Echo 57.5 1975 [Labeled As Vol. 77.5]

Total Page:16

File Type:pdf, Size:1020Kb

Echo 57.5 1975 [Labeled As Vol. 77.5] Greasepaint hopes to be a roaring success impersonated by Emily Forbes, drama department and consistently changed - - by an Kathy Bechtel, Peggy Franke, release arrogant patrician called Sir who Nancy Jackson, Denise Norman, Starting Wednesday night and represents aristocracy gone continuing through Saturday, the seedy but still habituated to Nancy Ritchie, Mary Stone and musical comedy The Roar of the command. Also at Sir's com­ Kathy Turner. Greasepaint, the Smell of the mand is The Kid who is subject to The set, constructed by Crowd will be presented in the his every whim. Students technical director James Little Theatre at 8:15 p.m. The assuming the roles of Cocky, Sir Oosting, instructor in speech and former Broadway hit sponsored and The Kid, are Wayne drama, represents a stylized by the speech and drama Grumbling, Monty Swetnam and gameboard including several department is directed by Linda Sue Hendershot. playing levels in close proximity Kukuk, instructor, with musical Others entering into the action to the audience which surround a numbers and choreography of the gafhe are The Girl, played central area painted in various staged by music major Don Hill. by Ruth Wiren and The Negro colors, the purpose to encourage Greasepaint is a comic parable portrayed by Frank Beard. These audience participation. about a Little Man named Cocky characters are supported by a Designing and preparing the who has to "play the game" singing, scampering, and tattered wardrobe for the cast is according to the rules set down - - squealing chorus or Urchins Jessie Rousselow, assistant professor of speech and drama. Tickets are available at the box office in the basement of the Brown to conduct speech and drama building 1-5 Cocky and Sir as portrayed by Wayne Grumbling and Monty p.m. each afternoon. Present ID Swetnam. Drama release photo Ragtime Ensemble for one complimentary ticket. VOLUME LXXVII—No. 5 by Tim Bertsche solo piano pieces by other Echo news editor composers of ragtime. The ap­ The Indiana University proach is a strictly classical one OCTOBER 10,1975 Ragtime Ensemble, under the with no effort made to "jazz-up" TAYLOR UNIVERSITY, UPLAND, INDIANA 46989 direction of Indiana Music the works. Professor Keith Brown, will be performing at Eastbrook Middle The Ensemble is composed of School, Saturday, Oct. 11 at 8:15 members of the Indiana p.m. University School of Music. Ministry of Celebration Director Keith Brown is an or­ The Ensemble was organized chestral conductor at I.U. as well in the Spring of 1974. The first as an instructor of the trombone. performance in mid-April played He is currently performing as to a standing-room-only aimed at Taylor friends solo trombonist with the Casals audience. The popularity of the Festival Orchestra in Puerto by Chet LeSourd group is credited to the positive for development, in talking about made by a few of the members Rico, and has also performed rapport developed between the Echo co-editor jthe university's motive behind concerning Taylor - - an approach professionally with several other performers and the audience. In an attempt to offer a jthe decision stated "we need this similar to the one used by gospel major orchestras, including the spiritual ministry to university type of ministry in order to offset teams and Taylor's chorale. The ensemble's repertoire is Metropolitan Orchestra. alumni and friends, the musical 'the letters that are periodically "Celebration is not being used as taken from the Red Back Book group Celebration is being sent out asking for increased a means to an end - - the end is (instrumental arrangements of Admission to Saturday's sponsored by Taylor for the 1975- financial support. "This is our their ministry, any words con­ ragtime music edited by Gunther performance is free. Eastbrook 76 school vear. way of expressing appreciation to cerning Taylor are only a by­ Schuller), other arrangements by Middle School is located seven Motives those contributors who are product," repeated Delcamp. Indiana University students, and blocks north of Morris Hall. Sam Delcamp, vice-president helping us or who have helped us Contract stipulations in tne past," he continued. Financially, Taylor has The nine member group has provided Celebration with a been on the road since September minimal guarantee for their Candidates display honor 20, singing in such states as concerts. Also,, each member of Kansas, Iowa, Michigan and the group will receive $25.00 per Minnesota. According to week in addition to a moderate President Robert Baptista, the food allowance. In return for one in '75 Homecoming Court group is "having extraordinary year's service to the school, by Debbie Montgomery Jane Johnson was especially sounds simplistic, but I accepted success." "Reports tell me that Taylor will provide each singer Echo feature