Wednesday, June 29, 2011

PROJECT #4 PROGRAM NOTES

Whenever I have the wonderful opportunity to view a musical one of two things takes place, either I simply love it or sometimes, it changes something within my understanding of the culture and world I'm a part of. Company was one of those reality altering experiences for me. This experience can vary from audience member to audience member. Many will find it deeply complex and powerful and then, perhaps you watch this show and don't find it enlightening at all. In the latter case, you must have only known perfect relationships throughout your life, congratulations. For the rest of us who have loved and lost and longed to love or maybe deciding to never love again, you and this show should have plenty to talk about, welcome.
There is a little detail about the play’s format that makes this musical rather unique. There is no plot. There are character changes and there is of course a meaning behind the words and music but the beauty of Company is managed without giving the audience a story line, no true beginning, middle or an end. It would be as if the scenes were shuffled in a deck, comprised of the memories of our main character, Robert (more on him later). Scene one could have been two months after scene four and scene five could have taken place years before scene one. It is this dynamic that makes this musical such an impressive case study of a man who is waiting for love.
Robert and his friends all reside in New York City.  They range from upper middle class to much wealthier. The script tells us to set the play “NOW” which would suggest the present but if one were to really think about the different meanings of that word it would make sense to set it in any time between when it opened to the present date. For our production of Company we choose to set it on it’s original opening date, 1970.
                Now we take a look at our main man, Robert. He is 35 years old and single. He lives alone and spends his time with his married friends and on occasion goes on a date. We know he has a job because we know he has his own apartment in New York City, we just don’t know what his job is. This is a smart move from Sondheim and Furth, it gives the character more universality. If Robert were, say, a doctor, the plays meaning of a man afraid of marriage would suddenly be applicable only to the professional aspect of the character. We also know nothing about his background. Giving us even a further feeling of this could be anyone. So pretty much the whole history of Robert is pretty vague, and it would appear that it is so for a reason, if, for instance, Robert was a doctor born and raised in Ohio this show would suddenly be about the struggles faced by a medical graduate from the Midwest. The less we understand about Roberts past the better we can relate to his matrimonial aversion. What we know plenty about are Roberts friends, Robert is something of a free psychologist to these characters. He’s an excellent friend and an overall likeable guy so this just causes all of them to spill their secrets, admit their faults and maybe even reveal their true desires. Next up are the girlfriends. These are the ladies that inspire Robert, the ones that move him and make him think about things he doesn’t always have to think about. The most we hear from Robert is on one of his dates and this speech gives us some of the answer to the question of why he isn’t married.
                Sondheim and Furth have given us one of the greatest musical on humanity and the social norms we have created over the centuries. It does what only the best musicals do and that is to make the audience look at life from a different perspective. Viewing our world as we have never seen it before. This play has been translated and performed the world over proving that these ideas apply not only to upper middle class New Yorkers but these ideas on relationships run deep throughout all human experiences.
                My purpose of writing this note is not to take away from the comedy and drama of the scenes and the beauty of the music, far from it. My ideas on Company are developments from years of familiarity with this show. I still remember where I was when I first saw Company, it was 2008, I was in the living room of my best friend drinking wine and when I first saw this show I wasn’t thinking about the impact this show made on humanity or the social criticisms it was pointing out, instead I simply went along for the ride.  So for all of you seeing this show for your first time don’t worry too much on the deep understanding of this play, that will come with time. For now I welcome you to sit back, relax and enjoy the show.

Friday, June 24, 2011

PROJECT #3 PRODUCING THE PLAY

The musical Company isn't a very complicated piece of work and as far as heavy technical wonder and physically demanding corography goes this one takes it fairly simple. the concept of the show is a spectacular one, it is only meant to enlighten and the biggest thing on that stage should be the characters lving on it as opposed to a massive moving set peice of overly eccentric costumes. The only thing I can see being any kind of a distraction is the way a certain fight scene is handled. Either the director decides to go for it or he takes a more out of the box approach when showing this specific comic violence.

