Arizona Dance E-Star
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| | Reapportionment Vote in House
6 THE EYENTXH STAR. TYASHTXfiTOy. P. C, SATURDAY. JANUARY TO. WW. [THE EVENING STAR ? ferences and seiztng an opportunity be- ha* perfected a tube which, through a set with perils. He has yet to conclude color change of its content, unerringly THE LIBRARY TABLE With Sunday Morning Edition. -1 I ANSWERS TO QUESTIONS | his dealings with the Shlnwarls, who indicate* the presence of ga*. That I THIS AND THAT I WASHINGTON, C. are still on the road of insurgency, but will supplant the l D. science feathered i By th« Booklovtr J. HASKIN. Kabul reports confidence that he will songsters in is almost BY FREDERIC | . 1929 > future conflicts SATURDAY. .January 19, effect an adjustment with them. certain. BY CHARLES E. TRACER'ELL. Augustine Birrell says in his “Obiter. public Instruction, reports that it . Afghanistan's new king will not be Doubtless it la better so. The soldier Stop a minute and think about this of , THEODORE W. NOYES... .Editor They are all Dicta,” “History is a pageant and not fact: You can aak our Information is sll4. At the beginning of this cen- known as Bacha Sagao, which Is not a now seldom uses horse* or rpules, which i There is nothing like getting mad have arisen from them. average salary $24. of their origins, just philosophy.” This dictum would ap- Bureau any question of fact and get the tury the was royal designation. He has, it is stated, once played ao important so , 1 to make one forget minor ills. the finer because a The Star Newspaper Company r and tragic powers of anger, in not as a coward who performs bravely on history well as to the answer back in a personal letter. -
Effects of State-Wide Salary Equity Provisions on Institutional Salary
' . * o :0 '4 41,1,4 MINED! RUDE mt. ID 152,205 .HE 009 800 . JUTHOR Nittin, NaryP. 'Mitts, Johat.D. TITLE: Affects ,of State -Wide Salary Equity Provisions on Xpdtitutionhl Salary Policies: A Regression fAlysis; , , . 111SirrillIZON Plorilla'StatelnAv., TalltlAssee.Laorth Dakiita. Univ., Grand Perks. 11.18 DiT.) 78. , , - 17p. 110T3 % . pRicv NP -10,83 Plus-Postage.' RIpIORS., *College Eacultt; *Contracts; Higher Education; si VrivateColleges***Salary Differentials;.*State . : Action; State.Coileges; State Universities; 'Statistical Analysis; Statistical Data; *teacher' Salaries: Tenure. lb$NTIFIERS. .North Dakota; *Univeetity of Nortb-Dalota . A SBSTRAC2 . 4 . fla A procese cl4 equalization of salariel "has- taken plagAl _in thef*State of forth:Dakota-for higher eddcaticn 4uring' the 1977:78- school year. She stab cf North Dakota suppa*ts eight:instittrtionsof kigherleducation: tmoagiveisities, four state colleges, and tvb . two-.y partinstitutions. fhe equalization process as it effected the ,decid4.oa leaking at the .University 01 North Dakota is docualhted. , -:Table 0are, presented" that report' the results for the 1977-78 contracted., salary and the 1977 -78,salary after the equity' adjittaeits. (SPG) ! - :- I 4 ) ************************4****************************** 4,************** * - Reproductions sipplied'by16RS are the best that cab be made - * frothe original document. * *********************4**********************.*************************** , Ai f. 4 4 1 -ewe- teagil I tt-e, ..i_:10 EFFECTS OF STATE-WIDE SALARY EQUITY PROVISIONS ON. (gt-p;,2. _ 10-Is INSTITUTIONAL SALARY POLICIES: A REGRESSION ANALYSIS LiA* 44).;0=0_I ,,_c§f0zaz /. Duz e xi.A0.-0.79, 2 ..0.01, 0 ,Mary P:' Martin and John D. Williams Florida State University University of North Dakota t A process of equalization of sa3aries has taken place in the State Of Ntrth Dakota for.highertducation during the 1977/-78 schoolyear. -
