DOCSLIB.ORG

Daily Lessons This Section Contains 30 Daily Lessons

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daily Lessons This Section Contains 30 Daily Lessons Daily Lessons This section contains 30 daily lessons. Each one has a specific objective and offers at least three (often more) ways to teach that objective. Lessons include classroom discussions, group and partner activities, in-class handouts, individual writing assignments, at least one homework assignment, class participation exercises and other ways to teach students about the text in a classroom setting. Use some or all of the suggestions provided to work with your students in the classroom and help them understand the text. Lesson 1 Objective: The foreword is presented as if it were non-fiction and factual; however it is part of an overall work of fiction. The objective of this lesson is discuss the preface as a whole and how it works within the novel. 1) 1) Have each student write a preface for their own novel in the same style as Breakfast of Champions. What real world facts would you include in the preface that relate to the rest of the novel? Think about how The Narrator includes facts about what happens in the novel, but describes them as external facts. What real world facts about your life would you include? 2) For class discussion: Are the facts in the foreword meant to be significant to the rest of the novel? Why, or why not? After some discussion, ask the class if if they think this preface is meant to function like other prefaces they have read. 3) For homework: The main events of the story are presented in the novel. Write an outline for how you think the story will progress based on these facts. What do you think might happen in between? What links the events to one another? Do you think this kind of set up is helpful to the reader? Lesson 2 Objective: In the preface, The Narrator, who is also a character within the book, claims to also be The Author. The objective of this lesson is to understand what The Narrator means by this claim. 1) 1) For class discussion: When The Narrator claims to also be The Author, does this also mean that the story could be biographical? Why, or why not? Use specific examples from the text to support your answer. 2) Divide the class into small groups and have them read over the personal information The Narrator provides about himself. Have them debate which information could be biographical, which could be fictional, and why they think so. 3) For class discussion: What is the significance of The Narrator claiming he does not like the work and thinks it is written by someone named Philboyd Studge? Why, if he is also The Author, would he try to attribute the work to someone else? What does his dislike of the book mean? 4) For homework: Look up the definitions of "narrator" and "author" in the dictionary, legitimate websites, or any other reliable source. Apply the meanings to The Narrator and The Author in the book. Do they apply, or not? Why? Lesson 3 Objective: Chapter 1 has illustrations. The objective of this lesson is to discuss the illustrations and how they apply to the novel. 1) 1) Have each student draw their own illustration in the style of the novel's illustrations. What will you draw and why? What would it do/add to the text? 2) Divide the class into small groups to look over the chapter and discuss what the tone of the novel would be like without the illustrations. Would it change the tone? A little bit? Not at all? After some discussion, bring the class together to discuss what conclusion each group came to. 3) For homework: Look through children's books and their illustrations. How do these illustrations correspond to the text? Compare and contrast the illustrations in children's books to the illustration in Breakfast of Champions. Do the novel's illustrations have the same effect as a children's book? Why, or why not? Lesson 4 Objective: Writers can sometimes adopt certain styles of writing, regarding punctuation and typography. The objective of this lesson is to discuss the punctuation and typography that Vonnegut uses in Chapter 1 and how it applies to the narrative. 1) 1) Have each student write a couple paragraphs on any subject they want. It can be a short story, an opinion, observation, etc. Instruct the students that their tone/point of view should be conveyed through their punctuation and typography. What tone would your writing style convey? 