DOCSLIB.ORG

UC Merced Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UC Merced UC Merced Electronic Theses and Dissertations Title The Women of the Black Arts Movement and the Rise of the Ancestors Permalink https://escholarship.org/uc/item/2n0903cw Author McMillon, Kim Cheryl Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, MERCED Hidden Voices: The Women of the Black Arts Movement and the Rise of the Ancestors A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Individualized Graduate Program with an emphasis in World Cultures by Kim McMillon Committee in charge: Professor Nigel De Juan Hatton, Chair Professor Gregg Camfield Professor Sean L. Malloy Professor James Smethurst August 2019 Hidden Voices: The Women of the Black Arts Movement and the Rise of the Ancestors Copyright © 2019 By Kim Cheryl McMillon The dissertation of Kim McMillon is approved. _____________________________________________ Gregg Camfield _____________________________________________ James Smethurst _____________________________________________ Sean L. Malloy _____________________________________________ Nigel DeJuan Hatton, Committee Chair iii My Dissertation is dedicated to my mother, and my beautiful father who is now an Ancestor. I could not have done this dissertation without the joyous community of family and friends that have held my hand throughout this journey. Thank you, my dear brothers, Vincent and Chet. Thank you my dear friends Necola Adams, Shellee Randol, Teresita Chavarria, Vicki Underwood, Zerita Dotson, Stephanie Anne Johnson, and too many others to name. I love you all. iv CURRICULUM VITAE KIM MCMILLON TEACHING EXPERIENCE: GASP 153: Theatre & Social Responsibility (Teaching Fellow) 06/28/19-07/03/19 GASP 153: Theatre & Social Responsibility (Teaching Fellow) 07/02/18-08/10/18 Humanities 3000-Sect 6/Theatre of Transformation (CSUS) (Lecturer) 01/26/18-05/17/18 GASP 153: Theatre & Social Responsibility (Teaching Fellow) 01/17/17 -05/09/17 ARTS 115: Theatre & Social Responsibility (Teaching Fellow) 08/25/16 -12/08/16 ARTS 115: Theatre & Social Responsibility (Teaching Fellow) 05/23/16 -06/30/16 ENG/SPAN 100 Engaging Texts (Teaching Assistant) 01/09/16 -05/09/16 ARTS 100: History of World Arts (Teaching Assistant) 08/25/15 -12/14/15 Arts 115: Theatre & Social Responsibility (Teaching Fellow) 06/26/15 -07/03/15 S001: Introduction to Sociology (Teaching Assistant) 01/20/15 -05/09/15 SPAN 060: Intro to Chicano/a Culture (Teaching Assistant) 08/28/14 -12/13/14 ENG 31: Introduction to African American Lit (Teaching Assistant) 01/22/14 -05/09/14 ENG 20: Introduction to Shakespeare (Teaching Assistant) 08/27/13 -12/09/13 ARTS 115: Theatre & Social Responsibility (Teaching Fellow) 05/28/13 -07/03/13 LIT 31: Introduction to American Lit II (Teaching Assistant) 01/23/13 -05/14/13 HIST 123 Comparative Race and Ethnicity in the United States 08/28/12 -12/06/12 HIST 011: Introduction to World History (Teaching Assistant) 01/19/12 -05/06/12 LIT 30: Introduction to American Literature I, to 1865 (Teaching Assistant) 08/25/11 -12/12/11 PRODUCTION/LITERARY EXPERIENCE: ▪ Produced the 2010 Ethiopian New Year Celebration, Enkutatash. Handled publicity, promotion, set-up, and breakdown of this event with an audience of more than 2000 in Berkeley’s Martin Luther King Jr. Park with the support of the City of Berkeley, the Berkeley Police Department, and the Oakland Ethiopian Community and Cultural Center. ▪ Wrote grants, created and managed budgets, and produced PEN Oakland’s playwriting series, 8 short plays, staged at Live Oak Theatre in Berkeley | 09/2008 - 8/2009 ▪ Wrote, and produced stage readings of Carlos Diegues’ 1984 movie Quilombo dos Palmares on 17th Century Slavery in Brazil. Stage productions at Laney College in Oakland, and Alameda College in Alameda, CA |4/2007-02/ 2009 ▪ Produced the PEN Oakland sponsored literary series Oakland Out Loud at the Oakland Public Library in conjunction with the publishing of the Oakland Out Loud anthology |04/2007 - 09/2007 v ▪ Curated the poetry program for Chandra Garsson’s exhibition, Insomnia [Awakening], which focused on the culture of violence that perpetrates child abuse and sexual abuse of women, as told through the personal experiences of one local artist. Poets reading included Ellen Bass, Teresa LeYung Ryan, Jennifer Stone, Alta, Shailja Patel, Mary Mackey, Leslie Simon, etc. | 02/2004 - 03/2004 ▪ Produced, wrote, and starred the one-woman show, Confessions of a Thespian, directed by Margo Hall and staged at the Julia Morgan Theatre in Berkeley, CA. |10/1999 -03/2000 ▪ Produced, Wrote & Directed Voyages, which premiered at the Nova Theatre in San Francisco in March 1986, and was produced at Zellerbach Playhouse in August 1987. In January 1988, the Black Repertory Group produced Voyages. The theme of spiritual enlightenment was explored highlighting issues of race, sexuality, death, and rebirth. PUBLICATIONS: New Perspectives on Amiri Baraka, Anthology Contribution, Ohio University Press, Publication Date: 2021 Black Power Encyclopedia (1965-1975), a two-volume reference work that explores the