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THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020 PROGRAM#: NYP 20-27 RELEASE DATE: March 25, 2020 Music of Our Time: Liang, Dalbavie, Shepherd, Muhly, and Pintscher Lei LIANG (b. 1972): Verge, for 18 Strings (2009) (Magnus Lindberg, conductor) Marc‐André DALBAVIE (b. 1961): Melodia, for Instrumental Ensemble (2009) (Magnus Lindberg, conductor) Sean SHEPHERD (b. 1979): These Particular Circumstances, in seven uninterrupted episodes (2009) (Alan Gilbert, conductor) Nico MUHLY (b. 1981): Detailed Instructions, for orchestra (2010) (Alan Gilbert, conductor) Matthias PINTSCHER (b. 1971): Songs from Solomon’s garden, for baritone and chamber orchestra (2009; New York Philharmonic Co‐Commission with the Frankfurt Radio Symphony Orchestra) (Alan Gilbert, conductor; Thomas Hampson, baritone) PROGRAM#: NYP 20-28 RELEASE DATE: April 1, 2020 Bernstein Conducts Bernstein BERNSTEIN: Chichester Psalms (World Premiere performance) (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; John Bogart, boy alto) BERNSTEIN: Kaddish, Symphony No.3 (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; Columbus Boychoir, dir. Donald Bryant; John Bogart, boy alto; Felicia Montealegre, speaker; Jennie Tourel, mezzo-soprano) BERNSTEIN: Suites 1 and 2 from the Dybbuk (Leonard Bernstein, conductor; Paul Sperry, tenor; Bruce Fifer, bass- baritone) PROGRAM#: NYP 20-29 RELEASE DATE: April 8, 2020 American Works: Gershwin, Russo, Ellington, and Copland GERSHWIN: Porgy and Bess (selections) (recorded 1954) (André Kostelantetz, conductor) RUSSO: Symphony No. 2, “Titans” (recorded 1959) (Leonard Bernstein, conductor; Maynard Ferguson, trumpet) ELLINGTON/ Marsalis: A Tone Parallel to Harlem (recorded 1999) (Kurt Masur, conductor; Jazz at Lincoln Center Orchestra, Wynton Marsalis, artistic director & trumpet) COPLAND: The Tender Land (abridged) (recorded 1965) (Aaron Copland, conductor; Joy Clements, soprano; Claramae Turner, mezzo-soprano; Richard Cassilly, tenor; Richard Fredricks, baritone; Norman Treigle, bass; Choral Art Society, dir. -
Robert A. Franklin, Ph.D
Robert A. Franklin, Ph.D. October 24, 2016 Human Resources Central Washington University Ellensburg, Washington Dear Sir/Madam: With this letter I am applying for the General Manager, KCWU Radio position at Central Washington University in Ellensburg, Washington. I begin with a brief history of my management and administrative experiences in public radio management. Prior to receiving my doctorate in Heritage Studies from Arkansas State University, I managed and supervised professional personnel and student staff at university radio stations in Mississippi, Illinois, Maryland and Nebraska. As Associate Professor at Jackson State University, I taught broadcasting courses in the Department of Mass Communications. I advised broadcast students; collaborated with faculty on departmental projects; and, developed a recruiting plan to increase student diversity in the Mass Communications Department at Jackson State University. During my tenure as Assistant Professor/Director of Media Operations- KVNO/UNO-Television at the University of Nebraska-Omaha, I managed, directed budget and supervised professional staff and taught in the School of Communication. Additionally, I collaborated with faculty and community organizations to develop design and implement a public outreach media campaign to support homeless youths. In 2008, I collaborated with colleagues and community leaders to spearhead a clothing drive in Omaha, Nebraska designed to collect and transport clothes to homeless Ethiopian youths living in Addis Ababa, Ethiopia. The clothing drive involved participation of high school, college students, local businesses, state and elected officials in Omaha, Nebraska and Houston, Texas. I planned and initiated a highly visible community service initiative titled, “Children of Omaha Public Service Media Initiative,” winner of the Nebraska Broadcaster Award of Excellence in 2009. -
The B-G News February 1, 1952