writer happy with some of the changes (the nomination) because I felt they have been getting excellent with a full scholarship for the Six girls have been chosen to which have taken place in the honored. I know I am going to receptions in churches ,"said Dr. upcoming year - - their only represent their respective Homecoming procedure itself. In learn through this, especially Baptista. expenses being incidental fees classes on the 1975 Homecoming her opinion, the emphasis this through the scary feeling that Past association and books. As of yet, only three of Court. Who are they? What do year is on the whole person, and it people are evaluating me." Celebration, led by director the eight tentatively plan to at­ they think of their nomination? In is no longer a "beauty pageant." Shelle Martin viewed the Ben Markley, originally was tend Taylor, with the other six what ways will it affect them? "I accepted (the nomination) nomination as an honor bestowed associated with Marion College. having already graduated or in SENIORS because it is a chance to share on her by her friends. "It would On account of various limitations their last years in their respec­ Danielle Messinger em­ myself with people - - not a be an insult to them to even imposed on and by the Marion tive colleges. phasized that the Queen can­ consider not accepting. I feel college - - financially and chance for big exaltation and an Kids not to blame didates are only one part of ego trip - - just a chance to share privileged that they want me to otherwise, a respresentative Homecoming. She also remarked myself." represent them, and it never even contacted Taylor in mid July Both Dr. Baptista and Sam that, for her, "this opportunity is JUNIORS crossed my mind to refuse that telling of the group's availability. Delcamp expressed concern over a humbling one because I realize honor." Dr. Baptista stated "although any student reaction that might Debbie Wolgemuth clearly that the only reason I am par­ we would have preferred to send be directed toward the singers expressed her feelings on why SOPHOMORES ticipating is because of the work out Taylor students, I made the themselves. "When we first she accepted by stating "it. Nan Kennedy had several Christ is doing in my life." decision to go-ahead with approached the group as a whole, reasons for wanting to be a part Celebration based on their ex­ they were nervous about the of the Homecoming experience. perience, leadership and built-in extent of expectations that we She wanted both to carry on with set-up." By "built-in set-up" Dr. might impose upon them," stated the tradition of Homecoming, and Baptista was referring to their "The kids should not to represent her class. She also Delcamp. ownership of equipment valued suffer (for the decision) - - remarked that a further reason over $45,000. they're caught in a tough was "to make it an enjoyable situation," replied Dr. Baptista. Homecoming for the alumni." Concert approach Realizing that the decision is an For Kathy Ritchie, there was Markley has written and arranged practically all of the unprecedented one, Dr. Baptista really no question of not ac­ plans to have a careful review of cepting, with the possible ex­ music that Celebration plays. "The thing that impresses me the situation at the end of the ception that because of the year. "We feel that this move will distance between her home and about Ben Markley is that the evangelistic ministry is his prove advantageous," said Dr. Taylor, her parents will not be Baptista. And if not, Dr. Baptista able to attend. "I feel this is a real number one goal," added Delcamp. He stated that stated that the responsibility learning time for me," she Celebration operates under "no rests on him. replied. "I dont' want to be sad expressed criteria for the Celebration's schedule consists and nostalgic, and focus on the promotion of Taylor." Delcamp of 360 concerts crammed into a fact that my folks are not here. IOV2 month tour program. These The 1975 Homecoming court including, left to right, Kathie explained that during the in­ That could really hinder any way termission some type of display concerts will be performed in Ritchie, Debbie Wolgemuth, Jane Johnson, Danielle Messinger, in which God could use me," she (brochures, etc.) will be churches and service clubs Shelle Martin, and Nan Kennedy. said. presented with brief remarks throughout the country. 2 October 10,1975 ECHO Student teacher dilemna demands solution Last week secondary student That is, instead of reducing the cost of benefit better from a term-long education majors teachers met with living in university housing in methods class taught in the spring of Bill Davis, vice president for business proportion to how long secondary the junior year. No't only could more affairs, and Tom Beers, dean of student teachers actually remain on material conceivably be covered, but students, to discuss alleged campus, the cost is simply set.
Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Scott Joplin International Ragtime Festival
    Scott Joplin International Ragtime Festival By Julianna Sonnik The History Behind the Ragtime Festival Scott Joplin - pianist, composer, came to Sedalia, studied at George R. Smith College, known as the King of Ragtime -Music with a syncopated beat, dance, satirical, political, & comical lyrics Maple Leaf Club - controversial, shut down by the city in 1899 Maple Leaf Rag (1899) - 76,000 copies sold in the first 6 months of being published -Memorial concerts after his death in 1959, 1960 by Bob Darch Success from the Screen -Ragtime featured in the 1973 movie “The Sting” -Made Joplin’s “The Entertainer” and other music popular -First Scott Joplin International Ragtime Festival in 1974, 1975, then took a break until 1983 -1983 Scott Joplin U.S. postage stamp -TV show possibilities -Sedalia realized they were culturally important, had way to entice their town to companies The Festival Today -38 festivals since 1974 -Up to 3,000 visitors & performers a year, from all over the world -2019: 31 states, 4 countries (Brazil, U.K., Japan, Sweden, & more) -Free & paid concerts, symposiums, Ragtime Footsteps Tour, ragtime cakewalk dance, donor party, vintage costume contest, after-hours jam sessions -Highly trained solo pianists, bands, orchestras, choirs, & more Scott Joplin International Ragtime Festival -Downtown, Liberty Center, State Fairgrounds, Hotel Bothwell ballroom, & several other venues -Scott Joplin International Ragtime Foundation, Ragtime store, website -2020 Theme: Women of Ragtime, May 27-30 -Accessible to people with disabilities -Goals include educating locals about their town’s culture, history, growing the festival, bringing in younger visitors Impact on Sedalia & America -2019 Local Impact: $110,335 -Budget: $101,000 (grants, ticket sales, donations) -Target Market: 50+ (56% 50-64 years) -Advertising: billboards, ads, newsletter, social media -Educational Programs: Ragtime Kids, artist-in-residence program, school visits -Ragtime’s trademark syncopated beat influenced modern America’s music- hip-hop, reggae, & more.
    [Show full text]
  • The History and Development of Jazz Piano : a New Perspective for Educators
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.
    [Show full text]
  • A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
    A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In­ dividuals and groups of national and international fame, represen­ ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa­ tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre­ quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae­ cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • 1. Charles Ives's Four Ragtime Dances and “True American Music”
    37076_u01.qxd 3/21/08 5:35 PM Page 17 1. Charles Ives’s Four Ragtime Dances and “True American Music” Someone is quoted as saying that “ragtime is the true American music.” Anyone will admit that it is one of the many true, natural, and, nowadays, conventional means of expression. It is an idiom, perhaps a “set or series of colloquialisms,” similar to those that have added through centuries and through natural means some beauty to all languages. Ragtime has its possibilities. But it does not “represent the American nation” any more than some fine old senators represent it. Perhaps we know it now as an ore before it has been refined into a product. It may be one of nature’s ways of giving art raw material. Time will throw its vices away and weld its virtues into the fabric of our music. It has its uses, as the cruet on the boarding-house table has, but to make a meal of tomato ketchup and horse-radish, to plant a whole farm with sunflowers, even to put a sunflower into every bouquet, would be calling nature something worse than a politician. charles ives, Essays Before a Sonata Today, more than a century after its introduction, the music of ragtime is often regarded with nostalgia as a quaint, polite, antiquated music, but when it burst on the national scene in the late 1890s, its catchy melodies and en- ergetic rhythms sparked both delight and controversy. One of the many fruits of African American musical innovation, this style of popular music captivated the nation through the World War I era with its distinctive, syn- copated rhythms that enlivened solo piano music, arrangements for bands and orchestras, ballroom numbers, and countless popular songs.
    [Show full text]
  • Understanding Music Popular Music in the United States
    Popular Music in the United States 8 N. Alan Clark and Thomas Heflin 8.1 OBJECTIVES • Basic knowledge of the history and origins of popular styles • Basic knowledge of representative artists in various popular styles • Ability to recognize representative music from various popular styles • Ability to identify the development of Ragtime, the Blues, Early Jazz, Bebop, Fusion, Rock, and other popular styles as a synthesis of both African and Western European musical practices • Ability to recognize important style traits of Early Jazz, the Blues, Big Band Jazz, Bebop, Cool Jazz, Fusion, Rock, and Country • Ability to identify important historical facts about Early Jazz, the Blues, Big Band Jazz, Bebop, Cool Jazz, Fusion, and Rock music • Ability to recognize important composers of Early Jazz, the Blues, Big Band Jazz, Bebop, Cool Jazz, Fusion, and Rock music 8.2 KEY TERMS • 45’s • Bob Dylan • A Tribe Called Quest • Broadway Musical • Alan Freed • Charles “Buddy” Bolden • Arthur Pryor • Chestnut Valley • Ballads • Children’s Song • BB King • Chuck Berry • Bebop • Contemporary Country • Big Band • Contemporary R&B • Bluegrass • Count Basie • Blues • Country Page | 255 UNDERSTANDING MUSIC POPULAR MUSIC IN THE UNITED STATES • Creole • Protest Song • Curtis Blow • Ragtime • Dance Music • Rap • Dixieland • Ray Charles • Duane Eddy • Rhythm and Blues • Duke Ellington • Richard Rodgers • Earth, Wind & Fire • Ricky Skaggs • Elvis Presley • Robert Johnson • Folk Music • Rock and Roll • Frank Sinatra • Sampling • Fusion • Scott Joplin • George Gershwin • Scratching • Hillbilly Music • Stan Kenton • Honky Tonk Music • Stan Kenton • Improvisation • Stephen Foster • Jelly Roll Morton • Storyville • Joan Baez • Swing • Leonard Bernstein • Syncopated • Louis Armstrong • The Beatles • LPs • Victor Herbert • Michael Bublé • Weather Report • Minstrel Show • Western Swing • Musical Theatre • William Billings • Operetta • WJW Radio • Original Dixieland Jazz Band • Work Songs • Oscar Hammerstein 8.3 INTRODUCTION Popular music is by definition music that is disseminated widely.
