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Articles 691 - 713 of 713
Full-Text Articles in Entire DC Network
Preventing Mature Biofilm Formation On Colonized Surfaces Using Antibiotics, Casey Shere' Seldon, Brandon Kapalko
Preventing Mature Biofilm Formation On Colonized Surfaces Using Antibiotics, Casey Shere' Seldon, Brandon Kapalko
Georgia State Undergraduate Research Conference
No abstract provided.
Failure In Public Policy And The Influence Of Religion: Why We Need Abstinence Plus Sex Education, Nadia Abdella
Failure In Public Policy And The Influence Of Religion: Why We Need Abstinence Plus Sex Education, Nadia Abdella
Georgia State Undergraduate Research Conference
No abstract provided.
Toddlers’ Social Behaviors In Response To Helping/Hindering Displays, Allison M. Leonard
Toddlers’ Social Behaviors In Response To Helping/Hindering Displays, Allison M. Leonard
Georgia State Undergraduate Research Conference
No abstract provided.
Stressed? Play A Tune: The Controversial Benefits Of Music, Priscilla J. Atkinson
Stressed? Play A Tune: The Controversial Benefits Of Music, Priscilla J. Atkinson
Georgia State Undergraduate Research Conference
No abstract provided.
Endocrine Imaging Using Near-Infrared Fluorescent Pentamethine Cyanine Dyes, Tyler Dost
Endocrine Imaging Using Near-Infrared Fluorescent Pentamethine Cyanine Dyes, Tyler Dost
Georgia State Undergraduate Research Conference
No abstract provided.
Sam Brody; June 29, 1967, Henry Detweiler
Sam Brody; June 29, 1967, Henry Detweiler
Georgia State Undergraduate Research Conference
No abstract provided.
Loss Thread, Zena Zakanycz
Loss Thread, Zena Zakanycz
Georgia State Undergraduate Research Conference
No abstract provided.
The Good, The Bad, And The Funny: An Erp Study Of Laughter As A Meaningful Socioemotional Cue, Nicholas P. Bello, R. Toby Amoss, Jessica R. Wise, Gwen A. Frishkoff
The Good, The Bad, And The Funny: An Erp Study Of Laughter As A Meaningful Socioemotional Cue, Nicholas P. Bello, R. Toby Amoss, Jessica R. Wise, Gwen A. Frishkoff
Georgia State Undergraduate Research Conference
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Readability Of Diabetes Materials, Trevor Sharpe
Readability Of Diabetes Materials, Trevor Sharpe
Georgia State Undergraduate Research Conference
No abstract provided.
Rescue And Rehabilitation Center, Kristiina Peterson
Rescue And Rehabilitation Center, Kristiina Peterson
Georgia State Undergraduate Research Conference
No abstract provided.
Reflections Of A Pious Margery In The Book Of Margery Kempe, Melodie J. Rodgers
Reflections Of A Pious Margery In The Book Of Margery Kempe, Melodie J. Rodgers
Georgia State Undergraduate Research Conference
No abstract provided.