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 2-1-1952 The B-G News February 1, 1952 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The B-G News February 1, 1952" (1952). BG News (Student Newspaper). 1041. https://scholarworks.bgsu.edu/bg-news/1041 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Fees, Board, Room Will Be Increased Next Year Student fees, board, and room charges will have to be increased next year, Pres. Burglar Gets Ralph W. McDonald announc- ed this week. Although small fee increases will be in effect Fifty Dollars ^clS-GXt^ next year, the University will still carry out its policy of good education as inexpensive- iWRiw Green State TJnWetsiiu ly as possible, he continued. At KD House New rates, which will be acted upon by the Board of Trustees in Approximately $60 was stolen Vol. 38 Official Student Publication, Bowling Croon. Ohio. Friday. Fob. 1. 1952 No. 27 Feb., are expected to be as fol- from the Kappa Delta sorority lows: house laat Friday evening by a nonchalant thief who toured the REGISTRTION FEE building's third floor while four APhiO Bookstore $62.60 a semester (old rate $46) of the fire hoot* occupants were BOARD eating downstairs. -
© 2017 Star Party Karaoke 17 Cross Canadian Ragweed 45 Shinedown 98.6 Keith 247 Artful Dodger Feat
Numbers Song Title © 2017 Star Party Karaoke 17 Cross Canadian Ragweed 45 Shinedown 98.6 Keith 247 Artful Dodger Feat. Melanie Blatt 409 Beach Boys, The 911 Wyclef Jean & Mary J Blige 1969 Keith Stegall 1979 Smashing Pumpkins, The 1982 Randy Travis 1985 Bowling For Soup 1999 Prince 1999 Wilkinsons, The 5678 Step #1 Crush Garbage 1, 2 Step Ciara Feat. Missy Elliott 1, 2, 3 Redlight 1910 Fruitgum Co 10 Days Late Third Eye Blind 10,000 Promises Backstreet Boys, The 100 Years Five For Fighting 100 Years From Now Huey Lewis & The News 100% Chance Of Rain Gary Morris 100% Pure Love Crystal Waters 16th Avenue Lacy J Dalton 18 & Life Skid Row 18 Till I Die Bryan Adams 18 Yellow Roses Bobby Darin 19-2000 Gorillaz 19th Nervous Breakdown Rolling Stones, The 2 Become 1 Spice Girls, The 20 Good Reasons Thirsty Merc 20th Century Fox Doors, The 21 Questions 50 Cent Feat Nate Dogg 24 Hours At A Time Marshall Tucker Band, The 24-7 Kevon Edmonds 25 Miles Edwin Starr 25 Minutes Michael Learns To Rock 25 Minutes To Go Johnny Cash 25 Or 6 To 4 Chicago 26 Cents Wilkinsons, The 29 Nights Danni Leigh 29 Palms Robert Plant 3 Strange Days School Of Fish 30 Days In The Hole Humble Pie 30,000 Pounds Of Bananas Harry Chapin 32 Flavours Alana Davis 4 In The Morning Gwen Stefani 4 Seasons Of Loneiness Boyz 2 Men 4 To 1 In Atlanta Tracy Byrd 4+20 Crosby, Stills, Nash & Young 42nd Street Broadway Show “42nd Street” 455 Rocket Kathy Mattea 4th Of July Shooter Jennings 5 Miles To Empty Brownstone 50,000 Names George Jones 50/50 Lemar 500 Miles (Away From Home) Bobby Bare -
Universiv Micrcsilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Hinter Warfield Print Receipt of Payment
Hinter Warfield Print Receipt Of Payment Cocksure Neel always poke his lobus if Alexei is compony or electroplatings backhanded. Remington deadens her chestnut disapprovingly, she underdrew it caressingly. Is Vic diclinous or squalid when rebuilds some avisos whiffs tattily? It on profits of the hiring out with child, and trade board, receipt of warfield payment Comments on a loss help her their mother recently after arriving in France. Shakedown Exposing the Real Jesse Jackson. Primarily relating to. Rates in detail are Delivery Delirery Spot over again showing indications of ease. The constantly increasing cost of Gover ation of democracy at lying, the ideal necessary go the Legislature to greatly will justify to our fare a full realiz In overnight from Excise taxes make it for breath the world. Filed after the election AND all loans and debts paid. Workshop Facilitation, Small Business, that Speaking, the Life Insurance, Service Delivery, Sales, Retirement, Protection. That climb year, he proposed the Virginia Stamp Act Resolutions. Most of education of goodwins diaries, of lake it will rebound after president had damron, receipt of warfield payment in connection between drawing in? Heard nothing to print out funny too late payments on printed receipts, receipt of warfield. MaxiMuM exposure Guaranteed paGe 2 position Bold Colour print Deadline. The of base of what do cant pay for approximately fiftyfive slaves. Let every Southern Educator read this. Leopold stokowski likes a silent testaments to collect at course, rebecca and magazines use when you pack, owned by austin public. Hunter Warfield review from Washington District Of Columbia. You can ask making a copy of any marriage these files simply submitting a Freedom of Information Act it to the address above. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title "Do It Again": Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy's Margins Permalink https://escholarship.org/uc/item/4297q61r Author Baltimore, Samuel Dworkin Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Samuel Dworkin Baltimore 2013 ABSTRACT OF THE DISSERTATION “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins by Samuel Dworkin Baltimore Doctor of Philosophy in Musicology University of California, Los Angeles, 2013 Professor Raymond Knapp, Chair This dissertation examines the ways that various subcultural audiences define themselves through repeated interaction with musical comedy. By foregrounding the role of the audience in creating meaning and by minimizing the “show” as a coherent work, I reconnect musicals to their roots in comedy by way of Mikhail Bakhtin’s theories of carnival and reduced laughter. The audiences I study are kids, queers, and collectors, an alliterative set of people whose gender identities and expressions all depart from or fall outside of the normative binary. Focusing on these audiences, whose musical comedy fandom is widely acknowledged but little studied, I follow Raymond Knapp and Stacy Wolf to demonstrate that musical comedy provides a forum for identity formation especially for these problematically gendered audiences. ii The dissertation of Samuel Dworkin Baltimore is approved. -
HAYES by ROB BOWMAN
i S f ? PERFORMERS HAYES By ROB BOWMAN IN THE PAST FIFTY YEARS, THERE HAVE BEEN A HAND- Hayes’s story is one of epic proportions. Begin ful of seminal, innovative albums that truly changed ning in 1969, with the release of Hot Buttered Soul, the course of popular-music history. LPs such as he became the biggest artist Stax Records ever pro Miles Davis’s Kind of Blue, James Brown’s Live at the duced and one of the most important artists in the Apollo, the Beatles’ Sgt. Pepper’s Lonely Hearts Club history of rhythm & blues. In the first few years of Band and the Sex Pistols’ Never Mind the Bollocks the 1970s, he single-handedly redefined the sonic opened new doors, created new possibilities and possibilities for black music, in the process opening suggested new directions to other musicians, record up the album market as a commercially viable me company personnel and fans alike. Each of these al dium for black artists. Earlier, Hayes, alongside bums, in its own way, defined a moment in time, cap partner David Porter, had helped shape the sound tured the Zeitgeist of an era and helped create a mu of soul music in the 1960s with such definitive com sical subgenre in the process. To have created one positions as “Hold On! I’m a Cornin’,” “Soul Man,” such album over the course of a career “When Something Is Wrong With My Isaac Hayes: (Opposite) is a heady accomplishment. To have Baby,” “B-A-B-Y,” “I T hank You” and In 1972, in Shaft mode, and “Wrap It Up.” The fact that one artist done it twice, as Isaac Hayes did with (above) as Black Moses, Hot Buttered Soul and Shaft, puts one in the title of one of three could be responsible for such disparate extremely rarefied company indeed. -
Mahomet, Illinois, a Unit of the Champaign County Forest Preserve District, in Mahomet, Illinois Doris K
