Ken Englund Papers, 1933-1972
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THE WIZARD of OZ an ILLUSTRATED COMPANION to the TIMELESS MOVIE CLASSIC by John Fricke and Jonathan Shirshekan with a Foreword by M-G-M “Munchkin” Margaret Pellegrini
THE WIZARD OF OZ AN ILLUSTRATED COMPANION TO THE TIMELESS MOVIE CLASSIC By John Fricke and Jonathan Shirshekan With a foreword by M-G-M “Munchkin” Margaret Pellegrini The Wizard of Oz: An Illustrated Companion to the Timeless Movie Classic is a vibrant celebration of the 70th anniversary of the film’s August 1939 premiere. Its U.S. publication coincides with the release of Warner Home Video’s special collector’s edition DVD of The Wizard of Oz. POP-CULTURE/ ENTERTAINMENT over the rainbow FALL 2009 How Oz Came to the Screen t least six times between April and September 1938, M-G-M Winkie Guards); the capture and chase by The Winkies; and scenes with HARDCOVER set a start date for The Wizard of Oz, and each came and went The Witch, Nikko, and another monkey. Stills of these sequences show stag- as preproduction problems grew. By October, director Norman ing and visual concepts that would not appear in the finished film: A Taurog had left the project; when filming finally started on the A • Rather than being followed and chased by The Winkies, Toto 13th, Richard Thorpe was—literally and figuratively—calling the shots. instead escaped through their ranks to leap across the castle $20.00 Rumor had it that the Oz Unit first would seek and photograph whichever drawbridge. California barnyard most resembled Kansas. Alternately, a trade paper re- • Thorpe kept Bolger, Ebsen, and Lahr in their Guard disguises well ported that all the musical numbers would be completed before other after they broke through The Tower Room door to free Dorothy. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
MEMORY of the WORLD REGISTER the Wizard of Oz
MEMORY OF THE WORLD REGISTER The Wizard of Oz (Victor Fleming 1939), produced by Metro-Goldwyn-Mayer REF N° 2006-10 PART A – ESSENTIAL INFORMATION 1 SUMMARY In 1939, as the world fell into the chaos of war, Metro-Goldwyn-Mayer released a film that espoused kindness, charity, friendship, courage, fortitude, love and generosity. It was dedicated to the “young, and the young in heart” and today it remains one of the most beloved works of cinema, embraced by audiences of all ages throughout the world. It is one of the most widely seen and influential films in all of cinema history. The Wizard of Oz (1939) has become a true cinema classic, one that resonates with hope and love every time Dorothy Gale (the inimitable Judy Garland in her signature screen performance) wistfully sings “Over the Rainbow” as she yearns for a place where “troubles melt like lemon drops” and the sky is always blue. George Eastman House takes pride in nominating The Wizard of Oz for inclusion in the Memory of the World Register because as custodian of the original Technicolor 3-strip nitrate negatives and the black and white sequences preservation negatives and soundtrack, the Museum has conserved these precious artefacts, thus ensuring the survival of this film for future generations. Working in partnership with the current legal owner, Warner Bros., the Museum has made it possible for this beloved film classic to continue to enchant and delight audiences. The original YCM negatives have been conserved at the Museum since 1975, and Warner Bros. recently completed our holdings of the film by assigning the best surviving preservation elements of the opening and closing black and white sequences and the soundtrack to our care. -
Fortunate Dreams
FORTUNATE DREAMS BY CURTIS LOFGREN WGAw # 1623265 2621 Columbia Avenue Richmond CA 94804 510-526-3452 [email protected] FADE IN INT. DREAM INN HOTEL-JUNE 27-1975 Oscar-winning actor JACK LEMMON and his wife, actress FELICIA FARR, have arrived at their hotel, the best this small town has to offer. Famed actor RAY BOLGER’S impromptu song and dance routine has just ended, and the echo of APPLAUSE is still ruminating through the entire establishment. Lemmon is tired and cranky. He rings the bell in the deserted lobby while his wife rubs his shoulders. JACK LEMMON (moaning) Oh, right there. FELICIA Please let me drive home after the shoot, alright? Let’s stop at that cute Scandinavian town, what’s its name? Soulbang? She stops rubbing his shoulders and rings the bell again. Jack throws up his hands and gives her a classic JACK LEMMON rant. A screenplay of the 1960 English classic, THE ENTERTAINER, adjusted for NBC, is sitting on the ledge of the desk. Jack is running his lines, but stops in mid-sentence. JACK LEMMON A seven day shooting schedule? I must have been crazy. And the money? I might as well donate it. Felicia looks into her tiny mirror and adjusts her make-up. FELICIA You did. Remember, your wife’s Rodeo Drive shopping fund? Felicia nibbles at his ear. JACK LEMMON Money isn’t everything. Laurence Olivier may be a master thespian in England, but there’s another mule kicking in his stall here in America. FELICIA What does that mean? She adds a little lipstick here, a little powder there. -
