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Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode. -
Mary, Roseanne, and Carrie: Television and Fictional Feminism by Rachael Horowitz Television, As a Cultural Expression, Is Uniqu
Mary, Roseanne, and Carrie: Television and Fictional Feminism By Rachael Horowitz Television, as a cultural expression, is unique in that it enjoys relatively few boundaries in terms of who receives its messages. Few other art forms share television's ability to cross racial, class and cultural divisions. As an expression of social interactions and social change, social norms and social deviations, television's widespread impact on the true “general public” is unparalleled. For these reasons, the cultural power of television is undeniable. It stands as one of the few unifying experiences for Americans. John Fiske's Media Matters discusses the role of race and gender in US politics, and more specifically, how these issues are informed by the media. He writes, “Television often acts like a relay station: it rarely originates topics of public interest (though it may repress them); rather, what it does is give them high visibility, energize them, and direct or redirect their general orientation before relaying them out again into public circulation.” 1 This process occurred with the topic of feminism, and is exemplified by the most iconic females of recent television history. TV women inevitably represent a strain of diluted feminism. As with any serious subject matter packaged for mass consumption, certain shortcuts emerge that diminish and simplify the original message. In turn, what viewers do see is that much more significant. What the TV writers choose to show people undoubtedly has a significant impact on the understanding of American female identity. In Where the Girls Are , Susan Douglas emphasizes the effect popular culture has on American girls. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
NEFL Grinders Cheer
NEFL Cheer is holding tryouts for Grinders cheerleading. All current 4th & 5th graders are eligible to tryout. *IMPORTANT DATES* **April 15th– 6:00 p.m.** Call out meeting at NWMS cafeteria for girls interested in trying out and their parents. Any and all information regarding Grinders Cheer will be covered including tryouts, cost and expectations for cheerleaders. No tumbling is required. **May 6th & 7th– 6:00-8:00 p.m.** Tryout clinic– NWMS Gym Girls will learn a cheer and chant needed for tryouts. **May 8th– 6:00– 8:00p.m.** Tryouts– NWMS gym **These dates are mandatory.** Questions? Please contact Marlo Morgan at [email protected] NEFL Grinders Cheer The tryouts for NEFL Grinders cheer will be held May 5th-7th from 6:00-8:00 in the upper gym at NWMS. The girls need to wear a t-shirt/tank, shorts, tennis shoes and have their hair pulled back. They should bring a water bottle with them. The first two nights will be the clinic where the girls will learn the cheer and chant needed for the tryouts. The third night will be the tryouts. Parents are welcome to stay in the gym and watch the clinic, but the tryouts are closed. The team will be announced that night after tryouts. All girls must be registered with NEFL before they will be allowed to tryout. You can register online at www.nefl.net. Please bring your printed receipt of registration on the first day of cheer clinic. ************************************************************************ The girls will be judged on a 1-5 scale on the following skills: -Cheer and chant memory -Motions -Voice projection -Enthusiasm -Jumps -Attitude -Tumbling will be scored as follows: -Cartwheel -1 point -Round Off - 2 points -Back Handspring - 3 points -Back Handspring series - 4 points -Tuck – 5 points The cost for participating in Grinders cheer is approximately $325-$350. -
