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Notable Alphas Fraternity Mission Statement
ALPHA PHI ALPHA NOTABLE ALPHAS FRATERNITY MISSION STATEMENT ALPHA PHI ALPHA FRATERNITY DEVELOPS LEADERS, PROMOTES BROTHERHOOD AND ACADEMIC EXCELLENCE, WHILE PROVIDING SERVICE AND ADVOCACY FOR OUR COMMUNITIES. FRATERNITY VISION STATEMENT The objectives of this Fraternity shall be: to stimulate the ambition of its members; to prepare them for the greatest usefulness in the causes of humanity, freedom, and dignity of the individual; to encourage the highest and noblest form of manhood; and to aid down-trodden humanity in its efforts to achieve higher social, economic and intellectual status. The first two objectives- (1) to stimulate the ambition of its members and (2) to prepare them for the greatest usefulness in the cause of humanity, freedom, and dignity of the individual-serve as the basis for the establishment of Alpha University. Table Of Contents Table of Contents THE JEWELS . .5 ACADEMIA/EDUCATORS . .6 PROFESSORS & RESEARCHERS. .8 RHODES SCHOLARS . .9 ENTERTAINMENT . 11 MUSIC . 11 FILM, TELEVISION, & THEATER . 12 GOVERNMENT/LAW/PUBLIC POLICY . 13 VICE PRESIDENTS/SUPREME COURT . 13 CABINET & CABINET LEVEL RANKS . 13 MEMBERS OF CONGRESS . 14 GOVERNORS & LT. GOVERNORS . 16 AMBASSADORS . 16 MAYORS . 17 JUDGES/LAWYERS . 19 U.S. POLITICAL & LEGAL FIGURES . 20 OFFICIALS OUTSIDE THE U.S. 21 JOURNALISM/MEDIA . 21 LITERATURE . .22 MILITARY SERVICE . 23 RELIGION . .23 SCIENCE . .24 SERVICE/SOCIAL REFORM . 25 SPORTS . .27 OLYMPICS . .27 BASKETBALL . .28 AMERICAN FOOTBALL . 29 OTHER ATHLETICS . 32 OTHER ALPHAS . .32 NOTABLE ALPHAS 3 4 ALPHA PHI ALPHA ADVISOR HANDBOOK THE FOUNDERS THE SEVEN JEWELS NAME CHAPTER NOTABILITY THE JEWELS Co-founder of Alpha Phi Alpha Fraternity; 6th Henry A. Callis Alpha General President of Alpha Phi Alpha Co-founder of Alpha Phi Alpha Fraternity; Charles H. -
Wichita Symphony Orchestra Gershwin's Magic Key Young
Wichita Symphony Orchestra Gershwin’s Magic Key Young People’s Concerts January 26-28, 2016 Family Concert January 30, 2016 George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928) as well as the opera Porgy and Bess (1935). He began his career as a song plugger in a music store on Tin Pan Alley (played songs for people to decide if they would buy the song sheet), but soon started composing Broadway theatre works with his brother Ira Gershwin. Ira wrote the lyrics/words while George wrote the music. He moved to Paris to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Porgy and Bess is now considered one of the most important American operas of the twentieth century. In his jazz compositions he captured music from immigrants so not to lose that rich music, the voice of the American soul. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor. Gershwin's compositions have been adapted for use in many films and for television, and several became jazz standards recorded in many variations. Many celebrated singers and musicians have covered his songs. The Roaring Twenties is a term for the 1920’s in the Western world. -
Visions&Voices: Porgy and Bess
Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! Porgy and Bess USC LIBRARIES RESOURCE GUIDE Tuesday, April 29, 2014, Ahmanson Theatre, Los Angeles ROSS SCIMECA of the USC Libraries has selected the following resources to help you learn more about Porgy and Bess. Introduction Porgy and Bess premiered in 1935 on Broadway in New York City. The work is a collaboration among George Gershwin, DuBose Heyward and Ira Gershwin based on Heyward’s novel and play, both named Porgy. Gershwin considered Porgy and Bess an “American folk opera,” musically integrating blues and jazz into the classical opera genre. However, the work was not really accepted as an opera until the Houston Grand Opera mounted the complete score in 1976. Nine years later, the Metropolitan Opera performed it. Porgy and Bess is now internationally recognized as a profound and unique work that it is quintessentially American in expression. The performance you will be attending is the most recent Broadway production, which opened in January 2012 and closed September 23, 2012. It was nominated for ten Tony Awards, winning Best Revival of a Musical and Best Performance by an Actress in a Leading Role in a Musical (Audra McDonald). Synopsis The following synopsis comes from the musical’s official website at porgyandbessthemusical.com/story: On a quiet evening in Charleston’s Catfish Row, Clara and her husband Jake sing a lullaby (“Summertime”) to their baby. -