Saturday, August 23Rd, 2014 at 10:00Am
California Estates Auction D.G.W. Auctioneers & Appraisers Saturday, August 23rd, 2014 760 Kifer Road at 10:00am PDT Sunnyvale, CA 94086 Phone: (408) 245-1863 Preview: Fax: (408) 245-1283 Friday, August 22nd, 1:00 pm – 8:00pm Email: [email protected] rd, Est. 1985 Saturday, August 23 8:30am – 10:00am Web: www.dgwauctioneers.com HOLLYWOOD TIME CAPSULE Very important Golden Age of Hollywood Autograph Collection Between the late 1930s and the mid 1950s this collection was built by a single individual. The autographs were collected mostly in San Francisco, but also in Los Angeles and Germany. Many of the autographs are personalized to the collector. Some are dated by the celebrity. The collector often attached a bio of the celebrity to the facing page of the autograph and date stamped the page. The collection consists of 21 books and many hundreds of autographs. The nature of this collection suggests that all signatures were acquired in person and are authentic. Frank Sinatra Judy Garland Bob Hope Boris Karloff Laurence Olivier & Vivien Leigh Jack Benny, Ingrid Bergman, Larry Adler, & 2 others. July 4, 1945 Nuremberg, Germany Bid Online with: Bogart & www.liveauctioneers.com Bacall or Harold Lloyd Ronald www.the-saleroom.com Regean Ethyl Barrymore The list below is only a partial list of the Actors, Musicians, Opera stars, and Sports figures in the collection Agnes Moorehead David Niven Gregory Peck June Lockhart Randolph Scott Al Jolson Desi Arnaz Greta Garbo Kathryn Grayson Ray Bolger Angela Landsbury Dick Powell Guy Lombardo Kay Kyser Raymond Massey Ann Miller Dick Powell Harold Lloyd Lauren Bacall Red Skelton Anne Francis Dinah Shore Harry James Laurence Olivier Reginald Denny Anthony Quinn Dinah Shore Helen Hayes Lee J. -
In This Issue... New Releases from CAPITOL the C O VER Music Views There Are Very Few People in July, 1955 Voi
In this issue... New Releases from CAPITOL THE C O VER Music Views There are very few people in July, 1955 Voi. XIII, No. 7 this country who have not come into contact with a TV set. There are even fewer who do not VIC ROWLAND .... Editor have access to a phonograph. Associate Editors: Merrilyn Hammond, Anyone who has a nodding ac Dorothy Lambert. quaintance with either of these appliances is sure to be fa miliar with either Jackie Gleason the comedian, Jackie Gleason GORDON R. FRASER . Publisher the musician, or both. This lat ter Jackie Gleason, the musi Published Monthly By cian, has recently succeeded in coming up with a brand new CAPITOL PUBLICATIONS, INC. sound in recorded music. It's Sunset and Vine, Hollywood 28, Calif. found in a new Capitol album, Printed in U.S.A. "Lonesome Echo." For the full story, see pages 3 to 5. Subscription $1.00 per year. A regular musical united nations is represented by lady and gentlemen pictured above. Left to right they are: Louis Serrano, music columnist for several South American magazines; Dean Martin, whose fame is international; Line Renaud, French chanteuse recently signed to Cap itol label; and Cauby Peixoto, Brazilian singer now on Columbia wax. 2 T ACKIE GLEASON has indeed provided mirth strument of lower pitch), four celli, a marim " and music to millions of people. Even in ba, four spanish-style guitars and a solo oboe. the few remaining areas where television has Gleason then selected sixteen standard tunes not as yet reached, such record albums as which he felt would lend themselves ideally "Music For Lovers Only" and other Gleason to the effect he had in mind. -
Hooray for Hollywood the Sequel
Hooray for Hollywood! The Sequel Music & Color; The Glamour Years Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 HoorayMusic & Color; for The GlamourHollywood! Years Movie Makers Walt Disney (1901–1966) Alfred Hitchcock (1899–1980) Scott 1355 Legends of Hollywood series • Scott 3226 The creator of Mickey Mouse and a host of other magical The master of the suspense film genre — which he is said cartoon characters began his professional career as an virtually to have invented — Hitchcock’s thrillers usually animator in the early 1920s with a friend, Ub Iwerks, and involved an ordinary person getting swept up in threatening with the financial backing of Walt’s brother Roy. With the events beyond his or her control and understanding. His first help of Walt and Roy’s wives, Lily and Edna, they produced U.S. film, Rebecca (1940) for David Selznick, won that year’s three cartoons featuring a mouse (who was almost named Oscar for Best Picture. He was voted Greatest Director of all Mortimer) in 1928, but it wasn’t until Disney added Time by Entertainment Weekly, whose list of 100 Greatest synchronized music to Steamboat Willie that their fortune was Films included four of his, more than any other director: made. Numerous popular short animated features followed, Psycho (1960, #11), Vertigo (1958, #19), North by Northwest including Flowers and Trees (1932), the first color cartoon (1959, #44), and Notorious (1946, #66). -