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell Crosby’s 1945 holiday album Original release label “Holiday Inn” movie poster With the possible exception of “Silent Night,” no other song is more identified with the holiday season than “White Christmas.” And no singer is more identified with it than its originator, Bing Crosby. And, perhaps, rightfully so. Surely no other Christmas tune has ever had the commercial or cultural impact as this song or sold as many copies--50 million by most estimates, making it the best-selling record in history. Irving Berlin wrote “White Christmas” in 1940. Legends differ as to where and how though. Some say he wrote it poolside at the Biltmore Hotel in Phoenix, Arizona, a reasonable theory considering the song’s wishing for wintery weather. Some though say that’s just a good story. Furthermore, some histories say Berlin knew from the beginning that the song was going to be a massive hit but another account says when he brought it to producer-director Mark Sandrich, Berlin unassumingly described it as only “an amusing little number.” Likewise, Bing Crosby himself is said to have found the song only merely adequate at first. Regardless, everyone agrees that it was in 1942, when Sandrich was readying a Christmas- themed motion picture “Holiday Inn,” that the song made its debut. The film starred Fred Astaire and Bing Crosby and it needed a holiday song to be sung by Crosby and his leading lady, Marjorie Reynolds (whose vocals were dubbed). Enter “White Christmas.” Though the film would not be seen for many months, millions of Americans got to hear it on Christmas night, 1941, when Crosby sang it alone on his top-rated radio show “The Kraft Music Hall.” On May 29, 1942, he recorded it during the sessions for the “Holiday Inn” album issued that year. -
"The Untitled Lena Dunham Project" Pilot (Together)
"THE UNTITLED LENA DUNHAM PROJECT" PILOT (TOGETHER) Written by Lena Dunham 10/23/2010 INT. MIDTOWN RESTAURANT, EVENING HANNAH-- 24, sweet-faced, slightly chubby-- sits across from her parents: TAD--early 60s, professorial-- and LOREEN, slim and understated, also in her 60s. Loreen and Tad slowly work on their food while Hannah eats speedily, back and forth between a bowl of pasta, a salad, a side of spinach and a baked potato. LOREEN Would you two slow down? You’re eating like it’s going out of style. HANNAH (mouth full) I’m a growing girl. A drip of sauce hits Tad’s shirt. TAD Meant to do that. Hannah laughs. LOREEN Your whole Brooklyn thing, Hannah. It reminds me of Berkeley in the 1970s. My boyfriend at the time, Ned. He lived in a communal space a bit like yours. HANNAH (laughing) I have one roommate, mom. LOREEN But that boyfriend of hers seems always to be around. TAD We’re sorry we never got to meet this fellow you’re dating. HANNAH Dating is probably a polite word for what we’re doing, but yeah. LOREEN Hannah, that’s your father. Spare him the TMI. (pause) That’s a thing, right? TMI? (MORE) 2. LOREEN (CONT'D) One of my students said it and I thought it was just so funny. HANNAH (to Tad) I’m sorry, papa. Did that upset you? TAD I’m rolling with it. Pause LOREEN Tad. We should probably bring it up now. TAD Let’s finish recapping the weekend and then we can-- LOREEN No, I don’t want to just leave it til the end of dinner. -
Hollywood Musicals
i HOLLYWOOD MUSICALS Hollywood Musicals offers an insightful account of a genre that was once a main- stay of twentieth- century fi lm production and continues to draw audiences today. What is a fi lm musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss defi nitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat , Holiday Inn , Stormy Weather, The Gang’s All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin’ in the Rain , Gentlemen Prefer Blondes, The Band Wagon , Seven Brides for Seven Brothers , and Jailhouse Rock as well as later fi lms, such a s Cabaret , All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and fl exibility, its long and distinguished history, its special appeal, and its cultural signifi cance. Clear and accessible, this guide provides students of fi lm and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood’s most beloved genres. Steven Cohan’s books include Masked Men: Masculinity and the Movies in the Fifties, Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical , and Hollywood by Hollywood: The Backstudio Picture and the Mystique of Making Movies. -
