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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 . -
Bring Me the Head of Frank Sinatra! Credit, and That He Keeps Three Loaded Double- in Early 1988
BRING ME THE HEAD OF FRANK “Old No. 6-7/8.” Screw those guys. Really. SINATRA! Jimmy's Bar Introduction If the group is already an adventuring party, then it stands to reason they will be in a tavern. If not, This is a module for 4-6 player characters of level well, they might as well meet at a tavern. 4-6. It is set in a gonzo post-apocalyptic past- Specifcally, Three-Arm Jimmy's, on the Hoboken future. waterfront. What that means, in practical terms, is that it is Three Arm Jimmy's is the sort of generic tavern set in the world presented in Gamma World or that unimaginative Game Masters always start Mutant Future (Encounter Critical could also easily modules in. It's got a bar, manned by Jimmy be used, although the setting is Earth, rather than himself—the extra arm comes in very handy for Vanth or Asteroid 1618). Statistics in this module pulling beers. The bar serves cheap but adequate will be given in Mutant Future terms. beer, a variety of rotgut liquors, most of which are nasty-ass industrial ethanol with a few drops of Other systems can be used, of course: since it favoring agents, and standard bar food, such as has been said that First Edition Gamma World salty deep-fried starchy things, onion rings, was the best edition of Dungeons and Dragons, pickled eggs, and the ubiquitous rat-on-a-stick D&D would work fne, as would Paranoia, Call of (show players Illustration #1). In addition to Cthulhu, Arduin, or an-only-slightly-variant Spawn Jimmy, there will be a waitress and a of Fashan, for instance. -
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. -
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. -
Come Pick Me up (Reissue)
P.O. Box 1235 Chapel Hill, NC 27514 USA Phone: 919.688.9969 x125 www.mergerecords.com International Sales Contact Kraegan Graves: [email protected] TRACK LISTING: SIDE A SIDE B 1. So Convinced 8. Smarter Hearts 2. Hello Hawk 9. Honey Bee 3. Cursed Mirror 10. June Showers 4. 1000 Pounds 11. Pulled Muscle 5. Good Dreams 12. Tiny Bombs 6. Low Branches 13. You Can Always Count on Me 7. Pink Clouds (In the Worst Way) MRG 163 BONUS: TBA audio. To be included on CD & LP download coupon In March of 1999, Superchunk traveled to Electrical Audio Superchunk Studios in Chicago to record the tracks that would become Come Pick Me Up. The addition of producer Jim O’Rourke allowed Superchunk to advance their sound with more Come Pick Me Up experimentation, including horn and string accompaniments. Ken Vandermark, Jeb Bishop, and Bob (reissue) Weston provided the horn section (saxophone, trombone, and trumpet, respectively) while Fred Longberg-Holm and Suzanne Roberts contributed on cello and violin. CD “It was exciting to work in the big room downstairs at Electrical. For part of our visit we also slept there, in the dark except for lights on all the gear blinking. It snowed a ton the day we got there, and I didn’t go outside for the first five or six days we were there,” Mac recalls. “I read an 180g LP interview where O’Rourke said we tried to make a two- month record in two weeks or something. I’m sure he’s right—we never wanted to spend the time or money mak- 10 July 2015 ing records the ‘proper’ way, but I like how this record came out, -
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. -
Bloodshot Records Announces 20Th Anniversary Compilation, While No One Was Looking