2) For class discussion: Based on how Chapter 1 has been written, what do you foresee the rest of the novel being about based on this? What kind of tone do you think the novel will have? How do you think it will affect the outcome of upcoming events? Site specific examples from the text. 3) For homework: Think about the information you receive about Kilgore and Dwayne. Without the punctuation style utilized in Chapter 1, how does it change the reader's reaction to the rather pathetic and sad details on Kilgore's and Dwayne's lives? Do you think it is better that Vonnegut chose the style he used, or not? Why? Lesson 5 Objective: In Chapter 2, the pets of the two main characters are introduced. The objective of this lesson is to discuss how the characters' interactions with those pets further develop their character for the reader. 1) 1) Divide the class into small groups and have them examine Dwayne's crippled pet Labrador, Sparky. How does Dwayne interact with him? How does the bond Dwayne has with his dog further develop his character? Does it make him more sympathetic? Does it make the reader like him more? Dislike him? Bear in mind Dwayne is a widower. 2) Divide the class into small groups and have them examine Kilgore's relationship with his pet parakeet, Bill. What does he use Bill for? What does that utilization inform the reader about Kilgore's character? How does Kilgore interact with the bird? After examining both of these animal-human relationships, how do even the differing names of each pet shed light on the two characters? 3) For homework: Have you ever had a pet? Ever wanted a particular pet? How has a pet you had/have, or ever wanted expressed you? What was the reason you wanted that particular pet? Did that pet parallel you in personality? Write a page or two on the ways in which pets can shed light on a person. Lesson 6 Objective: In Chapter 2, the reader learns about one of the books, Plague On Wheels, that Kilgore has written. The reader also learns that Kilgore is an unknown writer. The objective of this lesson is to discuss how the plot of Kilgore's novel can possibly relate to his anonymity. 1) 1) Divide the class into small groups and have them examine the plot of Plague On Wheels. How could the self-destructive society of automobiles relate to Kilgore's anonymity? How does Kilgore's story possibly parallel Kilgore's own nature? 2) For class discussion: Plague On Wheels was published as filler material in a pornography magazine. Why do you think that is? Was it Kilgore's intention? Does he prefer to remain anonymous? Based on what we have learned thus farr about his character, would this make sense? Why, or why not? Cite specific examples from the text. 3) Have each student writer a short story. The story can be about whatever they want; however the plot of the story must somehow reflect something about themselves. It can be a habit they might have, an aspect of their personality, or anything else that they could convey through the plot of a story. Lesson 7 Objective: The reader understands at this point of the novel that Kilgore wishes to remain an anonymous author, but in Chapter 3 he is specifically written to by a fan. The objective of this lesson is to discuss this scene's irony. 1) 1) Divide the class into small groups and have them read over the scene together. Kilgore says he disregards the letter because it has the handwriting of a child, but is that the entire truth? Ask the groups to discuss why else Kilgore disregards the letter and if he was just trying to avoid the recognition. 2) For class discussion: Do you think Kilgore honestly does not want to be famous or acknowledged, or he is scared about what would happen in the event that he was? After some discussion, ask the class what they think Kilgore would be like if he were a Stephen King or John Grisham. How would notoriety affect Kilgore's life? 3) For homework: The book of Kilgore's that Eliot praises is Plague On Wheels, which is about a society of self-destructive automobiles. Write a couple of paragraphs as if you were a psychiatrist analyzing Kilgore's writing. Is there anything in the story that speaks of Kilgore's character? Sheds light on his desire to remain anonymous? Explain the irony of a writer not wanting to be recognized for his writing. Lesson 8 Objective: Kilgore accepts the invitation to be keynote speaker at the Midland City arts festival, but for specific reasons. The objective of this lesson is to discuss Kilgore's reasoning for accepting the invitation. 1) 1) Have each student draw a picture of the happy/sad theatrical masks and diagram them as if from Kilgore's perspective. Have arrows and explanations for the masks that Kilgore could potentially have said to present and explain to the class.
Load more

Recommended publications
  • “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
    “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.
