TOSSUPS Bulldog High School Academic Tournament VII
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Broadcast News (Oklahoma Vintage Radio Collector's)
May 2008 Volume XVII, Issue 5 PRESIDENT’S PAGE By Jim Collings President’s Column May 2008 I’d like to report that our annual meet in Midwest City last month was a success. I believe that attendance was down slightly, but it was still a good meet. I think everyone got something for their collection or for their restoration needs. And those who brought swap items sold many items and hopefully made some room to find more. The contest had some very nice displays, but there were a lot fewer entries than previous years. I like to bring a few things so there are some nice items on display, but I’m not happy when I win too many ribbons. I’ve won my share and want others to display their nice sets. You’ll find the listing of winners elsewhere in this issue. We had quite a few collectors from out of state, Texas, Arkansas, and Kansas. Special thanks go to those who traveled a long distance. Without your support the meet would not be as successful. Also, thanks to those who worked behind the scenes to get everything right for the meet, and who donated items for the auctions, and money for coffee and donuts. You are probably aware that these donations cover a lot of the expenses in renting the building, allowing us to offer free admission. Any suggestions for improvement of our meets are welcomed and can be discussed at the next meeting. I just returned from a trip to the Indiana Historical Radio Society meet in Kokomo, Indiana. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
Mae West Play Scripts [Finding Aid]. Library of Congress. [PDF Rendered
Mae West Play Scripts A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2010 Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms014050 LC Online Catalog record: http://lccn.loc.gov/mm79078386 Prepared by David Mathisen Collection Summary Title: Mae West Play Scripts Span Dates: 1921-1964 ID No.: MSS78386 Creator: West, Mae Extent: 14 items ; 2 containers ; .6 linear feet ; 1 microfilm reel Language: Collection material in English Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Actress and author. Typescripts of unpublished plays by West. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People West, Mae. Subjects Drama--Stories, plots, etc. Occupations Actresses. Authors. Administrative Information Provenance The play scripts of Mae West, actress and author, were transferred to the Manuscript Division from the Library of Congress Copyright Office, 1974-1981. Processing History The play scripts of Mae West were processed in 1979 and 1984 and prepared for microfilming in 1988. The finding aid was revised in 2010. Copyright Status The status of copyright in the unpublished writings of Mae West is governed by the Copyright Law of the United States (Title 17, U.S.C.). Access and Restrictions Restrictions apply governing the use, photoduplication, or publication of items in this collection. -
Village News
MAY 2015 VILLAGE NEWS Women’s Health Week Kickoff An Afternoon Social Focusing on Good Health By Mary Procter National Women’s Health Week will be observed May 10-16, and to help celebrate, MedStar Washington Hospital Center is hosting women from Capitol Hill Village on May Big Bear Cafe in Bloomingdale, near Washington Hospital Center. 11 for an afternoon social and presentations on women’s health. The event will be from 3:00-6:00 pm Driving—a Village Volunteer Transportation will be provided from Capitol Hill to the MedStar Washington Hospital Center by Uncovers Local Treasures International Limousine Shuttle By Norman Metzger lot, given neither to self-pity nor (courtesy of the hospital). As we “Grover, I’m told that you’re famous. whining, but just meeting whatever enjoy wine and cheese, MedStar But for what?” troubles them head-on. And it experts will fill us in on three doesn’t matter what’s in the way of important topics, and there will be So, with more prompting, Grover doing that, whether serious mobility time for questions and answers. told me. He had the time, since I problems or crummy weather. was driving Grover a fair distance Women’s Cardiology Issues will be for a medical appointment. I had by Almost every drive is a reminder the first topic—something that is then been driving Village members to me that life is to be savored and, beginning to receive a great deal of when needed, pushed. A member for awhile, about once a week. I continued on page 6 was happy to contribute a bit to who is virtually deaf engages life with determination through the Village and to help some of its CONTENTS members but didn’t expect to gain good novels, observing life in a much from it, other than more nearby park, and more. -
The BLUE PAGES
