October;~87C~J '::.-~

Total Page:16

File Type:pdf, Size:1020Kb

October;~87C~J '::.-~ ~~~.:--I. October;~87c~j '::.-~ . • ."'-" ~ ...,.' ., .. • • ,.' Se " "'-.. --'~ . - '.- ~f;': ~-'--'" . "" -"""'".' , , " ,.. · ,'. ' . :'i;;>•. t'-·:~ '".", ,.,.'.;- , , .. " --- ,, _.",,---. -- ""'~'~', . ~ : !::'., '::'. , "'-'7-"-;-' '~~5 ~~ -'T ia -C_'_=<· -,- ", ~-o-C"__ - ",=- ~, ,> • t'. " • "".--. , ~ \.l. ,." -. ''- <, . -, - • , .. " .. " "•• .to' >;;:."-, . _ :bo:rd,o·" ~.,. ' ..,," i: '.' .. ... 0.·-. ~- ~ .''.-" ,' " ..' ,· ' . ~, , "". t--,,·o, ; ..'---- ,,-. ~", -~' "'.,. ---. _. ~ -=-'... .'~'-'.- .. ('. -.- " ...> 1--• ."_. " , ", -, , , , . ,.. -.' . -" '';;. "',"'" " ,. .. I, ':<,. :'~::' F .', , '/: ' " ' " " .. , , " ' " - -'-'". - -" • ----,,--- , , .'"""; " , " ,. .," , " .. • '."j , "': .' . ., • • , • .. '.' i • .... • • , .. - " ,' ", " " .. , ,"" " -., , , , , , , ,--' , :.-' .. ' , " , -, , " J " .,-.~, :' " "" ,(, "-.",;,~ ," -' " .' • • ~'i: ~ '--=-- =­ • --..--' " ..- '''-_--0 _ " 1 ~ .' .- .' . c~ _ " " r ~ ., -- ~ • .~ ,.- • , ''-' " ,,: ~'.J. 'r' • ->, ~ '" " , ' . " I ,', , " , "-'- .. , " , . , • c_ : '. .. ',' '.- , , , . --' / -, , " '/~ -, ' j-~;':,.. • \ • , .-.,,:; "'--' . ", • '~~. '00._._ ~. - I ," , , ",< " -.:..,;. "'4:-~ , , i~:,i , '--3 <=.~ ~-. '.~- . --~-.~ .. =--, =--~ .. .. :;: "".' --- • , _. - SAL A BANCHETTI - VILLA CARLOTTA • '1\ ) • .. • • 7 , L. Alla Villa Carlotta si mangia, si beve e si balla, in una sala , privata capace di ospitare • •, 150persone. •, 1 A voi la scelta dell'occasione i ,I • dafesteggiare!! ! Contattare SigS. Roberts I 016379941 \ , • 39 Charlotte• Street LondonWlP !HA 2 _______________r-.- Sommario Contents • Front Cover -Si e ' costituto un altro governo italiano ­ ma dureraI ? Vedete pagina 5 Copertina -L'Amerigo ~espucci a Londra - pagina 14 SERVIZI SPECIALI SPORT , ARTS l!: LEISURE • • IL GOVERNO GORIA I p. 5 ARENA MUSICALE p.26 FLYING HIGH p.17 CINEMA p.27 WE REMEMBER CALLAS p.2S SPORTLIGHT p.30 TEMPO LIBERO p.34 REGULAR FEATURES PAGINA DEI PICCOLI p.3S MAMMA'S RICETTA p.38. '" b.UROFOCUS p. 7 THE HILL p.l0 AVVISI .,. NOTICES CRONACA DELLA COMUNITA': p.12 • CHIESA DI SAN PIETRO p.20 Borgotaro INFORMAZIONI UTILI p.23 Finsbury Library WHERE TO BUY BACKHILL p.32 Italo Tozzi CALENDARIO DELLA COMUNITA' p.39 Prof. Greco Amerigo Vespucci Ponti's Pontin COPYRIGHT 1987 BACKHILL Matrimoni 136' Clerkenwel1 Road, London, E.C.l. NEWS FROM ITALY p.19 Printed by Sterling Printing Co. Ltd. LETTERS - p.24 78 Bounns .. Green Road, London NU 2EU. bbonamento • L'abbonamento annuale (Io edizioni) The· annual subscription (Io issues) con le spese postali, solo nella GB, including postage, UK only, is £7.00. costa £7.00. Ricordatevi che BACKHILL Remember BACK HILL is voluntary and , viene prodotto da. volontari e non ha non-profit making, and any additional scopo di profitto. Qualunque vostro donation you make will help us to continue .dono ci aiutera' a ·continuare a servire this service to the Italian Community. la comunita' italiana. BACKHILL Subscriptions IJ6 Clerkenwell Road London Eel --------------------~---------------------------------------------------------------- Name Date Nome•••••••••••...•..••....•..•••••..................