Counterparts Band Quotes

By the mid-twentieth century, computing was so much considered a women's job that when computing machines came along, evolving alongside and largely independently from their human counterparts, mathematicians would guesstimate their horsepower by invoking "girl-years" and describe units of machine labor as equivalent to one "kilo-girl.

And though there were far fewer radio opportunities for black bands than for their white counterparts, it was through remote broadcasts from the Cotton Club that the general public first heard of Duke Ellington and Cab Calloway. Earl Hines had become a radio favorite during a long stand at the Grand Terrace in Chicago in the mid-1930s. And it was on a radio broadcast from the Reno Club in Kansas City that Count (William) Basie was discovered by jazz critic John Hammond, who helped launch Basie’s career.

The scene at Moscow’s Khodynka Aerodrome that day was striking. Along the runway, swastikas fluttered alongside the ubiquitous hammer and sickle banners of the Soviet Union. The swastikas had been requisitioned, as Roger Moorhouse notes in The Devils’ Alliance, from “local film studios, where they had recently been used for anti-Nazi propaganda films.” No less jarring was the musical accompaniment, with a Soviet military band serenading Ribbentrop with “Deutschland über alles,” before switching over to the socialist “Internationale.” More ominous were the handshakes of secret policemen. As one German diplomat observed, “Look how the Gestapo officers are shaking hands with their counterparts of the NKVD and how they are all smiling at each other. They’re obviously delighted finally to be able to collaborate. But watch out! This will be disastrous, especially when they start exchanging files.”27 The

The musical and the production embraced cheap bohemianism, and a clever, similarly minded marketing campaign sold cheap tickets to anyone who wanted to camp out on the street outside the run-down Nederlander Theater, which is right up the street from the gritty Port Authority Bus Terminal and was frequently populated by homeless people at the time. An astonishing number of young audience members enthusiastically took up the challenge, often sleeping on the street all night, and often for a remarkable number of repeat visits. According to Elizabeth Wollman, the marketing campaigns for rock musicals often have to be particularly innovative because of the difficulties of selling this kind of musical, and Rent was no exception.8 But the invitation to join the onstage community of Rent—the invitation for the audience to imagine themselves as the offstage counterparts to the characters—was an easy leap. That invitation is built into the story, the lyrics, and the performance style of the songs in the show, which were sung either directly to the audience, at standing microphones set downstage left and right, or into the obvious radio microphones the actors wore on their heads, with the accompaniment of an onstage rock band.

Ironically, his Communist counterpart in East Germany was also a former anti-Nazi. Walter Ulbricht escaped to Russia during the Hitler years and became a stalwart supporter of Joseph Stalin. He then returned to Germany in 1945 to head the new Socialist Unity Party, lobbying for reform and independence from the Soviet bloc while at the same time advocating the building of the Berlin Wall. He blamed, … the 10 million Germans who in 1932 cast their votes for Hitler in free elections, although we Communists warned that ‘He who votes for Hitler, votes for war.’ … The tragedy of the German people consists of the fact that they obeyed a band of gangsters. The Communist state ensured East Germans would not make the same mistake again by depriving them of the right to vote.

Every few years, a teacher from Monroe Colored High loaded a band of students onto the flat bed of a pickup truck and rattled across the Missouri Pacific Railway tracks. They passed the rich people’s porticos and pulled up to the back entrance of the white high school in town. The boys jumped out and began stacking the truck bed with the books the white school was throwing away. That is how Monroe Colored High School got its books. The boys loaded the truck with old geography and English texts, some without covers and with pages torn out and love notes scrawled in the margins, and headed back to their side of town. By the time he was old enough to understand where the books came from, Pershing was fast putting together the pieces of the world he lived in. He knew there was a dividing line, but it was hitting him in the face now. He was showing a talent for science and was getting to the point that he needed reference books to do his lesson. But it was against the law for colored people to go to the public library. “And the library at the Colored High School did not live up to its name,” he said years later. He was in the eighth grade when word filtered to his side of the tracks that Monroe was getting a new high school. It wouldn’t replace the old building that Monroe Colored High was in. It was for the white students, who already had a big school. It would be called Neville High. The colored people could see it going up when they ventured to the other side of the tracks. It rose up like a castle, four stories of brick and concrete with separate wings and a central tower, looking as if it belonged at Princeton or Yale. It opened in 1931 on twenty-two acres of land. The city fathers made a fuss over the state-of-the-art laboratories for physics and chemistry, the 2,200-seat balconied auditorium, the expanded library, and the fact it was costing $664,000 to build. As the new high school took shape across town, Pershing watched his father rise in the black of morning to milk the cows and walk the mile and a half to open his building the size of a grade school. His father, his mother, and the other teachers at Monroe Colored High School were working long hours with hand-me-down supplies for a fraction of the pay their white counterparts were getting. In Louisiana in the 1930s, white teachers and principals were making an average salary of $1,165 a year. Colored teachers and principals were making $499 a year, forty-three percent of what the white ones were.