Bears Vs. Tigers for Bi-District
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Extensions of Remarks E387 EXTENSIONS of REMARKS
March 19, 2001 CONGRESSIONAL RECORD — Extensions of Remarks E387 EXTENSIONS OF REMARKS IN HONOR OF WOODIE KING, JR.’S, nation, with his work appearing in Atlanta, De- press upon all young volunteers that their con- NEW FEDERAL THEATRE ON ITS troit, St. Louis, Brooklyn, and Bermuda. tributions are critically important and highly 30TH ANNIVERSARY For 30 years, Woodie King Jr.’s New Fed- valued. Over the past six years, the program eral Theatre has provided enormously talented has become the nation’s largest youth effort HON. CAROLYN B. MALONEY imaginative, and creative minorities with the based on community service, with an esti- chance to present their work in an established mated 100,000 youngsters participating since OF NEW YORK and professional theatrical venue. Without the its inception. IN THE HOUSE OF REPRESENTATIVES opportunity to perform at Woodie King’s New We are extremely proud that Ms. Wise has Monday, March 19, 2001 Federal Theatre, encouraged by Woodie King been singled out from such a large group of Mrs. MALONEY of New York. Mr. Speaker, himself, many of today’s most successful and dedicated volunteers. I applaud Ms. Wise for I rise today to pay tribute to Woodie King, promising theater professionals would have her initiative in seeking to make her commu- Jr.’s, New Federal Theatre, which will be hon- perhaps never achieved their current suc- nity a better place to live, and for the positive ored at a celebration of its 30th anniversary on cesses. impact she has had on the lives of others. March 25, 2001. For 30 years, Woodie King, Mr. -
Appendix: Famous Actors/ Actresses Who Appeared in Uncle Tom's Cabin
A p p e n d i x : F a m o u s A c t o r s / Actresses Who Appeared in Uncle Tom’s Cabin Uncle Tom Ophelia Otis Skinner Mrs. John Gilbert John Glibert Mrs. Charles Walcot Charles Walcott Louisa Eldridge Wilton Lackaye Annie Yeamans David Belasco Charles R. Thorne Sr.Cassy Louis James Lawrence Barrett Emily Rigl Frank Mayo Jennie Carroll John McCullough Howard Kyle Denman Thompson J. H. Stoddard DeWolf Hopper Gumption Cute George Harris Joseph Jefferson William Harcourt John T. Raymond Marks St. Clare John Sleeper Clarke W. J. Ferguson L. R. Stockwell Felix Morris Eva Topsy Mary McVicker Lotta Crabtree Minnie Maddern Fiske Jennie Yeamans Maude Adams Maude Raymond Mary Pickford Fred Stone Effie Shannon 1 Mrs. Charles R. Thorne Sr. Bijou Heron Annie Pixley Continued 230 Appendix Appendix Continued Effie Ellsler Mrs. John Wood Annie Russell Laurette Taylor May West Fay Bainter Eva Topsy Madge Kendall Molly Picon Billie Burke Fanny Herring Deacon Perry Marie St. Clare W. J. LeMoyne Mrs. Thomas Jefferson Little Harry George Shelby Fanny Herring F. F. Mackay Frank Drew Charles R. Thorne Jr. Rachel Booth C. Leslie Allen Simon Legree Phineas Fletcher Barton Hill William Davidge Edwin Adams Charles Wheatleigh Lewis Morrison Frank Mordaunt Frank Losee Odell Williams John L. Sullivan William A. Mestayer Eliza Chloe Agnes Booth Ida Vernon Henrietta Crosman Lucille La Verne Mrs. Frank Chanfrau Nellie Holbrook N o t e s P R E F A C E 1 . George Howard, Eva to Her Papa , Uncle Tom’s Cabin & American Culture . http://utc.iath.virginia.edu {*}. -
The History of Star Trek
The History of Star Trek The original Star Trek was the brainchild of Gene Roddenberry (1921-1991), a US TV producer and scriptwriter. His idea was to make a TV series that combined the futuristic possibilities of science fiction with the drama and excitement of TV westerns (his original title for the series was ‘Wagon Train to the Stars’). Star Trek was first aired on American TV in 1966, and ran for three series. Each episode was a self-contained adventure/mystery, but they were all linked together by the premise of a gigantic spaceship, crewed by a diverse range of people, travelling about the galaxy on a five-year mission ‘to explore new life and new civilisations, to boldly go where no man has gone before’. Although not especially successful it