Gender in Gershwin's Porgy and Bess
Mona Sangesland Paper for MUHST 419A Library Research Award GENDER IN GERSHWIN’S PORGY AND BESS From its inception, public reaction to the diversity of Bess’ character from Gershwin’s Porgy and Bess has been very mixed. Many African-Americans were insulted by her portrayal as a low-life character1, which they felt would engender a negative perception of their culture, while many others sympathized with her meager circumstances.2 Bess is, consequently, a very controversial character and because of this, she is able to bring to light many issues, particularly regarding gender. As she is a less than ideal heroine, Bess’ often conflicting actions subject her to be perceived as weak and adhering to gender stereotypes. However, I would like to argue that while she is dependent upon men and trapped in an androcentric world, she is also able to defy these gender roles, creating a character that is ultimately very human in her conflicts. Through his music (particularly rhythms, text setting, and contrasting music), Gershwin was able to portray a woman who embraced and yet defied her role as a 1930s woman. I will discuss Bess’ musical roles and compare them with the arias of the women of Catfish Row, as well as examine the transformations Bess’ music undergoes in order to portray her diverse character, proving that she is both trapped by gender roles, yet unable to adhere to them at the same time. Three different versions of this story exist; DuBose Heyward’s novel Porgy, a theater adaptation called Porgy: A Play in Four Acts, by Heyward’s wife, Dorothy, and Gershwin’s opera, Porgy and Bess. -
Gershwin's Magic
GERSHWIN’S MAGIC KEY SCHEDULE A: TECHNICAL REQUIREMENTS 1. PRODUCTION NOTES Gershwin’s Magic Key is a theatrical presentation designed to introduce children to the life and music of George Gershwin. Twenty-three excerpts of Gershwin’s best-loved worKs are presented in concert as two professional actors perform a fully- staged play about the great composer’s life in combination with a featured pianist and a full, on-stage symphony orchestra. This educationally-entertaining theatrical concert production features lighting, projections, sound, scenic properties and period costumes. 2. MUSIC EXCERPT CUES 1. Overture from Catfish Row: Symphonic Suite in 13. "Rialto Ripples"(Gershwin - TyziK) Five Parts: I 14. Humoresque op. 101 no. 7 (DvoraK - TrinKaus) 2. Segment from Rhapsody in Blue 15. Second Rhapsody (New York Rhapsody) 3. "Swanee" (Gershwin - Wodehouse) 16. "Promenade" (Gershwin - BerKowitz) 4. Clarinet solo from Rhapsody in Blue 17. An American in Paris 5. Fugue subject from Catfish Row: Symphonic 18. "Summertime" & "Bess, You Is My Woman Now" Suite in Five Parts: I from Catfish Row: Symphonic Suite in Five Parts: 6. "I Got Plenty O’Nuttin" from Catfish Row: I & II Symphonic Suite in Five Parts: II 19. "Oh Lord, I’m On My Way" from Catfish Row: 7. "StriKe Up The Band" (Gershwin - MacPherson) Symphonic Suite in Five Parts: V 8. WoodblocK hit/orchestra cheer 20. Concerto in F: III 9. "TaKe Me Out to the Ball Game" (Norworth and 21. Medley from "Oh, Kay!" (Gershwin-Warner) Tilzer) 22. "Second Prelude" (Blue Lullaby) 10. "I’ll Build a Stairway to Paradise" 23. Cuban Overture 11. -
ISSUE 4 FALL 2000 CONTENTS DEFINING the WIND Defining the Wind Band Sound
