Bring Me the Head of Frank Sinatra! Credit, and That He Keeps Three Loaded Double- in Early 1988
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FY14 Tappin' Study Guide
Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is . -
The Adorabyssal Oracle
THE ADORABYSSAL ORACLE The Adorabyssal Oracle is an oracle deck featuring the cutest versions of mythological, supernatural, and cryptozoological creatures from around the world! Thirty-six spooky cuties come with associated elements and themes to help bring some introspection to your day-to-day divinations and meditations. If you’re looking for something a bit more playful, The Adorabyssal Oracle deck doubles as a card game featuring those same cute and spooky creatures. It is meant for 2-4 players and games typically take 5-10 minutes. If you’re interested mainly in the card game rules, you can skip past the next couple of sections. However you choose to use your Adorabyssal Deck, it is my hope that these darkly delightful creatures will bring some fun to your day! WHAT IS AN ORACLE DECK? An Oracle deck is similar to, but different from, a Tarot deck. Where a Tarot deck has specific symbolism, number of cards, and a distinct way of interpreting card meanings, Oracle decks are a bit more free-form and their structures are dependent on their creators. The Adorabyssal Oracle, like many oracle decks, provides general themes accompanying the artwork. The basic and most prominent structure for this deck is the grouping of cards based on elemental associations. My hope is that this deck can provide a simple way to read for new readers and grow in complexity from there. My previous Tarot decks have seen very specific interpretation and symbolism. This Oracle deck opens things up a bit. It can be used for more general or free-form readings, and it makes a delightful addition to your existing decks. -
Sandy Shorts Early Summer 2014
The Cologne Schoolhouse on Cologne Ave. in the late 1800s Sandy Shorts Early Summer 2014. Volume 3, Issue 2 South Jersey Culture & History Center “The Most Metal Place in New Jersey” Absecon and Leeds Point.” The normal reaction is By Bobby McGruther “Oh, where is that near?” or something of the sort. I’ll tell them it’s near Atlantic City and they’ll I’ve had the privilege to do a bit of traveling in ask about casinos or whatever. That’s the usual. the last year. I took a break from school only to come This guy’s reaction was different. He looked at me back as a staff member and now as a student finish- shocked. Ithought maybe I had food in my beard or ing up my degree. In my travels I’ve learned that some something, but then he said it: “You live in the most people have a very different view of New Jersey than metal place in New Jersey! Like Jersey Devil bro!” you may think. I’m in a band that tours sometimes. We took a Contents break from touring to record an album, but when we Most Metal Place In NJ ..................................................... 1 were on the road I learned that I live in “the most Keeping the Music Alive ................................................... 2 metal place in Jersey.” Ong’s Hat ........................................................................... 3 When I tell people I’m from New Jersey, most Grasses of Paradise ............................................................ 3 look at me funny. “Wow, I don’t picture a guy like you Painting South Jersey .......................................................... 4 when I think of New Jersey.” They expect some guy Cheers .................................................................................. -
Download Full Book
Vegas at Odds Kraft, James P. Published by Johns Hopkins University Press Kraft, James P. Vegas at Odds: Labor Conflict in a Leisure Economy, 1960–1985. Johns Hopkins University Press, 2010. Project MUSE. doi:10.1353/book.3451. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/3451 [ Access provided at 25 Sep 2021 14:41 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Vegas at Odds studies in industry and society Philip B. Scranton, Series Editor Published with the assistance of the Hagley Museum and Library Vegas at Odds Labor Confl ict in a Leisure Economy, 1960– 1985 JAMES P. KRAFT The Johns Hopkins University Press Baltimore © 2010 The Johns Hopkins University Press All rights reserved. Published 2010 Printed in the United States of America on acid- free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Mary land 21218- 4363 www .press .jhu .edu Library of Congress Cataloging- in- Publication Data Kraft, James P. Vegas at odds : labor confl ict in a leisure economy, 1960– 1985 / James P. Kraft. p. cm.