attracted a loyal fan-base, partly male fans that liked the technological and special effects elements of the show. But the show also attracted a large number of female fans, many of whom were drawn to the complex interaction and dynamic between the three main characters, the charismatic but impetuous Captain Kirk (William Shatner), the crotchety old doctor McCoy (DeForest Kelley) and the coldly logical Vulcan science officer Spock (Leonard Nimoy). After the show was cancelled in 1969 the fans conducted a lengthy and ultimately successful campaign to resurrect the franchise. Roddenberry enjoyed success with several motion pictures, including Star Trek: The Motion Picture (1979); action-thriller Star Trek II: The Wrath of Khan (1982); Star Trek III: The Search for Spock (1984) and the more comic Star Trek IV: The Voyage Home (1986). -
Greatest Generation During Maxfundrive 2020
Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Sound Effect Transition [Computer beeps.] 00:00:01 Adam Host Just wanted to hop in and give a thank-you to all the Friends of Pranica DeSoto who supported The Greatest Generation during MaxFunDrive 2020. 00:00:10 Ben Harrison Host Yeah, we're recording this on Friday, but every hope and prayer we had for the MaxFunDrive has been completely surpassed by the amazing generosity of the Friends of DeSoto. So we just wanted to hop in here and say thank you. And we just really appreciate you bearing with us for all four weeks of that extremely long Drive. And for the ones that came forward and supported, we especially appreciate you! 00:00:37 Adam Host If you're one of the Friends of DeSoto who just started subscribing to The Greatest Generation and then downloaded our entire catalogue during the last four weeks, you are stuck with all those pledge breaks! [Ben laughs.] And you're stuck with 'em forever! 00:00:51 Ben Host Yeah. Sorry. [Laughs.] But to everyone listening, just thank you so much. We are—we feel so fortunate to have found an awesome fan community as awesome as you. 00:01:03 Adam Host Thanks so much. Really appreciate it. We'll tell you about it next year. [Ben laughs.] Until then, we're just gonna shut up about it. -
2018 Star Trek Deep Space Nine Heroes and Villains
2018 Star Trek DS9 Heroes & Villains Checklist Base Cards # Card Title [ ] 001 Captain Benjamin Sisko [ ] 002 Odo [ ] 003 Lt. Commander Jadzia Dax [ ] 004 Lt. Ezri Dax [ ] 005 Lt. Commander Worf [ ] 006 Jake Sisko [ ] 007 Chief Miles O'Brien [ ] 008 Quark [ ] 009 Doctor Julian Bashir [ ] 010 Colonel Kira Nerys [ ] 011 Gul Dukat [ ] 012 Vedek Bareil Antos [ ] 013 Jennifer Sisko [ ] 014 Damar [ ] 015 Keiko O'Brien [ ] 016 Weyoun) [ ] 017 Brunt) [ ] 018 Vic Fontaine [ ] 019 Enabran Tain [ ] 020 Nog [ ] 021 Kai Winn Adami [ ] 022 Rom [ ] 023 Martok [ ] 024 The Female Changeling [ ] 025 Kasidy Yates [ ] 026 Sarah Sisko [ ] 027 Leeta [ ] 028 Admiral Alynna Nechayev [ ] 029 Gowron [ ] 030 Shakaar Edon [ ] 031 Elim Garak [ ] 032 Luther Sloan [ ] 033 Kai Opaka Sulan [ ] 034 Grand Negus Zek [ ] 035 Mora Pol [ ] 036 Maihar'du [ ] 037 Lursa and B'Etor [ ] 038 Morn [ ] 039 Tosk [ ] 040 The Hunter [ ] 041 Q [ ] 042 Vash [ ] 043 Ty Kajada [ ] 044 Aamin Marritza [ ] 045 Jaro Essa [ ] 046 Li Nalas [ ] 047 General Krim [ ] 048 Verad [ ] 049 Mareel [ ] 050 Melora Pazlar [ ] 051 Pel [ ] 052 Haneek [ ] 053 Martus Mazur [ ] 054 Alexander Rozhenko [ ] 055 Gul Evek [ ] 056 Cal Hudson [ ] 057 Raymond Boone [ ] 058 Michael Eddington [ ] 059 Grilka [ ] 060 Thomas Riker [ ] 061 Korinas [ ] 062 Detective Preston [ ] 063 Michael Webb [ ] 064 Legate Turrel [ ] 065 Gilora Rejal [ ] 066 Vedek Yarka [ ] 067 The Intendant [ ] 068 Adult Jake Sisko [ ] 069 Goran’ Agar [ ] 070 Tora Ziyal [ ] 071 Faith Garland [ ] 072 Admiral Leyton [ ] 073 Kurn [ ] 074 Onaya [ ] 075 Toman’ torax [ ] 076 Trevean [ ] 077 Arne Darvin [ ] 078 Arandis [ ] 079 Fullerton Pascal [ ] 080 Thrax [ ] 081 Captain Sanders [ ] 082 Ikat'ika [ ] 083 Dr. Lewis Zimmerman) [ ] 084 Arissa [ ] 085 Yelgrun [ ] 086 Kimara Cretak [ ] 087 Ishka [ ] 088 Lwaxana Troi [ ] 089 Admiral William Ross [ ] 090 Joseph Sisko [ ] 091 Mullibok [ ] 092 Varani [ ] 093 Colyus [ ] 094 Rurigan [ ] 095 Kor [ ] 096 Koloth [ ] 097 Kang [ ] 098 Kovat [ ] 099 Lt. -