emergence and evolution of the Black Power Movement in the United States. Contributed section on the Black Arts Movement. ABCCLIO: July 2018: 78-85. Journal of Pan African Studies edited special edition on the Black Arts Movement, April 2018. “The Black Arts Movement – Healing Systemic Racism,” State of UC Blog, August 30, 2016. Fightin’ Words: 25 Years of Provocative Poetry and Prose from “the Blue-Collar PEN”. CoEditor, Heyday Books, 2017. Oakland Outloud, poetry anthology, Assistant Editor, Jukebox Press, 2007. Words Upon the Waters, Publication Committee, Jukebox Press, 2006. PRESENTATIONS: Produced “We Wear Our Crown: An Evening of Female Empowerment” at UC Merced with the UC Graduate Student Association and the Office of Campus Climate. |03/2/2017 Rethinking Black Feminism and the Woman of the Black Arts Movement, UCSB. Funding by Center for Black Studies Research & the UC Consortium for Black Studies in California, Guest Speaker. |12/02/2016 UC Merced – Diversity and Inclusion graduate student panel, Facilitator. | 08/16/2016 With Associated Students of UC Merced, Produced Two Part Series on Race, Culture and History” with Professor Akinyele Omowale Umoja, Associate Professor and Chair of the Department of African-American Studies at Georgia State University, and Professor and historian James Loewen, author of Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong. | 04/07/2015 04/21/2015 CONFERENCES: • Fifth Annual Interdisciplinary Humanities Graduate Student Conference, March 16-17, 2018 “Deconstructing the Black Arts Movement from a Feminist Point of View,” Presenter • Dillard University-Harvard’s Hutchins Center BAM Conference| 09/09/16 - 09/11/16 Dillard University, New Orleans, LA. Organizer • Social Justice in the Central Valley | 11/05/15 - 11/07/15 vi Utilizing the Theatre of the Black Arts Movement to Strengthen the Empathy Muscle, Stanislaus State University, CA. Guest Speaker • 50 Years On: The Black Arts Movement & Its Influences 02/28/14 - 03-02/14 UC Merced, Merced, CA, Organizer • Drama out West| 11/03/13 -11/05/13 The Black Arts Movement in the San Francisco Bay Area, Presenter | 1960 – 1980 Black Doctoral Network Conference, Philadelphia, PA. Presenter • The Transformation of the African American through Black Theatre, |01/11/12 -01/14/12 11th Annual Hawaii International Conference on Arts and Humanities |1960 1980. Presenter MEDIA EXPERIENCE: ▪ Civil Liberties Conversation, We are all Americans, panelist, Valley PBS | 07/19/2018 ▪ Arts in the Valley, Host and Producer 1480 KYOS AM, Merced, CA |10/2010- 07/2014 FIELD OF STUDY AND RESEARCH Under the direction of Professor Nigel Hatton, I researched the history and major figures of the Black Arts Movement (BAM) with an emphasis on the women of the BAM. EDUCATION: UC Merced| School of Social Sciences, and Humanities, World Cultures| Ph.D. program, | Summer 2019 San Francisco State University, | Theatre Arts-Playwriting, | M.A. Program, | San Francisco State University, English | Emphasis on Creative Writing, |B.A. AWARDS AND HONORS: ▪ Outstanding Women’s Award, Awarded for Outstanding Leadership, The Office of Student Life Women’s Programs. | 3/10/2018 ▪ UC Merced 2017 Graduate Dean’s Dissertation Fellowship. | 6/10/2017 ▪ Proclamation of Appreciation endorsed by Black Communities of Central California, business and educational leaders, service organizations community volunteers, and citizens of the communities of the San Joaquin Valley. |02/26/2017 ▪ UC Consortium for Black Studies Curatorial Public Events Award. | 12/04/1016 ▪ Martin Millennial Award honoring contributions to Southern Arts and Letters. |09/09/2016 ▪ The Soroptimist Ruby Award, Soroptimist International |04/10/2014 ▪ Distinguished UC Merced Woman and Graduate Student Award. |3/14/2014 AFFILIATIONS/ MEMBERSHIPS: ▪ Graduate Student Representative on UC Merced’s Spendlove Price Comm. |06/2016-05/2018 ▪ PEN Oakland (Poets, Essayists, & Novelists) Oakland, CA (Board member) | 02/1995 – 02/2017 vii ▪ National Council of Negro Women (Member) 10/2014 – 09/2016 ▪ African Diaspora Student Association at UC Merced (President) 04/2013 – 12/2017 ▪ Arts UC Merced Presents (Board member)| 2013-2015 viii It is the poet’s task to sing. John O’Neal, Co-Founder, Free Southern Theatre ACKNOWLEDGEMENTS I turned 62 on June 18, 2019. In my wildest dreams, I never imagined that I would return to school for my doctorate in my later years. In 2010, it was suggested by a friend, Donell Williams, that I should enroll in graduate school at UC Merced. I was not working and had no idea what to do after losing my position as Allocator at Pacific Maritime Association in Oakland, CA because of the 2008 stock market crash. I was honored that Professors Gregg Camfield and Nigel Hatton agreed to be my advisors. I was unsure about my area of research until Professor Hatton said to do what I love. I love African American theatre, particularly the theatre of the Black Arts Movement (BAM). It opens my heart in a manner that almost nothing has before.
Recommended publications
  • Sangamon State University a Springfield, IL 62708