New Studio on Broadway: Music Theatre and Acting
® ® 2019 CELEBRATING JIMMY NEDERLANDER James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt-Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Los Angeles: The Pantages; in London: the Adelphi, Aldwych, and Dominion; and in Chicago: the Auditorium, Broadway Playhouse, Cadillac Palace, and CIBC Theatres, and the Oriental Theatre which this year was renamed the James M. Nederlander Theatre in Jimmy’s honor. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisons Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him. Jimmy was beloved by the industry and the recipient of many distinguished honors including an Honorary Doctorate of Fine Arts from the University of Connecticut (2014), the Exploring the Arts Foundation Award (2014), the United Nations Foundation Champion Award (2012), The Broadway League’s Schoenfeld Vision for Arts Education Award (2011), the New York Pop’s Man of the Year (2008), and the special Tony Award for Lifetime Achievement (2004). -
Lakeland Overall Score Reports
Lakeland Overall Score Reports Mini (8 yrs. & Under) Solo Recreational Platinum 1st Place 1 547 I Like to Fuss - Dance Dynamix - Leesburg, FL 82.0 Landi Hicks Platinum 1st Place 2 578 Hallelujah Hop - Debbie Cole's School of Dance - Homosassa Springs, FL 81.7 Alyceea Marcic Gold 1st Place 3 352 Constant As the Stars - Showtime Dance Studios - Altamonte Springs, FL 81.2 Shaina Smith Gold 1st Place 4 577 Head Over Heels - Debbie Cole's School of Dance - Homosassa Springs, FL 80.2 Gabrielle Marcic Gold 1st Place 5 106 Opus 1 - Deborah Vinton School of Ballet - Bradenton, FL 79.8 Will Miller Gold 1st Place 6 195 Castle on a cloud - Community Dance Connection - Coco, FL 79.6 Kathryn Meagher Gold 1st Place 7 349 Black Horse and a Cherry Tree - Showtime Dance Studios - Altamonte Springs, FL 79.3 Alexa Adams Competitive Platinum 1st Place 1 303 Some Kind of Wonderful - Deltona Academy of Dance - Deland, FL 84.3 Sydney Bettes Platinum 1st Place 2 780 Little Bitty - Studio 5D - Winter Springs, FL 83.9 Alexandria Navarro Platinum 1st Place 3 335 I've Got the World on a String - Erin's Danceworks - Spring Hill, FL 83.6 Kelcey Morris Platinum 1st Place 4 345 Pink Dancer - Showtime Dance Studios - Altamonte Springs, FL 83.2 Logan Misuraca Gold 1st Place 5 350 Dare You To Move - Showtime Dance Studios - Altamonte Springs, FL 82.5 Ashleigh Hambleton Gold 1st Place 6 253 Shop Around - Jayde Howard's Dance Legacy - Bradenton, FL 82.4 Karyssa Wong Gold 1st Place 7 885 Cruella de Vil - Tammy's Dance Co - , 82.2 Makinsy Wendel Gold 1st Place 8 110 Wish Upon -
Minskoff Theatre
MINSKOFF THEATRE 2015 © The Al Hirschfeld Foundation. 4 5 6 7 8 June 29, 2015 Presents the 2015 JIMMY™ AWARDS Honoring James M. Nederlander Produced by The Broadway League Foundation and Pittsburgh CLO Hosted by SUTTON FOSTER Lighting Designer Sound Designer Video Projection Design Video Production Andrew D. Ostrowski Christopher M. Evans Brian Beasley Apples and Oranges Production Manager Production Stage Manager Writer Announcer John R. Edkins Alix Claps Mary Jane Brennan Mamie Parris Company Management General Management Camp Broadway, LLC Camp Broadway, LLC Noelle Deutsch Melissa Caolo Music Director and Arranger Michael Moricz Choreographed by Kiesha Lalama Directed by Van Kaplan The Broadway League Foundation Charlotte St. Martin Al Nocciolino Rachel Reiner President, The