Hey, everybody, let's have some fun
You only live but once
And when you're dead you're done, so
Let the good times roll, let the good times roll
I don't care if you're young or old
Get together, let the good times roll
Don't sit there mumblin', talkin' trash
If you wanna have a ball
You gotta go out and spend some cash, and
Let the good times roll, let the good times roll
Don't care if you're young or old
Get together, let the good times roll
Hey Mr. landlord, lock up all the doors
When the police comes around
Tell 'em that the joint is closed
Let the good times roll, let the good times roll
I don't care if you're young or old
Get together, let the good times roll
Hey tell everybody
Mr. Jordan's in town
I got a dollar and a quarter
Just rarin' to clown
But don't let nobody play me cheap
I got fifty cents more that i'm gonna keep, so
Let the good times roll, let the good times roll
Don't care if you're young or old
Get together, let the good times roll
Hey no matter whether it's rainy weather
Birds of a feather gotta stick together
So get yourself under control
Go out and get together and let the good times roll
Summer Jazz Week, which draws thousands of jazz fans to the University’s campus every summer, is designed to make jazz more accessible to the community. William Paterson has been a flagship of jazz education for more than 25 years and is recognized for its internationally known Jazz Studies Program and nationally acclaimed Jazz Room Series of concerts each fall and spring.
The festival opens on Monday, July 21 with a University faculty concert featuring Cecil Bridgewater and Friends. Bridgewater is a trumpeter whose long list of credits includes playing, composing, and recording with the Thad Jones/Mel Lewis Jazz Orchestra and the Horace Silver Quartet. Over the years he has shared the stage and/or studio with the Count Basie Orchestra, Duke Ellington Orchestra, Dizzy Gillespie, McCoy Tyner, Jimmy Heath, Sir Roland Hanna, Wynton Marsalis, and Art Blakey's Jazz Messengers among others. Bridgewater is a jazz instructor at William Paterson.
On Tuesday, July 25, Clem DeRosa, a renowned drummer, conductor, and jazz educator, will lead the American Jazz Repertory Orchestra in a concert. Over the years, DeRosa has toured Europe and the U.S., leading the Glenn Miller, Jimmy Dorsey, Dorsey Brothers, Bert Kaempfert, and Tribute to Benny Goodman Orchestras, as well as his own Copacabana Orchestra in New York City. DeRosa is the father of Richard DeRosa, associate professor of jazz arranging, at William Paterson.
Freddy Cole and the William Paterson Summer Jazz Ensemble, directed by Stephen Marcone, will perform on Wednesday, July 23. Cole, a pianist and vocalist (and the brother of Nat “King” Cole), regularly tours the U.S., Europe, the Far East, and South America.
Bassist and composer Sean Smith and his trio will perform on Thursday, July 24. Smith has been part of the international jazz scene for more than twenty years, appearing in many of the major jazz rooms and concert halls all over the world. He has toured extensively in North and South America, throughout Europe and the Mediterranean, as well as Russia, Turkey, Morocco, and Japan. The legendary Billy Taylor (87 years young on 7/25) and his Trio will bring Summer Jazz Week 2008 to a conclusion on Friday, July 25.
Estelle Getty (July 25, 1923 – July 22, 2008)[1] was an American actress who appeared in film and television and on stage. She is best known for her long-running role on The Golden Girls, for which she won Emmy and Golden Globe Awards. In her later years, after retiring from acting, she battled Lewy body dementia.
Getty was born Estelle Scher in New York City, the daughter of Sarah and Charles Scher, Polish immigrants who worked in the glass business. Getty got her start in the Yiddish theater and also as a comedienne in the Catskills borscht belt resorts, and her most important stage role was playing Harvey Fierstein's mother on Broadway in the play Torch Song Trilogy. She is best known for her role as Sophia Petrillo on the popular 1980s sitcom The Golden Girls. Petrillo was a wise-cracking old Sicilian mother of Dorothy Zbornak, played by Beatrice Arthur (the other main characters being played by Betty White and Rue McClanahan); in real life, Getty was in fact one year younger than Arthur.
Toward the end of her career, she wrote an autobiography, with Steve Delsohn, titled If I Knew Then, What I Know Now... So What? (Contemporary Books, 1988).
