directions, “Decibels” Cecil Taylor, Jazz Advance, “Sweet and Lovely” Set 6 Lou Donaldson, Blue Note Sessions, “That Good Old Feeling” Karin Krog with Dexter Gordon, Some Other Spring, “Shiny Stockings” Mal Waldron & Steve Lacy, Sempre Amore, “To the Bitter” Set 7 Billie Holiday, Lady Day: The Complete Billie Holiday on Columbia, “Pennies from Heaven” Don Byas, 1944-45, “Pennies from Heaven” Dinah Washington, Complete on Mercury, “Pennies from Heaven” Eddie “Lockjaw” Davis, Smokin’, “Pennies from Heaven” Set 8 Count Basie and His Orchestra, Complete Decca Recordings, “Pennies from Heaven” Lester Young, Complete Studio Sessions on Verve, “Pennies from Heaven” Ernesto Cervini’s Turboprop, Rev, “Pennies from Heaven” Set 9 Antonio Sanchez, Quartet Live, “Question and Answer” Delfeayo Marsalis, Sweet Thunder, “Star-Crossed Lovers” Jane Ira Bloom, Sixteen Sunsets, “Gershwin’s Skyline/I Loves You, Porgy” Set 10 Ed Bickert, The Guitar Mastery of Ed Bickert, “Soul Eyes” Miles Davis Quintet, E.S.P. -
The Documentary Aesthetic in American Literature, 1890- Present
Radical Representations, Eruptive Moments: The Documentary Aesthetic in American Literature, 1890- Present by Jennifer Nicole Carrier Armstrong Bachelor of Arts, English, The University of the South, 1997 Bachelor of Arts, Psychology, The University of the South, 1997 Master of Arts, English, Middlebury College, 2000 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 Doctor of Philosophy Department of English 2010 This thesis entitled: Radical Representations, Eruptive Moments: The Documentary Aesthetic in American Literature, 1890-Present written by Jennifer Nicole Carrier Armstrong has been approved for the Department of English ______________________________________ Martin Bickman ______________________________________ Patricia Sullivan ______________________________________ Penelope Kelsey ______________________________________ Jennifer Peterson ______________________________________ Steven Lamos 4th August 2010 ______________________________________ Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii ABSTRACT Armstrong, Jennifer Nicole, Ph.D., (English Department) Radical Representations, Eruptive Moments: The Documentary Aesthetic in American Literature, 1890-Present Thesis directed by Professor Martin Bickman Scholars have situated the emergence of a literary documentary aesthetic -
Riverside Label Discography
Discography of the Riverside Label The Riverside label was established in 1953 by traditional jazz enthusiasts Bill Grauer and Orrin Keepnews in New York City. Originally Grauer and Keepnews intended to reissue classic jazz that they purchased from long defunct labels. Later the label recorded jazz, folk, comedy, spoken word, sound effects, children’s and gospel. Shortly after starting the Riverside label, Grauer went to Richmond Indiana, to see Harry Gennett Jr. to try to purchase the recordings of the Gennett label. The Gennett Record label was formed in 1918 as a division of the Starr Piano Company in Richmond Indiana. In the early 20’s, the label started recording the early jazz bands that were performing in Chicago. Gennett made the first recordings of Ferd “Jellyroll” Morton, King Oliver’s Creole Jazz Band with Louis Armstrong and the Wolverines with Bix Beiderecke. The first recording of “Stardust” was made by its author Hoagy Carmichael in the Gennett Richmond studio The Gennett label had ceased operation in 1932, but many of the historic metal recording plates were still stored in Richmond. Grauer was able to purchase all of the remaining plates for $2000. Grauer began a massive reissue campaign, releasing much of the Gennett material on long playing albums for the first time. Later, Grauer obtained masters from other early jazz and blues labels, including Paramount, Circle, and QRS, and reissued that material. Although the early catalog of Riverside releases contained mostly purchased material, Riverside started recording jazz sessions on its own, including Thelonious Monk, Randy Weston, Wes Montgomery and Cannonball Adderley. -
Professors Fight for Their Rights