Broadway League President Senior Manager Marketing and Business Development Public Relations Digital Jan Friedlander Svendsen Elisa Shevitz Neal Freeman with special thanks to Jim Glaub – Serino Coyne Special Thanks to New Studio on Broadway, NYU Tisch School of the Arts Department of Drama Co-Founded by Pittsburgh CLO and Nederlander Alliances LLC Founding President Van Kaplan, Founding Executive Director Susan Lee 9 Celebrating Jimmy Nederlander James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, is the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping -
N° Artiste Titre Formatdate Modiftaille 14152 Paul Revere & the Raiders Hungry Kar 2001 42 277 14153 Paul Severs Ik Ben
N° Artiste Titre FormatDate modifTaille 14152 Paul Revere & The Raiders Hungry kar 2001 42 277 14153 Paul Severs Ik Ben Verliefd Op Jou kar 2004 48 860 14154 Paul Simon A Hazy Shade Of Winter kar 1995 18 008 14155 Me And Julio Down By The Schoolyard kar 2001 41 290 14156 You Can Call Me Al kar 1997 83 142 14157 You Can Call Me Al mid 2011 24 148 14158 Paul Stookey I Dig Rock And Roll Music kar 2001 33 078 14159 The Wedding Song kar 2001 24 169 14160 Paul Weller Remember How We Started kar 2000 33 912 14161 Paul Young Come Back And Stay kar 2001 51 343 14162 Every Time You Go Away mid 2011 48 081 14163 Everytime You Go Away (2) kar 1998 50 169 14164 Everytime You Go Away kar 1996 41 586 14165 Hope In A Hopeless World kar 1998 60 548 14166 Love Is In The Air kar 1996 49 410 14167 What Becomes Of The Broken Hearted kar 2001 37 672 14168 Wherever I Lay My Hat (That's My Home) kar 1999 40 481 14169 Paula Abdul Blowing Kisses In The Wind kar 2011 46 676 14170 Blowing Kisses In The Wind mid 2011 42 329 14171 Forever Your Girl mid 2011 30 756 14172 Opposites Attract mid 2011 64 682 14173 Rush Rush mid 2011 26 932 14174 Straight Up kar 1994 21 499 14175 Straight Up mid 2011 17 641 14176 Vibeology mid 2011 86 966 14177 Paula Cole Where Have All The Cowboys Gone kar 1998 50 961 14178 Pavarotti Carreras Domingo You'll Never Walk Alone kar 2000 18 439 14179 PD3 Does Anybody Really Know What Time It Is kar 1998 45 496 14180 Peaches Presidents Of The USA kar 2001 33 268 14181 Pearl Jam Alive mid 2007 71 994 14182 Animal mid 2007 17 607 14183 Better -
How to Identify Old Chinese Porcelain
mmmKimmmmmmKmi^:^ lOW-TO-IDENTIFY OLD -CHINESE - PORCELAIN - j?s> -ii-?.aaig3)g'ggg5y.jgafE>j*iAjeE5egasgsKgy3Si CORNELL UNIVERSITY LIBRARY THE WASON CHINESE COLLECTION DATE DUE 1*-^'" """"^*^ NK 4565!h69" "-ibrary 3 1924 023 569 514 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023569514 'a4^(A<-^^ %//3 HOW TO IDENTIFY OLD CHINESE PORCELAIN PLATE r WHITE PORCELAIN "BLANC-DE-CHINE" PAIR OF BOWLS of pierced fret-work divided by five circular panels or medallions of raised figures in relief, supposed 10 represent the Pa-Sien or eight Immortals and the God of Longevity. Height, if in. Diameter, sfin. SEAL in the form of a cube surmounted by the figure of a lion Height, i^in. INCENSE BURNER, eight sided and ornamented by moulding in relief with eight feet and four handles. The sides have three bands enclosing scrolls in ancient bronze designs. At each angle of the cover is a knob; it is ornamented with iris and prunus, and by pierced spaces. The stand has eight feet and a knob at each angle ; in the centre is a flower surrounded by detached impressed scrolls, round the outside are similar panels to those on the bowl. Height, 4|in. Diameter of stand, 6f in. THE FIGURE OF A CRAB on a lotus leaf, the stem of which terminales in a flower. Length, 6| in. From Sir PV. fraiik^s Collection at the BritisJi Museum. S3 HOW TO IDENTIFY OLD CHINESE PORCELAIN BY MRS. -