    [Show full text]
  • Jazz in America • the National Jazz Curriculum Test Bank 3 - Jazz’S Beginnings
    Jazz in America • The National Jazz Curriculum Test Bank 3 - Jazz’s Beginnings Select the BEST answer 1. In the 1600’s, African music was predominantly A. Christian music B. taught in African music conservatories C. artistic music D. functional music E. performed by professional musicians 2. One of the traits in jazz that is primarily of African origin is A. the number of musicians performing B. unexpressive musical content C. the use of polyrhythms D. the type of instruments used E. the chord progressions utilized 3. One of the traits in jazz that is primarily of European origin is A. the use of polyrhythms B. the type of instruments used C. the time of day the music was performed D. the number of musicians performing E. its utilization as purely functional music 4. The basic difference between the concept of African music versus European music is A. African music was Christian music B. European music was functional C. the basic concepts are the same D. European music was more art music whereas African music was more functional music E. African music was a written tradition whereas European music was an aural tradition 5. The blues evolved from A. the types of instruments being played together B. slave field hollers and African American folk songs C. European art music D. the blending of particular chords and rhythms E. dance music 6. The blues are usually characterized by A. fast march-like tempos B. the sweet blending of harmonies C. a plaintive and melancholy melodic line D. an unemotional quality when played E.
    [Show full text]
  • Mercury 19410408.Pdf
    A11D UIIIND YCIU 1 '!'hat Eut.tr Vtcatloa Dula .,..., The Glenvt e Mercury Momi,.. at I O'dock. Don't PoiPU ENTERTAIN CHEMISTRY DAY CROWD To Speak Here LYCEUM NUMBER Student Election SniDENTS FORM SEVENTY -FIVE WGH WIU BE · HEARD In Progress Today SCHOOLS INVrrED TO ATIEND TENTH MUSINGS ANNUAL PROGRAM, SAnJRDAY, APRD. A~ol ......... MONDAY EVENING t,-· p_ ............. liME_.- ... ~ ........ JOliN T...,a. - D. wbo ~ .W be tha _.aeemtnt .. ......r hen ~ 4. ... had an -llfo.Bofoa....Saato ~.._....~-·- :.u.:::r: =.: ~ :::0.: ...... a. - Ute iloWv of dte a- Alia- .............. ......---llllldpia ·li!M.Bearftd-­ wta t&ilactioa ill the paenl ............ of .... -Ez. -..... ..._ ...... tllo Job.D T ..ple Gravea. 11. editor, Wor.ld War aU wp Jatar atiached author, lecturer, of BlnaiJlP.am, &o t.U .hace ....... C'Oarift. Ala., wOI deUTtt tb oC'OIIUIIUC..ant Bia lnt DOftl, wturia appe&.ll&d addrullllert! on JUlie 4. See Kercory lit 1110..... wu _. eontiallJ' nc.md bJ' IIIIIIDIS eohunn t.llla week for mon _ __ abow.t .,. era... .,._,........,jhrtM_____ .. ......._ ......................... .. ,.... ,_.._.M.......,.edkorol~•---- ..,_ _. it - editor et tile ........_ Aae-B...W .... of ........ ':.. !'~*~ U. UXTH YOUTH ll'ftDN'AL Y..U. , A .......... II t1r Asabny WUU... ~ ~__ tMre&..OIIo..,.. JI1'Apo._o.-,"'''le_, __ _ _.. _'1' __ ....::::::~~= ._ ___ _ ,..... -........_..·--- _-. ......,___ ....... ....._. ___ ...,.. o• oawt....-. vrojecta .......,........... • ....-- ...... 1N111T SPLU<S OUII Uatentepr, Americ&a Lpoet aDd c:ritic:-, told Ul.e Ollul•to.. Opea Forv.m aadlenoa tH ,.a. Tv.HdaJ' \hat America ia 6owia• ~ of co•ifta' of ... ta die laa area ud caltai'L Be aid that whenu tiM artieU of tWI coutrJ oaee bonowad from Duop., Eai'Ope&Bai are now bor· •wilt&' from Americ:L llr.