BLOODSHOT RECORDS ANNOUNCES 20TH ANNIVERSARY COMPILATION, WHILE NO ONE WAS LOOKING RELEASE DATE: NOVEMBER 18, 2014 ROLLING STONE COUNTRY PREMIERES BLITZEN TRAPPER’S COVER OF RYAN ADAMS’ “TO BE YOUNG (IS TO BE SAD, IS TO BE HIGH)” (album artwork, designed by Markus Greiner. Download for use HERE) While No One Was Looking: Toasting 20 Years of Bloodshot Records, a collection of 38 musical acts covering songs from the label’s catalog, will be released on November 18. The limited-edition double CD/triple LP/digital release (including a pre-order only blood- red vinyl) celebrates the 20th anniversary of the venerable independent Chicago alt- country/roots/punk label. The genre-spanning collection features artists such as Blitzen Trapper, Andrew Bird and Nora O’Connor, Ben Kweller, Mike Watt, Nicki Bluhm and the Gramblers, Shakey Graves, Chuck Ragan, Superchunk, and many others covering Bloodshot current and former roster acts such as Justin Townes Earle, Ryan Adams, Neko Case, Scott H. Biram, Ha Ha Tonka, Lydia Loveless, Old 97’s, Murder By Death, Robbie Fulks, Cory Branan, and more. The entire track listing – including original album titles – is included below. PRE-ORDER LINK: https://www.bloodshotrecords.com/album/while-no-one-was- looking-toasting-20-years-bloodshot-records On Wednesday, Rolling Stone Country announced the album details, artwork and pre- order link, and launched the album’s first track Blitzen Trapper’s take on Ryan Adams’ original “To Be Young (Is to be Sad, Is to be High)” from his seminal solo debut Heartbreaker. LINK: -
Lena Horne Live Welcome to a Deep Dive I'm Reggie. in This Episode, We
Lena Horne Live Welcome to a deep dive I'm Reggie. In this episode, we're going to take a deep dive into two live recordings by Lena Horne one recorded at the Sands Hotel in Las Vegas, the other at the Waldorf Astoria in New York. Two live recordings by one of the greatest live performers of her generation. I think you’ll wanna add these to your collection. Be sure to stick around for the end of the episode because there might even be a giveaway. Thanks for joining me for Lena Horne Live. When I was younger I had this dopey idea that the female jazz vocalist world was neatly divided into two camps, either you loved Sarah Vaughan or Ella Fitzgerald, you couldn’t love both. This didn’t exist for male vocalists because for me there was only one and that is Johnny Hartman. A dopey idea I know. Over the years my appreciation for Vaughan and Fitzgerald has grown but if I were faced with one of those desert-island disk situations I would choose recordings by Sarah Vaughan hands down. A part of my devotion to Vaughan can be contributed to the fact that I got to see Sarah Vaughan work live many times and those performances linger and heighten my listening pleasure right until today. Is that true for you as well? Has the experience of hearing or seeing musicians or music live enhanced your listening pleasure afterward? One of the things Lena Horne’s contemporaries would say is her recorded work is great but you’ve got to see her in person. -
The Las Vegas Strip...The Early Years
The Las Vegas Strip the early years by Pam Goertler assisted by Brian Cashman El Rancho Vegas The first hotel on the Strip In the 1930’s there was no Las Vegas “Strip”. Las Vegas was a railroad town, built to house the railroad workers and their families. The clubs, casinos, stores, schools, hotels, professional offices, and railroad station were all downtown. Highway 91 (now the Strip) went from Los Angeles to Salt Lake City, passing through Las Vegas. Scattered along the highway, leading into Las Vegas, were some small clubs, but they were few and far between. his new hotel. Mrs. Jessie Hunt owned the proper- As the legend goes…in 1938 Tommy Hull and ty, and Tommy began negotiations with her. Mrs. a friend were driving along highway 91. They were Hunt felt that the property was worthless. She offered a few miles outside of Las Vegas when to give it to Tommy, just to get rid of it! She finally they got a flat tire. Tommy waited with accepted payment of $150 per acre, for about 33 acres. the car while his friend hitchhiked into Las Vegas to get help. While waiting, After months of planning and construction, El Rancho Tommy counted the cars that passed Vegas opened on April 3, 1941. Having seen the beautiful him on the highway, and began to get resort while it was being built, Las Vegans dressed in their an idea. Highway 91 was a long stretch of finest attire to attend the gala opening. Wanting a com- road through a hot, dusty desert. -