The Dialectics of Virtuosity: Dance in the People's Republic of China
The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor. -
Download the Loft Cinema's 2019-2020 Annual Report
4 Mission Statement 6 Letter From The Executive Director 7 Our Story 9 Community Feedback 11 At A Glance 11 By The Numbers 12-13 What We Do 15 Loft Film Fest 17 Loft Kids Fest 20 Solar Cinema 22 At The Box Office 23 Financial Data 24 Marketing 25-33 Donors 34 Volunteers 35 Loft Cinema Staff 36 Board Of Directors “The Loft Cinema is much more than an ambitious movie theater that shows high-quality films. Beyond screening everything from arthouse cinema to mondo cult classics, The Loft succeeds in being a hub for the community, allowing local organizations to rent out theaters, hosting outdoor movies in the city’s parks, and presenting rousing singalongs in its home base. Even during this downer year, The Loft is keeping busy with film streaming, private rentals and outdoor screenings in its own backyard. It’s a harmonious relationship: Tucson is lucky to have a place as magical as The Loft, and the cinema is lucky to have hordes of devoted fans.” - Tucson Weekly, Best Movie Theater 2020 THE LOFT CINEMA: MISSION STATEMENT Building community by celebrating the art and diversity of film. DEAR FRIENDS OF THE LOFT CINEMA, The best way I can come up with to describe The Loft Cinema in We are producing a two year “Annual” report because about the time 2019-2020 is a rollercoaster ride, and I’ve never been a big fan of we were ready to prepare the report for 2019, the world changed. rollercoasters. COVID 19 wreaked havoc on the world, and The Loft Cinema closed its doors for the first time ever on March 15. -
Bronislava Nijinska in Revolutionary Russia
An Amazon of the Avant-Garde: Bronislava Nijinska in Revolutionary Russia LYNN GARAFOLA In August 1915 Alexander Kochetovsky, a graduate of Moscow's Bolshoi Ballet and a veteran of Diaghilev's Ballets Russes, arrived in Kiev to take up a position as ballet master and dancer at the Kiev City Theater [Kievskii Gorodskoi Teatr].1 With him was his wife, Bronislava Nijinska, a former Ballets Russes soloist trained at St. Petersburg's Imperial Ballet School and also hired as a dancer, their two-year-old daughter Irina, and Bronislava's mother, Eleanora Bereda, a retired dancer who began her career at Warsaw's Wielki Theater. For Kochetovsky, the Kiev years would be a brief interlude in a career that ended in Houston teaching ballet to the daughters of oil barons. For Nijinska, they marked the start of an international career as one of the twentieth-century's most innovative choreographers. Nijinska spent nearly six years in Kiev. There she gave birth to a second child and was abandoned not once but twice by Kochetovsky. More importantly, it was in Kiev that she became a modernist artist. In the experimental ferment that followed the 1917 Revolution and the short-lived Ukrainian republic, she opened her own studio, which she called the School of Movement. She worked with visual artists at the cutting edge of the era's avant-garde and with theater directors challenging the conventions of the dramatic stage. She created solos and group works and presented her first full evenings of choreography. She taught in studios identified with the artistic left and with Jewish and Ukrainian cultural organizations. -
Autograph Albums - ITEM 936