~.............. Data.. Address Subs!Abbonamento Indi riZZ<>••••••••••••••••••••••••••• ~ •••••••••••••••••••••••••••••••• Donation/Dono •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Total enclosed •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Somma accIusa £ .. • Cheques.payable to:'BACKHILL I Vaglieintestati a:'BACKHILL.' . .. ~ -" . 3 .' , Due 'Parole di Don Roberto Russo Cari amici, < . :ha lavato, ,le nostre teste e si e dedicato a preparare i '.. > ". -- ~ • - ' ' piu" che inai ,quest'anno, ci ha fatto "capue questa ,carri per la Processione. sento it profon90, ricono- '. •• < '. ~ ", verita', 'Forse la ,Madonna Anche qUi progettl, spese, , . , . ' scente bisogno dl ,nl)grazlar:- 'ha voluto questo per tn- lavoro,. preoccupazlOne, ma , vi per, la partecipazione,'alla, doraggiaiCi negli arini 'futuri. ' 'speranza nell I aiuto della , Processione El alia Sagra. Per incoraggiare, direi Madonna. E I'aiuto e' 've- . Con un cielo piovigginoso e nuto. • • quasi di piu' i nostri cari pieno di nuvole, slete venutl amici che hanno lavorato it Un grazie particolare ai gEi­ a ,cammihare dietro la Ma­ sabato e la domenica nel nitori che anche domenica donna. Siete ,venuti in forma Car Park a preparare la all'ultimo momento non sole'nne, possiamo dire. C'e' , .. Sagra: incertezza, tempo hanno ritirato i propri bam­ stata una ,parteclpazlOne an- brutto, roba comprata, lavo- bini, ma Ii hanno mandati • • •• • • cora piu' piena di gruppi, ro e preoccupazlOne, poco mezzl vestltl con 1 costuml una' partecipazione di pre­ tempo a disposizione tra della'.ProcesslOne 0 con 1. ghiera e di spiritualita'. E' una pioggia e I'altra. E la lore vestitini nuovi da Prima venuta meno' genie, ma la . ' . pioggia e' fini.ta e la gente Comunione. gente" e' venuta; Sono n­ e' arrivata, e la Comunita' 11 mio grazie non e' per masto, onorato e ,commosso italiana e' sempre piu' bella, qualche cosa che ayete dato per ·Ia, partecipazione dell~ grazie a quelli che ci si gen~e; pensavo che non Cl dedicano, grazie a quelli a me personalmente. E' un fosse proprio nessullo." In­ che partecipano. Una volta "grazie" per la vostra fede, per le vostre idee, per la vecedobbiamo dire che ci si arrabbia, una volta si questa Processione e' un ride, e tutti andiamo avanti. vostra caritaI che ci aiute­ atto di fede; una fede es­ ranno a godere I'amore e la pressa in modo pcrs~mal~, E non possiamo dimenticare misericordia di Dio per noi e per le nostre famiglie; ma e ' una fede. La ploggla I'altro gruppo di amici che Dear Young' Friends, still came, helping us to as usual you were once dedicated to Our Lady. Try organise things. You partici­ and pray to her more, pe­ again magnificent at this pated by walking' ,in the come more involved in the year's Procession and Sagra. Procession, dressing up in Church, take the Sacraments. • The weather on the day was our costumes, or walking Be ready to feel the joy of with the statues. i bad, as it had been for a living with God in your soul: , I few days before, and yet It is for this reason that I you will feel special in the you were all there, ready would like to encourage you knowledge that your are and willing to help. You all, especially' in this year following Christ. ,/7111\'$3:>- :.11 PATR ICXS INTERNATIONAL CENTRE , WE OFFER: Sports and Games • Welcome FOR EDUCATIONAL YOUTH SERVICES , Discos Young people from all counrrles founded by C:udinal G. B. Burne ....;/1 find at Sr. Po/rick"! 