Going Hollywood With Hoagy Carmichael And Johnny Mercer, Kyle Barnett
Going Hollywood With Hoagy Carmichael And Johnny Mercer, Kyle Barnett
Popular Music in the Mercer Era, 1910-1970
During the 1930s, noted popular music songwriters Johnny Mercer and Hoagy Carmichael both moved to southern California for work in the film industry. Like many songwriters who had left New York for the promise of lucrative film work, both composers would make a name for themselves at the height of the Hollywood studio system. In addition to being songwriters, they each performed the part in front of the camera as well. My presentation seeks to provide some preliminary answers to the questions: Why have songwriters in front of the camera? What might this suggest about the role of the Tin …
'I'M Hep To That Step And I Dig It': Johnny Mercer Writes For (And With) Fred Astaire, Todd Decker
'I'M Hep To That Step And I Dig It': Johnny Mercer Writes For (And With) Fred Astaire, Todd Decker
Popular Music in the Mercer Era, 1910-1970
Johnny Mercer contributed to five of Fred Astaire's thirty studio-era musicals: among songwriters, only Irving Berlin worked on a greater number of Astaire films. Always an aspiring songwriter, Astaire called upon Mercer as lyricist, co-composer and song doctor. This paper considers Mercer's many collaborations with Astaire, a body of work that extends across two decades and reaches beyond musical film to the parallel realms of popular recordings and television. Putting Astaire and Mercer in the same frame brings both men into focus in new ways. Both adjusted effectively to changes in the popular entertainment marketplace and showed particular sensitivity to …
'Don't Be Scared About Going Low-Brow': Vernon Duke And The American Musical On Screen, Cynthia J. Miller
'Don't Be Scared About Going Low-Brow': Vernon Duke And The American Musical On Screen, Cynthia J. Miller
Popular Music in the Mercer Era, 1910-1970
A contemporary of Johnny Mercer, Russian-born poet, composer, and pianist, Vladimir Dukelsky, wrote his first ballet at age eight, gained note as one of Serge Diaghilev's favorite classical composers, and counted Prokofiev and Horowitz among his close friends and colleagues. But there was another side to Dukelsky's genius – a side named Vernon Duke – whose rise to fame in the United States was linked to names like Gershwin and Ziegfeld, and to the scores of the Follies and Broadway productions that brought us "Taking a Chance on Love," "Autumn in New York," and "April in Paris." Following Gershwin's urging …
Johnny Mercer And Louis Armstrong: A Story In Three Songs, Joshua Berrett
Johnny Mercer And Louis Armstrong: A Story In Three Songs, Joshua Berrett
Popular Music in the Mercer Era, 1910-1970
Given the fact that Armstrong's theme song was "When It's Sleepy Time Down South," it is not surprising that the titles in the Mercer songbook to which he gravitated most often were those evoking a Southern sensibility. The first of these, "Lazybones," which catapulted Mercer to international fame was one of Armstrong's staples. In the case of "Jeepers Creepers" we have the benefit of not only the recorded legacy, but also the movie Going Places in which the song was premiered. The third Mercer song is "Blues in the Night," characterized by Arthur Schwartz as "probably the greatest blues song …
Building Bridges: Hank Williams And The Hit Parade, Steve Goodson
Building Bridges: Hank Williams And The Hit Parade, Steve Goodson
Popular Music in the Mercer Era, 1910-1970
Hank Williams is widely considered to be the greatest songwriter in the history of country music. He is also the first country songwriter whose songs were consistently recorded with commercial success by artists in the "pop" field. Tony Bennett's first number-one record, for example, was "Cold, Cold Heart," a Hank Williams composition. In this paper I plan to discuss William's role as a popular songwriter, exploring the differences that his songs highlight between the pop and country genres. I also plan to discuss the ultimate significance of the bridge that Williams built between the two genres. Williams' achievement in breaking …
Ghost Singers, Citybillies, And Pseudo-Hillbillies: Freelance New York Recording Artists And The Creation Of Old-Time Music, 1924-1932, Patrick Huber
Ghost Singers, Citybillies, And Pseudo-Hillbillies: Freelance New York Recording Artists And The Creation Of Old-Time Music, 1924-1932, Patrick Huber
Popular Music in the Mercer Era, 1910-1970
This presentation examines freelance New York studio singers such as Carson J. Robison, Frank Luther, Frankie Marvin, Arthur Fields, Bob Miller, and, most notably, Vernon Dalhart, all of whom began their professional recording careers in light opera or popular music but who, during the mid- to late 1920s, shifted into recording, if sometimes only occasionally, material aimed at the expanding national market for hillbilly music. Collectively, such artists were responsible for recording approximately one-third of the 11,400 hillbilly discs released between 1924 and 1932. But because of these urban-based studio singers' lack of "authentic" traditional folk backgrounds and because of …