Getty was married to Arthur Gettleman (from whose name she adapted her stage name) from 1946 until his death in 2004. Getty had two sons: Carl Gettleman, who lives in California, and Barry Gettleman, who lives in Florida. In 1991, as later reported in Star magazine, Getty helped her 29-year-old nephew Steven Scher, who was suffering from the final stages of AIDS and near death. Because Scher's parents lived in England and his friends were no longer able to care for him in Greensboro, North Carolina, Getty had him flown to California and admitted to hospice care. He died in January 1992.
In 2000, Getty stopped making public appearances after revealing she had Parkinson's disease and osteoporosis. In 2002, media reports claimed she was also suffering from Alzheimer's disease. Doctors later discovered she actually had Lewy body dementia; both the Parkinson's and Alzheimer's diagnoses were incorrect. In 2003, Lifetime television hosted a Golden Girls reunion, but Getty did not appear due to her failing health.
Getty in the comedy film Stop! Or My Mom Will Shoot (1992) in which she starred opposite Sylvester StalloneThe image above is proposed for deletion. See images and media for deletion to help reach a consensus on what to do.
Getty in the comedy film Stop! Or My Mom Will Shoot (1992) in which she starred opposite Sylvester Stallone
The image above is proposed for deletion. See images and media for deletion to help reach a consensus on what to do.
Wikinews has related news:
American actress Estelle Getty dead at age 84
Each of Getty's former Golden Girls co-stars reflected on her death: Rue McClanahan told the Associated Press, "Don't feel sad about her passing. She will always be with us in her crowning achievement, Sophia." Bea Arthur said in a statement, "Our mother-daughter relationship was one of the greatest comic duos ever, and I will miss her." Betty White remarked, "The only comfort at this moment is that although Estelle has moved on, Sophia will always be with us."
The 1953 Iranian coup d'état deposed the elected government of Prime Minister Mohammed Mosaddeq and his cabinet, it was effected by SIS and CIA spies working with anti-Communist civilians and army officers. This coup d'état, Operation Ajax required CIA man Kermit Roosevelt, Jr.'s bribing government officials, the news media, and businessmen, to allow imposing retired Gen. Fazlollah Zahedi and Imperial Guard Col. Nematollah Nassiri as the government.
This deposition of an elected civil government was "a critical event in post-war world history", because it re-installed the very unpopular Shah Mohammad Reza Pahlavi, leading a pro-Western dictatorship, that, in the event, contributed to his deposition by the anti-Western Islamic Republic in 1979.
In the U.S., Operation Ajax (originally viewed as a triumph of covert action), now is considered "a haunting and terrible legacy". In 2000, Secretary of State Madeleine Albright, during President Bill Clinton's reign, called it a "setback for democratic government" in Iran.
Among the Western rationalisations for their coup d'état are CIA bribes and domestic Iranian dissatisfaction with Mossadegh's civil government. Motivations ascribed to the Anglo-American foreigners who re-imposed the Shah include desire to control Iran's petroleum, contempt for democracy in south west Asian states, and "benign" concerns of Iran's falling under Russian control.
Geraldine V. Carapetyan, 68, passed away on November 22, 2007 in Oswego, New York. She was born in Newark, NJ and was the daughter of the late Gerard and Erminia Festante. Ms. Carapetyan was a classically trained singer and graduate of the prestigious Juilliard School in New York City (Class of 1962) and had been a voice teacher at the State University of New York, College of Oswego from about 1970 to 1990. She is survived by her brother, Richard Festante of Bethpage, two sons, Christopher and Gregory Carapetyan of Oswego and New York City, respectively, along with four grandchildren (of Christopher). She is loved, remembered and missed by countless others who had the pleasure of knowing her. Arrangements were made by Arthur F. White Funeral Home. Funeral Mass was held November 17 at St. Martin of Tours RC Church with interment following at St. Charles Cemetery.
this was what was written about him last year from the villager I believe he moved to second avenue after he left KnickerbockerJoseph Solman: Still life at 98, BY ABBY LUBY
Veteran artist Joseph Solman sat in a worn recliner in his living room, its walls bedecked with richly colored portraits and street scenes that he’s painted over the last 80 years, many in the same sixth-floor apartment on 10th St. and Second Ave. where he’s lived and worked for the past five decades. Oddly out of place in his living room was a large, flat-screen TV.
“I love to watch programs about animals,” said Solman, 98, softly.