0 frimdly Folk Evenings ....v:!t:om'.. Qlld 11u: opponullily to make 24 GREAT CHAPEL STREET. LONOON WI 101$ offriends and hal'e a good time. , iuS! off Oxford Strut Parties CQm~ along! hie look forward to near Tonenham Court Rold Tube Sution meeting you. Tel: 01·7342156 & 010439 0116 Discussions and Lectures •• " . 4 • 11 GovernoGorial • • • Giovanni Goria, ce I'ha fatta. nuovo, deve acconteniarsi di Incaricato dal Presidente una "convergenza program­ Cossiga a formare il governo matica". E' cioe', come e' della decima legislatura, ha stato definito, "un com­ presentato al Quirinale la plesso di forze diverse che lista dei nuovi ministri mar­ si accordano politicamente e tedi I 28 luglio, di sera tardi. parlamentarmente per dare liE che Dio ci aiuti", ha vita al governo del paese, pregato in pubblico dopo per realizzare un programma". Si parla di "forte conver­ una giornata convulsa, che rischiava di mandare. tutto genza sui programma e sui • criteri per la organizzazione a monte. Motivo, il mercato della struttura di governo" delle poltrone. Per entrare emersa tra DC, PSI; PSDI, nel governo il PSDI di Ni­ PRI, PLI. colazzi voleva due ministri e mezzo. Quando DC e PSI hanno ceduto, Goria e' salito Forte convergenza evidente­ al Quirinale. mente non significa assolu­ ta coincidenza di punti di 11 nuovo Presidente del Con­ vista. E sui programma ac­ siglio, ex Ministro' del cordato i temi sono piut­ Tesoro, con i suoi 44 anni tosti seri. Si sono i referen­ e' il piu' giovane ,esponente dum, il nucleare, l'energia, • della Democrzili Cristiana e la giustizia, ci sono le che entra > a Palazzo Chigi. riforine istituzionali, etc., La scelta di Cossiga ha sor­ etc.• preso Piazza del Gesu' dove il Segretario De Mita si Sull'accordo di ordine poli­ attendeva di avere I'incarico. tico, che dovra' caratte­ , Cossiga ha preferito pescare rizzare l'anima oltre che fuori della mischia che I'azione del direttivo, il ancora continua tra Craxi problema rimane aperto. E' ed'il segretario DC. per questo che si parla di Goria - governo di decantazione, go­ I'ansia e' comprensibile n Goria r e' un governo verno a termine e via dicen­ formato dall'ex pentapar­ do. deputati democristiani Mino tito, con Democristiani, Martinazzoli. Socialisti, Socialdemocratici, "E' un governo che dovra I Repubblicani e Liberali. guadagnarsi il suo futuro e "Credo - ha aggiunto - che le condizioni di partenza non ,, la sua forza nel confronto E' un governo che per defi­ parlamentare e nell'atti­ sono cosi' rassicuranti come nire non ha una maggioranza vita', programmatica" ha noi avremmo voluto, pero' politica, ma, nel linguaggio spiegato il presidente dei vonei essere realista. 11 .. Presidenza Goria DC Industria Battaglia Pri Vicepresidenza Amato Psi Lavoro Formica Psi Esteri Andreotti Dc Affari speciali Russo Jervolino Dc Interno Fanfani . Dc <':ommercio estero Ruggiero Psi Giutizia Vassalli Psi Marina mercantile Prandini Dc' Bilancio
Recommended publications
  • 1. Early Years: Maria Before La Callas 2. Metamorphosis
    ! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani.