Juniors to Have Prom Girls Glee Club Pre~Ents Nnua Aster Oncert
,. SERlES V VOL. VII Stevens Point, \Vis., April 10, 1946 No. 23 College Band Again Juniors To Have Prom Girls Glee Club Pre~ents To Welcome Alums Of interest to all students is the fact that the first post-war Juni or A 1 E c The col lege band, under Ihe di rec· Promenade will be he!J as originally nnua aster oncert tion of Peter J. Michelsen, wi ll hold sc heduled on Friday, May 24. There · a h omecoming on Saturday and Sun had previously been some question day, April 27 and 28. as to whether it could be held be Holds Initiation Michelsen to Direct Approximately 36 band directors cause of the fact that the date chose n Second semester pledges became The Girls Glee club, under the plan to attend the homecoming. for the Prom was the same as that members of Sigma Tau Delta, na directi on of Peter J. Michelsen, will They wi ll play with the college selected by the freshmen for their tional honora ry English fraternity, present their fifth annual Easte r band, making a total of '65 people in proposed party. After a discussion at a meeting held last Wednesday concert on P,tlm Sunda)', April 14, the organization. between the heads of the two classes, the decision was reached to evening in Studio A. in th; coll ege aud itorium .It 3 o'clock ! he g roup will spend Saturday combine the two events in to the The new members, Joyce Kopitz in the .1fternoon. rehearsing, and on Saturday evening, Junior Prom. -
Daisy 5 Flowers, 4 Stories, 3 Cheers for Animals! Activity
Daisy 5 Flowers, 4 Stories, 3 Cheers for Animals! Activity Plan 1: Birdbath Award Purpose: When girls have earned this award, they will be able to say “Animals need care; I need care. I can do both.” Planning Guides Link: Leadership Activity Plan Length: 1.5 hours Resources and Tips • This activity plan has been adapted from It’s Your Story—Tell It! 5 Flowers, 4 Stories, 3 Cheers for Animals!, which can be used for additional information and activities. • Important snack note: Please check with parents and girls to see if they have any food allergies. The snack activity calls for peanut butter or a dairy product. Ask parents for alternative options that will work for the activity, if needed. Activity #1: Unique Animals Journey Connection: Session 4—Fantastical Animals Flip Book Time Allotment: 15 minutes Materials Needed: • Note cards • Coloring utensils • Tape • Paper Steps: 1. Create a list of animal body parts (head, arm, leg, ears, tail, etc.) on individual small pieces of paper. 2. Ask the girls the questions below: • What animals have you seen near where you live? • What is the most unusual animal you’ve ever seen? Where did you see it? What did it look like? 3. Split the girls into teams, hand out note cards and assign 1–2 animal body parts per girl (depending on the number of girls per group). Instruct girls not to talk to each other and to draw the body part they have on the note card for an animal, real or imaginary. 4. After girls have finished their drawings, have them work as a team to tape the different animal body parts together to create a totally unique animal friend. -
Irving Berlin's Holiday
IIrrvviinngg BBeerrlliinn’’ss HHoolliiddaayy IInnnn At the Fireside Dinner Theatre (Fort Atkinson, WI) Sunday, November 14, 2021 Sunday, November 14, 2021 PPeerr PPeerrssoonn RRaattee:: $$112299 The Ark Encounter Irving Berlin’s HOLIDAY INN tells the story of Jim, who leaves the bright lights of show business behind to settle down on his farmhouse in Connecticut, but life just isn’t the same without a bit of song and dance. Jim’s luck takes a spectacular turn when he meets Linda, a spirited schoolteacher with talent to spare. Together they turn the farmhouse into a fabulous inn with dazzling performances to celebrate each holiday, from Thanksgiving to the Fourth of July. But when Jim’s best friend Ted tries to lure Linda away to be his new dance partner in Hollywood, will Jim be able to salvage his last chance at love? Based on the classic film, this joyous musical features thrilling dance