In the scene between Harry and Sarah, which is followed by Little Thing You Do Together there is a physical fight between the husband and wife. Sarah is asked by Harry to show him some of her karate moves, she eventually gives in and what follows is a power struggle of comic proportions. The different versions I have seen of this have either legitimate wrestling with carefully choreographed actions or the action is pantomimed, as it was in the 2007 revival. Standing across the stage from one another Harry and Sarah simultaneously wrestled with the air as one managed to get the other one to give up. The intended effect of this physical action is not to make the audience, or Robert, feel as if either one is in danger, it is only meant to be a comical diversion showing how many ways a couple can struggle for the top hand. The revival version really brings out the comedy in this scene giving us a different side of a usually physical undertaking.

It isn't something landmark or necessary that this couple be in the grips of a wrestling match during Joanne's ode to marrige but it does bring a interesting perspective to the song if we see the two married characters onstage showing us all just how important are The Little Things You Do Together.

As far as the critical appeal and opinion of Company is concerned it was a wonderfully refreshing show. The reviews I read from Baltimore, Boston and Variety magazine all had only positive things to say about the Kennedy Center version, the 2007 Revival and the original production. It was acclaimed as a "deceptive review" with a cold and cynical analysis at the upper middle class married New Yorker.

Thursday, June 23, 2011

PROJECT #3 PRODUCTION HISTORY

Original Broadway Production
Opened April 26, 1970 at the Alvin Theatre
Closed January 1, 1972; Ran for 690 performances
Produced by Harold Prince
in association with Ruth Mitchell
Directed by Harold Prince
Musical Numbers Staged by Michael Bennett
Sets and Projections by Boris Aronson
Costumes by D.D. Ryan
Lighting by Robert Ornbo
Dance Music Arranged by Wally Harper
Musical Direction by Harold Hastings
Orchestrations by Jonathan Tunick






1978 Equity Library Production
Opened May 4, 1978 at the Equity Library Theatre [off-Broadway]
Closed May 28, 1978; Ran for 30 performances
Produced by the Equity Library Theatre
[George Wojtasik, Managing Director; Lynn Montgomery, Production Director]
Directed by Robert Nigro
Choreography by Randy Hugill
Musical Direction: Eric Stern
Scenery by Richard B. Williams
Lighting by Victor En Yu Tan
Costumes by Mimi Maxmen



1980 Playwrights Horizons ProductionOpened March 8, 1980 at Queens Theater-in-the-Park
Closed March 30, 1980
Produced by Playwrights Horizons
[Robert Moss, Producing Director; Jane Moss; Managing Director;
Andre Bishop, Artistic Director]
Directed by Andre Ernotte
Musical Staging: Theodore Pappas
Musical Direction: Michael Starobin
Set: Raymond C. Recht
Costumes: Molly Maginnis
Lighting: William D. Anderson


1987 York Theatre Company Production
Opened October 23, 1987 at the Church of the Heavenly Rest, NYC
Closed November 14, 1987; Ran for 20 performances
Produced by the York Theatre Company
[Janet Hayes Walker: Producing Director; Molly Pickering Grose: Managing Director]
Directed by Susan H. Schulman
Costumes by Michael Kras
Technical Director: Serge Hunkins
Choreography by Michael Lichtefeld
Musical Direction: David Krane

1995 Roundabout Theatre Production
Previews began August 30, 1995;
Ran for 43 preview performances
Opened October 5, 1995 at the Criterion Center Stage Right
Closed December 3, 1995; Ran for 60 performances
Produced by The Roundabout Theatre Company
[Todd Haimes, Artistic Director;
Ellen Richard, General Manager]
Directed by Scott Ellis
Musical Staging by Rob Marshall
Musical Direction by David Loud
Settings Designed by Tony Walton
Costumes Designed by William Ivey Long
Lighting Designed by Peter Kaczorowski
Sound Designed by Tony Meola
Orchestrations by Jonathan Tunick

1996 London RevivalOriginally produced at the Donmar Warehouse, London
Previews began December 1, 1995
Opened December 13, 1995; Closed March 2, 1996
Previews at the Albery Theatre began March 7, 1996
Opened March 13, 1996 at the Albery Theatre, London
Closed June 29, 1996
Directed by Sam Mendes
Designed by Mark Thompson
Musical Direction by Paddy Cunneen
Production Musical Director: Gareth Valentine
Orchestrations by Jonathan Tunick
Musical Staging by Jonathan Butterell
Lighting by Paul Pyant
Sound by John A. Leonard
Associate Producer: Caro Newling
Casting by Anne McNulty


