Introduction 1 Barbara Garcia 1 Salud Para La Gente 2 the Immediate

Total Page:16

File Type:pdf, Size:1020Kb

Introduction 1 Barbara Garcia 1 Salud Para La Gente 2 the Immediate Introduction 1 Barbara Garcia 1 Salud Para La Gente 2 The Immediate Effects of the Quake in Watsonville, California 3 Providing Emergency Health Care and Other Services 6 The Emergency Response from the Red Cross and Other Agencies 8 Federal Emergency Management Agency [FEMA] 17 Community-based Organizations 19 Planning for Future Disasters 25 Quinton Skinner 31 The Heart of the Pacific Garden Mall During the Loma Prieta Earthquake 32 Going Home to Laurel Street 52 The Day After the Quake 63 The Impact on Universes Records and Downtown Business in General 69 Comparing Earthquakes and Tornados 81 Long Term Effects of the Earthquake 86 Mayme Metcalf 90 The Santa Cruz Flood of 1955 91 The Loma Prieta Earthquake 93 The Effects on Older Residents 96 Help from FEMA 98 Aftershocks 99 The City of Santa Cruz’s Response 101 Earthquake Damage to Businesses and Homes 103 Rock and Roll with Mother Earth 109 Ramona Noriega 111 Personal Background 111 The Experience of the Earthquake 113 The Impact on the Residents at Family Student Housing, UCSC 114 Post-Traumatic Stress 119 Earthquake Preparedness 123 Media Coverage 126 Helping People Who are Disabled 128 Steve Garvin 129 The Experience of the Earthquake 130 “It Sounded Like we Were in ‘Nam or Something” 135 Effects on People 139 “After it’s over it’s boring as hell” 140 Rumors of Tidal Waves 141 Long-term Effects 145 News Coverage 150 Earthquake Stories 152 Earthquake Preparedness 153 Michael Murray 159 Personal Background 159 The Experience of the Earthquake 161 Long-Term Effects 167 Telecommunications Challenges 169 Earthquake Stories 171 The Response from the City of Santa Cruz 173 Earthquake Damage 174 Rio Del Mar Fifth Grade Class 178 Chris Louie 180 Kate Gorske 185 Lia Buchanan 189 Ivan Wilson 194 Summer Lindeman 198 Erin McDonald 204 Stephanie Kolka 208 Lindsey Duncan 214 Kelly Rogers 220 Sarah Terribilini 225 Willy Ruddick 230 Anonymous: D 236 The Experience of the Earthquake 237 Being in Recovery from Alcoholism during the Earthquake 249 Helping People Phone Home 252 The Earthquake as a Spiritual Experience 257 The Gifts of Sobriety 260 Anonymous: J 267 The Experience of the Earthquake 268 Beach Flats Right After the Earthquake 272 Serving as a Volunteer at the Shelter at the Civic Auditorium 280 The Red Cross 285 The Civic Center’s Roof Caves In 292 Being in Recovery from Addiction During the Earthquake 294 The Effects on the Beach Flats Neighborhood 299 Anonymous: T. 305 The Experience of the Earthquake 305 Beach Flats 308 Being in Recovery During the Earthquake 310 “Keeping Our Spirits Up” 314 Post-Traumatic Stress 316 Strengthening a Sense of Community 318 The Future of the Beach Flats Neighborhood 321 Aftershocks 326 page 1 Introduction On October 17, 1989 at 5:04 p.m. a 7.1 magnitude earthquake on the San Andreas Fault shook the Central Coast of California and lasted for fifteen seconds, although to those on the ground its interval seemed much longer. The epicenter of the quake lay near Loma Prieta Peak in the Santa Cruz Mountains, about ten miles northeast of the city of Santa Cruz, California, in the redwoods of Forest of Nisene Marks State Park. The focus point was at a depth of ten miles. This earthquake killed sixty-three people and injured 3,757 others, and caused an estimated six billion in property damage. It was the largest earthquake to occur on the San Andreas fault since the great San Francisco earthquake in April 1906. The quake damaged buildings and roads as far as seventy miles away in San Francisco, Oakland, and the San Francisco Peninsula, particularly in areas subject to liquefaction. The highest concentration of fatalities, forty-two, occurred in the collapse of the Cypress structure on the Nimitz Freeway (Interstate 880), where a double-decker portion of the freeway fell, crushing the cars on the lower deck. One section of the San Francisco- Oakland Bay Bridge also gave way, causing two cars to fall to the deck below, leading to the single fatality on the bridge. Because this quake took place during rush hour, there could have been a large number of cars on the freeways, endangering many hundreds of commuters. Very fortunately, two Major League Baseball teams (the Oakland Athletics and the San Francisco Giants) were about to start their third game of the World Series (the game was scheduled to start shortly after 5:30 pm) in Candlestick Park near San Francisco. Many people had left work early or were participating in baseball-watching parties at home. As a consequence, the usually crowded highways only had light traffic at the time. While the national media covered the damage in the San Francisco Bay Area extensively, far less attention was paid to the effects of the earthquake in Santa Cruz County, where the