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25C Lansing Woman Injured in Sunday Night Crash
25C Volume 15, Issue 42 Serving Lowell Area Readers Since 1893 Wednesday, August 28,1991 Lansing woman injured in Sunday night crash Lowell and Kent County sing and Wyoming. minor head and neck injuries. McDonald did a U-turn on Weeks said McDonald his 12-yearolddaughter,Kelly, police were called to the scene Kent County Deputy Vic The police report stated that Christopher Street and then would be cited for failing to incurred minor bnrises but did at Lincoln Lake and Hudson Weeks said Lorelee both McDonald and the other proceededtopullbackoutonto yield the right of way. not need medical attention. Sunday evening (a littJeafter9 McDonald, Lansing, was trans- driver, Lawrence Kleck, were HudsonintothepathofKleck's Kleck and his passenger, p.m.) for a two-car accident ported to Blodgett Hospital for southbound on Hudson when vehicle. involving drivers from Lan- -•WyLr - - Both the driver and the passenger of this van received just minor injuries from Sunday Lorelee McDonald incurred minor head and neck injuries Sunday night following night's accident. anaccident at Hudson and Lincoln Lake. Along Main Street Kathy Paroff recognized for her life- saving CPR application on husband Friend's of Kathy Paroff times it's a citizen. This is a from the ambulance and res- stressful time for folks and Y: cue units of the Lowell Area even more stressful when it Fire Departmentrefer lovingly involves a family member." to her husband, John, as the Krohmer added that heavenly reject "Paroff s rescue was a won- As many have read and derful example of a system LOWELL MIDDLE SCHOOL heard, John Paroff suffered a working the way it should." ATHLETIC PHYSICALS heart attack on June 3 in his Krohmer was in attendance home at 591 Alden Nash. -
Written to Be the Introduction to a Book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, Published by the University of Wisconsin Press
1981 Written to be the Introduction to a book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, published by the University of Wisconsin Press. These volumes reproduced classic Warner Bros scripts from the Warner Bros Archive at the Wisconsin Center for Film and Theater Research with scholarly apparatus. Between the commissioning of this volume and its completion the series was cancelled. The script itself and associated stills cannot be reproduced without copyright permission. Since the piece was written, Warner Bros post-production files have been acquired by the Cinema Studies Library of the University of Southern California. It is likely that they close some of the questions here raised about the final form of the film. INTRODUCTION The Politics of the War Film Ian Jarvie 1. The Evolution of the Screenplay 2. Summary of the Story as Filmed 3. Production and Exploitation 4. Reception and Appraisal 5. Political Aftermath Objective Burma has both intrinsic and extrinsic interest to students of the motion picture. Intrinsically, it is a fine example of sustained and unrelieved treatment of combat within the restrictions of the war film genre. There is much to be learned from studying how the final screenplay emerged from the work of three writers and their producer, and from the further changes made by the director, technical advisor, and film editor during production and post-production. Initial confusion of aims is resolved as the option of a clean and unencumbered line of action is chosen. This enables the writers to clear sub-plots out of the excessively long draft screenplay and encourages further honing down during shooting and editing. -
The Legacy of J O H N P