2002 Kennedy Center Revival
Ran from May 17-June 29 2002 at the Eisenhower Theater, The Kennedy Center, Washington DC
Produced for The Kennedy Center for the Performing Arts by Max Woodward
[James A. Johnson, Chairman; Michael M. Kaiser, President;
Eric Schaeffer, Artistic Director; Kay Cameron, Music Supervisor]

Directed by Sean Mathias
Choreography by Jodi Moccia
Musical Direction by Jonathan Tunick
Scenic Design: Derek McLane
Costume Design: Catherine Zuber
Lighting Design: Howell Binkley
Sound Design: Tom Morse
Projection Design: Michael Clark
Orchestrations by Jonathan Tunick
Technical Director: Neil Fleitel







Baltimore Sun
by J. Wynn Rousuck
You sense how much Company overturned musical theater tradition as soon as you see designer Derek McLane's stunning set for the Kennedy Center's production. The set is a cityscape turned on its side. The tops of skyscrapers jut straight out at the audience, and the bases recede into the distance, transforming the playing area into a deep, steel-and-glass tunnel. It's not a warm and welcoming place, and Stephen Sondheim and George Furth's brilliantly brittle 1970 show is anything but a heartwarming traditional musical. Company's protagonist is a bachelor named Bobby who, on the occasion of his 35th birthday, begins seriously questioning his unmarried state. The musical provides him with five case studies - the marriages of his 10 closest friends. John Barrowman - an actor whose looks and winning charm suggest a cross between Tom Cruise and Hugh Grant - makes it easy to see why Bobby attracts so many friends. But while Bobby would never tell them how to live their lives, they're all determined to get him to the altar so he can be as "happily" married as they are. The examples of their wobbly marriages, and of Bobby's relationships with three different women are presented as little vignettes - some sung, some spoken and a good many commented on by cast members who double as a kind of Greek chorus. The variety keeps the musical engrossing in the absence of a standard plot. At their best, director Mathias and choreographer Jodi Moccia spice up this variety with their own stylistic strokes. Consider, for example, the hilarious wedding jitters expressed by Alice Ripley's Amy in "Getting Married Today." Amy is dressed in full bridal regalia, but Mathias places her behind a kitchen counter, augmenting her wedding mini-dress and veil with yellow rubber gloves. As Emily Skinner repeatedly and beautifully intones, "Bless this day," Ripley's frantic Amy becomes increasingly incensed. Taking a break from her speed-sung list of reasons not to get married, Ripley bites down on one of the yellow gloves and rips the thing off with her teeth. It's totally in keeping with Bobby's own mixed feelings about marriage that, having witnessed Amy's neurotic display, he then proposes to her - the only woman on stage as frightened of marriage as he is. For the most part, Bobby seems quite content being the odd man out - a sentiment cleverly celebrated in the second-act opening number, "Side by Side by Side" which Mathias and Moccia present as a parade in Bobby's honor, complete with a large red banner bearing his name and a wheeled staircase that serves as a float on which he's perched, waving to his adoring fans. At the end of the number, however, his friends exit two by two, leaving him abandoned and alone. Not all of the numbers hit home this effectively. The songs sung by two of Bobby's girlfriends both misfire. Marcy Harriell belts out "Another Hundred People," an anthem to the loneliness of the crowded city, with plenty of oomph, but no perceptible desperation. And Kim Director's delivery of the stewardess' lament, "Barcelona," is bland and affectless, even for a character who's supposed to be a bit dull. In contrast, listen to the way Lynn Redgrave, playing a rich, often-married alcoholic, sells the bitter tirade/toast, "The Ladies Who Lunch." This song has become a signature piece for Elaine Stritch, who created the role. But if Stritch owns the song, Redgrave stakes a darned good claim with her throaty, acerbic, tell-it-like-it-is delivery. In the end, however, it is Barrowman who takes command of the stage, pouring a gamut of emotions, from dejection to hope, into the show's final song, "Being Alive." This song wasn't Sondheim's first choice for an ending. It replaced a number the musical's original director, Harold Prince, has described as the "most unhappy song ever written." "Being Alive" may be a gentler ending, but as Barrowman sings it, it's not a complete change of heart, not a promise that he'll live happily-ever-after, just that he'll be a little more open - and maybe, just maybe, he'll avoid some of his friends' mistakes.
http://articles.baltimoresun.com/2002-05-21/features/0205210109_1_marriage-sacred-traditions-john-barrowman/3