A JOURNAL FOR THE CONTEMPORARY WIND BAND ISSUE 4 FALL 2000 CONTENTS DEFINING THE WIND Defining the Wind Band Sound ... page I BAND SOUND: by Donald Hunsberger Patrick Gi lmore and his contributions to the THE GILMORE ERA (1859-1892) development of the American wind band BY DONALD HUNSBERGER INSIGHTS Three Japanese Dances .. page 12 In Wine/Works Issue 2, we discussed the development and influence of the English militm)l by Bernard Rogers band journal in shaping English ensembles during the second half of the 19th centu1y. A new full score and set of pruts in an edition These English band practices were brought to America by music and instrument distributors by Timothy Topolewski and furth er highlighted by the visit of Daniel Godfrey and the Band of the Grenadier Guards CONVERSATIONS to Boston in 1872. The one person who, above others, may be credited for creating fonvard A Talk with Frederick Fennell .. page 18 movement in American band instrumentation is Patrick Gilmore, whose contributions were Conductor Fennell talks about hi s eru·ly previously listed as occurring through instrumentation expansion, balancing the number of impressions of the first performance of pe1jormers, and especially through his awakening both the A1nerican public and the musical the Three Japanese Dances in 1934 world to the vast untapped potential of the full woodwind-brass-percussion ensemble [WindWorks Issue 3]. A Talk with Mrs. Beman/ Rogers ... page 20 Elizabeth Rogers discusses Bernru·d Rogers' Th e period between the Civil War and John Philip Sousa ssuccess with his own professional approach to writing the Three Japanese Dances band in the 1890s has been somewhat of a historical "black hole" due to a lack of available resources; it is hoped that important events and developments may be fo llowed through WIND LIBRARY analysis of instrumentation/personnel changes and especially through actual scores of the Catfish Row by George Gershwin .. -
Spoleto Festival USA Announces Live Broadcast of Opera Porgy and Bess in Marion Square Monday, May 30 at 7:30Pm
SPOLETO FESTIVAL USA NEWS RELEASE Press Contacts: Jennifer Scott, Director of Marketing & Public Relations 843.720.1137 office | 702.510.4363 cell [email protected] Jessie Bagley, Marketing & Public Relations Manager 843.720.1136 office | 843.696.6012 cell [email protected] Spoleto Festival USA Announces Live Broadcast of Opera Porgy and Bess in Marion Square Monday, May 30 at 7:30pm Broadcast to be screened outdoors at West Ashley High School Tuesday, May 31 at 7:30pm Events free to attend and open to the public Presented in association with Piccolo Spoleto Festival May 4, 2016 (CHARLESTON, SOUTH CAROLINA)—Festival General Director Nigel Redden today announced a live broadcast of opera Porgy and Bess onto a jumbotron screen in Marion Square on Monday, May 30. Thanks to generous sponsorship by Wells Fargo, the simulcast will be open to the public and free to attend. The live broadcast of the performance taking place at the Charleston Gaillard Center will start at 7:30pm. The following night, Tuesday, May 31, the performance will be shown on a jumbotron screen at the West Ashley High School practice field at 7:30pm. This screening will also be free to attend. Presented in association with Piccolo Spoleto Festival and the City of Charleston Office of Cultural Affairs, these events will significantly expand the audience for the highly-anticipated production that is part of the Festival’s 40th season. Additional sponsorship for this event has been provided by the Charleston Area Convention and Visitors Bureau, BET Networks/Viacom, and LiftOne. “Last year, when I ran for mayor, I said that one of our goals should be to improve our citizens’ quality of life by making the arts more accessible to more residents in more areas of our city. -
Montgomery Aviation: a Rising Hoosier Star Grand Rapids, Michigan Texas Jet, Inc