Since getting outside is an effort for the nanogenarian, TV images have partially replaced city parks, bridges, storefronts, rooftops, and park benches, once the inspiration for many of Solman’s drawings and paintings. Driven by city wanderlust, he would never leave his apartment without his drawing pad, upon which he sketched sleeping subway riders, folks taking respite in a park, or pensive readers at the 42nd Street Library.
In 1935, along with Mark Rothko and Adolph Gottlieb, Solman founded “The Ten,” a group of New York City artists who broke from the mainstream art of American scenic painters like Grant Wood and Thomas Hart Benton. Solman is the group’s sole survivor.
“It started because galleries were showing too many artists that we didn’t like — too many dark, romantic pictures,” Solman said. “We felt our drawings were more honest and stable and that we were doing better work.”
At that same time, Rothko wrote “Whitney Dissenters’ Manifesto,” a rail against the museum’s show of American art. In 1940, after several of The Ten became better known, they disbanded. Although Rothko, known as Marcus Rothkowitz, and Gottlieb veered off to abstract expressionism, Solman steadfastly remained a figurative painter with his own expressionist bent, which critics have described as a fusion of representationalism, Cubism, and abstraction.
An artist in the Works Project Administration (WPA) during the depression, Solman met and worked with and befriended many great artists, like Milton Avery. “Avery had a big influence on me when I was young and working in the WPA,” said Solman. “That was a great program, I couldn’t have worked without it. It’s where I saw Paul Klee’s work, which I liked very much.”
Avery had, in fact, called on Solman’s writing expertise to write an introduction to Avery’s famous set of five original etchings. Solman’s literary talent became known early on when he became editor-in-chief for Art Front magazine, published in the late ’30s. Solman boldly introduced photography as an art form in the magazine.
In the early ’50s, abstract expressionism was the new American art hegemony. Solman, pressing his agenda against any one dominant art aesthetic, partnered with Edward Hopper and Jack Levine and founded Reality, an artists’ publication aligned against abstract expressionism.
His work — paintings of back streets, coal bins, ice cellars, storefronts — were re-created in textured, luminous colors and jaunty angles.
“My streets scenes were more meaningful,” he said. “They were romantic — just like the feeling between a man and a woman, but different. Here that same feeling can relate to something in the atmosphere that creates a feeling between the viewer and the painter.”
Solman’s sense of rhythmic textures within the form stretches our sensibilities of how we can see the world. The sky over a harbor is a loose, lathery gray wash; a still life yields to quirky soft lines intoning an ethereal ambiance. Faces in Solman’s portraits are sometimes fuchsia, lime, or ochre, fusing with similarly colored backgrounds. In 1999 Solman painted a green-tinted portrait of George Stephanopoulos, Bill Clinton’s former adviser. He didn’t buy the painting.
“The colors gives faces a classic quality,” Solman said. “And I didn’t think it was important to explain it to some people although they thought it was [important].” Within facial features, Solman folds in abstraction with small, multi-colored brushstrokes or thickly textured paint to enliven a cheek or an eyelid.
Solman recently saw the movie “Alice Neel.” He knew Neel in the ’60s and ’70s and with a bit of bravado said, “Neel was the best portrait artist in the country, but then she wasn’t really. First I was the best portrait artist and then I made her known.”
His circle of friends included Willem de Kooning, Milton Avery, and Raphael Sawyer. At one point, Solman would often escape the city’s summer heat with Avery, John Sloan and Marsden Hartley to paint in Cape Ann, MA.
But New York was always home base to Solman, a city he claims is changing every day. His cluttered but comfortable apartment is over what used to be the Second Avenue Deli, a kosher dining institution since 1954. The deli closed last year after problems with the landlord. Ten years ago deli owner Abe Lebewoh was mysteriously murdered — today the crime is still unsolved. Abe’s brother Jack ran the restaurant after his death. Now the deli has been supplanted by a bank.
“There are changes in the city about every two weeks,” said Solman, who ventures out as much as possible with the help of his home aide. “The size of the streets change and so do the buildings. The deli is now a bank — there are banks on every corner. How many banks do we need? We don’t have enough money to put in so many banks.”
Solman is represented in major museums and galleries including the Hirshhorn Museum, the Smithsonian American Art Museum, the Phillips Collection in Washington, DC, as well as the Whitney here in New York.
In one of the many books on Solman’s paintings crammed into his bookshelves, he turned to the 1930 piece, “Solman Sign Co.,” and said it was a semi-abstract work. Floating haphazardly on assorted square signs are prosthetic limbs, special corsets, neck braces, a crutch. The number “51,” painted in a garish orange over black, hangs near a small white ovular sign at the top with delicate cursive letters reading “Solman’s Sign Co.”
