Courier Gazette : April 7, 1925
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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
Portland Daily Press
PORTLAND DATT, ESTABLISHED JUNE V__ 23. 1862—-VOL. 22._PORTLAND, MONDAY MORNING, DECEMBER 29, 1884. SEISfStfSffiggl PRICE THREE CENTS, THE PORTLAND DAILY will be PRESS, iog probably begun week after next, if BOSTON’S FIRE BUG. OUR MERCHANT MARINE. STRUCK BY LIGHTNING. RAILWAY MATTBB*. Published every day (Sundays excepted) by the the weather continues favorable. THE OLD WORLD. PORTLAND PUBLISHING COMPANY, VANCKBOBO'. The Third Furniture Factory Burned toinmiWoner lurb Patten* Annual Eastern and Beaten Me. Tinier. At 97 Exchange Street, FoEtlanb. Mb. There was a slight accident on the Maine within a Week. The Ship Alert Burned at Sea M*PMi Eastern wee 48 and Bos- Terms: Eight Dollars a Year. To mall subscrib Central railroad at Vanceboro’, Thursday News by Cable from Different steady at Saturday era, Seven Dollars a Year, If paid in advanee. One locomotive was from Boston, Dec. 24.—Waterman’s mill on Med ton Sc Maine lower at Eastern 6s held night. backing the Washihotom, Dec. 28.—Jarvis Patten, com- Countries. 165). Rates OF Advertising: One Inch of th< main line on a ford Charlestown was space, to side track and another came street, district, totally missioner of has thi their own at 115 3-8. A remark that of or twelve lines const! navigation, just completed New Yoke, Lee. Jfi- Cant, Park, of recent length oolumn, nonpareil on the main line at a rate of homed at an early hour this Th« a along very good morning, bis first annual report. He saying was at sea Mov tntes “square.” which begins by ship Alert, which burned Eastern 6s were being bought for exchange speed, striking the lint one in the rear. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
The Use of Music in the Cinematic Experience
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance. -
Kol Nidre: Variations on a Theme a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
Kol Nidre: Variations on a Theme A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/kol-nidre-variations- theme. Introduction Kol Nidre is a legal formula recited in the evening service that begins the holiday of Yom Kippur, the Jewish day of atonement. This ritual recitation may have been developed in the early medieval period as a response to Jews being forced to convert, either to Christianity or Islam. The text absolves those who recite it from vows in God’s name made under duress, so that the breaking of such vows is not counted as a sin. Its dramatic recitation and musical setting lend it an emotional intensity that has allowed the prayer to develop resonances beyond the stated meaning of the text. The High Holidays—the celebration of the new year on the Jewish calendar, which includes Rosh Hashanah and Yom Kippur—have in general come to signify a return to tradition and to religious duties that may have been neglected over the past year, and Kol Nidre serves as a climactic moment of this return. This kit gathers together examples of the use of Kol Nidre in modern Jewish literature, music, and film, asking students to consider how the prayer has come to stand for adherence to and return to Jewish tradition, and what precisely that return entails. Cover image: Cover of sheet music for an arrangement of Kol Nidre by Solomon Schenker, 1913. Courtesy of the Center for Jewish History, https://www.flickr.com/photos/center_for_jewish_history/4991049347. -
Comments Submitted by the Pew Charitable Trusts on Behalf of 6,771 Members of the Public
Comments submitted by The Pew Charitable Trusts on behalf of 6,771 members of the public November 30, 2015 The Honorable Stephen Ostroff, M.D. Acting Commissioner U.S. Food and Drug Administration 10903 New Hampshire Avenue Silver Spring, MD 20993 The Honorable Thomas Vilsack Secretary of Agriculture U.S. Department of Agriculture 1400 Independence Avenue, S.W. Washington, D.C. 20250 Director Tom Frieden, M.D. Centers for Disease Control and Prevention 1600 Clifton Rd Atlanta, GA 30333 Re: “Collecting On-Farm Antimicrobial Use and Resistance Data; Public Meeting; Request for Comments,” Docket No. FDA-2015-N-2768 Dear Commissioner Ostroff, Secretary Vilsack, and Director Frieden: FDA took a valuable step in May when it issued a proposed rule to collect species-specific antibiotic sales estimates. Thank you for collaborating with USDA and CDC to obtain public input on possible approaches for collecting additional on-farm antibiotic