The Rat Pack Is Back' Tribute
Days of Yore: Sahara snatches up 'The Rat Pack Is Back' tribute: By Carol Cling, Las Vegas Review-Journal Once upon a time, in the magical realm of Las Vegas, four princes -- well, actually, one Chairman of the Board, two princes and a court jester -- reigned supreme, dispensing song, dance and laughter. Their names were Frank, Dino, Sammy and Joey, a regal quartet that held court in what was known as the Copa Room. All but one is gone now -- and so is their fabled Sands showroom. But the spirit that transformed those vintage Vegas days has returned to the Las Vegas Strip with "The Rat Pack Is Back," a show devoted to their legendary high jinks that's now at the Sahara. Last year, "The Rat Pack Is Back" drew enthusiastic audiences to the Desert Inn's cozy Starlight Lounge for a sentimental journey back to Dec. 12, 1961, when Frank Sinatra's 46th birthday inspired his Rat Pack pals (minus Peter Lawford) to gather for a fictional one-night stand. But ongoing legal battles with the estates of Sinatra, Dean Martin and Sammy Davis Jr. -- three of the headliners the show salutes -- led to an early December shutdown. That in turn prompted a promise from co-producer David Cassidy: "The Rat Pack Is Back" would be back. And the Sahara's Congo Room provides an appropriately retro setting for the show. "That's one of the reasons we chose the Sahara," says singer Bobby Caldwell, who reprises his "Rat Pack" Sinatra role. "We're not only embodying the performances of these legends, we're recapturing the ambiance of the era," he says. -
Jokes As Performance Text: a Close Reading of Rat Pack Banter
University of Huddersfield Repository Calvert, Dave Jokes as performance text: a close reading of Rat Pack banter Original Citation Calvert, Dave (2016) Jokes as performance text: a close reading of Rat Pack banter. Comedy Studies, 7 (1). pp. 38-47. ISSN 2040-610X This version is available at http://eprints.hud.ac.uk/id/eprint/25943/ 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/ Jokes as performance text: a close reading of Rat Pack banter In this paper, I would like to discuss a performance of three jokes told, sequentially, by Frank Sinatra, Sammy Davis Jr and Dean Martin, and audio recorded over 50 years ago, on 6th September 1963 in the Copa Room in the Sands Hotel, Las Vegas (Martin et al 2008).1 The three jokes run as follows: Frank: Better keep smiling, Sam, so everybody knows where you are. -
Sinatra's Comic”
Starrtext.qxd 8/7/02 9:16 AM Page 30 4 CHAPTER “Sinatra's Comic” t was now 1952 and Joey was wondering if he would ever be more than a pretender to the throne. He was earning a decent living Iworking the clubs, but there had to be more. He was beginning to develop a love-hate relationship with the lifestyle—loving the money he earned (he was now up to $1,000 a week) but hating the travel and loneliness that came with the territory. “There isn’t a lonelier life in the world,” he said later. “I was always a stranger in town.” Out in Hollywood, Frank Sinatra was in the midst of his spec- tacular comeback, filming From Here to Eternity. The onetime Bobby Soxer idol had seen his career nearly destroyed, first by losing his voice and then by leaving his wife for Hollywood sexpot Ava Gardner. Sinatra’s tempestuous relationship with Gardner had alien- ated his fans, and a string of forgettable movies hadn’t helped Sinatra’s cause. But his role as the doomed Maggio in From Here to Eternity would earn Sinatra an Oscar and single-handedly resuscitate his career. Just a year before he had been performing for half-empty crowds in Vegas and begging for TV work; now, he was selling out the Paramount. It was 1942 all over again. Sinatra was unstoppable. Joey had always admired Sinatra from afar. Who didn’t? Although they had never worked together on the same bill, Joey and Frank had played some of the same clubs through the years, sometimes missing each other by a matter of days or weeks.