THE UNITED STATES ARMY FIELD BAND The Legacy of J OHN P. P AY N T E R Washington, D.C. “The Musical Ambassadors of the Army” rom Boston to Bombay, Tokyo to Toronto, The United States Army Field Band has been thrilling audiences of all ages for more than half a century. As F the premier touring musical representative for the United States Army, this internationally-acclaimed organization travels thousands of miles each year presenting a variety of music to enthusiastic audiences throughout the nation and abroad. Through these concerts, the Field Band keeps the will of the American people behind the members of the armed forces and supports diplomatic efforts around the world. The Concert Band is the oldest and largest of the Field Band’s four performing components. This elite 65-member instrumental ensemble, founded in 1946, has per- formed in all 50 states and 25 foreign countries for audiences totaling more than 100 million. Tours have taken the band throughout the United States, Canada, Mexico, South America, Europe, the Far East, and India. The group appears in a wide variety of settings, from world-famous concert halls, such as the Berlin Philharmonie and Carnegie Hall, to state fairgrounds and high school gymnasiums. The Concert Band regularly travels and performs with the Soldiers’ Chorus, together presenting a powerful and diverse program of marches, overtures, popular music, patriotic selections, and instrumental and vocal solos. The organization has also performed joint concerts with many of the nation’s leading orchestras, including the Boston Pops, Cincinnati Pops, and Detroit Symphony Orchestra. -
Ithaca College Concert Band Ithaca College Concert Band
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-14-2016 Concert: Ithaca College Concert Band Ithaca College Concert Band Jason M. Silveira Justin Cusick Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Silveira, Jason M.; and Cusick, Justin, "Concert: Ithaca College Concert Band" (2016). All Concert & Recital Programs. 1779. http://digitalcommons.ithaca.edu/music_programs/1779 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concert Band "Road Trip!" Jason M. Silveira, conductor Justin Cusick, graduate conductor Ford Hall Thursday, April 14th, 2016 8:15 pm Program New England Tritych (1957) William Schuman I. Be Glad Then, America (1910–1992) II. When Jesus Wept 17' III. Chester More Old Wine in New Bottles (1977) Gordon Jacob I. Down among the Dead Men (1895–1984) II. The Oak and the Ash 11' III. The Lincolnshire Poacher IV. Joan to the Maypole Justin Cusick, graduate conductor Intermission Four Cornish Dances (1966/1975) Malcolm Arnold I. Vivace arr. Thad Marciniak II. Andantino (1921–2006) III. Con moto e sempre senza parodia 10' IV. Allegro ma non troppo Homecoming (2008) Alex Shapiro (b. 1962) 7' The Klaxon (1929/1984) Henry Fillmore arr. Frederick Fennell (1881–1956) 3' Jason M. Silveira is assistant professor of music education at Ithaca College. He received his Bachelor of Music and Master of Music degrees in music education from Ithaca College, and his Ph. -
From%20Irina%20Reyman%2C%20Ritualized%20Violence
PHYSICAL INVIOLABILITY AND THE DUEL pUNCH OR STAB: THE RUSSIAN DUELIST’S DILEMMA The Russian duel was a surprisingly and consistently violent affair. I do not imply that Russian duels were more deadly than those in the West (the fatality rate in Russia never approached that in France in the late sixteenth and early seventeenth centuries or in Germany at the end of the nineteenth century).1 I mean rather that conflicts over honor were frequently resolved in unregu lated spontaneous physical confrontations rather than in formal en- counters . Furthermore, those confrontations differed from rencontres in that they involved direct physical contact—hand-to-hand fighting or the use of weapons unrecognized by the dueling ritual, such as walking sticks or whips. The use of standard dueling weapons— swords or pistols—appears to have been optional. In other words, from the introduction of the duel in Russia to its demise, a conflict over honor was as likely (and at times more likely) to result