    [Show full text]
  • Composition Catalog
    1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Philosophy and Music CVSP 295X
    Philosophy and Music CVSP 295X This course intends to couple specific philosophical texts and concepts with related musical works, topics and styles (actual listening to music and viewing various operas and performances). Comparisons will as well cover material pertaining to artistic means besides music, such as sculpture, dance, theatre, cinema, literature and architecture. Although music, as artistic form will be the main focus, the course shall try to relate art in general and philosophy. The students shall learn to relate to philosophy not only intellectually or conceptually, but also esthetically; in a way, it will be a ludic (but serious) way to “philosophize”. On the other hand, they will be enticed to perceive art as an essential, profound element of human existence, rather than as mere entertainment. An effort will be made to relate both art (music) and philosophy to historic and sociological context such ad wars, scientific discoveries, technology…etc. 5 different topics will be presented. An attempt shall be made at creating bridges between the various topics in the goal of synthesizing an overall panoramic view: 1- Bach/Leibniz and the Baroque 2- The Dionysian and the Apollonian 3- German romanticism 4- Kierkegaard’s stages of life 5- Artistic creation: the old and the new Literature: Hemingway, Heine, Rilke, Goethe, Novalis, Schiller, Holderlin, Merimée, Lou Salome, Anais Nin, Thomas Mann ...etc. Composers: Bach, Mozart, Beethoven, Schumann, Schubert, Mahler, Brahms, Schoenberg, Kurtag, Nietzsche, Webern, Ligeti, Berio, Xenakis, Boulez, Debussy…etc. Artists and performers: Kandinsky, Velasquez, Monet, Manet, Escher, Durer, Maurice Bejart, Pina Bausch, Pollock, Warhol, Klee, Glenn Gould, Maria Yudina, Maria Callas, Placido, Domingo…etc.
    [Show full text]
  • Hydra-Spetses
    HYDRA-SPETSES DISTANCE: 93 miles CRUISING TIME: 4 Hours CROUISING SPEED: 30 Knots PROGRAM 9:30-10.00 Boarding Boarding from our base, the Navex Yacht Parking at Harakas Beach in Legrena Attica and traveling to Hydra crossing the Argosaronic Gulf. 10:50 Tselevinia In less than 60 minutes (26 miles), we reach Zelevinia. The unfamiliar exotic paradise that hears in the name of Cavo Dog or Celebinia Poros, is a wonderful place adjacent to turquoise waters and "blue lakes" where you can swim, reminiscent of exotic destinations. Stop about 1 hour. 12:00 Departure Departure for the port of Spetses 13:00 Spetses In less 1 hour (20 miles) we arrive at the port of Spetses, to visit the city, time for sightseeing and lunch. Spetses is a historical Argosaronic island near the Argolic Peninsula, to the right of the entrance to the Argolic Gulf. The island got its present name from the Venetians after calling it Isola di Spezia which means Island of Perfumes because of the many flowers that existed. Stop about 2 hours. 15:00 Departure Departure for the port of Hydra 16:00 Hydra In less than 1 hour (16 miles) we reach the picturesque port of Hydra. An island of Argosaronikos that gave birth, nurtured and dominated during the war for the independence of the whole country. Hydra, with her peculiar architecture and her continuous contribution to the tourism and cultural life of our country, remains the jewel of Argosaronic and one of the most important resorts in Greece. Hydra became a famous destination people from all over the world, such as John Lennon, Eric Clapton, Rolling Stones, Aristotle Onassis and Maria Callas, Rex Harrison, Peter Oustinov, Leonard Koen and many others were enjoying their stay.