    Sangamon State University a Springfield, IL 62708

    s~'$$$ Sangamon State University a Springfield, IL 62708 Volume 3, Number 1 Office of University Relations August 28,1986 PAC 569 786-6716 CONVOCOM To Air Soccer Game Welcome The SSU TV Office will tape coverage of The SSU WEEKLY staff extends greetings to the Prairie StarsIQuincy College soccer game all new and returning students, faculty and on Friday, September 5, at Quincy for later staff at the beginning of this fall semester. broadcast on CONVOCOM. The game will air on The WEEKLY contains stories about faculty, three CONVOCOM channels, WJPT in Jackson- staff and studqnts and various University ville, WQEC in Quincy and WIUM-TV in Macomb, events and activities. beginning at 8:30 p.m. on Friday, September Please send news items to your program 5, and 8 p.m. on Saturday, September 6 (The coordinator or unit administrator to be game actually begins at 7 p.m. on Sep- submitted to SSU WEEKLY, PAC 569, by the tember 5). Springfield area residents will Monday prior to the publication date. The be able to see the game on WJPT, cable WEEKLY is printed every Thursday. If you channel 23. have any questions regarding the SSU WEEKLY, The game is part of a four-team call 786-6716. tournament. Southern Illinois University at Edwardsville will play the Air Force Academy Reminders at 5 p.m. on September 5. *The University will be closed Monday, Amnesty Program September 1, for the observance of Labor Day. The University will be open Tuesday, In an effort to reduce the number and September 2, but no classes are scheduled.
  • The Black Arts Enterprise and the Production of African American Poetry

    The Black Arts Enterprise and the Production of African American Poetry

    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett.
  • A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J