Othello by WILLIAM SHAKESPEARE Directed by Michael Kahn Featuring Avery Brooks and Patrick Page
For Immediate Release: Press Contact: Liza Holtmeier August 1, 2005 202.608.6302 [email protected] SHAKESPEARE THEATRE COMPANY’S 2005-2006 SEASON OPENS WITH Othello BY WILLIAM SHAKESPEARE Directed by Michael Kahn Featuring Avery Brooks and Patrick Page WASHINGTON, D.C. – The Shakespeare Theatre Company opens its 2005-2006 season with Artistic Director Michael Kahn directing a production of Othello from August 30 to October 30, 2005. With poetry rivaling King Lear and with the psychological depth of Hamlet, Shakespeare’s Othello is a highly charged tale of jealousy, prejudice, revenge and the destruction of innocence. For the production, Kahn directs a cast that includes Avery Brooks as Othello, Patrick Page as Iago, Colleen Delany as Desdemona, Lise Bruneau as Emilia and Company Member David Sabin as Brabantio. Media partner The Washingtonian magazine provides promotional support throughout the run. Passed over for the position of Othello’s lieutenant, Iago begins to plot his revenge against the Moor. Believing his wife, Emilia, has been unfaithful with Othello, Iago plans to poison Othello’s marriage with jealousy. As Iago’s lies begin to take hold, Othello questions more and more the fidelity of his new bride, eventually destroying his once-happy marriage. “Othello is extraordinary in its psychological complexities, and I think it is a reduction of the play to say it is simply a study of jealousy,” says Michael Kahn. “It’s a study of a great man, the world around him and his destruction. And although the play deals with jealousy – and, to an even greater extent, obsession – it doesn’t start out as a play about jealousy. -
Comprehensive-Biogra
Patrick Page was born in Spokane, Washington in 1962. He was raised primarily in Monmouth, Oregon, where his parents, Bob and Geri, still reside. He has two brothers, Robert and Michael, and a sister, Gayle. He attended The Pacific Conservatory of Performing Arts in Santa Maria California, and received his BA from Whitman College in Walla Walla, Washington. As a young child, Patrick watched his father perform Shakespeare at The Oregon Shakespeare Festival in Ashland, and the theatre bug took hold. Patrick’s Broadway credits include his ongoing role as Scar in The Lion King and three years as Lumiere in Beauty and the Beast. Other Broadway credits include Decius Brutus in Julius Caesar (starring Denzel Washington), Scrooge in A Christmas Carol (standby for Roger Daltrey), and multiple roles in The Kentucky Cycle. Off-Broadway he has appeared in Richard II directed by Steven Berkoff at The Public Theatre, and played the title role in Rex (opposite Melissa Errico) at the York Theatre. Recent regional credits include Macbeth in Macbeth (opposite Kelly McGillis) and Iago in Othello (opposite Avery Brooks) at The Shakespeare Theatre Company in Washington DC; Sergius in Arms and the Man at Long Wharf; and the title roles in Cyrano De Bergerac and Richard III at Pioneer Theatre Company. Patrick’s regional credits span twenty years, beginning with six years as leading actor for The Utah Shakespeare Festival. Since then he has played major roles at The Oregon Shakespeare Festival, Seattle Repertory Theatre, Arizona Theatre Company, ACT, Indiana Repertory Theatre, Missouri Repertory Theatre, and Cincinnati Playhouse, among many others. -
Using Film to Teach Psychology: a Resource of Film Study Guides