    [Show full text]
  • Perilous Pop: Ragtime, Jazz and Progressive Social Thought in the Early 20 Century Press, 1900-1930 a DISSERTATION SUBMITTED TO
    Perilous Pop: Ragtime, Jazz and Progressive Social Thought in the Early 20 th Century Press, 1900-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Chani Marchiselli IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Mary Vavrus November, 2009 © Chani Marchiselli 2009 i Acknowledgements First, I want to thank my exceptionally patient committee: Dr. Ed Schiappa for his invaluable advice, Dr. Gil Rodman for the thoughtful responses and long phone calls, Dr. Ron Greene for introducing me to concepts that continue to inform my work. I am indebted to my advisor, Dr. Mary Vavrus for her persistence and her editorial skills. I also want to thank Dr. Karlyn Kors Campbell for teaching me how to write a rhetorical criticism. I am grateful for years of support from family: Dawne Belloise, Dennis Giacomo and Chris Dill. Finally, encouragement from friends and colleagues made my matriculation much more likely. I thank Drs. Roni Shapiro, Josh Gunn and Kristin Swenson for their emotional and intellectual contributions to this and other projects, and Dr. Christopher Swift for insisting that it really is better on the other side. ii Dedication This dissertation is dedicated to my mother, Dawne Belloise, and to Dennis Giacomo iii Table of Contents Introduction 1 Prologue 1 Mass Music and Public Culture 3 Moral Panics and Jazz Literature 12 Chapter One: Progressivism 25 Introduction 25 Historiography Debates 25 Faith and Science 31 Progress and Culture 37 Conclusion 46
    [Show full text]
  • The Regency Memory Care Club – River Edge
    Sunday Monday Tuesday Wednesday Thursday Friday Saturday 9:30 Jigsaw Puzzling Flower Power 9:30 Frisbee Fun 1 2 3 4 10:00 Six Pin 60’s & 70’s Day 10:30 Cranium Crunchers 10:30 Brain Games 11:00 Sit, Sing, Swing There is some serious fun to 11:00 Fitness Fun be had today – Don’t miss it! 12:00 NY-NY Sing A Long Lunch Outing to 60’s & 70’s Moments in Time Recall Trip Out to Alpine Fads & Fashion Red Robin 60’s Art Portfolio Overlook for Great Views 3:00 Italian Ice Social Kenn e dy & Vietnam Reminisce of NYC & Picnic Lunch 3:30 Brain Booster Trivia The Regency Memory Care Club – River Edge Music Scene Celebration 4:00 Moving to the Rhythm w/ Dennis Grau’s Live Music 5:30 Movie Clips PLUS so much more! 9:30 News & Views 5 9:30 Toss & Talk 6 9:30 Puzzling 7 Fabulous 50’s 8 9:30 Brain Benders 9 9:30 Perfect Pitch Challenge10 11 10:30 Gameshow Challenge 10:30 Brain Teasers 10:30 Elvis Trivia Games 9:00 Fun With Color 10:30 Horseshoes 10:30 Memory Joggers 11:00 Senior Zumba 11:00 Recharge Exercise 11:00 Elvis Zumba 11:00 Boogie & Bounce Fitness 11:00 Move & Groove Exercise 10:00 Recall 50’s Commercials Bahama Breeze Dance & Sing with Rock n’ Roller 11:00 Sweating to the Oldies Feel Good Live Matsuya - Super Fun Lunch Trip Joe Paris Chris Durante Ronnie’s Music by Val & Ken Hibachi Lunch Outing 3:30 Happy Hour 3:00 Fresh Fruit Happy Hour 3:00 Malted Milkshakes Rockin’ Grille 3:30 Bingo for Prizes 3:00 You be The Judge 4:00 What’s Trending? 3:30 Music Bingo 3:30 Hoop Heaven Lunch Trip 4:00 “Plastic Painting” 3:30 Bank or Bust Dice Game 4:30 Clay
    [Show full text]