    [Show full text]
  • Performance As a Master Narrative in Music History
    Roundtable: Performance as a Master Narrative in Music History DANIEL BAROLSKY, SARA GROSS CEBALLOS, REBECCA PLACK, AND STEVEN M. WHITING The Editors or a Roundtable in this issue the Editors invited musicologists from various institutions to engage in an e-mail conversation with Daniel F Barolsky over the summer of 2012 to discuss the how music historians engage students with issues of performance in their classes. As Barolsky states in his opening essay “The music in our existing histories is restricted to past compositions, as mere museum artifacts. Yet the identities of the wonderful performers who brought these pieces to life (and many of whom we can still see and hear today!) are relegated to the liner notes, their presence and inter- pretive contribution repressed and ignored.” Are there ways we can enrich, transform, or adapt our teaching to focus more on a history of performance? Would such a change be more meaningful to our students, most of whom see themselves as young performers, rather than as young composers? What new questions, discussions, and course assignments would arise from such changes? The Editors invited musicologists who teach at a variety of schools (small liberal arts college, conservatories of various sizes and locations, and large state schools) to discuss the issue of teaching about music performance in music history courses and to share their thoughts and experiences about their work in this area. Daniel Barolsky began the conversation with an opening essay to which the panel responded by e-mail during the summer of 2012.1 Among the several threads that develop are questions about the choices for recordings of the score anthologies that accompany textbooks, the differences between teaching a survey for undergraduates and an advanced seminar, and teaching suggestions that address performance more clearly—such as 1.
    [Show full text]
  • MUCH 495: Music, Gender, and Sexuality Spring 2019 Class Times and Location: Tue/Thu 9:30-10:45Am, C303
    MUCH 495: Music, Gender, and Sexuality Spring 2019 Class Times and Location: Tue/Thu 9:30-10:45am, C303 Instructor Office hours: Dr. Erin Brooks Thu 12:30pm - 2:30pm Email: [email protected] **I am also happy to make office Phone number: x2759 hours by appointment Office: Schuette Hall A102 Course Description and Objectives: “MUCH 495: Music, Gender, and Sexuality” is a course for students who wish to explore interfaces between fundamental aspects of human culture and identity—music, gender, and sexuality. Certain basic qualities of gender strongly resemble basic qualities of music —each is a kind of performance and each is intrinsically embodied. Starting from this fundamental tension-in-common, we will explore the binaries that constrain our thinking about gender, as well as the intersections of gender and music with sex, social class, and race through their manifestations in a range of Western European and American musics. Throughout the semester we will read and discuss foundational texts exploring relationships between music, gender, and sexuality, and engage in close listening and score analysis of selected musical works. The class will be roughly divided into Western art musics before the midterm and American popular musics after the midterm. !1 During the semester you will develop an individual research project. Research, methods, and analysis will be shared with classmates at various stages; at the end of the semester, you will present your work and engage in peer commenting on each other’s projects. Students who successfully
    [Show full text]
  • WEST SIDE STORY at La Scala
    rt• s News for friends of Leonard Bernstein Spring/Summer 2000 The Leonard Bernstein To Our Collection Online Readers )$'. Leonard Bernstein Collection - Netscape ll!!I~ £i n typically exuberant fashion, file fdit )!iew Lao y,!indow !:!elp ILeonard Bernstein has taken a ~~drif.~l bold posthumous leap into the Search Guide Print Security 21st Century. Ever the multi­ media artist, Bernstein now has ~ Instant Message @) Internet d Lookup O New!.Cool @) RealPlayer a groundbreaking Internet AiW#!WMMAW11#11JM!AM-WMMiWiWM!AM•MMWl&WM;W#S presence through his archives, made available online by the Library of Congress. When the idea for this project was first being discussed eight years ago, C~onard it almost seemed like science fiction: the Bernstein archives accessible from a home computer? ~e-rnste-io Really? As usual, Bernstein turns out to be on the cutting edge. Colle-ctio At the same time that new media are being explored, it's ca.1920-1989 good to see the old media being Music Division, Library of Congress preserved, as the Grammy Foundation is doing with the Search by Keyword I Browse by Title Index I Name Index I Subject Index restoration of Bernstein's Omnibus kinescopes. And in another showing in an old medium - that creaky by Mark Eden Horowitz photographs, 1,100 pieces of dence, photographs, audio and dinosaur, television - we saw correspondence, 177 scripts from video recordings, fan mail, two WEST SIDE STORY leap to life hen WEST SIDE the "Young People's Concerts," conducting suits worn by Bernstein, in a crackling series of commer­ STORY debuted in 74 scripts from the "Thursday batons, and other types of materials.