numbers, laugh-out-loud comedy and a parade of hit Irving Berlin songs, including “Blue Skies,” “Easter Parade,” “Steppin’ Out With My Baby,” “Heat Wave,” “White Christmas,” “Be Careful, It’s My Heart,” “Cheek to Cheek,” “Shaking the Blues Away” and many more. It’s a year-round classic to make any holiday sparkle! Sunday Matinee Brunch Begin your Brunch with an assortment of Quick Breads and Pastries from our Bakery along with a Fresh Fruit Smoothie. Each show our Chef will prepare a Beef Tenderloin dish and select one of our popular Breakfast Potatoes for our Brunch Buffet which includes Chef-Carved Jones Hickory Smoked Ham and Roast Turkey Breast, Eggs Benedict on Jones Canadian Bacon, Scrambled Eggs, Bacon, Maple Sausage Links, Chicken Tenderloin Tempura with Brandied Apricot Sauce, Biscuits and Sausage Gravy, Fresh Atlantic Salmon, Buttermilk Pancakes, and Roasted Farm Fresh Vegetables. -
Irving Berlin's Holiday
Irving Berlin’s Holiday Inn Irving Berlin’s Holiday Inn At the Fireside Dinner Theatre (Fort Atkinson, WI) TThhuurrssddaayy,, NNoovveemmbbeerr 1111,, 22002211 PPeerr PPee rrssoonn RRaattee:: $$112299 The Ark Encounter Irving Berlin’s HOLIDAY INN tells the story of Jim, who leaves the bright lights of show business behind to settle down on his farmhouse in Connecticut, but life just isn’t the same without a bit of song and dance. Jim’s luck takes a spectacular turn when he meets Linda, a spirited schoolteacher with talent to spare. Together they turn the farmhouse into a fabulous inn with dazzling performances to celebrate each holiday, from Thanksgiving to the Fourth of July. But when Jim’s best friend Ted tries to lure Linda away to be his new dance partner in Hollywood, will Jim be able to salvage his last chance at love? Based on the classic film, this joyous musical features thrilling dance numbers, laugh-out-loud comedy and a parade of hit Irving Berlin songs, including “Blue Skies,” “Easter Parade,” “Steppin’ Out With My Baby,” “Heat Wave,” “White Christmas,” “Be Careful, It’s My Heart,” “Cheek to Cheek,” “Shaking the Blues Away” and many more. It’s a year-round classic to make any holiday sparkle! Menu: Cream of Watercress Soup served with Toasted Pine Nuts, Chicken Piccata (Skinless Breast of Chicken dipped in egg, lightly breaded, sautéed to a golden brown, resting on a Velouté Lemon Cream Sauce and garnished with tiny Caper Buds and French Fried Parsley). Served with Scalloped Potatoes and Fresh Asparagus and Baby Carrots. -
Carl Dengler Scrapbooks
CARL DENGLER COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Mary J. Counts, spring 2006 and Mathew T. Colbert, fall 2007; Finding aid revised by David Peter Coppen, summer 2021 Carl Dengler and his band, at a performance at The Barn (1950): Tony Cataldo (trumpet), Carl Dengler (drums), Fred Schubert (saxophone), Ray Shiner (clarinet), Ed Gordon (bass), Gene Small (piano). Photograph from the Carl Dengler Collection, Scrapbook 3 (1950-1959). Carl Dengler and His Band, at unidentified performance (ca. 1960s). Photograph from the Carl Dengler Collection, Box 34/15. 2 TABLE OF CONTENTS Description of Collection . 4 Description of Series . 8 INVENTORY SUB-GROUP I: MUSIC LIBRARY Series 1: Manuscript Music . 13 Series 2: Published Sheet Music . 74 Series 3: Original Songs by Carl Dengler . 134 SUB-GROUP II: PAPERS Series 4: Photographs . 139 Series 5: Scrapbooks . 158 Series 6: Correspondence . 160 Series 7: Programs . 161 Series 8: Press Material . 161 Series 9: Association with Alec Wilder . 162 Series 10: Books . 163 Series 11: Awards . 165 Series 12: Ephemera . 165 SUB-GROUP III: SOUND RECORDINGS Series 13: Commercial Recordings . 168 Series 14: Instantaneous Discs . 170 Series 15: Magnetic Reels . 170 Series 16: Audio-cassettes . 176 3 DESCRIPTION OF COLLECTION Shelf location: M4A 1,1-7 and 2,1-8 Extent: 45 linear feet Biographical Sketch (L) Carl Dengler, 1934; (Center) Carl Dengler with Sigmund Romberg, ca. 1942; (Right) Carl Dengler, undated (ca. 1960s). Photographs from the Carl Dengler Collection, Box 34/30, 34/39, 34/11. Musician Carl Dengler—dance band leader*, teacher, composer.