USING FILM TO TEACH PSYCHOLOGY: A RESOURCE OF FILM STUDY GUIDES Elizabeth M. Nelson, Christian Brothers University (2002 Instructional Resource Award Recipient) Overview This 106-page resource offers instructors tools for using films to enhance their instruction. Student evaluations consistently indicate that films help them learn the topics, provide an alternative to traditional lectures, and give them a different point of view. However, students also say they do not like to view films if they do not understand the relevancy of the film to the course material. This resource gives teachers of psychology additional tools for using film, such as tested study guides, sample syllabi, student papers, references, and Internet resources. The film study guides contained in this resource have been used in a variety of psychology classes, and may be applicable to a variety of other courses. Outline of Contents Introduction How to Use the Study Guides List of Study Guides by Topic and Film/s References Filmography Sample Syllabi Sample Paper ___________________________________ Author contact information: Elizabeth M. Nelson, Ph.D., Christian Brothers University, Department of Psychology, 650 East Parkway South, Memphis, TN 38104 ([email protected]) Copyright 2006 by Elizabeth M. Nelson. All rights reserved. You may reproduce multiple copies of this material for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution and the Office of Teaching Resources in Psychology heading or other identifying information appear on the copied document. No other permission is implied or granted to print, copy reproduce, or distribute additional copies of this material. -
Or, When Did Tamburlaine Become Black? El Viaje Teatral De Tim Ūr, O ¿Cuándo Se Volvió Negro Tamburlaine?
Tim ūr’s theatrical journey: Or, when did Tamburlaine become black? El viaje teatral de Tim ūr, o ¿Cuándo se volvió negro Tamburlaine? Linda McJannet Bentley University, United States ABSTRACT RESUMEN Reviews of modern productions of Marlowe’s Las reseñas de las producciones modernas del Tamburlaine often note a three-hundred-year Tamburlaine de Marlowe a menudo dan cuenta del hiatus between a recorded performance in paréntesis de trescientos años que existió entre una 1641, just before the closing of the theatres, representación de la obra de la que se tiene noticia and Tyrone Guthrie’s revival at the Old Vic in en 1641, justo antes del cierre de los teatros, y su 1951. While the statement is mostly true with recuperación a manos de Tyrone Guthrie en el Old respect to Marlowe’s play, Tamerlane or Vic en 1951. Aunque esta afirmación es Timūr Lenk and the Ottoman emperor fundamentalmente cierta en lo tocante a la obra de Bayazid I (Marlowe’s Bajazeth) had Marlowe, Tamerlane o Tim ūr Lenk, junto con el important theatrical incarnations in the 1700s emperador otomano Bayazid I (el Bajazeth de before they declined into parody in the 1800s. Marlowe) tuvieron importantes encarnaciones en el When Marlowe’s play was revived in the teatro en el siglo XVIII, antes de degradarse y modern era, the main characters reclaimed convertirse en parodia en el siglo XIX. Cuando la their dignity, but they also acquired markers obra de Marlowe fue recuperada en la época of racial, ethnic, or religious otherness that moderna los personajes principales recobraron su had not been prominent earlier. -
Racial Issues and Star Trek's Deep Space Nine
Racial Issues and Star Trek’s Deep Space Nine By J. Emmett Winn Spring 2003 Issue of KINEMA HIGHLY OFFENSIVE FERENGI: RACIAL ISSUES AND STAR TREK’S MULTICUL- TURAL DEEP SPACE NINE STAR TREK: DEEP SPACE NINE is the third official Star Trek series based on the ideas of the late Gene Roddenberry. The popularity of the Star Trek series has earned them an honoured place in America’s popular culture.(1) Likewise, scholarly attention to Star Trek points to its importance to the study of media culture.(2) Star Trek, even before its broadcast of television’s first interracial kiss, has always had two missions. The first, its entertainment mission as part of the television industry, is the well known: ”Its five yearmissionis to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man [sic] has gone before.”(3) Deep Space Nine’s creators, Berman and Pillar, state the second is the less publicly articulated mission of addressing matters of socio-cultural concern. Star Trek: Deep Space Nine is very successful in syndication and with Star Trek fans.(4) DS9 assembles the most racially and ethnically diverse group of all the preceding Star Treks. The most prominent difference is that the lead character, Captain Benjamin Sisko, is played by African-American actor Avery Brooks. Brooks is the first (and so far the last) Black actor to play the lead role inany Star Trek series or film. Equally important, the basic plot of DS9 (throughout its seven year run, 1993-2000) revolves around the problems associated with different ”races” of peoples living together in an hostile environment. -
