783 research outputs found
Ken Friedenreich Interview
No full textThis interview is an oral history conducted by Linfield College student Camille Weber with Ken Friedenreich. The interview took place at the Jereld R. Nicholson Library at Linfield College on October 16, 2015.
Ken Friedenreich is an author who has written about Oregon wine and its history. The interview includes how he got interested in wine, what it\u27s like to write about wine for a living, the effects that prohibition had on Oregon, and advice for people new to wine
Oral history interview with Ken Hada
No full textKen Hada, author and professor, talks about his upbringing as a minister's son and shares how he became interested in writing and in poetry. He recalls submitting his first two poems for publication and having them accepted. Hada explains his creative process, the challenge of self-identifying as a writer, and co-founding the Scissortail Creative Writing Festival in Ada, Oklahoma. He also discusses a few of his projects, including writing vignettes to go along with his brother's paintings of the Arkansas River and his book Bring an Extry Mule.The Deep Roots: Oklahoma Authors Collection is a series of interviews with authors who discuss their lives, work, and creative processes
No Problem. The theatre of Ken Campbell - ACE110.2
No full textKen Campbell directing rehearsal of The Hitchhiker’s Guide to the Galaxy. Campbell says that, to speed things up, he uses "the direct method" as taught him "by an Israeli soldier"; demonstrates with the actors. Interviews with actors (and Campbell) talking about Campbell’s methods intercut with rehearsal sequences. "No other director works a similar way." "I compromise all the way round." Douglas Adams, Author, The Hitchhiker’s Guide to the Galaxy, says that Campbell "wants to be legendary" and relates anecdote about him changing actors’ roles shortly before first night. Rainbow Theatre, London. Adams talking about moving the production there. Part of "the Restaurant at the End of the Universe" sequence. Adams describes how larger venue means detail is lost. Long shot of performance: the ship with Improbability Drive. Campbell thinks the Rainbow production was "third rate". Adams says that Campbell’s strength lies in "creating something marvellous and impossible out of nothing"
#IdleNoMore And the Remaking of Canada
No full textIn #IdleNoMore and the Remaking of Canada, author Ken Coates reflects on how the movement's legacy lives on through a new generation of empowered First Nations youth.In #IdleNoMore and the Remaking of Canada, author Ken Coates reflects on how the movement's legacy lives on through a new generation of empowered First Nations youth.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Ken Stern on hate & anti-Semitism
No full textThis week\u27s guest is Ken Stern, director of the Bard Center for the Study of Hate. He\u27s also an award winning author, scholar and attorney. Ken has argued before the Supreme Court and testified in front of Congress. Ken will be visiting the University of Montana community on November 6th as part of the President\u27s lecture series. This conversation was recorded prior to the recent eruption and violence between Hamas and Israel.