2nd Quarter 2010 MMontgomeryontgomery AAviationviation A RRisingising HHoosieroosier SStartar Also Inside • IIndustryndustry AuditAudit Standards:Standards: FFactact oorr FFiction?iction? • TThehe EEU’sU’s SSchemecheme ttoo RReduceeduce CCarbonarbon EEmissionsmissions • BBuildinguilding CommunityCommunity andand AirportAirport RRelations:elations: IIdeasdeas YouYou CanCan ImplementImplement Permit No. 1400 No. Permit Silver Spring, MD Spring, Silver PAID U.S. Postage Postage U.S. Standard PRESORT PRESORT 1307*%*/('6&-"/%4&37*$&4505)&(-0#"-"7*"5*0/*/%6453: $POUSBDU'VFMt1JMPU*ODFOUJWF1SPHSBNTt'VFM2VBMJUZ"TTVSBODFt3FGVFMJOH&RVJQNFOUt"WJBUJPO*OTVSBODFt'VFM4UPSBHF4ZTUFNT tXXXBWGVFMDPNtGBDFCPPLDPNBWGVFMtUXJUUFSDPN"7'6&-UXFFUFS 2nd Quarter 2010 Aviation ISSUE 2 | VOLUME 8 Business Journal Offi cial Publication of the National Air Transportation Association Chairman of the Board President Kurt F. Sutterer James K. Coyne Midcoast Aviation, Inc. NATA Cahokia, Illinois Alexandria, Virginia Vice Chairman Treasurer James Miller Bruce Van Allen Flight Options BBA Aviation Flight Support Cleveland, Ohio The EU’s Scheme to Reduce Carbon Emissions Orlando, Florida By Michael France 22 Immediate Past Chairman This year marks the beginning of aviation’s inclusion into the Dennis Keith European Union’s Emission Trading Scheme, which is basically Jet Solutions LLC Europe’s version of a market-based approach to the reduction of Richardson, Texas greenhouse gas emissions. U.S.-based aircraft operators who fl y into, Board of Directors out of, or between EU airports will be affected. Charles Cox Chairman Emeritus Northern Air Inc. Reed Pigman Montgomery Aviation: A Rising Hoosier Star Grand Rapids, Michigan Texas Jet, Inc. By Paul Seidenman and David J. Spanovich 25 Fort Worth, Texas When Andi and Dan Montgomery took the plunge into the FBO Todd Duncan business at Indianapolis Executive Airport (TYQ) in 2000, it was Duncan Aviation Ann Pollard an especially risky business given that neither had any prior FBO Lincoln, Nebraska Shoreline Aviation experience. -
A Critical Discourse Analysis of Interracial Marriages in Television Sitcoms
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 Drawing the Primetime Color Line: A Critical Discourse Analysis of Interracial Marriages in Television Sitcoms Jodi Lynn Rightler-McDaniels University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Rightler-McDaniels, Jodi Lynn, "Drawing the Primetime Color Line: A Critical Discourse Analysis of Interracial Marriages in Television Sitcoms. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2725 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Jodi Lynn Rightler-McDaniels entitled "Drawing the Primetime Color Line: A Critical Discourse Analysis of Interracial Marriages in Television Sitcoms." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Communication and Information. Catherine A. Luther, Major Professor We have read this dissertation and recommend its acceptance: Elizabeth Hendrickson, Lori Amber Roessner, Barbara Thayer-Bacon Accepted for the Council: Carolyn R. -
Nl261-1:Layout 1.Qxd
Volume 26 Kurt Weill Number 1 Newsletter Spring 2008 LOST IN THE STARS Volume 26 Kurt Weill Number 1 Newsletter In this issue Spring 2008 Note from the Editor 3 ISSN 0899-6407 Feature: Lost in the Stars © 2008 Kurt Weill Foundation for Music 7 East 20th Street The Story of the Song 4 New York, NY 10003-1106 Genesis, First Production, and Tour 6 tel. (212) 505-5240 fax (212) 353-9663 The Eleanor Roosevelt Album 10 Later Life 12 Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Books Weill but take a broader look at issues of twentieth-century music and theater. With a print run of 5,000 copies, the Newsletter is dis- Handbuch des Musicals: tributed worldwide. Subscriptions are free. The editor welcomes Die wichtigsten Titel von A bis Z 13 the submission of articles, reviews, and news items for inclusion in by Thomas Siedhoff future issues. Gisela Maria Schubert A variety of opinions are expressed in the Newsletter; they do not The Rest Is Noise: necessarily represent the publisher's official viewpoint. Letters to Listening to the Twentieth Century 14 the editor are welcome. by Alex Ross Joy H. Calico Staff Elmar Juchem, Editor Carolyn Weber, Associate Editor Artists in Exile: How Refugees from Twentieth-Century War and Dave Stein, Associate Editor Brady Sansone, Production Revolution Transformed the American Performing Arts 15 by Joseph Horowitz Kurt Weill Foundation Trustees Jack Sullivan Kim Kowalke, President Joanne Hubbard Cossa Performances Milton Coleman, Vice-President Paul Epstein Der Silbersee in Berlin 17 Guy Stern, Secretary Susan Feder Tobias Robert Klein Philip Getter, Treasurer Walter Hinderer Welz Kauffman Aufstieg und Fall der Stadt Mahagonny in Mainz 18 Robert Gonzales Julius Rudel Aufstieg und Fall der Stadt Mahagonny in Essen 19 David Drew and Teresa Stratas, Honorary Trustees Robert Gonzales Harold Prince, Trustee Emeritus Lady in the Dark in Oullins 20 William V. -