    [Show full text]
  • Finance & Photography
    bulletin Finance & Photography 2021 eabh (The European Association for Banking and Financial History e.V.) Photograph: A projector with its lens from the Department of Polytheama and Photographic Mediums’ equipment. © National Bank of Greece eabh BULLETIN bulletin eabh bulletin KEY TITLE SUBMISSIONS eabh bulletin All submissions by email eabh - The European Association for EMAIL Banking and Financial History e.V. [email protected] DESIGN TEL Richard McBurney, grand-creative.com +49(0)69 36 50 84 650 EDITORS WEBSITE Carmen Hofmann, eabh Finance & bankinghistory.org Gabriella Massaglia, eabh Photography Hanauer Landstrasse 126-128, D-60314, ISSN Frankfurt am Main, Germany 2219-0643 LANGUAGE EDITOR LICENSE Chloe Colchester CC BY NC ND 2021 © eabh, Frankfurt am Main, 2021. All rights reserved. 3 INTRODUCTION Dear members and friends of eabh, Photographs are a key part of the archival collections of many financial institutions. Their emotional charge, their documentary power, their immediacy and universality set them apart from other archival documents. Used well, they provide an asset for any financial institution. This volume features articles from 17 financial institutions in eleven different countries. Almost 300 photographs provide glimpses of institutional practice over a span of 150 years. The photographs reveal stories about staff members, office buildings, and money; and they tell us about fashion, cultural movements, financial and industrial innovation, poverty, gender, colonization, leisure, and much more. This issue is the first of a series, and part of a wider project to explore the connections between finance and photography. eabh would like to invite its member and partner eabh institutions to join in by contributing to the second volume of the series.
    [Show full text]
  • “Jewels Valued at $400000 Stolen from Caruso's Summer Residence
    easthamptonlibrary.org Item of the Week from the Long Island Collection LONG ISLAND COLLECTION | DIGITAL LONG ISLAND | EAST HAMPTON STAR ARCHIVE "Jewels Valued at $400,000 Stolen from Caruso's Summer Residence," The East Hampton Star, June 11, 1920 Whether or not you enjoy opera, chances are you're familiar with Maria Callas, The Three Tenors, and Enrico Caruso. Born in Naples in 1873, Enrico Caruso's career pre-dates the latter performers, spanning from 1895 to 1920. Being one of the first global media sensations of his day, Caruso appeared in numerous newspapers, books, magazines, and newsreels. He served as the lead tenor for New York's Metropolitan Opera for eighteen consecutive seasons in over 850 performances and was heard live on stage during the first public radio broadcast transmitted in the United States. In addition to this, Caruso produced over 250 commercial sound recordings, which helped to bring opera music out of the opera house and into the ears of the general public. As can be gathered, Enrico Caruso was quite famous and, much like his profession, drama followed him everywhere. In 1906, he was fined $10 for pinching a woman in the Monkey House at the Central Park Zoo. In 1910, an extortion racket known as the Black Hand sent Caruso letters demanding money while threatening to damage his voice or hurt his family. Fortunately, the perpetrators were eventually arrested. In 1918, Caruso eloped with Dorothy Benjamin, who was twenty years his junior. She was the daughter of Park Benjamin Jr., a patent lawyer and writer, who used to rent the W.S.