2004 Reprise! (Los Angeles) Production
Opened May 18, 2004 at the Freud Playhouse, UCLA, Los Angeles
Closed June 6, 2004 after a limited engagement of 24 performances
Presented by Reprise! Broadway's Best
[Marcia Seligson, Producing Artistic Director;
Jim Gardia, Managing Director]
Directed by David Lee
Choreographed by Kay Cole
Music Direction by Gerald Sternbach
Scenic Design: Bradley Kaye
Costume Design: Randy Gardell
Lighting Design: Tom Ruzika
Sound Design: Philip G. Allen
Associate Music Director: Mary Ekler
Music Coordinator: Joe Soldo
Technical Director: Peter Falco


2006 Cincinnati Playhouse in the Park Production
Opened March 14, 2006 at the Robert S. Marx Theatre, Cincinnati
Closed April 14, 2006 after a limited engagement
Presented by Cincinnati Playhouse in the Park
[Producing Artistic Director: Edward Stern;
Executive Director: Buzz Ward]
Directed and Choreographed by John Doyle
Music Supervisor / Orchestrator: Mary-Mitchell Campbell
Set Designer: David Gallo
Costume Designer: Ann Hould-Ward
Lighting Designer: Thomas C. Hase
Sound Designer: Andrew Keister


2007 Revival Production
Opened November 29, 2007 at the Ethel Barrymore Theatre New York, New York

Closed July 1, 2007
Theatre Owned / Operated by The Shubert Organization (Gerald Schoenfeld: Chairman; Philip J. Smith: President; Robert E. Wankel: Executive Vice President)
Produced by Marc Routh, Richard Frankel, Thomas Viertel, Steven Baruch, The Ambassador Theatre Group, Tulchin/Bartner Productions, Darren Bagert and Cincinnati Playhouse in the Park (Edward Stern, Producing Artistic Director; Buzz Ward, Executive Director)
Directed and Choreographed by John Doyle
Scenic Design by David Gallo; Costume Design by Ann Hould-Ward; Lighting Design by Thomas C. Hase; Sound Design by Andrew Keister; Hair and Wig Design by David H. Lawrence; Make-Up Design by Angelina Avallone; Associate Scenic Design: Mary Hamrick; Assistant Scenic Design: Josh Zangen; Associate Costume Design: Sidney Shannon; Associate Lighting Design: Paul Miller; Assistant Lighting Design: Bradley Clements; Assistant Sound Design: Michael Bogden