earthquake was actually centered. In the city of Santa Cruz much of the downtown page 2 Pacific Garden Mall, composed of fifty to one-hundred-year old brick structures located on unconsolidated river sediments, caved in, killing three people and injuring others. Ten miles to the south in Watsonville, a largely Spanish-speaking city, buildings also crumbled and people were killed. In the Santa Cruz Mountains landslides closed many roads including Highway 17, which runs between Santa Cruz and San Jose, and traffic was allowed through only through in escorted convoys. The UCSC campus also sustained damage, although thankfully no lives were lost. On October 22, 1989 Chancellor Robert Stevens sent a letter to President David Gardner reporting a preliminary estimate of eight million dollars in structural damage, three million in property loss or damage, and nearly one million in cleanup and recovery services.1 After the earthquake, the campus reinforced the Natural Sciences II building, and the new supporting exterior beams can still be seen today. In the McHenry Library building, stacks on the third and fourth floors of the library that had not been securely bolted collapsed, spilling thousands of books that were heroically reshelved by library staff in the weeks after the quake. The Regional History Project is part of the University Library, and was founded in 1963 to document the history of the Central Coast of California and the history of UC Santa Cruz. Within days after the quake it became clear to project staff that this historic event cried out for documentation, and plans soon commenced to offer students an opportunity to get involved in this effort. In the spring quarter of 1990 the Regional History Project sponsored a student internship class entitled An Interdisciplinary Oral History of the October 17, 1989 Loma Prieta Earthquake. Randall Jarrell, who was the project’s director, was the instructor for the class, which was co-sponsored with UCSC faculty members John Dizikes in history and Conn Hallinan in journalism. Five students signed up for the course and completed eleven oral history interviews. The weekly class meetings, as well as individually scheduled meetings with students, included an introduction to oral history interviewing techniques, a broad discussion of primary 1. See On Campus, October 27, 1989. page 3 sources and the strengths and drawbacks of oral history evidence, and instruction in research methods in preparation for conducting interviews. Each student was required to produce a single, indexed, sixty-minute tape-recorded interview with an accompanying introductory essay and a brief biography of the narrator. Class discussion and reading included an introduction to oral history methods, subject research in preparation for interviewing; the ethics of working with narrators and the writing of releases/contracts protecting narrators; and the preparation of a question outline for each interview. A list of prospective narrators was provided by project staff, and student interests were matched with the topics to be documented. (See appendix for several documents related to the independent study course). The resulting oral history tapes were archived in the Regional History office. Due to the time-consuming nature of oral history publication and the staffing constraints in this very small office, nearly seventeen years have passed until this publication of the Loma Prieta earthquake interviews. We are happy to be able to make this archive of compelling documentation of this historic event available. The oral histories illuminate the diverse subjectivity of this historical event in ways that are not captured in news photos and articles, and geological or engineering reports on structural damage. Here are a few examples of this multiplicity of voices: Quinton Skinner, who was an employee at Universes Records on the Pacific Garden Mall described his initial emotional reaction to the quake: I’d never ridden a doorway before. Holding on to this doorway as it . it was like a circus ride. I remember that one of the coherent thoughts that I had was—this is going to go one way or the other at this point. Either it’s going to stop, or it’s going to pursue some course that I have always feared, coming from Ohio . either it’s going to stop, or else the sidewalk is going to cave in, the world’s going to come to an end, and I’m going to be swimming . The funny thing was I was kind of indifferent. Basically my feeling at the time wasn’t one of fear. It was largely indifference. I remember just taking stock of the situation and saying, this is unusual. Hmm. Very unusual. It was so fast. I think fear largely comes from anticipation. Seventy-two year old Mayme Metcalf lived alone in an apartment in the Beach Flats area of Santa Cruz. When the interviewer asked her how she dealt with the earthquake she said: page 4 Well, I got through it, so it didn’t bother me.