use and resistance data. To be most useful, on- farm use information should be quantitative and should shed light on why antibiotics are used in food animal production: for treating diseases or for preventing or controlling their spread. This information is essential to enhancing antibiotic stewardship, evaluating whether FDA policies and industry interventions are reducing unnecessary use, and illustrating trends in use and resistance. Your on-farm data collection plan should include the following elements: • Antibiotic class used and medical importance. • Dispensing status. • Purpose of antibiotic use. • Species and animal production class receiving the antibiotic. • Route of administration. Increasing on-farm sampling for antibiotic-resistant bacteria in live animals could help explain where and when antibiotic resistance emerges in the food animal production chain. -
PURITY the Sootless Coal Ture Dealers’ Association
[ Kyle was characterized by the fam- that the word is derived from the State Retailers Jack Holt Leads Cast FILM LIFE NOT i “New Picture I AT THE ous foreign actress as “the most French, the dictionary let it so at Toys” | versatile actor she had ever met." He that. Arnette Creighton billed as COUGH No “cure”—but helps to re- is appearing at the Orpheuni this Miss Sottbrelte in "Let’s Go" at the in Herd” SO PLEASANT at Rialto th i:ati:r5 duce peroxysms of coughing. “Thundering Saturday week in “The House at the Cross- Gayety theater, has her own defini- Elect — WHOOPING Officers Oh, for the life of a film star, a life in roads," a one act playlet by Paul tion. she saya that a aoubrette of ease and luxury! Howard who has been on the Kyle, Gerard Smith. burlesque is nothing more or less Here s an example of the "easy and since lie was a is stage youth, stooped than sort of a first-lieutenant to the VICKS▼ V A RO RU B Point Man Named Head luxurious" life Warner Owr 17 .Millinn Jarm Ummd enjoyed by in the of all that is best __ Ymarly traditions "Soubrette" is a word of which few featured principal; that her duties of Baxter, Billy Dove, Douglas Fail- in the theater. He belongs to that Dry Goods Associ- men and women not of the stage onsj-t chiefly In leading the com banks, jr., and other players engaged actors who reach tHe class of high have a complete understanding. -
Imperialism and Exploration in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off The Road: Imperialism And Exploration in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off The Road: Imperialism And Exploration in the American Road Movie" (2016). Pitzer Senior Theses. Paper 75. http://scholarship.claremont.edu/pitzer_theses/75 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Imperialism And Exploration In The American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “‘Imperialism’ means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; ‘colonialism’, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” –Edward Said, Culture and Imperialism (9) “I am still a little bit scared of flying, but I am definitely far more scared of all the disgusting trash in between places” -Cy Amundson, This Is Not Happening “This is gonna be exactly like Eurotrip, except it’s not gonna suck” -Kumar Patel, Harold and Kumar Escape From Guantanamo Bay Wright 2 Off The Road Abstract: This essay explores the imperialist nature of the American road movie as it is defined by the film’s era of release, specifically through the lens of how road movies abuse the lands that are travelled through. -
Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By
TONE PARALLELS IN MUSIC FOR FILM: THE COMPOSITIONAL WORKS OF TERENCE BLANCHARD IN THE DIEGETIC UNIVERSE AND A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON Johnathan B. Horton B.A., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Richard DeRosa, Major Professor Eugene Corporon, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Horton, Johnathan B. Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton. Doctor of Musical Arts (Performance), August 2017, 46 pp., 1 figure, 24 musical examples, bibliography, 49 titles. This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non- diegetic tone parallel that musically narrates several authentic characteristics of African- American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. -
Torrance Herald