Variety Magazine
by David Rooney
Posted: Wed., Nov. 29, 2006, 7:00pm PT
While plenty of dark material had already surfaced in shows through the '60s, "Company" arguably marked the first time that upper-middle-class Manhattanites -- the prime demographic for Broadway theatergoing -- were confronted in a musical with the frustrations of their own lives. Depicting New York as a "city of strangers" struggling to connect or stay connected, "Company" took a further step away from the frothy-tuner mold, presenting relationship woes, solitude and alienation with trenchant insight and biting wit. Funny, melancholy and moving, Doyle's elegantly spare production is set in no specific time. Via certain lyrics and such period staples as a pot-smoking scene, it remains rooted in the 1970s but bristles with anxieties that feel entirely contemporary.With one or two exceptions, this is not the youngest, sexiest "Company" cast ever assembled, but the older ensemble pays dividends. These are jaded married couples and battered dating-scene refugees, after all, either beyond the first flights of passion or rendered too cautious and fearful by experience to embrace it. From the moment the cast steps onto David Gallo's minimalist-chic set, their harmonies on the obsessive "Bobby" refrain echoing in some ghostly chamber of the mind, it's clear Doyle is not planning a party. Doyle's concept works splendidly in the emotional climax, when Bobby, heretofore not allocated musical duties, expresses his release and newfound openness by tentatively sitting down to play piano in "Being Alive," stirringly sung by Esparza. As artificially enhanced orchestras become more prevalent, there are distinct rewards in watching Sondheim's marvelous numbers -- there's not a weak song in the show -- brought to life. Working this time with orchestrator Mary-Mitchell Campbell, Doyle again fosters a rich appreciation of the specific roles of strings, brass, keyboards or percussion that's not always apparent from the pitAs in the director's "Sweeney Todd," the blocking here takes precision to new levels as the actors maneuver their instruments around Gallo's stylish set dominated by a central column and plexiglass cubes, with swivel chairs on an elevated platform behind. Compensating for the switch from the semi-thrust stage for which the production was conceived at Cincinnati Playhouse, a parquet square provides a false thrust around which the ensemble pace like satellites in Bobby's troubled head.

Thursday, June 16, 2011

PROJECT #2 MICRO VIEW

Rent Control law extended 3 years. This law was one of the causes for the owners fearing that a neighborhood would decline in worth. The demand for homes was higher than the supply, in 1968 the percentage for vacant and available apartments was 1.23%. On account of such a high demand for apartments the landowners would knowingly raise the rent in order to compensate for the lack of living space throughout the city. Laws like this many others were put into place to maintain order and repairs in the residential buildings of New York City.
New York Times April 1, 1970.
http://search.proquest.com/hnpnewyorktimes/docview/119035645/12FF989AED06979E731/2?accountid=7065

A block and a half away from Avenue B a 21 year old man and an 18 year old girl were found naked in a dirty tenement cellar with their heads bashed in with a brick. Drastic changes began to take place in the East Village between the era of peace and love to the turbulent and violent 70's. The article tells of a dying breed of hippies who have lived for too long of the peaceful ideals of the sixties and now find themselves leaving New York in droves fearing for their safety. "The love thing is dead; the flower thing is dead."
New York Times October 11th, 1967
http://search.proquest.com/hnpnewyorktimes/docview/117858331/12FF9A0EB915BADCFC5/161?accountid=7065

President Nixon stated during his election campaign that he wanted to do away with the draft and in place substitute a volunteer army but because of the man power demands of war he postponed asking for the volunteer army and in place of that has developed a lottery draft, limiting a young mans liability to the year after his 19th birthday.
http://search.proquest.com/hnpnewyorktimes/docview/118523484/12FF9A0EB915BADCFC5/257?accountid=7065

300,000 rock fans gathered in the Catskills to celebrate a music festival known as Woodstock. The sudden impact it had on the residents of Sullivan county was a rather powerful one. Highways in a twenty mile radius were made completely impassable. There were casualties, two dead and three injured but the overall energy of the festival was a landmark of American music.
http://search.proquest.com/hnpnewyorktimes/docview/118512446/12FF9A0EB915BADCFC5/279?accountid=7065

Draft deferments were granted to citizens who maintained a job eligible of being deemed too important to send to war. This day in history marks the start of a new law making all men who's jobs don't affect "national health safety and interest" susceptible to the united states draft.
New York Times April 26, 1970
http://search.proquest.com.ezproxy.shsu.edu/hnpnewyorktimes/docview/118990512/12FFA6AA4354E401C26/1?accountid=7065

New state law ending divorce discrimination among the poor who could not afford the expenses involved in ending a marriage.
New York Times April 26, 1970
http://search.proquest.com.ezproxy.shsu.edu/hnpnewyorktimes/docview/119166183/12FFB37E2702CD6B15B/15?accountid=7065

PROJECT#2 STATEMENT

“The show takes place not over a period of time, but in an instant in Roberts mind, perhaps on a psychiatrist couch, perhaps at the moment when he comes into his apartment on his thirty-fifth birthday.”