The BLUE PAGES The Encyclopedic Guide To 78RPM Party Records Home Jimmie BALLARD labe ls Ballard covered “Moose” Jackson’s notorious “I Want a Bowlegged Woman” for King’s country catalog. --And His Herd, ca. Early 1950's. These two numbers are back-to-back on the same disc. title s (508-A) Take Your Finger Out of It NIFTY NOVELTY RECORDS 10008-B (520-A) 'Taint Big Enough NIFTY NOVELTY RECORDS 10007-A pe rforme rs The BANKER'S DAUGHTER e -discographe r --Female vocal with clarinet, piano and bass. Hollywood, ca. 1936. Probably from the Torchies from Hollywood label. Eli O be rste in (A208) Put It Where It Belongs HOLLYWOOD HOT SHOTS unnumbered Bill BARCLAY Barclay was a nightclub performer who worked with Ray Bourbon and had the only release known on the New Bourbon Records label by an artist other than Ray himself. --with Jack Burke at the piano, Hollywood, early 1940's. Mrs. Tom Maynard's Chickens NEW BOURBON RECORDS 100-A Mrs. Tom Maynard's Dogs NEW BOURBON RECORDS 100-B Dottie BARLOW She recorded a mix of party records and straight tunes typical of Pearl. Only the suggestive items will be listed herein. -- and Boys, late 1940's. (0014) Fishing Song (Mama Won't Let Me Go Fishing With You) (Tade, F. Dolan, Anna P. Vincent) PEARL 400-B (0016-1R) Ragged But Right PEARL 270-A (0017XX) The Next Time (Vincent) PEARL 270-B Sheila BARRETT The "Imitatenist of all the imitators", according to Cue Magazine, appeared at The Merry Go Round in 1935, at the Savoy Plaza as Dwight Fiske prepared to exit for his annual trip to Europe in April, 1937 and featured at the Rainbow Room that October. -
Download Press Release As PDF File
PROPERTY FROM THE LIFE AND CAREER OF MAE WEST PRESS RELEASE For Immediate Release: JULIEN’S AUCTIONS ANNOUNCES PROPERTY FROM THE LIFE AND CAREER OF MAE WEST Special Auction Celebration of the 1930s Hollywood Icon’s Bodiced Gowns, Headdresses, Tiaras, Film Costumes, Scripts and More to Headline Two- Day “Legendary Women of Hollywood” Auction Extravaganza NOVEMBER 1, 2019 IN BEVERLY HILLS Los Angeles, California – (July 29, 2019) – Julien’s Auctions, the world-record breaking auction house, has announced its highly anticipated event PROPERTY FROM THE LIFE AND CAREER OF MAE WEST auction, part of the LEGENDARY WOMEN OF HOLLYWOOD two-day extravaganza taking place on Friday, November 1 and Saturday, November 2, 2019 at The Standard Oil Building in Beverly Hills and live online at juliensauctions.com. PAGE 1 Julien’s Auctions | 8630 Hayden Place, Culver City, California 90232 | Phone: 310-836-1818 | Fax: 310-836-1818 © 2003-2019 Julien’s Auctions PROPERTY FROM THE LIFE AND CAREER OF MAE WEST PRESS RELEASE (photo left : Mae West’s Diamond Lil gown, photo right: gold lamé headdress) This special event celebrates the trailblazing career and style of the 1930s American actress, singer, playwright, screenwriter, comedian, and sex symbol. The star who coined legendary one liners such as, “When I’m good, I’m very good, but when I’m bad, I’m better,” will showcase a dazzling collection of ornate headdresses, tiaras, jewelry, wigs, film and stage worn bodiced gowns and more. Born in Brooklyn, NY on August 17, 1893, Mary Jane “Mae” West began her seven decades long entertainment career on amateur nights at the age of six years old. -
Are These Queer Times? Gay Male Representation on the American Stage in the 1920'S and 1990'S
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2003 ARE THESE QUEER TIMES? GAY MALE REPRESENTATION ON THE AMERICAN STAGE IN THE 1920'S AND 1990'S James Russell Couch University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Couch, James Russell, "ARE THESE QUEER TIMES? GAY MALE REPRESENTATION ON THE AMERICAN STAGE IN THE 1920'S AND 1990'S" (2003). University of Kentucky Master's Theses. 416. https://uknowledge.uky.edu/gradschool_theses/416 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS ARE THESE QUEER TIMES? GAY MALE REPRESENTATION ON THE AMERICAN STAGE IN THE 1920’S AND 1990’S Utilizing a model based on Queer theory and comprising four relational paradigms, this thesis examines specific dramas of Mae West and Terrence McNally in an effort to understand the multiple relationships between the text, the society and the culture in the production of a gay male identity and its representation on the American stage in the 1920’s and the 1990’s. Each relational paradigm is the product of a different twentieth century scholar and can be viewed as an individual lens through which one aspect of a drama or culture can be magnified, illuminated or distorted. -
Transgressive Female Sexuality in the Works of Lydia Thompson and the British Blondes, Mae West, and Annie Sprinkle