Recommended publications
  • Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY
    Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans
    [Show full text]
  • Blossom Dearie My Gentleman Friend Mp3, Flac, Wma
    Blossom Dearie My Gentleman Friend mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: My Gentleman Friend Country: US Released: 1959 Style: Bop MP3 version RAR size: 1500 mb FLAC version RAR size: 1563 mb WMA version RAR size: 1421 mb Rating: 4.1 Votes: 144 Other Formats: MP1 FLAC DXD MIDI AHX AC3 XM Tracklist A1 Little Jazz Bird 3:40 A2 Gentleman Friend 3:46 A3 It's Too Good To Talk About Now 3:07 A4 Chez Moi 3:06 A5 You Fascinate Me So 3:31 B1 You've Got Something I Want 2:34 B2 Boum 2:08 B3 L'Etang 2:23 B4 Hello Love 2:49 B5 Someone To Watch Over Me 5:57 Credits Artwork [Cover Photo] – Garrett-Howard Bass – Ray Brown Drums – Ed Thigpen Flute, Tenor Saxophone – Bobby Jaspar (tracks: A4, B2, B3) Guitar – Kenny Burrell Producer – Norman Granz Vocals, Piano – Blossom Dearie Other versions Category Artist Title (Format) Label Category Country Year My Gentleman Blossom Verve MG V-2125 Friend (LP, MG V-2125 US 1959 Dearie Records Album) Verve My Gentleman POCJ-2653, MGV Blossom Records, POCJ-2653, MGV Friend (CD, Japan 1998 2125 Dearie Verve 2125 Album, RE, RM) Records My Gentleman Blossom Verve 23MJ 3193 Friend (LP, 23MJ 3193 Japan 1982 Dearie Records Album, RE) My Gentleman Verve POJJ-1551, MG Blossom Friend (LP, Records, POJJ-1551, MG Japan 1993 V-2125 Dearie Album, Mono, Verve V-2125 RE) Records Verve My Gentleman Records, MG VS-6112, MG VS-6112, Blossom Friend (CD, Verve 0731451990526, 0731451990526, Europe 2003 Dearie Album, Ltd, RE, Records, MG V-2125 MG V-2125 RM, Pap) Verve Records Related Music albums to My Gentleman Friend by Blossom Dearie Benny Carter - A Gentleman And His Music Sonny James The Southern Gentleman - Dear Love Cole Porter - I Get A Kick Out Of You - The Cole Porter Songbook Volume II Ahu Presents Blossom Dearie - OHM Dedication Series #3 Blossom Dearie - My New Celebrity Is You Will Osborne And His Orchestra - Tell Me Pretty Maiden / The Gentleman Awaits The Prunes - Blossom And Blood Gentleman Jesse & His Men - You've Got The Wrong Man.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 112 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 112 CONGRESS, FIRST SESSION Vol. 157 WASHINGTON, FRIDAY, JANUARY 7, 2011 No. 3 Senate The Senate was not in session today. Its next meeting will be held on Tuesday, January 25, 2011, at 10 a.m. House of Representatives FRIDAY, JANUARY 7, 2011 The House met at 9 a.m. and was PLEDGE OF ALLEGIANCE GRESSIONAL RECORD daily, and I will called to order by the Speaker pro tem- The SPEAKER pro tempore. Will the continue to do so until Washington pore (Mrs. MILLER of Michigan). gentleman from Illinois (Mr. JACKSON) takes responsibility and ends its reck- less spending addiction. f come forward and lead the House in the Pledge of Allegiance. f DESIGNATION OF THE SPEAKER Mr. JACKSON of Illinois led the PRO TEMPORE Pledge of Allegiance as follows: SEND YOUR RESUMES The SPEAKER pro tempore laid be- I pledge allegiance to the Flag of the (Mr. JACKSON of Illinois asked and fore the House the following commu- United States of America, and to the Repub- was given permission to address the nication from the Speaker: lic for which it stands, one nation under God, House for 1 minute and to revise and indivisible, with liberty and justice for all. WASHINGTON, DC, extend his remarks.) January 7, 2011. f Mr. JACKSON of Illinois. Madam I hereby appoint the Honorable CANDICE S. ANNOUNCEMENT BY THE SPEAKER Speaker, as we enter 2011, we find our- MILLER to act as Speaker pro tempore on selves in the same jobs situation as in this day.