—(Studies in industry and society) Includes bibliographical references and index. ISBN- 13: 978- 0- 8018- 9357- 5 (hardcover : alk. paper) ISBN- 10: 0- 8018- 9357- 7 (hardcover : alk. paper) 1. Labor movement— Nevada—Las Vegas— History—20th century. 2. Labor— Nevada—Las Vegas— History—20th century. 3. Las Vegas (Nev.)— Economic conditions— 20th century. I. Title. HD8085.L373K73 2009 331.7'6179509793135—dc22 2009007043 A cata log record for this book is available from the British Library. -
1 Is Disappointment Inevitable When Dealing with a Work Repeatedly
1 Is disappointment inevitable when dealing with a work repeatedly described as the greatest film of all time; a filmmaker—Orson Welles—about whom Herman J. Mankiewicz, one of Citizen Kane’s screenwriters, said “There but for the grace of God goes God”; and a cultural experience that the Provost’s office has made mandatory?! If you struggle to know how to speak fluently in the face of this cultural milestone, be assured that you are not alone: The Sopranos, Season 5, “Rat Pack” 29.28-31:59 (Video). Orson Welles, who was born in 1915 and died in 1985, had a gigantic personality, gigantic ambitions, gigantic influence, and more ideas and projects than he could wrestle to completion in a single lifetime. Though we too could regurgitate what Leonard Maltin or Wikipedia says about Citizen Kane, such an approach leaves us dependent on the experiences and ideas of others. And for me at least, the whole point of higher education is to learn to think for yourself about the things that matter in the world that you inhabit and co-create. There can be no doubt that today, if anything matters, media do. Indeed, our political agency and freedom depend in part upon our ability to understand how media- generated sounds and images operate on and in our lives. As participants in a democracy, we are obliged to be able to ask informed questions about the authorship, interpretation and data-source 2 of media transmissions, especially when they are used to justify life-changing or life-taking actions. Orson Welles struggled for aesthetic, financial, and political freedom within his media landscape, and he was often punished for this. -
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1 Safety Zone (paragraphs 21 to 77h); (D) the NSO gang’s activities, culture, and values 2 (paragraphs 78 to 91); (E) the NSO’s qualification as a criminal street gang (paragraphs 3 92 to 95); (F) the identification of specific gang members (paragraphs 96 to 109m); and 4 (G) my conclusions in support of injunctive relief against the NSO criminal street gang and 5 all of its members (paragraphs 110 to 111). 6 A. SPECIAL EXPERIENCE, EDUCATION, AND EXPERTISE REGARDING 7 CRIMINAL STREET GANGS AND GANG MEMBERS 8 1. I am a sworn California Law Enforcement officer employed by the Oakland 9 Police Department. I make this declaration in support of the People’s request for a gang 10 injunction and other relief against the North Side Oakland (NSO) criminal street gang 11 within a proposed Safety Zone, located in the City of Oakland. 12 2. In this Declaration, except where I state something to be based on my 13 personal observations, I am stating my opinion as a gang expert, or am referring to 14 information that I used to form my opinions. The information I used to form my opinions on 15 the NSO criminal street gang includes discussions with other law enforcement officers 16 including other gang experts, conversations I have had with members, associates, and 17 affiliates of the NSO criminal street gang, conversations I have had with non-gang 18 members who live and work in the community, and my review of police records, internet 19 materials, music, documentaries, and a review of criminal records of gang members. -
The Commune Movement During the 1960S and the 1970S in Britain, Denmark and The