CALIFORNIA STATE UNIVERSITY, FULLERTON INSIDE From the cre- ators of Cirque 3 n NEWS: Black History Month lecture series concludes with a discussion of white privilege Du Soleil, comes a comedy that is 6 n SPORTS: Meet the 2002 Titan baseball more than horsing team, en route to a hopeful return to Omaha around —see Detour page 5 Volume 74, Issue 5 THURSDAY February 28, 2002 Culture Professors fight for their rights taught nFACULTY: Arguing for salary increase and better health coverage, teachers take a stand By Erick Fierro Martinez process ended, Sekelick said President by trip Daily Titan Staff Writer of the CFA Susan Meisenhelder con- tinued fact-finding at an informal level The California Faculty Association as of last Monday. nEDUCATION: Israeli met Monday with Cal State Fullerton’s After Caraway publishes his find- faculty members in an effort to explain ings, it remains confidential for a group seeks to give where contract negotiations stand and period of 10 days. When the report the possibility of a faculty strike. becomes public, the current contract Jewish students a The CFA argues that professors will expire and the faculty will have deserve a 2.5 percent general salary the legal right to strike if an agreement chance to learn more increase, step increases based on their cannot be reached. However, since about the Holy Land length of employment, department fact-finding continued at an informal chair increases, expanded lecturer level for several days, Caraways find- By AnnaLiza Ganchingco health insurance and counselor salary ings may not become a part of public conversion. -
Příloha: Diskografie Scotta Lafaro
Příloha: Diskografie Scotta LaFaro Zdroj: Helene LaFaro: Jade Visions - The Life and Music of Scott LaFaro / Chuck Ralston - Scott LaFaro Discography, University of North Texas, USA, 2009 Níže uvedená alba jsou chronologicky řazena podle data nahrání. Uvedeno je vždy původní vydání alba. 1. Shorty - Tunes: Buddy Morrow and His Orchestra, Standard Radio Transcription Services, Inc., 1956?, ST-1039 2. Golden Trombone: Buddy Morrow and His Orchestra, Mercury Record Corp., 1956? MG-20221 3. Let's Have a Dance Party! Buddy Morrow and His Orchestra, RCA Camden, 1956?, CAL-381.1 4. The 2 Trumpet Geniuses of the Fifties, Brownie & Chet: Clifford Brown and Chet Baker, Philology Records (Itálie), vydáno v 80. letech, 214 W 13.1 5. The Arrival of Victor Feldman, Contemporary Records, 1958, C-3549 / S-7549 6. Cal Tjader Stan Getz Sextet, Fantasy Records, 1958, LP-3266 / LPS-8005 7. For Real! Hampton Hawes Quartet, Contemporary Records, 1961?, S-7589 8. Live Date: Buddy DeFranco and His Septette, Verve, 1958, MG-V-8383 9. Kamuca Feldman Tjader: Featuring Scott LaFaro, Vantage Records (Japonsko), 1991, NLP 5007 10. Jazz at A.N.A. (Army and Navy Academy) - 2nd All Star Concert, vydáno First Classmen of Army and Navy Academy, 1958 11. Joe Gordon and Scott LaFaro: West Coast Days, Fresh Sound, Španělsko, 1992, FSCD-1030 12. Harold Land Quartet: Jazz at Tge Cellar, 1958, Lone Hill Jazz, Španělsko, 2007, LHJ-10291 13. This Is Pat Moran: The Pat Moran Trio, Audio Fidelity, 1958, AFLP-1875 / AFSD-5875 14. Beverly Kelly Sings with the Pat Moran Trio, Audio Fidelity, 1958, AFLP-1874 15. -
Benny Golson
1 The TENORSAX of BENNY GOLSON Solographer: Jan Evensmo Last update: April 8, 2016 2 Born: Philadelphia, Pennsylvania, Jan. 25, 1929 Introduction: We always appreciated Benny Golson’s warm tenor saxophone sound and soon realized he was one of the major soloists on his instrument in the period 1955-1965. Later he visited Norway several times. Early history: Studied piano at 9 and switched to tenorsax at 14. Attended Harvard University in Washington and stated to gig around Philadelphia late 40's. Numerous recordings in Philadelphia ca. 1950 under the leadership of Tiny Grimes and Jimmy Preston. Left Philadelphia with Bull Moose Jackson 1951. This band included Tadd Dameron who encouraged him to study arranging and composing. Two years later he played in a band led by Dameron. Left Dameron to join Lionel Hampton (1953). Several short stays with Johnny Hodges 1954, Earl Bostic 1954-56’ but began to make a name for himself as a member of Dizzy Gillespie’s orchestra (1956-57). With Art Blakey’s Jazz Messengers (1958-59). He then worked as a freelance in New York and studied with the composer Henry Brant. From 1959 to 1962, with Art Farmer, he was the leader of the Jazztet, a group with varying personnel that proved a successful vehicle for Golson’s writing. Message: Benny Golson was an important composer and arranger, it is enough to mention “Stablemates”, “I Remember Clifford”, Whisper Not?”, “Along Came Betty”, “Blues March” and “Are You Real?”. However, this fact and the results are outside this tenor saxophone solography. 3 BENNY GOLSON SOLOGRAPHY TINY GRIMES / BENNY GOLDSON AND HIS ROCKIN' HIGHLANDERS Philadelphia, 1950 Benny Golson (ts), Freddie Redd (p), Tiny Grimes (g), Ike Isaacs (b), unknown (dm), George "Haji Baba" Grant (vo). -