    [Show full text]
  • The Outcast Manufacturers By
    The Outcast Manufacturers by Charles Hoy Fort CHAPTER I TO THE west, the street-wide Palisades, dull-gray as a block of lead; a streak of North River gleaming like bright, clean metal melted from the base. Windows of tenement houses black with the inside pall of dark homes, unclean children, seeming dirtier because of their pallor, playing ball, with a banana stalk for a bat, in the middle of the street. A dead horse lying in the southside gutter; boys jumping on it, enjoying the elasticity of its ribs; a greasy old man prying off the horseshoes. On the sidewalk, stained where passing epicures had thrown out stale beer before having pails and pitchers filled up again, stood a young man -- very young man; light clothes, straw hat, suit-case in hand -- tall young man with half-closed eyelids and wide, irregular, heavy lips; lids and lips like a fleeting impression of the stubby nails of fingers idly dropping a skein of worsted; young man standing irresolutely between the dead horse and the low stoop of a house. On the stoop's first step, a young woman, in a sleeveless wrapper, making her form serpentine, bulging out a hip to support an infant under her arm. On the top step, a burly woman, her hair gray with ashes that she had been sifting. "Scabs! scabs!" she shouted back into the house. "The boss inspector!" jeeringly from a woman, darkened in the front hall. "Union men for me!" from her of the powdered coiffure. "Union men who ain't afraid to go out of doors nights! "You can't stand out on the stoop with them, if things keeps up!" she said plaintively to the serpentine young woman, who budged some more, giggled, and, giggling, turned her face away.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • VOLUNTARY HOUSING TRANSITIONS of OLDER ADULTS AS GIFT GIVING PRACTICES in the MIDWESTERN UNITED STATES by Tam Elisabeth Perry
    LEAVING HOME IN LATE LIFE: VOLUNTARY HOUSING TRANSITIONS OF OLDER ADULTS AS GIFT GIVING PRACTICES IN THE MIDWESTERN UNITED STATES by Tam Elisabeth Perry A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Social Work and Anthropology) in the University of Michigan 2012 Doctoral Committee: Professor Ruth Dunkle, Co-Chair Professor Judith T. Irvine, Co-Chair Professor Berit Ingersoll-Dayton Professor Webb Keane Lecturer IV Holly Peters-Golden © Tam Elisabeth Perry 2012 DEDICATION For MKC, whose family and friends, local and non-local, gather to support her. This study on families, however defined, teaches us that in times of crisis, kindness and love reign. For my parents, Merle and Jeanne Perry, who prepared me for a path that could never be foreseen. For my husband, Richard Cooper, who has only ever wanted the best for me. To my daughter, Emma, who will always be my travelling companion. To my son, Ben, who makes us all laugh. ii ACKNOWLEDGEMENTS A heartfelt thanks to all the professors, friends, neighbors and family who helped support this project both intellectually and emotionally. I would like to thank my co- chairs, Ruth Dunkle and Judith Irvine, for their support through the project. I would also like to thank Berit Ingersoll-Dayton and other mentors in the School of Social Work such as Letha Chadiha and Michael Reisch. Only as I leave the School of Social Work at Michigan am I truly amazed at the training and resources available. Job Club particularly has been a wonderful experience in professionalization and I have appreciated the comradery there.
    [Show full text]
  • Make Mine Manhattan
    MAKE MINE MANHATTAN Sketches and Lyrics by ARNOLD B. HORWITT Music by RICHARD LEWINE Directed by BEN WEST Final Draft Mar. 4, 2012 UnsungMusicalsCo. Inc. P.O. Box 722 New York, New York 10159 © Horwitt/Lewine www.unsungmusicals.org CHARACTERS Boy 1 (Nicolas Dromard) Boy 2 (Dennis O’Bannion) Boy 3 (Bret Shuford) Boy 4 (Greg Reuter) Girl 1 (Gabrielle Ruiz) Girl 2 (Nadine Isenegger) Girl 3 (Kristen J. Smith) Girl 4 (LaQuet Sharnell) SKETCHES AND MUSICAL NUMBERS “Anything Can Happen in New York” .................... B1 & Company “My Brudder and Me” ....................................... G1 & B2 Stage Door Fifi ............................... B1, B2, B4, G2 & G4 “Old Fashioned Girl” ........................................... B1 “Manhattan in the Spring” ............................. G2, G1 & G3 Hollywood Heads East .................. B2, B3, B4, G1, G2, G3 & G4 “Movie House in Manhattan” ..................................... G4 “I Don’t Know His Name” ................................... G3 & B3 “Talk to Me” .............................................. B4 & G4 “Anything Can Happen in New York” ..................... B1, G2 & G3 “Subway Song” .................................................. B3 “Gentleman Friend” ........................................ G3 & B3 “Saturday Night in Central Park” ................. G2, B2 & Company “Schrafft’s” ................................................... G4 “New York Gal” ................................................. G1 “I Gotta Have You” ........................................ B1 & G1 “I Fell in
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20.