The Commune Movement during the 1960s and the 1970s in Britain, Denmark and the United States Sangdon Lee Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of History September 2016 i The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement ⓒ 2016 The University of Leeds and Sangdon Lee The right of Sangdon Lee to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 ii Abstract The communal revival that began in the mid-1960s developed into a new mode of activism, ‘communal activism’ or the ‘commune movement’, forming its own politics, lifestyle and ideology. Communal activism spread and flourished until the mid-1970s in many parts of the world. To analyse this global phenomenon, this thesis explores the similarities and differences between the commune movements of Denmark, UK and the US. By examining the motivations for the communal revival, links with 1960s radicalism, communes’ praxis and outward-facing activities, and the crisis within the commune movement and responses to it, this thesis places communal activism within the context of wider social movements for social change. Challenging existing interpretations which have understood the communal revival as an alternative living experiment to the nuclear family, or as a smaller part of the counter-culture, this thesis argues that the commune participants created varied and new experiments for a total revolution against the prevailing social order and its dominant values and institutions, including the patriarchal family and capitalism. -
Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’S Summit Conference of Cool
University of Huddersfield Repository Calvert, Dave Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool Original Citation Calvert, Dave (2015) Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool. Popular Music, 34 (1). pp. 1-21. ISSN 0261-1430 This version is available at http://eprints.hud.ac.uk/id/eprint/22182/ 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/ Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool Abstract This article considers the nightclub shows of the Rat Pack, focussing particularly on the Summit performances at the Sands Hotel, Las Vegas, in 1960. Featuring Frank Sinatra, Dean Martin, Sammy Davis Jr, Peter Lawford and Joey Bishop, these shows encompassed musical, comic and dance routines, drawing on the experiences each member had in live vaudeville performance. -
The Righteous Brothers by Jerry Bfay At
The Righteous Brothers B yJerry Bfayat •— —■ a d i o , w i t h o u t a d o u b t , is t h e m o s t i m p o r - and “Leaving It All lip to You,” which years later tant vehicle for a recording artist. How became a Number One hit for Dale & Grace. Two- many times did y o u turn on your radio part harmony was not unique then - but a pair of and hear a great song b y a great a r t i s t s ! white boys emulating the great black two-part-har Rmaybe Johnny Otis singing “Willie and thm e Hand on y sound? That w as new. Jive,” the Magnificent Men doing “Peace of Mind,” or For Bobby Hatfield and Bill M edley (bom a m onth the Soul Survivors performing “Expressway (To Your apart in 1940), it began separately. Both started Heart)” - not realizing these were white performers, singing at Orange County, California, clubs as ones who had the soul and the ability to sound teenagers. In the early 1960s, Bobby had his group, black? Conversely, did you ever lis the Variations, and Bill his, the ten to an artist like Ella Fitzgerald, Paramours. In 1962, Bobby’s group Carmen McRae or Nancy Wilson incorporated with the Paramours. and say to yourself, “Wow, what a One of their first big shows together fantastic performer,” and assume was at the Rendezvous Ballroom, in she was white? That’s the wonder Balboa, California, a famous haunt ful thing about music: The great during the big-band era. -
Folklife and Land Use in New Jersey's Pinelands National Reserve. Report
DOCUMENT RESUME ED 313 304 SO 020 349 AUTHOR Hufford, Mary TITLE One Space, Many Places: Folklife and Land Use in New Jersey's Pinelands National Reserve. Report and Recommendations to the New Jersey Pinelands Commission for Cultural Conservation in the Pincluniis National Reserve. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 86 NOTE 152p. AVAILABLE FROM American Folklife Center, Library of Congress, Washington, D.C. 20540 ($10.00). PUB TYPE Books (010) -- Reports Research/Technical (143) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Community Change; Community Characteristics; Community Development; *Conservation (Environment); *Cultural Context; Cultural Differences; Cultural Traits; Environment; *Folk Culture; Geographic Regions; *Regional Characteristics; *Regional Planning IDENTIFIERS Culture Preservation; New Jersey; *Pinelands National Reserve ABSTRACT In 1978, the U.S. Congress established the Pinelands National Reserve on a million-acre landscape of New Jersey woodlands, farms, marshes, suburbs, towns, rivers, and bays. The reserve was to protect not only the region's great natural beauty and scientific value, but also the cultural life of its people, which is largely undocumented. In 1983, the American Folklife Center of the Library of Congress inaugurated the Pinelands Folklife Project, a field survey that documented on audio tape and film hundreds of residents of the area, capturing images of their lives in songs, stories, recipes, poems, crafts, festivals, recreation, tools, and technologies. Like natural resources, such expressions warrant consideration from planners, but their intangible aspects pose a special challenge. This document refutes the popular image of the region as a wilderness sparsely populated with quaint, backwoods people, presenting instead a place rich in cultural and environmental diversity and describing how residents convey their sense of place through myriad cultural expressions, which planners can factor into their land-use decisions. -
The Psychedelic Poster Art and Artists of the Late 1960S
Focus on Topic The Psychedelic Poster Art and Artists of the late 1960s by Ted Bahr Bahr Gallery New York, USA 46 Focus on Topic The stylistic trademarks of the 1960s To advertise these concerts, both promoters turned to Wes Wilson at Contact Printing, who had been laying psychedelic poster were obscured and disguised out the primitive handbills used to advertise the Mime lettering, vivid color, vibrant energy, flowing Troupe Benefits and the Trips Festival. Wilson took organic patterns, and a mix of cultural images LSD at the Festival and was impacted by the music, from different places and periods -- anything to the scene, and the sensuous free-love sensibilities of confuse, enchant, thrill, and entertain the viewer. the hippie ethos. His posters quickly evolved to match the flowing, tripping, improvisational nature of the The style was also tribal in the sense that if you developing psychedelic music -- or “acid rock” -- and could decipher and appreciate these posters his lettering began to protrude, extend, and squeeze then you were truly a member of the hippie into every available space, mimicking and reflecting the subculture – you were hip, man. totality of the psychedelic experience. His early style culminated in the July 1966 poster for The Association which featured stylized flame lettering as the image The psychedelic poster movement coincided with the itself, a piece that Wilson considered to be the first rise of hippie culture, the use of mind-altering drugs like truly psychedelic poster. LSD, and the explosion of rock and roll. San Francisco was the center of this universe, and while prominent psychedelic poster movements also developed in London, Detroit, Los Angeles, and Austin, Bay Area artists both initiated and dominated the genre. -
ARSC Journal These Films
Sound Recording Reviews 213 Judy Garland: The Golden Years at M-G-M - The Harvey Girls, The Pirate, Summer Stock. MGMIUA Home Video. ML104869. 5 laser discs, 2 sides in CAV. 7 hours ofprerecordings on analog track; stereo in part; NTSC. Released in 1995. Thoroughbreds Don't Cry and Listen, Darling. MGMIUA Home Video. ML104569. 2 laser discs. 21 minutes ofprerecordings for Listen, Darling on analog track; NTSC. Released in 1994. The Ultimate Oz. MGM/UA Home Video and Turner. ML103990. Includes The Wizard of Oz, ML104755, 2 laser discs, 4 sides in CAV, THX and No-Noise; and The Wonderful Wizard of Oz: The Making of a Movie Classic, ML104756, 1 laser disc, THX. 4 hours 48 minutes of prerecordings on analog and digital tracks; NTSC. Released in 1993. The Wizard of Oz: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71964. 2 compact discs. Released in 1995. Meet Me In St. Louis: 50th Anniversary Edition. MGMIUA Home Video and Turner. ML104754. 3 laser discs and 1 compact disc of soundtrack (CD: MGM Records 305123). 4 sides in CAV; remixed from original multi-channel recording mas ters into stereo; 52 minutes of prerecordings on analog track; Includes The Making of an American Classic; NTSC. Released in 1994. CD also available separately on Rhino Movie Musicfl'urner Classic Movies R2 71958. Stereo. Released in 1995. Easter Parade: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71960. 1 compact disc. Released in 1995. That's Entertainment/ HI: Deluxe Collector's Edition. MGMIUA Home Video. ML103059.