'The “Wizard of Oz” As a Monetary Allegory,' Journal Of
Hugh Rockoff of Rutgers University, ‘The “Wizard of Oz” as a Monetary Allegory,’ Journal of Political Economy, Vol. 98, 1990, pp. 739-760. I. Introduction The Wizard of Oz is perhaps the best-loved American children's story. The movie, starring Judy Garland, Bert Lahr, Ray Bolger and company, is an annual television ritual. The book on which the movie is based, L. Frank Baum's The Wonderful Wizard of Oz, however, is not only a child's tale but also a sophisticated commentary on the political and economic debates of the Populist Era.1 Previous interpretations have focused on the political and social aspects of the allegory. The most important of these is Littlefield ([1966] 1968), although his interpretation was adumbrated by Nye (1951), Gardner and Nye (1957), Sackett (I960), and Bewley ([1964] 1970). My purpose is to unlock the references in the Wizard of Oz to the monetary debates of the 1890s. When the story is viewed in this light, the real reason the Cowardly Lion fell asleep in the field of poppies, the identity of the Wizard of Oz, the significance of the strange number of hallways and rooms in the Emerald Palace, and the reason the Wicked Witch of the West was so happy to get one of Dorothy's shoes become clear. Thus interpreted, the Wizard of Oz becomes a powerful pedagogic device. Few students of money and banking or economic history will forget the battle between the advocates of free silver and the defenders of the gold standard when it is explained through the Wizard of Oz. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
Audience Guide Written and Compiled by Jack Marshall
The American Century Theater presents I Do! I Do! A Musical about Marriage Book and Lyrics by Music by Tom Jones Harvey Schmidt Audience Guide Written and compiled by Jack Marshall Theater you can afford to see— plays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. This program is supported in part by Arlington County through the Arlington Commission for the Arts and Arlington Cultural Affairs, a division of Arlington Economic Development; the Virginia Commission for the Arts; the National Endowment for the Arts; and many generous donors. -
Applying a Rhizomatic Lens to Television Genres
A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here. -
The Thesis Committee for Steven Vern Reddicliffe
The Thesis committee for Steven Vern Reddicliffe Certifies that this is the approved version of the following thesis Voices of Comedy: Conversations With Writers of Television’s Most Enduring Shows APPROVED BY SUPERVISING COMMITTEE: Supervisor: ________________________________________ Janet Staiger __________________________________________ Michael Kackman Voices of Comedy: Conversations With Writers of Television’s Most Enduring Shows by Steven Vern Reddicliffe, B.S.J. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2010 Voices of Comedy: Conversations With Writers of Television’s Most Enduring Shows by Steven Vern Reddicliffe, MA The University of Texas at Austin, 2010 SUPERVISOR: Janet Staiger An oral history of television comedy from the early 1950s through the mid 1970s as told by the writers Sydney Zelinka, Larry Rhine, Milt Josefsberg, and the team of Seaman Jacobs and Fred S. Fox. The shows they wrote for included “The Honeymooners,” ‘The Phil Silvers Show,” “The Red Skelton Hour,” Bob Hope specials, “Here’s Lucy,” “All in the Family,” and “Maude.” These five writers were working in the earliest days of the medium and spent years writing for the personalities—from performers to producers—who pioneered and defined it. Most of them also wrote scripts during one of broadcast television’s greatest periods of transformation, when comedy took a decidedly topical turn that continued to have a significant impact on television comedy in the decades that followed. iii Table of Contents Introduction ……………………………..….……………….……..……1 Chapter One: Sydney Zelinka ……………………………....…..….…..15 Chapter Two: Larry Rhine ……………………………………......……32 Chapter Three: Milt Josefsberg ……………………...…….…...…....…58 Chapter Four: Seaman Jacobs and Fred S.