“I saw these surreal objects in a storefront and I painted it straight,” said Solman, pointing to the reproduction in the book. “In those days a piece became semi-abstract if you put one letter in it which was enough to make the work more serious. If you put a whole sign in it you were telling a story.”
Since we can no longer make it, girl,
I found a new place to live my life.
It's really no place at all,
Just a hole in the wall, you see.
It's cold and dusty but I let it be,
Livin' here without you,
On Second Avenue.
And since our stars took different paths,
I guess I won't be shavin' in your looking glass.
Guess my old friendly grin,
Must have started to dim, somehow,
And I certainly don't need it now,
Still, I keep smiling through,
On Second Avenue.
I can still see you standing
There on the third-floor landing.
The day you visited we hardly said a word.
Outside it was rainin',
You said you couldn't be stayin,
And you went back to your flowers and your birds.
Since we can no longer see the light
The way we did when we kissed that night,
Then all the things that we felt,
Must eventually melt and fade,
Like the frost on my window pane
Where I wrote, "I Am You,"
On Second Avenue.
Joseph Solman (born January 25, 1909[1], Vitebsk; d. 16 April 2008, New York City) was an American painter, a founder of The Ten, a group of New York City Expressionist painters in the 1930s. His best known works include his "Subway Gouaches" depicting travellers on the New York subways.
Brought to America from Russia as a child in 1912, Joseph Solman was a prodigious draftsman and knew, in his earliest teens, that he would be an artist. He went straight from high school to the National Academy of Design, though he says he learned more by sketching in the subway on the way back from school late at night: people “pose perfectly when they’re asleep.” In 1929, Solman saw the inaugural show at the Museum of Modern Art featuring Seurat, Gauguin, Van Gogh, and Cezanne. It changed his life – and his art.
In 1934, Solman had his first one-man show, much influenced by the French modern artist Georges Rouault. One critic was impressed by “the mystery that lurks in deserted streets in the late twilight.” Another noted that Solman’s color had “an astonishingly rich quality that burns outward beneath the surface.”
Joseph Solman was, with Mark Rothko, the unofficial co-leader of The Ten, a group of expressionist painters including Louis Schanker, Adolph Gottlieb and Ilya Bolotowsky, who exhibited as the “Whitney Dissenters” at the Mercury Galleries in New York City in 1938. A champion of modernism, Solman was elected an editor of Art Front Magazine when its other editors, art historian Meyer Shapiro and critic Harold Rosenberg, were still partial to Social Realism. But Solman never believed in abstraction for abstraction’s sake. “I have long discovered for myself,” Solman has said, “that what we call the subject yields more pattern, more poetry, more drama, greater abstract design and tension than any shapes we may invent.” In writing about a purchase of a typical 1930s Solman street scene for the Wichita Museum, director Howard Wooden put it this way: “Solman has produced the equivalent of an abstract expressionist painting a full decade before the abstract expressionist movement came to dominate the American art scene, but without abandoning identifiable forms.”
In 1964, The Times, discussing his well-known subway gouaches (done while commuting to his some-time job as a racetrack pari-mutuel clerk), called him a “Pari-Mutuel Picasso.” In 1985, on the occasion of a 50-year retrospective, The Washington Post wrote: “It appears to have dawned, at last, on many collectors that this is art that has already stood the acid test of time.”
Joseph Solman died in his sleep, at his long-time home in New York City, on April 16th, 2008.
Let's take a boat to Bermuda.
Let's take a plane to St. Paul.
Let's grab a kayak to Quincy or Nyack,
Let's get away from it all.
Let's take a trip in a trailer,
No need to come back at all.
Let's take a powder to Boston for chowder.
Let's get away from it all.
We'll travel 'round from town to town,
The whole wide world we'll see
And I'll repeat I love you sweet
Wherever we may be
Let's go again to Niagara.
This time we'll look at the fall
Let's leave our hut, dear,
Get out of our rut, dear.
Let's get away from it all.
So tired of the dull routine
Up to town on the 8:15
Back at night, off to bed and then
Get up and start it all over again
Let's motor down to Miami
Let's climb the Grand Canyon Wall
Let's catch a big tuna
In Laguna
Let's get away from it all
Let's spend some time
Way down in Dixie
I'll get a real southern drawl
Off to Reno
Won't play keno
Let's get away from it all
No place like home sweet home
It's a charming thought and cure
But until the world we roam
How can we be sure?