TinmsnAY, APRIL TH \ Park Playground AT THE END OF THE TRAIL Six Stars in IT'S A NICE SPOT FOR HUGH Air Show is Draws Youngsters Hi school pi All-Color Film Basis of Film the Sprint; cation" Millions of people all over week, tin- municipal par); he- r^ — — Most pictures which come- to New came the center of Juvenile ac- ' America listen tit "Hollywood ' Redondo's the- local theatres boast two or Hotel" air program every, week. tivity here this week. The Kern mayhe three stars at the head i Show Place! "R on Avenue playground wils closed I of their casts, hut thc feature 1 Tlli Nn» IMuvllli,'! last Friday afternoon because •s. II was a "natural" i presentation at the Plaza the that a pi.-tur.- hy the same till.- the director is hired on the atre next Sunday entitled "Gold. IJAIHO I TIT KKVKI.S' same ha*is MS school teachers, would he "hox office." flul | IB Where You Find It" has gone, "Hollvwond Hotel". wa:i only an according to Mrs. Oda Vans. I overboard * with a roster which •I:\DKK srsi'iriov principal. | Imaginary hostelry, and for the includes six outstanding play to he ma- Dale Ullcy, city recreation di .screen it would have ers. tonight a! put all of the city park lifelike Tech llerialized. It opens rector, A production in Torrance theatre. nicolor, "Col.! IN Where You fthe Ti.l. TAKK KOMANfK' youngsters for their holiday nnd Find It"" co-stars Olivia d'e Havll-I Robert Haas was assigned as inul tlir grounds presented a busy land and George Brent In the! art director and given 'carle •IKM.LVVVOOn HOTEL' scene as boys and girls swarmed romantic leads. -
Made in America: Exploring the Hollywood Western Red River (1948) – Introductory Lecture
MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE TRANSCRIPT Introductory Lecture: Red River (1948) Welcome to the Western. I’m glad you can be here today. Red River (1948) is a 1948 Western film produced by Howard Hawks and starring John Wayne and Montgomery Clift. The film’s supporting cast features Walter Brennan, Joanne Dru, Colleen Gray, Harry Carey, John Ireland, Hank Worden, Noah Beery, Jr., Harry Carey Jr., and Paul Fix. The screenplay was based on Borden Chase’s original story which was first serialized in The Saturday Evening Post in 1946 as “Blazing Guns on the Chisholm Trail.” The movie’s ending differs from that of the original story. In Chase’s Saturday Evening Post’s story, Cherry Valance shoots Tom Dunson dead in Abilene and Matt takes his body back to Texas to be buried on the ranch. Red River cost an estimated $3 million to make it did very well at the box office. In 1948, it grossed $5 and a half million domestically and worldwide it made over $9 million. It was a very, very popular movie. The film is also an art movie. It was nominated for Academy Awards for Best Film Editing by Christian Nyby and Best Writing Motion Picture Story by Borden Chase. John Ford was so impressed with John Wayne’s performance in Red River that he is reported to have said I didn’t know the big son of a bitch could act. In June 2008, the American Film Institute listed Red River as the fifth best film in the Western genre. -
This Entire Document
TRABEMABKED BY THB SPOUTING LIPB FtTB. CO, ENTERED AT PHILA. P.O. AS SECOND CLASS MATTES VOLUME 28, NO. 17. PHILADELPHIA, JANUARY 16, 1897, PRICE, FIVE CENTS. THE PITTSBURG PRESIDENT OH WHY BROOKLYN TRAINS WITH THE THE^SIIWION, "BIG SEVEN." DoesE©t Expect Any Trouble in the League Before Next Fall Even Minority Combine©s Real Purpose Taougli tlie Movements o! Some is the Dissolution o! ike Present (Ms Look Rather Suspicious. Twelve-Club Partnership System, I©ittsburg, Pa., Jan. 12. President Kerr, Brooklyn, N. Y., Jan. 13. Director Abell, of the Pittsburg Club, gives Httle or no of the Brooklyn^ in an interview the credence to the reports that the Brooklyn other day stated that a further reason why C3u-b is going to withdraw from the League. bi.s club intends to play Sunday games next He thiuks that, while th« troubles of the season was because certain big clubs iu club are a little bothei-soioe at present, the Kast are making a tiglit against Sun they will soon bo all right.© During- a con day games so as to drive out the old Anijeri- versation yesterday the local magnate said: eaii Association clubs and break the ten "Mr. Ab*ll is a gxx>d business man, and a years© agreement. fine gentleman, as far ss I have seen any "These big clubs," he added, "want to thing of him. I do not at all think that out the circuit down to eight ciubs, aud in either the Broklyn Club or any Oliver club order to do so they must get rid of four will leave the League this year, but we towns, all of whit* are dependent upon cannot tell what will happen if things go Sunday ball.