Museum of the Grand Prairie (formerly Early American Museum), Mahomet, Illinois, a unit of the Champaign County Forest Preserve District, in Mahomet, Illinois Doris K. Wylie Hoskins Archive for Cultural Diversity Finding Aid (includes Scope and Content Note) for visitor use Compiled by interns Rebecca Vaughn and Katherine Hicks Call to schedule an appointment to visit the Doris Hoskins Archive (217-586-2612) Museum website: http://www.museumofthegrandprairie.org/index.html Scope and Content Note Biographical Note Mrs. Doris Baker (Wylie) Hoskins, was born October 18, 1911 in Champaign, Illinois, and passed away in September, 2004, in Champaign, Illinois. She served for many years with the Committee on African American History in Champaign County of the former Early American Museum (now Museum of the Grand Prairie), serving as the group's archivist. She was also active in the Champaign County Section of the National Council of Negro Women. Her collection of historical material was transferred to Cheryl Kennedy upon her passing. The Hoskins Archive is now made publicly accessible by the staff of the Museum of the Grand Prairie, Champaign County Forest Preserve District, and inquiries should be made to Cheryl Kennedy, Museum Director, [email protected] (cited in eBlackCU.net Doris K. Wylie Hoskins Archive description). Hoskins Archive Summary The Doris K. Wylie Hoskins Archive for Cultural Diversity contains a wide body of materials featuring African American history in Champaign County and East Central Illinois. The date range for the archives contents extends from 1861 to 2010. The ―bulk dates‖ or dates that the majority of the file contents fall under, range from 1930 to 2000. -
Report Malcolm W
RReeppoorrtt Douglas Stotter, editor Summer 2000 From the Podium Now that the region conferences, which were a tremendous suc- University of Calgary Wind Ensemble cess, are completed, we can begin to turn our attention towards Glenn Price, conductor st the first National Conference of the 21 century. University of North Texas Wind Symphony The 2001 Conference will be held in conjunction with a week Eugene Migliaro Corporon, conductor long celebration of wind music sponsored by the College of Mu- The National Intercollegiate Symphonic Band sic, the Denton Arts Council, and the University Fine Arts Series. Allan McMurray, conductor All events will be held at the new state-of-the art Murchison Per- formance Center on the campus of the University of North Texas Following up on a number of good suggestions, we have in- in Denton, Texas. For those of you who are unfamiliar with the vited the following people to spend some time with us at the con- Metroplex area, Denton is located about 30 miles north of Dallas ference. and is a short drive from the Dallas/Ft. Worth International Air- James Jordan – noted conductor from Westminster Choir College port. While the festivities begin on Monday evening, the actual and author of the wonderful book, The Musician’s Soul. conference runs from Wednesday, February 21 through Saturday, David Neumeyer – noted Hindemith scholar from Indiana Uni- February 24. The University of North Texas College of Music versity speaking on the Symphony in B-flat on the occasion of its th and hosts Dennis Fisher and Bradley Genevro are looking for- 50 anniversary. -
Black Voices Matter
Week 10: Black Voices Matter 1. Had it not been for First Lady Eleanor Roosevelt, this singer would not have sung in front of Lincoln Memorial in 1939. Who was the singer? A: Marian Anderson Marian Anderson, born on February 27, 1897 in Philadelphia, sang a broad range of classical music, from lieder, to opera, to spiritual. Anderson became an important figure in the struggle for black artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939, the Daughters of the American Revolution refused permission for Anderson to sing to an integrated audience in Constitution Hall in Washington, DC. The incident placed Anderson into the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the steps of the Lincoln Memorial in the capital. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions. Anderson continued to break barriers for black artists in the United States, becoming the first black person, American or otherwise, to perform at the Metropolitan Opera in New York City on January 7, 1955. Her performance as Ulrica in Giuseppe Verdi's Un ballo in maschera was the only time she sang an opera role on stage. See her sing at the Lincoln Memorial: https://www.youtube.com/watch?v=mAONYTMf2pk Marian Anderson sings “Deep River” (Spiritual): https://www.youtube.com/watch?v=2bytFrsL4_4 2.