Autograph Albums - ITEM 936 A Jess Barker Jocelyn Brando Lex Barker Marlon Brando Walter Abel Binnie Barnes Keefe Brasselle Ronald Adam Lita Baron Rossano Brazzi Julie Adams Gene Barry Teresa Brewer (2) Nick Adams John Barrymore, Jr. (2) Lloyd Bridges Dawn Addams James Barton Don Briggs Brian Aherne Count Basie Barbara Britton Eddie Albert Tony Bavaar Geraldine Brooks Frank Albertson Ann Baxter Joe E. Brown Lola Albright John Beal Johnny Mack Brown Ben Alexander Ed Begley, Sr. Les Brown John Alexander Barbara Bel Geddes Vanessa Brown Richard Allan Harry Belafonte Carol Bruce Louise Allbritton Ralph Bellamy Yul Brynner Bob “Tex” Allen Constance Bennett Billie Burke June Allyson Joan Bennett George Burns and Gracie Allen Kirk Alyn Gertrude Berg Richard Burton Don Ameche Polly Bergen Spring Byington Laurie Anders Jacques Bergerac Judith Anderson Yogi Berra C Mary Anderson Edna Best Susan Cabot Warner Anderson (2) Valerie Bettis Sid Caesar Keith Andes Vivian Blaine James Cagney Dana Andrews Betsy Blair Rory Calhoun (2) Glenn Andrews Janet Blair Corinne Calvet Pier Angeli Joan Blondell William Campbell Eve Arden Claire Bloom Judy Canova Desi Arnaz Ben Blue Macdonald Carey Edward Arnold Ann Blyth Kitty Carlisle Mary Astor Humphrey Bogart Richard Carlson Jean-Pierre Aumont Ray Bolger Hoagy Carmichael Lew Ayres Ward Bond Leslie Caron B Beulah Bondi John Carradine Richard Boone Madeleine Carroll Lauren Bacall Shirley Booth Nancy Carroll Buddy Baer Ernest Borgnine Jack Carson (2) Fay Bainter Lucia Bose Jeannie Carson Suzan Ball Long Lee Bowman -
Lajkonik of Tucson – a Piece of True Poland: Constructing Polish – American Identities in an Ethnically Heterogeneous Society
LAJKONIK OF TUCSON – A PIECE OF TRUE POLAND: CONSTRUCTING POLISH – AMERICAN IDENTITIES IN AN ETHNICALLY HETEROGENEOUS SOCIETY __________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ___________________________________________________ in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ___________________________________________________ by Monika Glowacka-Musial January 2010 ii © by Monika Glowacka-Musial May 2010 All Rights Reserved iii ABSTRACT Lajkonik of Tucson – a piece of true Poland: Constructing Polish-American identities in an ethnically heterogeneous society Monika Glowacka-Musial Doctor of Philosophy Temple University, 2010 Dr. Paul Garrett Tucson, Arizona is a site of a lively Polish-American community. Initially associated with a political organization (“Solidarity Tucson”), which actively supported the Solidarity Movement throughout the 1980s, the Polish diaspora has gradually transformed into an ethnic community very much focused on maintaining its distinctive heritage. Recent formation of the Polish folkloric dance group Lajkonik was directly stimulated by the local multicultural establishment, which promotes ethnic diversity in the Old Pueblo. Having become an integral part of the Southwestern society, Lajkonik has developed a collection of identity practices, which despite diverse influences continues to reproduce Polish cultural traits. In my ethnographic account, I examine ways, by which members of the Lajkonik group construct their diasporic identities. First, I focus on the core activities of the group, which include the practice of Polish traditions, learning folk dances and songs in a wide cultural context, and negotiating the speaking of Polish. Additional analyses, based on video recordings, of Polish classes and dance rehearsals, which show the actual mechanics of the production processes, as well as the narratives of the teacher and parent of performers, further support the account of the ethnographer.