    A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J

    SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23).
  • KILLENS, JOHN OLIVER, 1916-1987. John Oliver Killens Papers, 1937-1987

    KILLENS, JOHN OLIVER, 1916-1987. John Oliver Killens Papers, 1937-1987

    KILLENS, JOHN OLIVER, 1916-1987. John Oliver Killens papers, 1937-1987 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Killens, John Oliver, 1916-1987. Title: John Oliver Killens papers, 1937-1987 Call Number: Manuscript Collection No. 957 Extent: 61.75 linear feet (127 boxes), 5 oversized papers boxes (OP), and 3 oversized bound volumes (OBV) Abstract: Papers of John Oliver Killens, African American novelist, essayist, screenwriter, and political activist, including correspondence, writings by Killens, writings by others, and printed material. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Series 5: Some student records are restricted until 2053. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2003 Citation [after identification of item(s)], John Oliver Killens papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Roke, Elizabeth Stice, and Margaret Greaves, June 2011 This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Oliver Killens papers, 1937-1987 Manuscript Collection No. 957 oppressive language. If you are concerned about language used in this finding aid, please contact us at [email protected].
  • 447-449 RRIJM18030688.Pdf

    447-449 RRIJM18030688.Pdf

    Volume-03 ISSN: 2455-3085 (Online) Issue-06 RESEARCH REVIEW International Journal of Multidisciplinary June-2018 www.rrjournals.com [UGC Listed Journal] The Man in the Artist in the Selected Novels of John Oliver Killens *1Sk Abdul Salam & 2Dr. Om Prakash Tiwari *1Research Scholar, Dr. C.V. Raman University Bilaspur, Chhattisgarh (India) 2Associate Professor, Dr. C.V. Raman University, Bilaspur, Chhattisgarh (India) ARTICLE DETAILS ABSTRACT Article History John Oliver Killens’s politically charged novels And Then We Heard the Thunder and The Published Online: 19 June 2018 Cotillion; or One Good Bull Is Half the Herd, were nominated for the Pulitzer Prize. His works of fiction and nonfiction, the most famous of which is his novel Youngblood, have been Keywords translated into more than a dozen languages. An influential novelist, essayist, screenwriter, Thunder, Heard, Columbia, Black Arts and teacher, he was the founding chair of the Harlem Writers Guild and mentored a Movement generation of black writers at Fisk, Howard, Columbia, and elsewhere. Killens is recognized *Corresponding Author as the spiritual father of the Black Arts Movement. In this first major biography of Killens, Email: sksalam815[at]gmail.com Keith Gilyard examines the life and career of the man who was perhaps the premier African American writer-activist from the 1950s to the 1980s. Gilyard extends his focus to the broad boundaries of Killens’s times and literary achievement—from the Old Left to the Black Arts Movement and beyond. Figuring prominently in these pages are the many important African American artists and political figures connected to the author from the 1930s to the 1980s—W.
  • The Rhythm of Life

    The Rhythm of Life

    THE RHYTHM OF LIFE Resource Pack Introduction This pack celebrates music and the benefits of its use in working with older people. In particular it celebrates the musical experiences gained from a collaborative project involving 104 older people in care settings across County Durham, along with their support workers, local authority activity staff, and professional musicians from Live Music Now. Music has been shown to have many benefits in care settings, ranging from increased self-confidence and social interaction, to improved physical coordination and memory function. The Rhythm of Life project was designed to explore these benefits by inspiring older people in sheltered accommodation / housing and day care settings to develop their musical skills and enjoy creating and performing their own songs and stories. They were encouraged to explore using music as a creative outlet, while participating in singing, playing instruments, writing poetry and sharing memories. The idea of this pack is to bring together our findings from the Rhythm of Life project and provide a resource for activity staff and non-musicians to develop music work with diverse user groups. It is designed to offer tips for planning your sessions, ideas for activities that you can develop and thoughts on evaluating and documenting your sessions in a way that is relevant and meaningful. Most of all we hope you find the pack encourages everyone who looks at it to think about and celebrate what makes music so special, fun and unique in the way it can be a part of everyone’s Rhythm of Life. Ros Hawley, April 2010 “I really enjoyed the music today because I was actually doing it myself, rather than just listening.
  • Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter

    Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter

    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A.
  • The Summer Chronicle

    The Summer Chronicle

    The Summer Chronicle llth Year, Number 6 Duke University, Durham, North Carolina Wednesday, June 17, 1981 Trustees OK hospital budget, rate hikes By Erica Johnston increase by 12 percent to 15 calls for an expense budget of Patients at Duke Hospital percent. $169.7 million, an increase of 8.5 will pay an average of 11 The hikes were part of the percent over last year's, and a percent more for their rooms Hospital's fiscal 1982 budget revenue budget of $175.4 starting July 1 due to an proposal presented to the million. increased revenue budget for executive committee by Andrew In response to a trustee's the Hospital approved by the Wallace, chief executive officer question, Wallace said Duke executive committee of the of the Hospital. Hospital "will still be the most Board of Trustees last Friday. The increase — the second for expensive in the Piedmont On July 1, rates will inrease room rates in six months — is region," but added that the rate from $216 to $231 or by nine needed to make the Hospital's by which Duke's room fees have percent for semi-private rooms, projected revenue budget exceed increased is lower than about from $220 to $240 for private the expense budget to balance half ofthe hospitals' in the area. rooms and from $580 to $705 inflationary factors and help Duke Hospital's rates are daily, or by 22 percent, for decrease the Hospital's $3.5 higher than other area rooms in the intensive care unit. million deficit, Wallace hospitals largely because Duke Charges for out-patient visits explained after the meeting.
  • Selling Masculinity at Warner Bros.: William Powell, a Case Study

    Selling Masculinity at Warner Bros.: William Powell, a Case Study

    Katie Walsh Selling Masculinity at Warner Bros.: William Powell, A Case Study Abstract William Powell became a star in the 1930s due to his unique brand of suave charm and witty humor—a quality that could only be expressed with the advent of sound film, and one that took him from mid-level player typecast as a villain, to one of the most popular romantic comedy leads of the era. His charm lay in the nonchalant sophistication that came naturally to Powell and that he displayed with ease both on screen and off. He was exemplary of the success of the new kind of star that came into their own during the transition to sound: sharp- or silver-tongued actors who were charming because of their way with words and not because of their silver screen faces. Powell also exercised a great deal of control over his publicity and star image, which is best examined during his short and failed tenure as a Warner Bros. during the advent of his rise to stardom. Despite holding a great amount of power in his billing and creative control, Powell was given a parade of cookie-cutter dangerous playboy roles, and the terms of his contract and salary were constantly in flux over the three years he spent there. With the help of his agent Myron Selznick, Powell was able to navigate between three studios in only a matter of a few years, in search of the perfect fit for his natural abilities as an actor. This experimentation with star image and publicity marked the period of the early 1930s in Hollywood, as studios dealt with the quickly evolving art and technological form, industrial and business practices, and a shifting cultural and moral landscape.
  • Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc

    Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc

    Title Composer Lyricist Arranger Cover artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc. 1921 Wabash Cannon Ball Wm Kindt Wm Kindt NPS Calumet Music Co. 1939 High Bass arranged by Bill Burns Wabash Moon Dave Dreyer Dave Dreyer Irving Berlin Inc. 1931 Wagon Wheels Peter DeRose Billy Hill Shapiro, Bernstein & Co. 1934 Wagon Wheels Peter DeRose Billy Hill Geoffrey O'Hara Shapiro, Bernstein & Co., Inc. 1942 Arranged for male voices (T.T.B.B.) Wah-Hoo! Cliff Friend Cliff Friend hbk Crawford Music Corp. 1936 Wait for Me Mary Charlie Tobias Charlie Tobias Harris Remick Music Corp. 1942 Wait Till the Cows Come Home Ivan Caryll Anne Caldwell Chappell & Company Ltd 1917 Wait Till You Get Them Up In The Air, Boys Albert Von Tilzer Lew Brown EEW Broadway Music Corp. 1919 Waitin' for My Dearie Frederick Loewe Alan Jay Lerner Sam Fox Pub. Co. 1947 Waitin' for the Train to Come In Sunny Skylar Sunny Skylar Martin Block Music 1945 Waiting Harold Orlob Harry L. Cort Shapiro, Bernstein & Co. 1918 Waiting at the Church; or, My Wife Won't Let Me Henry E. Pether Fred W. Leigh Starmer Francis, Day & Hunter 1906 Waiting at the End of the Road Irving Berlin Irving Berlin Irving Berlin Inc. 1929 "Waiting for the Robert E. Lee" Lewis F. Muir L. Wolfe Gilbert F.A. Mills 1912 Waiting for the Robert E. Lee Lewis F. Muir L. Wolfe Gilbert Sigmund Spaeth Alfred Music Company 1939 Waiting in the Lobby of Your Heart Hank Thompson Hank Thompson Brenner Music Inc 1952 Wake The Town and Tell The People Jerry Livingston Sammy Gallop Joy Music Inc 1955 Wake Up, America! Jack Glogau George Graff Jr.
  • What Do We Want from Public Sculpture? See Page 9