    [Show full text]
  • The Month That Mothers Made
    May | 2019 Creative M onthly monthly news from our creative side M ay THE MONTH THAT MOTHERS MADE For thousands of years, humans have found ways to celebrate the maternal people in their lives, going all the way back to ancient Greece and Rome who celebrated with large festivals in honor of mothers. Christians later celebrated with "Mothering Sunday" which later turned into a more secular celebration throughout Europe. Children would greet their mothers with gifts and flowers to show their appreciation of them. Though the American version of Mother's Day began as a different idea. In the 19th Century America, right around the Civil War, Ann Reeves Jarvis began The Mother's Day Work Clubs in order to help educate young mothers the proper care of their children. Later these clubs would be used to help promote peace between Union and Confederate soldiers after the war. In the 1914 Jarvis' daughter, after years of legislating for an official holiday, received this honor for her mother. Signed by Woodrow Wilson, the second Sunday in May was set as the official holiday honoring mothers for the sacrifices they have made. So with Mother's Day right around the corner, here are a just a few famous female artists, who during their time, were the feminine trailblazers that laid a path for our generation (though these are but a small number, we could only fit a few, countless others hold this honor): Painters: Artemisia Gentileschi, Judith Leyster, Louise Élisabeth Vigée Le Brun, Berthe Morisot, Suzanne Valadon, Barbara Hepworth, Jenny Holzer, Kara Walker.
    [Show full text]
  • [email protected] Phone: 12 399 96 62 Perspektywy Kultury / Spis Treści / Table of Contents Perspectives on Culture No
    No. 30 (3/2020) perspektywy kultury perspectives on culture Czasopismo naukowe Instytutu Kulturoznawstwa Akademii Ignatianum w Krakowie Morze Śródziemne – centrum świata czy peryferie? The Mediterranean Sea— the Center of the World or the Periphery? Czasopismo naukowe Instytutu Kulturoznawstwa Akademii Ignatianum w Krakowie Academic Journal of the Institute of Cultural Studies, Jesuit University Ignatianum in Krakow PISMO RECENZOWANE / PEER-REVIEWED JOURNAL Zespół redakcyjny / Editorial Board: dr Łukasz Burkiewicz (redaktor naczelny / Editor-in-chief); dr hab. Leszek Zinkow, dr Paweł Nowakowski (z-ca redaktora naczelnego / Deputy Editor-in-chief); mgr Magdalena Jankosz (sekretarz redakcji / Editorial Assistant); dr Danuta Smołucha (redaktor działu – Przestrzenie cyberkultury, Editor – Areas of Cyberculture); dr Agnieszka Knap-Stefaniuk (redaktor działu – Zarządzanie międzykulturowe / Editor – Cross-cultural Management); dr hab. Bogusława Bodzioch-Bryła (redaktor tematyczny – e-literatura, nowe media / Editor – e-Literature and New Media); dr hab. Andrzej Gielarowski, prof. AIK (redaktor tematyczny – filozoficzne aspekty kultury / Editor – Philosophy of Culture); dr hab. Monika Stankiewicz-Kopeć, prof. AIK (redaktor tematyczny – literatura polska / Editor – Polish Literature) Rada Naukowa / International Advisory Council: dr hab. Eva Ambrozová (Newton College, Brno); dr Josep Boyra (Escola Universitària Formatic, Barcelona); dr Jarosław Duraj SJ (Ricci Institute, Macau); prof. dr hab. Tomasz Gąsowski (Akademia Ignatianum w Krakowie); prof. dr Jakub Gorczyca SJ (Pontificia Università Gregoriana, Rome); prof. dr Marek Inglot SJ (Pontificia Università Gregoriana, Rome); dr Petr Mikuláš PhD (Univerzita Konštantína Filozofa, Nitre); prof. dr hab. Henryk Pietras SJ (Pontificia Università Gregoriana, Rome); dr hab. Janusz Smołucha, prof. AIK (Akademia Ignatianum w Krakowie); dr Joan Sorribes (Escola Universitària Ministerstwo NaukiFormatic, Barcelona); dr hab. StanisławMinisterstwo Sroka, prof. AIK (Akademia Ignatianum w Krakowie); i Szkolnictwadr M.
    [Show full text]