Wesleyan University The Honors College The Whore in All of Us: Transgressive Female Sexuality in the Works of Lydia Thompson and the British Blondes, Mae West, and Annie Sprinkle by Emily Elizabeth Steck Class of 2012 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Theater Middletown, Connecticut April, 2012 Table of Contents Acknowledgments…………………………………………………………………..iii Introduction: From Leg Shows to Porn Performance Art………………………...………...1 Chapter One: Lydia Thompson and the British Blondes: The Bawdy British Invasion…10 Chapter Two: Mae West: “She was, after all, a ‘bad’ girl with a heart of gold"1………...29 Chapter Three: Annie Sprinkle: The Porn Queen of Prostitute Performance……...………48 Conclusion: The Reach of the Whore……………………………………...………………67 Notes…………………………………………………………………………………73 Works Cited…………………………………………………………………………79 Steck iii Acknowledgments This project would not have been possible without the help, guidance, and support of many wonderful people. I owe them all countless thanks and a huge amount of gratitude: To the unbelievably fabulous and kind Leslie Weinberg, this project would not be what it is without you. Your wealth of knowledge, enthusiasm, and support has shaped this more than you will know. Thank you for everything. To my readers: Rashdia Shaw, for shaping me as a writer and for your brilliant insights into popular culture, and Jack Carr, for encouraging me to audition for The Skriker and thus introducing me to the Wesleyan Theater Department. To my former advisor, David B. Jaffe, you have shaped me as an artist, as a performer, and as an academic. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artwr, Ml 48106-1346 USA 800-521-0600 READING AT THEIR PERIL: DANGEROUS ENTERTAINMENT FROM WILKIE COLLINS TO MAE WEST DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Jill J. -
Download the Study Guide
STUDY GUIDE & DRAMATURGY 1 A Note from the Dramaturg MAE WEST One of a kind! Whether they liked her or not, and most people seemed to, there is little question that this short (5’) Brooklyn-born nonpareil had a host of admirers back in the nineteen-twenties and thirties. This was a woman who symbolized ‘sex,’ when it wasn’t even considered nice to speak the word in polite conversation. She received her theatrical training in the hey-day of vaudeville in the early 1900’s, first performing, singing and dancing at the age of 5. She jumped from vaudeville to Broadway at the age of 18. Eventually she began writing her own plays, the first of which was entitled, what else, SEX. The play was very popular with the public, but not so with the critics or the city officials, who raided it, closed it, and jailed Mae for eight days, charging indecency. Her next writing/starring effort was called THE DRAG, whose subject was homosexuality, and it never even made it to Broadway. After three or four more fairly popular and successful Broadway shows, written and starring her, she penned and headlined in her best known effort, DIAMOND LIL. This brought her to the attention of Hollywood. Paramount Studios talked her into signing with them in 1932, throwing in, as an enticement, what in those days was a rarity, the prototype of a motor home. She was an immediate hit with the movie-going public, but not with the screen censors, who had taken control of what audiences were watching at that point. -
Mae Westt Maem Westt an Icon in Black and White
Mae Westt MaeM Westt An Icon in Black and White JILL WATTS OXPORD UNIVERSITY PRESS OXPORD UNIVERSITY PRESS Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sao Paulo Shanghai Taipei Tokyo Toronto Copyright © 2001 by Jill Watts First published by Oxford University Press, Inc., 2001 First issued as an Oxford University Press paperback, 2003 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic,' mechanical,' photocopyingr rj o', recordingo', or otherwise', without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Watts, Jill. Mae West : an icon in Black and white / Jill Watts. p. cm. Includes bibliographical references and index. ISBN 0-19-510547-8 (cloth) ISBN 0-19-516112-2 (pbk.) 1. West, Mae. 2. West, Mae—Relations with Afro-Americans. 3. Motion picture actors and actresses—United States—Biography. I. Title. PN2287.W4S66 W39 2001 791.43'028'092—dc21 [B] 00-023182 135798642 Printed in the United States of America on acid-free paper * To * Thomas and Doris Watts, Donald, Rebecca, and Sarah Woo, and Wally This page intentionally left blank Contents Acknowledgmento s ix One They Were Too Smart 3 Two The Way She Does It 27 Three Shimadonna ^o Four Speaking -
Reforming the Stage and Screen: How Expectations, Audiences, and Economics Shaped the Film and Theatre Censorship Movements in Early-1930S New York
Constructing the Past Volume 7 Issue 1 Article 10 2006 Reforming the Stage and Screen: How Expectations, Audiences, and Economics Shaped the Film and Theatre Censorship Movements in Early-1930s New York Jenna Simpson Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/constructing Recommended Citation Simpson, Jenna (2006) "Reforming the Stage and Screen: How Expectations, Audiences, and Economics Shaped the Film and Theatre Censorship Movements in Early-1930s New York," Constructing the Past: Vol. 7 : Iss. 1 , Article 10. Available at: https://digitalcommons.iwu.edu/constructing/vol7/iss1/10 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by editorial board of the Undergraduate Economic Review and the Economics Department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Reforming the Stage and Screen: How Expectations, Audiences, and Economics Shaped the Film and Theatre Censorship Movements in Early-1930s New York Abstract This article discusses the efforts made in the early 20th century to censor certain things in both the movies and in theatre.