    [Show full text]
  • TORRANCE HERALD, Torrance, California THURSDAY, OCTOBER G, 1938
    PAGE 4 TORRANCE HERALD, Torrance, California THURSDAY, OCTOBER G, 1938 Ann Harding In TORRANCE HIGH Alice Faye Said ORRANCE IHEATRE Shaw Play at LIGHTS ... by Top Song-PIugger ADULTS 25o Phone Torrance 132 CHILDREN 10c Harvey Abramson Irving Berlin was the man who Thurs., Frt, Sat. 3 Big Days October 6, 7, 8 . Biltmore Oct. 10 Boe» Lome Game . .. Last Thurs voted Alloc Faye Hollywood'*, best song-plugger. He should MARGARET Ann Harding as "Candida" day the football season official!} SULLAVAN JAMES STEWART in opened for Torrance high. Thi know whereof he speaks; for that sounds like Important pro three "SHOPWORN ANGEL" poets In the realm of make-b Tartar Bees met the Leuzlngc decades ago the master of Bees In a practice game. Alth( American melody himself was a also JANE WITHERS in lleve. The lovely stage and scree craftsman star will appear In person atth the Torrancc boyi fought hard in that modern ver­ "KEEP SMILING" the visitors showed great power sion of the minnesingers, it v/af Biltmore theatre, Los Angeles, Berlin's early career at the be­ $$$ PLAY FRIDAY $$$ the famed George Bernard Sha and consistently drove through the center of the line. The Lcuz- ginning of the century that start­ Frl. and Sat. Chapter 1 "ZORRO RIDES AGAIN" comedy for two weeks only, bi ginning Monday evening, Oct. 1 ingcr eleven made a score In ed him on the path to writing every quarter, converting his own tunes. Sun., Mon., Tues., October 9, 10, 11 ... "Candida" h.rs remained fo three over 40 years the most success times, for a final tally of 27 It was Irving Berlin who, thru CHARLIE MCCARTHY EDGAR BERGEN 'ul of all of Shaw's comedies, to 0.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Carl Dengler Scrapbooks
    CARL DENGLER COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Mary J. Counts, spring 2006 and Mathew T. Colbert, fall 2007; Finding aid revised by David Peter Coppen, summer 2021 Carl Dengler and his band, at a performance at The Barn (1950): Tony Cataldo (trumpet), Carl Dengler (drums), Fred Schubert (saxophone), Ray Shiner (clarinet), Ed Gordon (bass), Gene Small (piano). Photograph from the Carl Dengler Collection, Scrapbook 3 (1950-1959). Carl Dengler and His Band, at unidentified performance (ca. 1960s). Photograph from the Carl Dengler Collection, Box 34/15. 2 TABLE OF CONTENTS Description of Collection . 4 Description of Series . 8 INVENTORY SUB-GROUP I: MUSIC LIBRARY Series 1: Manuscript Music . 13 Series 2: Published Sheet Music . 74 Series 3: Original Songs by Carl Dengler . 134 SUB-GROUP II: PAPERS Series 4: Photographs . 139 Series 5: Scrapbooks . 158 Series 6: Correspondence . 160 Series 7: Programs . 161 Series 8: Press Material . 161 Series 9: Association with Alec Wilder . 162 Series 10: Books . 163 Series 11: Awards . 165 Series 12: Ephemera . 165 SUB-GROUP III: SOUND RECORDINGS Series 13: Commercial Recordings . 168 Series 14: Instantaneous Discs . 170 Series 15: Magnetic Reels . 170 Series 16: Audio-cassettes . 176 3 DESCRIPTION OF COLLECTION Shelf location: M4A 1,1-7 and 2,1-8 Extent: 45 linear feet Biographical Sketch (L) Carl Dengler, 1934; (Center) Carl Dengler with Sigmund Romberg, ca. 1942; (Right) Carl Dengler, undated (ca. 1960s). Photographs from the Carl Dengler Collection, Box 34/30, 34/39, 34/11. Musician Carl Dengler—dance band leader*, teacher, composer.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • James W. Phillips Collection
    JAMES W. PHILLIPS COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gigi Monacchino, spring 2013 Revised by Gail E. Lowther, winter 2019 1 TABLE OF CONTENTS Description of Collection . 3 Description of Series . 5 INVENTORY Sub-Group I: Composer Subdivision Series 1: Irving Berlin . 7 Series 2: George Gershwin, Victor Herbert, and Jerome Kern . 35 Series 3: Jerome Kern and Cole Porter . 45 Series 4: Cole Porter and Richard Rodgers . 60 Series 5: Richard Rodgers . 72 Series 6: Richard Rodgers and Sigmund Romberg . 86 Sub-Group II: Individual Sheet Music Division . 92 Sub-Group III: Film and Stage Musical Songs . 214 Sub-Group IV: Miscellaneous Selections . 247 2 DESCRIPTION OF COLLECTION Accession no. 2007/8/14 Shelf location: C3B 7,4–6 Physical extent: 7.5 linear feet Biographical sketch James West Phillips (b. August 11, 1915; d. July 2, 2006) was born in Rochester, NY. He graduated from the University of Rochester in 1937 with distinction with a Bachelor of Arts in Mathematics; he was also elected to the academic honors society Phi Beta Kappa. In 1941, he moved to Washington, DC, to work in the Army Ordnance Division of the War Department as a research analyst. He left that position in 1954 to restore a house he purchased in Georgetown. Subsequently, in 1956, he joined the National Automobile Dealers Association as a research analyst and worked there until his retirement in 1972. He was an avid musician and concert-goer: he was a talented pianist, and he composed music throughout his life.