In this episode Justin asks Ken to define hate and whether anti-Semitism operates differently than other forms of hate. They briefly discuss the Israel-Palestine debate and how universities should approach exposing students to a variety of viewpoints and ideas.https://scholarworks.umt.edu/anewangle_podcasts/1318/thumbnail.jp
Interview with Ken Carpenter (Class of 1958), Deborah Jenson (Class of 1983), and Jim Jenson (Class of 1982) by Ben Bousquet
No full textIn this oral history, Ken Carpenter (Class of 1958), Deborah Carpenter Jenson (Class of 1983), and Jim Jenson (Class of 1982) reflect on their respective experiences at Bowdoin. Ken speaks of his background as an “orphan” (his father had died and his mother could not afford to raise him) attending Girard College for Boys, his transition to Bowdoin life as a first-generation student, and his involvement with the Delta Sigma fraternity. He also explores how the research skills that he gained at Bowdoin influenced his career as a cataloger, librarian, and author. Ken and his daughter, Deborah, go on to explain that, during his time at Bowdoin, Ken met his future wife, Mary Carpenter, at a boarding house in Brunswick run by Mary’s mother, Elizabeth Wilson. They later explain that Mary Carpenter had also lost her father and that Mary’s subsequent career in academia influenced Deborah’s career path. Deborah also recounts the factors that affected her decision to attend Bowdoin, as well as a hazing story from her early days at Delta Kappa Epsilon. Jim tells of his decision to enroll at the College, his transition from California to Maine, and his experience in the Theta Delta Chi fraternity. The three also discuss their thoughts on Bowdoin’s decision to eliminate fraternities
The author describes how elms were planted as Liberty Trees in Colonial Massac
No full textThe author describes how elms were planted as Liberty Trees in Colonial Massachusetts, which included Maine. When the author\u27s own elm trees in the town of Addison began to succumb to Dutch elm disease, neighbors said the wood was too difficult to split. He used it for firewood anyway, and milled planks found their way into three boats and a set of kitchen cupboards
No Problem. The theatre of Ken Campbell
No full textKen Campbell directing rehearsal of The Hitchhiker’s Guide to the Galaxy. Campbell says that, to speed things up, he uses "the direct method" as taught him "by an Israeli soldier"; demonstrates with the actors. Interviews with actors (and Campbell) talking about Campbell’s methods intercut with rehearsal sequences. "No other director works a similar way." "I compromise all the way round." Douglas Adams, Author, The Hitchhiker’s Guide to the Galaxy, says that Campbell "wants to be legendary" and relates anecdote about him changing actors’ roles shortly before first night. Rainbow Theatre, London. Adams talking about moving the production there. Part of "the Restaurant at the End of the Universe" sequence. Adams describes how larger venue means detail is lost. Long shot of performance: the ship with Improbability Drive. Campbell thinks the Rainbow production was "third rate". Adams says that Campbell’s strength lies in "creating something marvellous and impossible out of nothing".The derelict Regent cinema, Edinburgh. Campbell talking about making the building usable at the same time as rehearsing The Warp. Actors and builders. Campbell likens producing The Warp to the building of Stonehenge: "doing something nobody would believe". Campbell and Neil Oram rehearsing. Campbell talks about first meeting Oram. Oram on putting together the stories for The Warp. They talk about the writing of the play. Campbell explains how the phrase "no problem" became his watchword for this play. Part of The Warp performance. Oram and others talk about the play. The Warp performance.Interviews with actors about Campbell intercut with The Warp rehearsal sequences. The Warp performance. Campbell on meeting "some idea" of the real person. Several scenes from The Warp performance; interviews with actors. Oram on Campbell’s humour. Scenes from The Warp performance; interviews with actors. The Warp audiences. Campbell says "four hours is a very long time for a play to be – longer than four hours seems to be less long, for some curious reason". Dressing room – cast trying lines while making up. The Warp performance; interviews. Campbell on audiences. The Warp performance. Applause. Credits over curtain calls and Campbell holding up The Guinness Book of Records
The Ken. To be destroyed Project Archive
No full textThis journal article is based on the Ken. To be destroyed Project Archive.
In 2011, Sara Davidmann inherited a family archive of letters,photographs and papers from her mother, Audrey Davidmann. This archive tells the story of Ken and Hazel, Sara’s uncle and aunt, and how it emerged early on in their marriage, in 1958, that Ken was transgender.
Sara Davidmann and writer and curator Val Williams have created an archive which preserves and describes the process of creating the 'Ken. To be destroyed' book (published in 2016 by Schilt, Amsterdam) and the 'Ken. To be destroyed' exhibition, which was shown at the Schwules Museum in Berlin in 2016. While the exhibition and publication were based on the Davidmann family archive, this new repository illustrates the ways in which Davidmann and Williams, as artist/author and curator/editor respectively, navigated the contents of the archive, wrote narrative and biographical texts and managed relationships with external organizations and individuals.
The archive has been proactively collected and assembled from the beginning of the project. It is envisaged that it will be relevant to researchers/students in curatorship, photography, family archives
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
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