Television and Children: Issues in Black and White Rebecca L
Sacred Heart University Review Volume 15 Issue 1 Sacred Heart University Review, Volume XV, Article 8 Numbers 1 & 2, Fall 1994/ Spring 1995 1998 Television and Children: Issues in Black and White Rebecca L. Abbott Follow this and additional works at: https://digitalcommons.sacredheart.edu/shureview Recommended Citation Abbott, Rebecca L. (1998) "Television and Children: Issues in Black and White," Sacred Heart University Review: Vol. 15 : Iss. 1 , Article 8. Available at: https://digitalcommons.sacredheart.edu/shureview/vol15/iss1/8 This Article is brought to you for free and open access by the SHU Press Publications at DigitalCommons@SHU. It has been accepted for inclusion in Sacred Heart University Review by an authorized editor of DigitalCommons@SHU. For more information, please contact [email protected], [email protected]. Television and Children: Issues in Black and White Cover Page Footnote Rebecca Abbott is Associate Professor of Media Studies at Sacred Heart University. This article is available in Sacred Heart University Review: https://digitalcommons.sacredheart.edu/shureview/vol15/iss1/8 Abbott: Television and Children: Issues in Black and White REBECCA ABBOTT Television and Children: Issues of Black and White Among the experiences of childhood in America are the almost unavoidable, typically lengthy encounters with television. Given the fact that an average American school-aged child watches around thirty hours of television every week,1 filling over 30% of his or her waking hours, it is impossible to conclude that this experience is benign. Sociologists and psychologists clearly don't. But apart from their many studies identifying the generally negative effects television has on children's cognitive development, a more fundamental cause for alarm lies in the relationship between television and its insidious effects on individual and cultural identity. -
The Heart in Star Trek
Hektoen International 1 Current Issue Past Issues Library Gallery Links About Us Sponsors The heart in Star Trek ShareThis Volume 5, Issue 2 – Spring 2013 Victor Grech, MD, PhD University of Malta, Tal-Qroqq Star Trek (ST) is a fictional utopian future history depicting how humanity might develop up to the 24th century. The series and movies comprise a metanarrative that encompasses 735 hours of viewing time, and thereby provides a fertile ground for analysis of various areas of critical study. In several ST episodes, the heart features prominently. This essay will review and classify these occurrences, and will demonstrate that this organ is featured for its biological properties along with a fair representation of the contemporary gamut of common diseases that afflict it. These are laced with exotic futuristic elements that define the genre. Alien hearts The many alien species portrayed in ST naturally have variations in their cardiovascular arrangements. For example, the Lurian species have several hearts (Kolbe, “Through the Looking Glass”). And it was said that “the Romulan heart itself is grey […]. And altogether appropriate for such an unimaginative race” (Livingston, “Inter Arma Enim Silent Leges”). Furthermore, Vulcan hearts typically beat at much faster rates than human hearts, at up to three hundred beats per minute on demand (Livingston, “Flashback”). Moreover, a human crewman who experiences accelerated evolution develops a second heart (Singer, “Threshold”). The presence of a heart, in tin man fashion, has also been taken as proof of humanity, as for example when Voyager’s doctor convinces himself that he has become flesh and blood during a delusional episode when he discovers that he has a heart rate (Frakes, “Projections”).