    [Show full text]
  • The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin
    Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin David Carson Berry Irving Berlin (1888-1989) played a leading role in the development of popular song in the U.S., and enjoyed a recognition and success that was perhaps unparalleled. He made his songwriting debut (as a lyricist) in 1907 and actively composed for at least six decades thereafter, contributing to the world approximately 900 copyrighted songs1 and becoming one of the few artists of his time to write both melody and lyric.2 Despite his influence and talents, however, his music has seldom been treated to analytic or theoretic attention; Charles Hamm has engaged in extensive historiographic work on Berlin and his oeuvre,3 but Allen Forte is one of the few who has analyzed the songs in explicitly musical terms.4 The dearth of analysis is !A song listing is provided in Steven Suskin, Berlin, Kern, Rogers, Hart, and Hammerstein: A Complete Song Catalogue (Jefferson, NC: McFarland & Co., 1990). Although some (especially early) songs may have been lost, the actual number of Berlin's copyrighted songs - which surely includes most of what he ever wrote, even birthday songs for his grandchildren - contradicts frequently encountered exaggerations which place his output as high as 2000-3000 songs. Such elevated numbers may be partly attributable to the show-business boasts of Berlin himself, who once claimed to have composed as many as five songs a day (see Laurence Bergreen, As Thousands Cheer: The Life of Irving Berlin [New York: Penguin Books, 1990], 58).
    [Show full text]
  • Tommy Dorsey
    Glenn Miller Archives TOMMY DORSEY 1 9 3 9 Prepared by: Dennis M. Spragg CHRONOLOGY Part 1 - Chapter 5 Updated March 16, 2021 Table of Contents January 1939 3 February 1939 20 March 1939 29 April 1939 37 May 1939 44 June 1939 59 July 1939 73 August 1939 86 September 1939 109 October 1939 125 November 1939 135 December 1939 144 2 January 1939 January 1, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast January 2, 1939 (Monday) 11:00-11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast Personnel Add Nat Leslie, arranger January 4, 1939 (Wednesday) 8:30 - 9:00 pm “The Raleigh and Kool Show” 79A NBC Radio City New York (NBC-Red) (WEAF) broadcast Bud Collyer, announcer Nat Leslie, arranger The Pied Pipers (Josephine Stafford, John Huddleston, Hal Hopper, Chuck Lowry, Bud Hervey, George Tait, Woody Newbury, Dick Whittinghill), guests I’m Gettin’ Sentimental Over You - opening theme, Two Cigarettes In The Dark Humoresque - Paul Weston arrangement What Do You Know About Love? – Edythe Wright, vocal It’s A Killer – Nat Leslie arrangement Let’s Stop The Clock Judgment Day Is Coming – Deane Kincaide arrangement Russian Lullaby, Down Home Rag – Deane Kincaide arrangement Symphony In Riffs – Benny Carter arrangement I’m Gettin’ Sentimental Over You - closing theme January 4, 1939 (Wednesday) 11:30 pm – Midnight “The Raleigh and Kool Show” 79B Western Feed NBC Radio City New York (NBC-Red) broadcast January 6, 1939 (Friday) 11:30 pm – Midnight Hotel New Yorker New York (CBS) (WABC) sustaining broadcast 3 January 7, 1939 (Saturday) 11:00 - 11:30 pm Hotel New Yorker New York (Mutual) (WOR) sustaining broadcast January 8, 1939 (Sunday) Midnight - 12:30 am Hotel New Yorker New York (CBS) (WABC) sustaining broadcast Broadcast cancelled - see Variety article, following.