Off to Niagra
Next time we're digging the falls
Yes, we're leaving
We're hitting the road
Oh we're leaving,
We're hitting the road
Yes, we're leaving
We're hitting the road
Oh we're getting away from it all
When did the Highway Patrol pilot Prison Break premiere?
Monday, October 3, 1955. The episode was filmed April 11-13, 1955.
What are the locations of the opening shot of the auto driving around a curve, and the "roadblock" shot?
Both locations were on the 101 freeway before it was finished; it was closed and therefore they could have full control of it. The precise locations are still unknown, but probably near Thousand Oaks.
Driving his car going up to the roadblock was Babe Unger with Guy Daniels as passenger [according to Guy].
What about the closing turnout sequence, backing out of the restaurant parking lot ?
This was at the Golden Pheasant restaurant on Highway 101, probably near Medford Road. This turnout sequence was the closing shot of the pilot episode.
A contemporary photograph of the Golden Pheasant , taken by Ron Hurwitz, is available.
How long did Highway Patrol run ?
For 4 seasons, from 1955-1959, and a total of 156 episodes. It was one of the most popular syndicated programs in television history. After the original run, it was sometimes rerun with the name "Ten-4".
When and where was Highway Patrol rerun ?
In the United States, reruns could be seen daily throughout the 1960s. Any American over 40 can probably remember Broderick Crawford bellowing "10-4" into his microphone. The reruns continued to be seen sporadically in some cities in the 1970s and even the 1980s.
In some reruns, the show was called Ten-Four. The opening of Ten-Four had Mathews in a '58 Dodge doing a turnout from a 4th season episode calling in on his radio - "I'm on my way, 10-4."
an Emmy Award ?
No. Syndicated programs were not eligible at that time (is this correct?).
What is a syndicated program ?
A program that is sold to independent TV stations all across the country; this is an alternative to selling a show to one of the major networks (ABC, CBS, Dumont, NBC) which would, in turn, feed the programming to its affiliates.
Who created Highway Patrol ?
Guy Daniels, who was the CHP's civilian public relations man, was told by the Commissioner, Bernard Caldwell, to go to Hollywood and "get us a show like Dragnet". So Guy approached Jack Webb who accepted the idea and was set to do a pilot. However, at about the same time Jack, who was passionate about jazz, got his pilot for Pete Kelly's Blues picked up by the network so he reneged doing a show based on the CHP. In the end, Ziv productions who needed a couple more shows to fill out it's 1955 season decided to do the pilot using Broderick Crawford as the lead. A lunch meeting between Brod Crawford and Herb Strock with Ziv executives was then arranged to discuss its filming.
A quote from Frederick Ziv:
"Well, in television my favorite program was Highway Patrol. It was a dynamic program. It was a dynamic program because the man with the badge had proved its appeal. Not the man in uniform. You put a man in uniform and you downgrade him. So, Dan Mathews, our head of our highway patrol, was not in uniform - he was head of the patrol. And the part was played by Brod Crawford who moved so fast that we edited our film accordingly. Today we hear about quick cuts, but quick cutting technique really was first put into television film in Highway Patrol. And if you look at previous television film, you'll find that it is not cut the way Highway Patrol is cut. It started a whole new trend." - Frederic W. Ziv (September 6, 1974)
source: Rouse, Morleen Getz. A History of the F.W. Ziv Radio and Television Syndication Companies, 1930-1960. Ph.D. dissertation, University of Michigan,
Howie's recollections are always funny!
We (Howie, Bruce, David Aaronson and possibly Ronnie) worked as vendors at Yankee Stadium during a Giants season. Most difficult game for me was a pre-season between Grambling and Morgan State. In those days, when a vendor sold hot dogs it wasn't in a clear wrapper from a microwave. Dirty water dogs were in a huge tank hanging from strap around your neck. There were compartments for mustard, sauerkraut, relish. It was heavy for a skinny 16 year old and hard work. The real vendors sold beer, where they made real money, and the kids sold programs, as Howie did, or ice cream in winter. I got supposedly lucky my first outing in selling hot dogs particularly with two black colleges playing football, but it was a really long twelve hour day. I probably made between 50 and 60 bucks but the norm was closer to 35 selling peanuts or cracker jacks.
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