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New Moon Gala
For Immediate Release The Annual 42nd Street Moon Fundraising Gala! YOU’VE GOT POSSIBILITIES! CELEBRATING THE MUSICALS OF THE 1960s and AN 80TH BIRTHDAY SALUTE TO SPECIAL GUEST CHARLES STROUSE (COMPOSER OF BYE BYE BIRDIE, ANNIE, APPLAUSE) FEATURING BROADWAY LEADING LADIES : NANCY DUSSAULT ANDREA MCARDLE, LELAND PALMER, AND SUSAN WATSON MONDAY, JUNE 30TH, 2008 – ALCAZAR THEATRE For tickets call 415/255-8207 SAN FRANCISCO, May 20, 2008— 42nd Street Moon begins its 16th season of uncommon musicals with a gala concert at the Alcazar Theatre on Monday, June 30, 2008. “You’ve Got Possibilities!” celebrates the great musicals of the 1960s, and will offer a special 80th birthday salute to the prolific Award-winning composer Charles Strouse, who will be in attendance. Great Broadway songs from the era will also be sung by special guest stars Klea Blackhurst, Nancy Dussault, Andrea McArdle, Linda Posner (Leland Palmer), and Susan Watson, plus favorites who have appeared on the 42nd Street Moon stage. The evening also marks several reunions: Susan Watson, Andrea McArdle, and Leland Palmer all starred in Charles Strouse musicals early in their careers, and Palmer and Watson were featured together in A Joyful Noise in 1965. Charles Strouse won his first Tony for his first Broadway musical, Bye Bye Birdie in 1960, and went on to wrote musicals like Golden Boy starring Sammy Davis, Jr., and It’s a Bird, It’s a Plane, It’s Superman (which introduced the song “You’ve Got Possibilities), Rags, and Nick and Nora. He won his second Tony for Applause (1970), and his third for Annie (1977), which also garnered two Grammy Awards. -
Little Night Music
44th Season • 419th Production SEGERSTROM STAGE / SEPTEMBER 7 - OCTOBER 7, 2007 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents A LITTLE NIGHT MUSIC music and lyrics by Stephen Sondheim book by Hugh Wheeler Sibyl Wickersheimer Shigeru Yaji Christopher Akerlind SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Drew Dalzell Ken Roht Jeff Gifford Jamie A. Tucker* SOUND DESIGN CHOREOGRAPHER PRODUCTION MANAGER STAGE MANAGER Musical Direction by Dennis Castellano DIRECTED BY Stefan Novinski Barbara and Bill Roberts HONORARY PRODUCERS CORPORATE PRODUCER Suggested by a film by Ingmar Bergman. Originally produced and directed on Broadway by Harold Prince. A Little Night Music • SOUTH COAST REPERTORY P1 THE CAST (in order of appearance) Mr. Lindquist ............................................................... Christopher Carothers* Mrs. Nordstrom ....................................................................... Karen Culliver* Mr. Erlanson ......................................................................... Kevin McMahon* Mrs. Anderssen ....................................................................... Ann Marie Lee* Mrs. Segstrom ................................................................................ Tracy Lore* Madame Armfeldt ........................................................................ Teri Ralston* Fredrika Armfeldt ................................................................... Katie Horwitch* Frid ................................................................................ -
WDAM Radio's History of Dionne Warwick
WDAM Radio's Hit Singles History Of Dionne Warwick # Artist Title Chart Position/Year Label Comments 001 Drifters “Mexican Divorce” –/1962 Atlantic Dionne Warwick’s back-up vocals on this recording are what caught the attention of Hal David & Burt Bacharach, who signed her to their production company. Recorded in 1961, but released as the B-side of When My Little Girl Is Smiling (#28-Rock-U.S. + #31- U.K./1962). Composers – Burt Bacharach & Bob Hilliard. 002 Burt & The Backbeats “Move It On The Backbeat” –/1961 Big Top Burt Bacharach, Dionne Warwick & Dee Dee Warwick. Composers – Hal David & Burt Bacharach. 003 Dionne Warwick “It’s Love That Really Counts” –/1962 Scepter Demo for song that was presented to the Shirelles. It also was a cut on Dionne’s debut LP – Presenting Dionne Warwick – released in 1963. Composers – Hal David & Burt Bacharach. 003A Shirelles “It’s Love That Really Counts” #102/1962 Scepter 004 Dionne Warwick “I Smiled Yesterday” –/1962 Scepter A-Side. Composers – Hal David & Burt Bacharach. 005 Dionne Warwick “Don’t Make Me Over” #21-Rock & #5-R&B- Scepter B-side. Song title inspired by Dionne’s angry U.S. + #38-Rock- statement to Hal David & Burt Bacharach Canada/1962 gave Make It Easy On Yourself to Jerry Butler first instead of her. Composers – Hal David & Burt Bacharach. 005A Swinging Blue Jeans “Don’t Make Me Over” #116-Rock-U.S. + #31- Imperial U.K./1966 005B Brenda & The “Don’t Make Me Over” #77-Rock & #15-R&B- Top And Bottom Co-producer – Van McCoy. Tabulations U.S./1970 005C Jennifer Warnes “Don’t Make Me Over” #67-Rock, #14-AC & Arista #84-C&W-U.S./1980 005D Sybil “Don’t Make Me Over” #20-Rock, #2-R&B & Next Plateau #4-Dance-U.S. -