    [Show full text]
  • Bulletin of the Center for Children's Books
    U- I L LINOI S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. THE UNIVERSITY OF CHICAGO GRAOUATE LIBRARY SCHOOL _~~ ____ Bulletin of the Center for Children's Books THE UNIVERSITY OF CHICAGO * GRADUATE LIBRARY SCHOOL Volume 33 FEBRUARY, 1980 Number 6 New Titles for Children and Young People Adoff, Arnold. Eats; illus. by Susan Russo. Lothrop, 1979. 79-11300. Trade ed. ISBN 0-668- 41901-1; Library ed. ISBN 0-688-51901-6. 48p. Trade ed. $6.95; Library ed. $6.67 net. Now it can be told: Arnold Adoff is in love with food. In this collection of paeans R to chocolate, apple pie, fresh baked bread, and other delights, he includes some 4-6 recipe poems, but most of the selections sing the praises of some particular food, and there is in most of the poems a wry humor or an ebullient zest that should engage readers-and, like most poems, the audience is much broader than the middle grades for which this seems most appropriate. Two nibbles from the feast, with apologies for ignoring the poet's use of line and form, ". but in between my smiles and bites / I write a message in the sweet and sour pork / I need a fork," concludes a poem on learning to use chop sticks; or, from "At the End of Summer," a pledge of loyalty: "I pledge my loyalty to apple pie and / I insist on deep done dough as heavy as gold / as golden as sweet sun ..
    [Show full text]
  • Guide to the Irving Berlin Collection
    Guide to the Irving Berlin Collection NMAH.AC.0257 Grace Angle 1989 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Sheet Music by Irving Berlin, circa 1907-1966......................................... 4 Series 2: Miscellaneous Sheet Music, 1905 - 1925............................................... 14 Series 3: Awards, 1938-1987, and undated........................................................... 16 Series 4: Correspondence, Photographs, and Posters, 1916-1980s, and undated..................................................................................................................
    [Show full text]
  • Tommy Dorsey 1938
    Glenn Miller Archives TOMMY DORSEY 1938 Prepared by: DENNIS M. SPRAGG Chronology Part 1 – Chapter 4 Updated February 10, 2021 Table of Contents January 1938 ....................................................................................................... 3 February 1938.................................................................................................... 14 March 1938 ........................................................................................................ 25 April 1938 ........................................................................................................... 34 May 1938 ............................................................................................................ 51 June 1938 .......................................................................................................... 59 July 1938 ............................................................................................................ 70 August 1938 ...................................................................................................... 88 September 1938 ................................................................................................ 99 October 1938 ................................................................................................... 112 November 1938 ............................................................................................... 130 December 1938................................................................................................ 141
    [Show full text]
  • Film Study Lecture on Singin' in the Rain (1952)
    Film Study lecture on Singin’ In The Rain (1952) Compiled by Dr. Jay Seller Singin’ In the Rain, (1952) Directed by Stanley Donen Screenwriters Betty Comden and Adolf Green Chapter 1: Singin’ In the Rain Was voted the 10th Greatest Film of all time by Entertainment Weekly, being the highest ranked musical. This film is the favorite of critics, fans and most everyone in general, a film that encourages repeat viewings. PowerPoint presentation includes: 1895, considered to be the birth of cinematography in America. 1895-1927, the Silent Era of film. 1927, sound was introduced. First film was produced by Warner Brothers Studio, The Jazz Singer, the Story of Al Jolson. 1930’s, is considered the Golden Era of Radio, with such shows as The Green Hornet, George Burns and Gracie Allen, Abbott and Costello. 1940’s, is considered the Golden Era of Film. This era started in 1939 with such films as The Wizard of Oz, Wuthering Heights, and Gone with the Wind. 1939, Television was invented and introduced at the New York World’s Fair, but didn’t begin mass production until after World War II. 1950’s, is considered the Golden Era of Television, with such hits as I Love Lucy (1951- 1957), Ed Sullivan Show and The Milton Berle Comedy Cavalcade. One of the reasons this film is interesting to watch is that it depicts this time period of the transition from silent movies to talking pictures 1927-1929. The stories in this movie are based on true stories that happened during this transition. The inspiration of producer Arthur Freed, who wrote the title song in 1928 for MGM’s A Broadway Melody.
    [Show full text]