    What Do We Want from Public Sculpture? See Page 9

    a newspaper for the rest of us www.lansingcitypulse.com November 7 - 13, 2018 What do we want from public sculpture? See page 9 SOWETO GOSPEL CHOIR “Sheer jubilation … the rhythm of life.” –Herald Sun, Melbourne SUNDAY, NOVEMBER 18, 6:30 pm WHARTONCENTER.COM • 1-800-WHARTON Sponsored by The Doctors Company. Media Sponsor: Michigan Radio. 2 www.lansingcitypulse.com City Pulse • November 7, 2018 FOOD SAFE! Greater Lansing Potters’ Guild Pottery Sale CELEBRATING Fall 2018 AUTUMN Thursday - Nov. 15th - 5:30 pm to 9:00 pm Friday - Nov. 16th - 9:00 am to 9:00 pm Stop by to see all the new merchandise arriving daily Saturday - Nov. 17th - 9:00 am to 4:00 pm Including Halloween and beautiful new pottery All Saints Church, 800 Abbot Road East Lansing, Michigan Remember the Grove Gallery, Woven Arts and the other small businesses, and we all validate parking! Expires 12-7-18 MASTER 10th Annual JAMM Tribute Concert WORKS 02 featuring 2019 JAMM Tribute Honoree, BRAHMS Jeff Shoup SYMPHONY NO.3 AVA ORDMAN, TROMBONE NOV 15 TICKETS THU 517.487.5001 7:30P LANSINGSYMPHONY.ORG WHARTON TIMOTHY MUFFITT CENTER Conductor & Music Director PRESENTED BY The Loomis Law Firm Sunday November 11, 2018 SPONSORED BY Sam & Mary Austin, Fund for New Music 2 - 5 pm (Doors open at 1:30) Don & Jan Hines UrbanBeat Event Center, Old Town, Lansing $20 General Admission $15 JAMM Members $25 at the door (if available) Tickets: jazzjamm.com City Pulse • November 7, 2018 www.lansingcitypulse.com 3 PLASTIC SURGERY IPL for Better Skin Of the many signs of aging, irregular brown and red pigmentation of skin is all too common.
  • Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society

    Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society

    Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society Originally compiled as a printed guide (Selected African-American History Collections) by Wilma L. Gibbs, 1996 Revised and updated by Wilma L. Gibbs as an online guide, 2002 and 2004 Introduction Personal Papers Organizations, Institutions, and Projects Communities Education Race Relations Religious Institutions 15 July 2004 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org Introduction This guide describes manuscript and visual collections in the William Henry Smith Memorial Library of the Indiana Historical Society (IHS) that document the experiences of African Americans in Indiana. In 1982, a collecting effort was formalized at the Historical Society to address the concern for the paucity of records available for doing research on the history of African Americans in the state. The purpose of that effort continues to be to collect, process, preserve, and disseminate information related to the history of black Hoosiers. The Archivist, African American History is available to answer and direct research questions from the public. Indiana Historical Society members can receive Black History News & Notes, a quarterly newsletter that publicizes library collections, relevant historical events, and short papers pertaining to Indiana’s black history. Preserving Indiana’s African American heritage is a cooperative venture. The Society needs your help in providing information about existing records in attics, basements, and garages that can be added to the library’s collections. As more records are collected and organized, a more accurate and complete interpretation of Indiana history will emerge.