in an im mediate and violent hand-to-hand fight as in a formal duel of honor. This happened so frequently that physical force seems to have been an accepted alternative to the duel. In fact, it would be possible to write (—S A Brief History of Dueling in Russia 97 98 a variant history of dueling in Russia featuring fistfights, slaps in the Everyone present—nobles face, and battering with walking sticks. and commoners, officers and enlisted men, Historians of the Russian women too—had at each other. Klimovich’s wife was beaten with a duel have consistently ignored or dis missed this ugly and violent club and her mother threatened.4 Grinshtein seems to have won this alternative behavior as aberrant. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Poems of Childhood
Cfie Htfrrarp of tfje Wlnitozv&it? of Jgortf) Carolina Cnbotoefc &p ®}je Utalectic anti tlantJjroptc ^octettes; ^i'\iU 95520 ':. id Foeras of childhood / UNIVERSITY OF N.C. AT CHAPEL HILL 10003058147 MAY 1 3 1969 This BOOK may be kept out TWO WEEKS ONLY, and is subject to a fine of JSBTE |z,:fCENTS a day thereafter. It is DUE on the DAY indicated below: - ?«,, I APR 4 **J« 2 I ' ] W ' urn * A 3. I Form No. 1685 Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Chapel Hill http://www.archive.org/details/poemsofchildhoodfiel POEMS OF CHILDHOOD \ \ CHARLES 3 CRIB f$ ON ' -' ,-» - "- r . t r ) WITH TRUMPET AND DRUM Copyright, 1892 By Mary French Field LOVE SONGS OF CHILDHOOD Copyright, 1894 By Eugene Field Copyright, 1904 By Charles Scribner's Sons Published, September, 1901 v J "• J.. / *o* CONTENTS PAGE With Trumpet and Drum . 1 Krinre-n . : . 3 The Naughty Poll 5 Nightfall in Dordrecht 7 Intry-Mintry 9 Pittypat and Tifp^voe 11 Balow, my Bonnie 14 The Hawthorne Children 16 Little*' Blue Pigeon (Japanese Lullaby) 19 The Lyttel Boy 20 Teeny-Wkeny 22- Nellie 25 Nop.se Lullaby 27 The Sugar-Plum Tree 28 Grandma's Prayer . 30 Some Time , . « 31 The Fire-Hangbird's Nbst t , . 33 Buttercup, Poppy, Forget-me-not 36 Gold and Love for Dearie . , 38 The Peace of Christmas-Time . 40 To a Little Brook ....,,„., , . 42 * CroodllV Doo . .... „ ...... ^ N 45 * Cc&ihffe> t)<w© v i ] X CONTENTS PAGE Little Mistress Sans-Merci 46 Long Ago 48 In the Firelight 50 Cobbler and Stork (Armenian Folk-Lore) 52 " lollyby, lolly, lollyby " . -
Probablemente El Diablo: El Terror Elíptico De La Séptima Víctima
PROBABLEMENTE EL DIABLO: EL TERROR ELÍPTICO DE LA SÉPTIMA VÍCTIMA Francisco García Gómez Universidad de Málaga RESUMEN La séptima víctima, la primera película dirigida por Mark Robson, constituye un magnífico ejemplo de la concepción del terror que tenía el productor Val Lewton. Su cuarto filme para la RKO, el primero no dirigido por Jacques Tourneur, pone de manifiesto que Lewton era el auténtico responsable de su ciclo fantástico. PALABRAS CLAVE: RKO, Val Lewton, Mark Robson, serie B, terror, satanismo, paladismo. ABSTRACT «Probably the Devil: The Elliptical Terror in The Seventh Victim». The Seventh Victim, first film directed by Mark Robson, is a magnificent example of the producer Val Lewton’s terror concept. His fourth RKO film, the first without Jacques Tourneur, reveals that Lewton was the genuine responsible of his fantastic cycle. KEY WORDS : RKO, Val Lewton, Mark Robson, B Film, terror, satanism, paladism. 163 Una película a redescubrir y reivindicar, ése es el caso de La séptima víctima (The Seventh Victim, 1943), la cuarta del ciclo de nueve cintas de terror de serie B producidas por Val Lewton en la RKO entre 1942 y 19461. Dirigida por Mark Robson en su debut como realizador, fue además la primera cuya dirección no corrió a cargo de Jacques Tourneur, tras La mujer pantera (Cat People, 1942), Yo anduve con un zombi (I Walked with a Zombie, 1943) y El hombre leopardo (The Leopard Man, 1943). Precisamente a consecuencia de los grandes éxitos de público obtenidos con estas tres, el estudio decidió separar al tándem Lewton-Tourneur, convencido de que rendirían el doble por separado, poniendo en seguida al francés al frente de mayores presupuestos. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