Writing As a Liberal Art in an Age Neither Artful Nor Liberal
The Journal of the Assembly for Expanded Perspectives on Learning Volume 23 Winter 2017-2018 Article 5 1-1-2018 Writing as a Liberal Art in an Age Neither Artful nor Liberal Douglas Hesse University of Denver Follow this and additional works at: https://trace.tennessee.edu/jaepl Recommended Citation Hesse, Douglas (2018) "Writing as a Liberal Art in an Age Neither Artful nor Liberal," The Journal of the Assembly for Expanded Perspectives on Learning: Vol. 23 , Article 5. Available at: https://trace.tennessee.edu/jaepl/vol23/iss1/5 This Essay is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in The Journal of the Assembly for Expanded Perspectives on Learning by an authorized editor. For more information, please visit https://trace.tennessee.edu/jaepl. JAEPL, Vol. 23, Winter 2017–2018 Writing as a Liberal Art in an Age Neither Artful Nor Liberal Doug Hesse Liberal, not as opposed to conservative, but as free, in contrast to imprisoned, subjugated, or incarcerated. —Gerald Greenberg y title, presented as a topic, implies a position. I should have replaced the word M“as” with the phrase “should be considered.” Whether in the following pages I can explain what it means to imagine required writing in the liberal arts tradition is the challenge. Is writing a subject like history or philosophy, for example, or is it like, well, First-Year Composition? In other words, is required writing defensible “in its own right” (to the degree any academic subject is these days), or is it an instrumental skill responsible to and warranted by its service to other disciplines? If you locate the roots of contempo- rary writing/composition studies in classical rhetoric (which I don’t necessarily—though that’s quite another talk), then in the centuries-of-yore days of the Trivium (dialectic, grammar, and rhetoric) writing historically was at the core of the liberal arts. -
The Coasters on Atco and King by Claus Röhnisch
Those Hoodlum Friends – The Coasters: Supplement The Coasters on Atco and King by Claus Röhnisch Special supplement to Those Hoodlum Friends – edited by Claus Röhnisch http://www.angelfire.com/mn/coasters/supplement.pdf see Those Hoodlum Friends at http://www.angelfire.com/mn/coasters/ThoseHoodlumFriends.pdf The classic Coasters: Billy Guy, Carl Gardner, Will “Dub” Jones, Cornell Gunter, and guitarist Adolph Jacobs (in late 1958). The Coasters on Atco and King 1 Those Hoodlum Friends – The Coasters: Supplement The Coasters in 2008: Ronnie Bright, Carl Gardner Jr, J.W. Lance, and Alvin Morse (with guitarist Thomas “Curley” Palmer). (photo: Denny Culbert, 2theAdvocate.com, Louisiana) The Coasters receiving their two Golden Records for the double-hit "Searchin´" / "Young Blood" on the Steve Allen TV-show on August 25, 1957. Gardner, Guy, Nunn, Allen, Hughes, and seated Jacobs. (from Cash Box magazine, September 14, 1957 issue). 2 The Coasters on Atco and King Those Hoodlum Friends – The Coasters: Supplement THE COASTERS on Atco and King The Coasters’ Atco recordings – Sessionography, featuring: “There’s A Riot Goin’ On: The Coasters On Atco” – Rhino Handmade 4-set CD RHM2 7740 (December 12, 2007) The Coasters’ recording line-ups are listed as headings. Carl Gardner, lead vocal unless otherwise indicated. The Coasters’ stage guitarists Adolph Jacobs, Albert “Sonny” Forriest, and Thomas “Curley” Palmer also worked in the studios with the vocal group (as shown on personnel listings). Recording location is valid until new location is listed. All unmarked labels are Atco. Only US original issues are listed – singles, EPs and LPs, and when originally not issued on any US single or LP, the first album issue (LP/CD). -
ARSC Journal
BROADWAY BABIES I LOVE NEW YORK - Vocal and instrumental 45rpm. (Struttin' Records STR 103) $.75 MARTIN CHARNIN'S MINI-ALBUM (Take Home Tunes THT 771)7" album/$4.95; DR. JAZZ AND OTHER MUSICALS (Take Home Tunes THT 777) 12" album/$7.95; THE ROBBER BRIDEGROOM (Take Home Tunes THT 761) 711 album/$4.95; CANADA (Broadway Baby Records BBD 776) 12" album/$7.95; SNOW WHITE and BEAUTY AND THE BEAST (Take Home Tunes THT 775) 12" album/$7.95; THE SECOND SHEPHERDlS PLAY (Broadway Baby Records BBD 774) 12" album/$7.95; DOWNRIVER (Take Home Tunes THT 7811) 12 11 album/$7.95; THE BAKER'S WIFE (Take Home Tunes THT 772) 12" album/$8.95; NEFERTITI (Take Home Tunes THT 7810) 12" album/$8.95; TWO (Take Home Tunes THT 788) 12" album/ $7.95. Available in some