-Stephen Sondheim, 
from his book Finishing the Hat

The script specifically places our setting in New York City but when it comes to the time period of the play the script is far less specific. The script tells us to set this show “NOW” which in turn gives this play a timeless quality. After careful reading of the script the date of Roberts 35th birthday could be logically placed between 1970 and the present year. The scenes that proceed between Robert and his friends are products of Roberts memory, so it stands to reason that the night with Harry and Sally could have been from the day before the birthday, the wedding of Amy and Paul could very well have been last year and the drunken night at the club with Joanne could have taken place years before any of the scenes. This interesting chronological concept gives the director a chance to make the choice to set the scenes in any decade they see fit. Meaning that after careful review of the scene if it seems possible and nothing is anachronistic, the scenes that take place between Robert and his oldest friends could reasonably and understandably switch from one decade to another.  What is interesting about the formula of Company is that there is no real plot, the events that take place in the life and mind of our protagonist Robert can happen in any order at any point in time, be that many years or a matter of a few hours.

For our purposes this production of Company takes place April 26, 1970 in New York City, which is the date of the show’s original opening. The scenes that follow are all set in a span of roughly five years, 1965 to 1970. This date is not only important because the show originally opened on this day but also because this was a tumultuous time for New York. The era of peace and love was coming to a rapid and violent end. The draft is picking up men left and right fueling national disgust of the war in Vietnam. Drugs have evolved making them both stronger and in turn far more destructive bringing with them to New York City crime and multitudes of homeless addicted adolescent “hippies” who jumped on to the sixties wave right as it came crashing down. These destructive turns would be the catalyst for the poor state of the city in the next 20 years. It wouldn’t be until the 90’s that the city of New York would experience a cleansing and reimaging bringing the city to a new glory.

Life in New York may have been scary and difficult for the lower classes during the turn of the decade but, as is true in all things there is always the other half. For those who had money in the 60’s and 70’s life in the city was glamorous and respectable. Besides being drafted there really wasn’t very many worries for the wealthy and seeing as how these men who had money were either doctors, lawyers or other men of distinction their chances of getting drafted were rather slim. It would affect them in that they would surely know people fighting in the war against their will and that in turn would create some stresses but as far as our cast is concerned the possibility of being drafted doesn’t seem to pose a real threat.

Also the extreme class distinction is not a factor in the lives of our upper middle class characters. True, they live in a homogenous setting mingling largely with others like themselves. This sticking with ones own kind is usually true throughout human interaction so the idea of Robert and his friends not integrating with those unlike them is not an offensive or unsettling issue. Even when there is a character who is considered “different” from the norm in the play, Robert finds an unusual charm in the character Marta and her ideas. She also serves as an outside perspective, which brings Robert to the realization that “I seem to meet people only like myself.”

Throughout the play there are multiple references to alcohol and drinking. The role of alcohol in this play is a kind of social lubricant between certain adults in awkward situations heightened by sexual tension from some of the women who view Robert as a man without any plan or ties. A dependable bachelor who cares for his friends, what's sexier than that to a married woman? In the case of the husbands there is a feeling of envy when viewing their friend Robert. They admit to the difficulties of marriage but realize that without it they'd be alone, just like Robert. The song sorry-grateful is sung by Harry after he takes a drink of bourbon behind his wife's back. This song gives us some of the greatest insight into the situations these husbands face everyday. On the other side, at the end of the play Joanne, after multiple vodka stingers, sings the song ladies who lunch which voices her frustrations with the upper class housewives who, in her opinion have begun to lose touch. then following the song she propositions Robert to have an affair. Her intentions seem purely sexual but in reality she wants to take care of Robert, it's just that after a few drinks the line between infatuation and concern begins to blur. Consequently it's this very proposition that opens Roberts mind and heart into realizing what he's been missing, someone he can take care of.

What really needs to be known in order to understand the basic world of this play is that the life and times of a single person is made up of moments. These moments however great or insignificant turn into ideas and those ideas, if the person so chooses to adopt them, make up the identity, the character of the individual. In the case of Robert his experiences with the characters that we meet in the course of the play lead him to the realization that what he truly wants in life, more than anything, is someone to make him alive.