Reds Sponsor Porgy and Bess and America Misses the Boat
louth Carolinian ft ©orgy and Bess fcft Is Operatic Star Makes Brilliant Reds Sponsor Porgy and Bess O^ ro [dway Return SC Opera Is Greatest NEW YORK, July £> ai-Th-so Yet Created by Americans are lean days in the Broadway NEW YORK, Murch 14 CT»-Thf And America Misses the Boat theater. How lean? The musical isn©t n toucher audience than one By Spaelh composed mostly of actors, per-1 By Dorothy Thompson "Porgy and, Bess" is its most re George Cernhwir©s "folk opera," 1 "The Glenn Miller Story" Is liable and perststant current at formers, ihneers, musicians, writ-j c-rs and others concerned with rival MOSCOW. Dec. 13-Ono of the! (act is that with unused aelinq "Porjty and Bens." Ii one of the j in production at Universal City, traction. things that was discussed and pro major musical phenomena of our Calif., under the musical diree- This story of Catfish Row In shows. This is ji review of a pre-| talent equal lo any wore it no* miere at a Monday matinco. And irtntpd at Ihe first Geneva Confer- idle most of the time, anil will, lime. ThU writer vividly remem lion ot Joseph (jershenson. Tint South Carolina by Du Bose and bers going over the score with its motion picture promises to win Dorothy Heyward, with music by performers in rivnl Broadway shows] rnco was "cullurnl nxrhfirnjrs" bn- playwrights second to none in lht were mostly the audience. composer In Boston hotel room. the Inu-rt-st of even those who may George Gershwin, has been 10 twoen the \\V-st and tho Sovirt world (who are often hotter sup It tven reached Broadway. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Ridehail Revolution: Ridehail Travel and Equity in Los Angeles Permalink https://escholarship.org/uc/item/4r22m57k Author Brown, Anne Elizabeth Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Ridehail Revolution: Ridehail Travel and Equity in Los Angeles A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Urban Planning by Anne Elizabeth Brown 2018 © Copyright by Anne Elizabeth Brown 2018 ABSTRACT OF THE DISSERTATION Ridehail Revolution: Ridehail Travel and Equity in Los Angeles by Anne Elizabeth Brown Doctor of Philosophy in Urban Planning University of California, Los Angeles, 2018 Professor Brian D. Taylor, Chair A stark mobility divide separates American households with and without cars. While households with cars move easily across space, households without cars face limited access to opportunities. But no longer. Ridehail companies such as Uber and Lyft divorce car access from ownership, revolutionizing auto-mobility as we know it. Despite its high-tech luster, we do not yet know how ridehailing serves different neighborhoods and travelers, and who, if anyone, is left behind. The closest historical analog to new ridehail services is the taxi industry, which has a history of discrimination, particularly against black riders and neighborhoods. Ridehail services may discriminate less than taxis and extend reliable car access to neighborhoods underserved by taxis. Or they may not. In this study, I pose and answer three questions about ridehail access and equity in Los Angeles. First, what explains the geographical distribution of ridehail trips across neighborhoods? Second, what explains ridehail use by individuals? Finally, is there evidence of racial or gender discrimination on ridehail and taxi services? To answer these questions, I relied on two novel data sets.