Missed Connections: Antony Sher’S Titus Andronicus in Johannesburg
MISSED CONNECTIONS: ANTONY SHER’S TITUS ANDRONICUS IN JOHANNESBURG by John Agee Ball BA, Hendrix College, 1992 MA, Indiana University, 1998 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH Faculty of Arts and Science This dissertation was presented by John Agee Ball It was defended on January 11, 2009 and approved by Bruce McConachie, PhD, Professor Attilio Favorini, PhD, Professor Kathleen George, PhD, Professor Wendy Arons, PhD, Associate Professor Dissertation Advisor: Bruce McConachie, PhD, Professor ii MISSED CONNECTIONS: ANTONY SHER’S TITUS ANDRONICUS IN JOHANNESBURG John Agee Ball, PhD University of Pittsburgh, 2009 This dissertation is a production history and reception study of the Market Theatre’s controversial presentation of Shakespeare’s Titus Andronicus in 1995. Although directed by Gregory Doran, the star attraction and creative force behind this event was Antony Sher, a celebrity actor with the Royal Shakespeare Company and a luminary in the United Kingdom’s South African expatriate community. Johannesburg theatre audiences initially welcomed Sher’s self-described “homecoming” and the prestige his performance of Shakespeare would bestow upon that city’s traditional Anglophile elite. For his part, Sher saw this event as a stepping stone towards repatriation and the beginning of a more ambitious career as a South African public intellectual. These mutual expectations were disappointed, however, when Johannesburg critics and audiences responded unfavorably to the actual staging of Titus, which featured South African stage accents instead of traditional Received Pronunciation. After Sher publicly countered public antipathy by writing a column accusing Johannesburgers of “philistinism,” a bitter quarrel erupted on editorial pages of both South African and British newspapers. -
UNIVERSITY of CALIFORNIA Los Angeles Feeling the Crowd
UNIVERSITY OF CALIFORNIA Los Angeles Feeling the Crowd: Affective Responses to Crowd Violence in Africa American Fiction A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Brandy Underwood 2017 © Copyright by Brandy Underwood 2017 ABSTRACT OF THE DISSERTATION Feeling the Crowd: Affective Responses to Crowd Violence in African American Fiction by Brandy Underwood Doctor of Philosophy in English University of California, Los Angeles, 2017 Professor Richard A. Yarborough, Chair “Feeling the Crowd” uses affect theory to analyze representations of middle-class responses to the modern black violent crowd in African American fiction. My project demonstrates that writers ranging from Ralph Ellison in Invisible Man (1952) to Walter Mosley in Little Scarlet (2005) have continuously portrayed black middle-class anxiety in relation to perceived leadership gaps in the collective African American community brought to light by images of black collective violence. Echoing Hazel Carby’s Race Men and Erica Edwards’s Charisma and the Fiction of Black Leadership, I argue that these writers problematize gendered notions of black leadership while they explore anxieties triggered by crowds. I turn to recent work in affect studies to explore these class-based anxieties, in particular Sianne Ngai’s Ugly ii Feelings, which offers a critical lexicon that allows me to attend to both the individual emotions and the collective affective responses that characterize my subject. While past scholarship on the black crowd in literature tends to focus solely on the collective body, my work, which attempts to recover lesser known novels in conjunction with more canonical texts, offers a fresh approach that considers the individual response to such violence.