Tuesday, June 14, 2011

PROJECT #2 MACRO VIEW

WORLD EVENTS


  • US troops invade Cambodia (May 1). Background: Vietnam War



  • Earthquake kills more than 50,000 in Peru (May 31).


  • NATIONAL EVENTS


  • Four students at Kent State University in Ohio slain by National Guardsmen at demonstration protesting incursion into Cambodia (May 4).



  • Senate repeals Gulf of Tonkin resolution (June 24).


  • ECONOMICS 

    Median Household Income
    (current dollars):  $8,734
    Consumer Price Index:   38.8
    Unemployment:   3.5%
    Cost of a first-class stamp:   $0.06


    INFLATION 

    If you have $100 Converted from 1970 to 2005 it would be equivalent to $517.65 today

    In 1970 a new house cost
    $23,400.00 and by 1979 was $58,500.00 Examples of homes and Property for sale in the 1970's

    In 1970 the average income per year was
    $9,350.00 and by 1979 was $17,550.00

    In 1970 a gallon of gas was
    36 cents and by 1979 was 86 cents

    In 1970 the average cost of new car was
    $3,900.00 and by 1979 was $5,770.00 Examples of Models and Car Prices in the 70's 
      
    Super Bowl 
    Kansas City d. Minnesota (23-7) 
    World Series
    Baltimore d. Cincinnati (4-1)
    NBA Championship 
    New York d. LA Lakers (4-3)

    ENTERTAINMENT

    Events

    • The Beatles break up. By the end of the year, each member had released a solo album.
    • George C. Scott gives one of film's most memorable performances in Patton. He won the Best Actor Oscar for his turn as the title character, but refused the gold statuette.
    • Jimi Hendrix and Janis Joplin both die drug-related deaths at age 27.
    • FCC regulations require separate ownership of television networks and studios.
    • Midnight Cowboy wins the Best Picture Oscar, the first and only time an X-rated movie received the honor.

    Movies

    • M*A*S*H, Patton, Love Story, Airport

    Books

    • Maya Angelou, I Know Why the Caged Bird Sings
    • John Berryman, Love and Fame
    • Nikki Giovanni, Black Talk/Black Judgement
    • Gabriel García Márquez, One Hundred Years of Solitude
    • Gail Godwin, The Perfectionist
    SCIENCE 
    • Biochemist Hamilton O. Smith (US) discovers a restriction enzyme that will allow biologist Daniel Nathans (US) to map a complete viral genome. Background: genetic engineering
    • IBM introduces the floppy disk. Background: Computers and Internet
    • Bar codes (computer-scanned binary signal code) are introduced for retail and industrial use in England.
    • The LCD (liquid crystal display) is invented by Hoffmann-La Roche (Switzerland).
    • The Food and Drug Administration warns that birth control pills may cause blood clots. Background: Birth & Contraception
    • Lithium is approved by the FDA for the treatment of manic-depression.

    PROJECT #2 IMAGES

    Photographs of New York City in the 1970's

    Different liquor ads from the seventies.  






    http://www.adclassix.com/beeralcoholindex.htm

    Antidraft demonstrators holding a sit-in at the General Post Office do not deter a man in shorts from sending his post.(Photo by Allan Tannenbaum)


    Time Square Hooker waiting on the street.(Photo by Allan Tannenbaum)
    Truman Capote at the bar with a friend at Studio 54.(Photo by Allan Tannenbaum)


    Grace Slick and The Jefferson Starship perform in Central Park.(Photo by Allan Tannenbaum)


    Blondie cooking at home.(Photo by Allan Tannenbaum)


    A boy jumps off a jungle gym on to a mattress in a vacant lot in the Lower East Side.(Photo by Allan Tannenbaum)
    Marijuana Smoke-In and March from Central Park to Washington Square. Man in Richard Nixon mask smokes a joint after taking his pants off.(Photo by Allan Tannenbaum)


    Stripper Candy Love is arrested for going topless in front of City Hall in a one-person protest.(Photo by Allan Tannenbaum)


    Transit Authority K-9 Police use German Shepherds on the subway to deter crime.(Photo by Allan Tannenbaum)
     The end of The Beatles.


    http://gothamist.com/2009/03/27/70s.php#photo-1