record stores or by mail from Take Home Tunes, Box 496, Georgetown, Connecticut. SMITHSONIAN AMERICAN THEATRE SERIES: George and Ira Gershwin's OH, KAY! (DPL 1-0310); SOUVENIRS OF HOT CHOCOLATES (P 14587). Available from Smithsonian Customer Service, P.O. Box 10230, Des Moines, Iowa 50336. $6.99 each plus 90 cents postage and handling charge. I had never heard of Steve Karmen until early this year, but I was very familiar with his disco-paean to the Empire State and its name sake city, I LOVE NEW YORK. Mr Karmen is by now a millionaire, I pre sume, and supporting the state he so loves, but in spite of the constant repetition of theme, a simple four-note structure, and the incessant blaring of numerous vocal versions on television and radio, I have yet to tire of hearing the piece. -
The People in the Picture
THE PEOPLE IN THE PICTURE This scorebook has beenand lyricsdownloaded by from www.dramatists.comIRIS RAINER and is forDART perusal only. music by NoMIKE performance STOLLER or use of this scoreand is allowedARTIE without written BUTLER authorization from Dramatists Play Service, Inc. arranged by Tom Tomasello Piano/Vocal THE PEOPLE IN THE PICTURE Copyright © 2019, Iris Rainer Dart, Mike Stoller, and Artie Butler Copyright © 2004, Iris Rainer Dart, Mike Stoller, and Artie Butler under working title Schmaltz All Rights Reserved THE PEOPLE IN THE PICTURE is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States hasThis reciprocal score copyright has relations. been No part downloadedof this publication may be from reproduced in any form by any means (electronic, mechanical, photocopying, recording, or otherwise), or stored in any retrieval system in any way (electronic or mechanical) without written permission of the publisher. www.dramatists.com and is for perusal only. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE PEOPLE IN THE PICTURE are controlled exclusively by Dramatists Play Service, 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service and paying the requisite fee. -
SHUBERT THEATER, 221-233 West 44Th Street, Manhattan
Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1378 SHUBERT THEATER, 221-233 West 44th Street, Manhattan. Built 1912-13; architect, Henry B. Herts. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 15 in part consisting of the land on which the described building is situated. On June 14 and 15, 1982, the Landmarks Preservation Commission held a pub 1 ic hearing on the proposed designation as a Landmark of the Shubert Theater and the proposed designation of the related Landmark Site (Item No. 74). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many 1 etters and other express ions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Shubert Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912-13, shortly before World War I, to the designs of Henry B. Herts, the Shubert was one of a pair with the Booth, and was among the numerous theaters constructed by the Shuberts, one of the most active and influential families in American theater history. The Shubert was built as a memorial to Sam S. Shubert, leader of the family's theatrical enterprises until his untimely death in a train wreck. -
Sight to Sound
The Kalamazoo Symphony Orchestra Presents Sight to Sound Youth Concert 2014-2015 Teacher GUIDE KSO Youth Concerts 2014-2015 “Sight to Sound” Teacher Guide Pages Concert Introduction………………………………………………………………………………..………………..2 Artwork Submissions………………………………...……………………………………………………………...3 Symphony Orchestra Instrument Families………………………………..……………………………….4 Symphony Orchestra Template……………………………………………………………...………………...6 “Sunrise Ignites Daybreak’s Veil” from Chasing Light, by Shwantner….……………..….…...8 In the Steppes of Central Asia, by Borodin..……………………....………………………………...….10 Music Composition Templates………………………………………..……………………………………….12 “The Storm of Chenery Auditorium”………….…………………………………………………...….......14 “The Royal March of the Lion” from Carnival of the Animals, by Saint-Saens……….....16 Mosquito Dance, by White……...……….………………..……………………………………...….....…..18 “The Elephant” from Carnival of the Animals, by Saint-Saens…………..………………….…..20 “Flight of the Bumblebee” from The Tale of Tsar Saltan, by Korsakov….…...…………….20 “The Moldau” from Ma Vlast by Smetana……………….……………….……………………….……..22 “The Flying Theme” from E.T., by Williams………………....………...………………...…………….24 Flying Theme Pictures for Writing Activity……………………………………………………………..26 What a Wonderful World, by Thiele/Weiss…….………….…..……………………….…………….28 Special Needs Modifications……….……………………………………………………..……...………...30 The Conductor’s Role……………………………………………………………..………..……..……………31 Review: Show What You Know & Post-Concert Reflection…………………….……………..32 Concert Behavior: Setting Up Your Students for Success…………………..………………….33 -
Fantasticks Study Guide LL QXP-994270596.Qxp.Qxd
Book and Lyrics by Music by TOM JONES HARVEY SCHMIDT The Fantasticks © 1960 by Tom Jones and Harvey Schmidt Chappell and Co./Publishers The MTI Study Guide tor The Fantasticks © 1994 by MTI Enterprises, Inc. The MTI Study Guide for The Fantasticks 1 CONTENTS ABOUT THE FANTASTICKS .................................................................................................2 THE FANTASTICKS PRESS ...................................................................................................3 THE CHARACTERS IN THE FANTASTICKS ..........................................................................4 PLOT SYNOPSIS...................................................................................................................5 THEMES AND TOPICS TO EXPLORE ....................................................................................9 The Fantasticks as Drama........................................................................................9 Characters in The Fantasticks ...............................................................................12 Searching and Coming of Age..............................................................................12 Symbols, Images and Metaphors .........................................................................14 Disillusionment and Self‑Deception ....................................................................14 Parents and Children..............................................................................................15 Adaptation and Musical Theatre..........................................................................16 -
Res.2020.1.2.163.Pdf by MPS North America LLC, Ucpress Mpslimited on 01 December 2020 a Genius Song Stylist
JESSICA BOYKIN-SETTLES Two Heads Are Better Than One The Artistry of Shirley Horn ABSTRACT Washington, DC–born vocalist and pianist Shirley Horn was one of the most singular and respected musicians on the jazz scene during a career that spanned more than five decades. Despite minimal accolades, Horn’s contributions to the art form are rarely rivaled. She was a virtuoso pianist and Downloaded from http://online.ucpress.edu/res/article-pdf/1/2/163/407286/res.2020.1.2.163.pdf by MPS North America LLC, ucpress mpslimited on 01 December 2020 a genius song stylist. In a 1992 article in the Washington Post, prolific composer and arranger Johnny Mandel explained that “Horn’s playing wasn’t just self-accompaniment. It was percussive counterpart and harmonic commentary that worked with the singing to create a whole, a work of art that was more than the sum of its parts. ‘It’s almost as if when Shirley plays, she has two brains. I don’t know how she can play what she plays and sing what she sings. ...Playing piano like that is a very complex undertaking, and singing with that amount of sensitivity and concentration—she sounds like Siamese twins.’”1 Through recorded performances that best exhibit vocal phrasing, chord voicings, and comping patterns in the jazz tradition, Horn’s piano and vocal performance will be analyzed in order to demonstrate why her genius should occupy the top echelons of revered American musicians this country has ever produced. Jazz and classical musicians whom Horn cited as her biggest influences will be discussed to demonstrate how she absorbed and expertly integrated chosen elements of those individual styles into her own performance to create a distinctive sound and a unique approach to interpreting standard jazz repertoire. -
FORTY-SIXTH STREET THEATER (Originally Chanin's Forty-Sixth Street Theater), 226-236 West 46Th Street, Manhattan
Landmarks Preservation Commission November 17, 1987; Designation List 196 LP-1333 FORTY-SIXTH STREET THEATER (originally Chanin's Forty-Sixth Street Theater), 226-236 West 46th Street, Manhattan. Built 1924; architect, Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1017, Lot 48. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Forty-Sixth Street Theater and the proposed designation of the related Landmark Site (Item No. 29). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Forty-Sixth Street Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built during the mid-1920s, the Forty-Sixth Street was among the half-dozen theaters constructed by the Chanin Organization, to the designs of Herbert J. Krapp, that typified the development of the Times Square/Broadway theater district. Founded by Irwin S. Chanin, the Chanin organization was a major construction company in New York. During the 1920s, Chanin branched out into the building of theaters, and helped create much of the ambience of the heart of the theater district.