Singers And Jazz Instrumentalists As Interpreters Of The Popular Song, Geoffrey J. Haydon
Singers And Jazz Instrumentalists As Interpreters Of The Popular Song, Geoffrey J. Haydon
Popular Music in the Mercer Era, 1910-1970
Dr. Haydon will look at America's Golden Age of Popular Music with a sampling of songs from some of the great songwriters and lyricists of the 1920's, 30's, 40's and 50's. Selections will include but not be limited to Cole Porter, Irving Berlin, Fats Waller, Duke Ellington, George and Ira Gershwin, Richard Rodgers and Lorenz Hart/Oscar Hammerstein II, Jerome Kern, Harold Arlen, Johnny Mercer. We will look at how singers use both the music and lyric to interpret these songs. Then we will discuss how jazz musicians have adopted the same repertoire using it as a vehicle for their own …
Bopping Along With Johnny Mercer, Frank A. Salamone
Bopping Along With Johnny Mercer, Frank A. Salamone
Popular Music in the Mercer Era, 1910-1970
There aren't many jazz musicians who have not performed a Johnny Mercer song. Bop musicians were no exception. Oscar Peterson and Dizzy Gillespie were just two among the many who performed "Autumn Leaves," for example. Cannonball Adderley and Miles Davis found much to explore in the song as well. Ella Fitzgerald did an entire songbook album of Mercer melodies. In a movie portrait of Gillespie, Mercer's "Midnight Sun" is featured. The question is why Boppers turned to Mercer's tunes so often? What was there in his lyrics and melodies, which attracted them? For young Turks who were supposedly rebelling against …
Could Fifty Million Record-Buyers Have Been Irrelevant? Understanding The Post-World War Ii Past Through Popular Music, Michael T. Bertrand
Could Fifty Million Record-Buyers Have Been Irrelevant? Understanding The Post-World War Ii Past Through Popular Music, Michael T. Bertrand
Popular Music in the Mercer Era, 1910-1970
Conventional historians often overlook the role of popular music in their interpretations of the past. They generally treat the subject as if it existed on the periphery of everyday life. Such an approach removes popular music from its social, cultural, and historical environment and places it within a vacuum where it predictably retains little meaning except as trivia. Without discounting the commercial nature of popular culture, this paper will argue that modern-day consumers utilize the tools that are available to them, including music, to express themselves in ways that often are denied in other social spheres. Consequently, historians have the …
A Celebration Of Jazz In A Dark Decade, Samuel Charters
A Celebration Of Jazz In A Dark Decade, Samuel Charters
Popular Music in the Mercer Era, 1910-1970
In the dark years of the Depression of the 1930s, American society teetered on the edge of social collapse. However, one of the few bright voices of optimism and hope was the sound of the new American jazz. Leaving behind their music's early years as a derided musical style left to its disreputable setting of speakeasies and dance halls, the new jazz orchestras, with the new name "swing bands," presented a glittering promise that life could be better. Through the worst moments of the long financial crisis the bands offered a bright, infectious enthusiasm. Although their music didn't confront the …
When Big Bands Were 'Beach Music': The Swing Era In The Coastal Carolinas, Mary Montgomery Wolf
When Big Bands Were 'Beach Music': The Swing Era In The Coastal Carolinas, Mary Montgomery Wolf
Popular Music in the Mercer Era, 1910-1970
According to historian David Stowe, it is possible to think of America ca. 1935-1945 as "swing shaped." That is to say, swing pervaded American popular music in a way that no genre had before. It embodied a certain spirit of the age, including new ways of thinking about race, cultural difference, and what it meant to be an American. To what extent does this interpretation ring true in the South? Some of the most important venues for swing in the south were those found in summer beach resorts like Wrightsville Beach and Atlantic Beach in North Carolina and Myrtle Beach …
Blackbirds In Britain: Florence Mills, Johnny Mercer And British Imaginings Of The American South Between The Two World Wars, Brian Ward
Popular Music in the Mercer Era, 1910-1970
In 1936, Johnny Mercer visited Britain for the first time as part of Lew Leslie's "Blackbirds of 1936" – a revue with an all-African American cast for which Mercer wrote many of the lyrics. Mercer was surprised to learn of the transatlantic popularity, not only of his own songs, but also of southern-themed popular culture more generally. A decade earlier another "Blackbird," the brilliant singer-dancer Florence Mills, had been similarly amazed by the British fascination with things both southern and black. Focusing primarily on the Blackbirds revues, this paper considers how British understandings and misunderstandings of the South – and, …