    [Show full text]
  • Song List by Member
    song artist album label dj year-month-order leaf house animal collective sung tongs 2004-08-02 bebete vaohora jorge ben the definitive collection 2004-08-08 amor brasileiro vinicius cantuaria tucuma 2004-08-09 crayon manitoba up in flames 2004-08-10 transit fennesz venice 2004-08-11 cold irons bound bob dylan time out of mind 2004-08-13 mini, mini, mini jacques dutronc en vogue 2004-08-14 unspoken four tet rounds 2004-08-15 dead homiez ice cube kill at will 2004-08-16 forever's no time at all pete townsend who came first 2004-08-17 mockingbird trailer bride hope is a thing with feathers 2004-08-18 call 1-800 fear lali puna faking the books 2004-08-19 vuelvo al sur gotan project la revancha del tango 2004-08-21 brick house commodores pure funk polygram tv adam 1998-10-09 louis armstrong - the jazz collector mack the knife louis armstrong edition laserlight adam 1998-10-18 harry and maggie swervedriver adam h. 2012-04-02 dust devil school of seven bells escape from desire adam h. 2012-04-13 come on my skeleton plug back on time adam h. 2012-09-05 elephant tame impala elephant adam h. 2012-09-09 day one toro y moi everything in return adam h. 2014-03-01 thank dub bill callahan have fun with god adam h. 2014-03-10 the other side of summer elvis costello spike warner bros. adam s (#2) 2006-01-04 wrong band tori amos under the pink atlantic adam s (#2) 2006-01-12 Baby Lemonade Syd Barrett Barrett Adam S.
    [Show full text]
  • How to Succeed in Business Without Really Trying” by Shepherd Mead
    L I B R E T T O V O C A L B O O K THE FRANK LOESSER AND ABE BURROWS MUSICAL Music and Lyrics by Frank Loesser Book by Abe Burrows, Jack Weinstock, & Willie Gilbert Based on “How To Succeed In Business Without Really Trying” By ShepherD MeaD ­ii ­ HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING _______________________________________________________________________________________________________________ C H A R A C T E R S J. PIERREPONT FINCH GATCH JENKINS TACKABERRY PETERSON J. B. BIGGLEY ROSEMARY BRATT SMITTY BUD FRUMP Miss JONES Mr. TWIMBLE HEDY SCRUBWOMEN Miss KRUMHOLTZ TOYNBEE OVINGTON POLICEMAN WOMPER The entire action takes place in the new Park Avenue office building of World Wide Wicket Company, Inc. ­iii ­ HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING _______________________________________________________________________________________________________________ M U S I C A L N U M B E R S ACT 1 Overture 1 1. Opening – Act One 1 2. How To Succeed In Business Without Really Trying 1 3. Happy To Keep His Dinner Warm 12 3a. Good Morning (Entrance Secretaries) 13 4. Coffee Break 14 4a. Frump On The Phone 21 5. The Company Way 26 6. The Company Way (Reprise) 34 7. Rosemary’s Philosophy 38 8. Hedy 39 9. A Secretary Is Not A Toy 42 9a. The Executives' Exit 44 10. Been A Long Day 49 11. Been A Long Day (Reprise) 55 11a. Saturday Morning 56 12. Grand Old Ivy 59 13. Grand Old Ivy (Reprise) 63 13a. Vassar 64 14. Hedy’s Walk 68 14a. Onward And Upward 69 14b. Girlsville 69 15.
    [Show full text]
  • Jazzletter 93023 February 1985 Vol
    Gene L665 ' P.O. Box 24-O Ojai, Calif. Jazzletter 93023 February 1985 Vol. 4- N0. 7 No Heaven Seven, progresses and learns and is doing quite well. LGUCIS ‘ - One facet of playing jazz that you have touched on that The piano survey was fascinating, and I’m delighted that you deserves re-emphasis is the access that performers have to each went to the trouble of undertaking it. other because of their creating and playing, access that is For some reason my own list didn’t include the third unique and simply not available through more usual day-to- category, favorites — possibly I didn’t understand the original day interchanges. Aside from the music per se, this question. Anyway, the five I would list under that heading, in interpersonal involvement has been and continues to be no particular order, are Oscar Peterson, George Shearing, Dick (increasingly) the major fulfillment of my playing music with Hyman, Roger Kellaway, and George Cables — whom, by the this group of people. And I daresay that is the same with them. way, I would cite as the most underrated pianist. To have played-a song well, and to have added a new creative My only regret is that you didn’t get votes from Peterson, wrinkle, provides a sense of accomplishment that is difficult to ‘hearing, and Hyman, which would have rounded out the total match in other endeavors. Having the privilege of playingjazz, o an even fifty in addition to giving us some valuable yes, even if it is traditional “mouldy-fig”jazz, has enriched and information.
    [Show full text]