Korngold Violin Concerto String Sextet
KORNGOLD VIOLIN CONCERTO STRING SEXTET ANDREW HAVERON VIOLIN SINFONIA OF LONDON CHAMBER ENSEMBLE RTÉ CONCERT ORCHESTRA JOHN WILSON The Brendan G. Carroll Collection Erich Wolfgang Korngold, 1914, aged seventeen Erich Wolfgang Korngold (1897 – 1957) Violin Concerto, Op. 35 (1937, revised 1945)* 24:48 in D major • in D-Dur • en ré majeur Dedicated to Alma Mahler-Werfel 1 I Moderato nobile – Poco più mosso – Meno – Meno mosso, cantabile – Più – Più – Tempo I – Poco meno – Tempo I – [Cadenza] – Pesante / Ritenuto – Poco più mosso – Tempo I – Meno, cantabile – Più – Più – Tempo I – Meno – Più mosso 9:00 2 II Romanze. Andante – Meno – Poco meno – Mosso – Poco meno (misterioso) – Avanti! – Tranquillo – Molto cantabile – Poco meno – Tranquillo (poco meno) – Più mosso – Adagio 8:29 3 III Finale. Allegro assai vivace – [ ] – Tempo I – [ ] – Tempo I – Poco meno (maestoso) – Fließend – Più tranquillo – Più mosso. Allegro – Più mosso – Poco meno 7:13 String Sextet, Op. 10 (1914 – 16)† 31:31 in D major • in D-Dur • en ré majeur Herrn Präsidenten Dr. Carl Ritter von Wiener gewidmet 3 4 I Tempo I. Moderato (mäßige ) – Tempo II (ruhig fließende – Festes Zeitmaß – Tempo III. Allegro – Tempo II – Etwas rascher (Tempo III) – Tempo II – Allmählich fließender – Tempo III – Wieder Tempo II – Tempo III – Drängend – Tempo I – Tempo III – Subito Tempo I (Doppelt so langsam) – Allmählich fließender werdend – Festes Zeitmaß – Tempo I – Tempo II (fließend) – Festes Zeitmaß – Tempo III – Ruhigere (Tempo II) – Etwas rascher (Tempo III) – Sehr breit – Tempo II – Subito Tempo III 9:50 5 II Adagio. Langsam – Etwas bewegter – Steigernd – Steigernd – Wieder nachlassend – Drängend – Steigernd – Sehr langsam – Noch ruhiger – Langsam steigernd – Etwas bewegter – Langsam – Sehr breit 8:27 6 III Intermezzo. -
The Role of Contemporary Music in Instrumental Education
The role of contemporary music in instrumental education Mark Rayen Candasmy Supervisor Per Kjetil Farstad This Master’s Thesis is carried out as a part of the education at the University of Agder and is therefore approved as a part of this education. However, this does not imply that the University answers for the methods that are used or the conclusions that are drawn. University of Agder, 2011 Faculty of fine arts Department of music Abstract The role of contemporary music in instrumental education discusses the necessity of renewing the curriculum of all musical studies that emphasize performance and the development of the student's instrumental abilities. A portrait of Norwegian composer Ørjan Matre is included to help exemplify the views expressed, as well as the help of theoretical analysis. Key words: contemporary music, education, musicology, ørjan matre, erich wolfgang korngold, pedagogy The role of contemporary music in instrumental education is divided into six chapters. Following the introduction, the second chapter discusses the state of musical critique and musicology, describing the first waves of modernism at the turn of the century (19 th /20 th ) and relating it to the present reality and state of contemporary music. Conclusively, it suggests possibilities of bettering the situation. The third chapter discusses the controversial aspects of Erich Wolfgang Korngold's music and life, relating it to the turbulence of the musical life during his lifetime. Studying Korngold is a unique way to outline the contradictions within Western art music that were being established during his career. The fourth chapter is a portrait of Norwegian composer Ørjan Matre and includes an analysis of his work " Handel Mixtape s". -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills.