Rigby Star 1947 05 29 Vol 45 No 22
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“If Music Be the Food of Love, Play On
The Floating Palace In the thirteenth James Bond spy thriller in 1983, Roger Moore comes up against “Octopussy”, an exotic jewel smuggler who lives a life of opulence aboard her “floating palace” near Delhi, India. She owns a traveling circus used as a cover for her jewelry smuggling operation (with Afghan prince and partner Kamal Khan). The “floating palace” is guarded by a team of female gymnasts, all part of her Octopus cult. But floating palaces with traveling circuses are nothing new to the Crescent City. They’ve made visits many times before. The opulent “floating palace”, where “Octopussy” scenes were filmed The first “floating theatre” was constructed in Pittsburgh in 1831 as a vehicle for the Chapmans, a family of English actors. Only a narrow box 16 by 100 feet long on a narrow barge, but it was a real theatre nonetheless. With a stage at one end, a pit in the middle, and a gallery at the other end, the nine-person Chapman family floated it down the Ohio and Mississippi rivers (with performances along the way) to its journey’s end in New Orleans. There it was sold for firewood, and the troupe trekked back to Pittsburgh to build another craft for the following season. By 1836 they were able to afford a steamboat to use as their own permanent “floating theatre”. The Chapman presentations included Shakespeare's “The Taming of the Shrew” and “Hamlet”, August von Kotzebue's “The Stranger” and the fairy tale “Cinderella”. Frequently featured were performances of popular songs. Featuring a menagerie, a museum and an opera house, “Eugene Robinson's Floating Palaces” - just one of the many showboats entertaining folks on the Mississippi River during the 19th century Other boats followed with offerings that ranged from serious dramas to circuses, and along the way the word “showboat” came into the lexicon. -
Huntz Hall Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Huntz Hall 电影 串行 (大全) Hold That Baby! https://zh.listvote.com/lists/film/movies/hold-that-baby%21-5879289/actors Smugglers' Cove https://zh.listvote.com/lists/film/movies/smugglers%27-cove-7546616/actors 'Neath Brooklyn Bridge https://zh.listvote.com/lists/film/movies/%27neath-brooklyn-bridge-4540500/actors Spook Chasers https://zh.listvote.com/lists/film/movies/spook-chasers-7579083/actors Hold That Hypnotist https://zh.listvote.com/lists/film/movies/hold-that-hypnotist-5879299/actors Triple Trouble https://zh.listvote.com/lists/film/movies/triple-trouble-12129783/actors Let's Go Navy! https://zh.listvote.com/lists/film/movies/let%27s-go-navy%21-6532424/actors A Walk in the Sun https://zh.listvote.com/lists/film/movies/a-walk-in-the-sun-387832/actors Won Ton Ton, the Dog Who https://zh.listvote.com/lists/film/movies/won-ton-ton%2C-the-dog-who-saved-hollywood-3569779/actors Saved Hollywood Bowery Blitzkrieg https://zh.listvote.com/lists/film/movies/bowery-blitzkrieg-4950929/actors In Fast Company https://zh.listvote.com/lists/film/movies/in-fast-company-6009436/actors Bowery Buckaroos https://zh.listvote.com/lists/film/movies/bowery-buckaroos-4950930/actors Crazy Over Horses https://zh.listvote.com/lists/film/movies/crazy-over-horses-5183226/actors Crashing Las Vegas https://zh.listvote.com/lists/film/movies/crashing-las-vegas-12110151/actors The Phynx https://zh.listvote.com/lists/film/movies/the-phynx-1936195/actors Ghosts on the Loose https://zh.listvote.com/lists/film/movies/ghosts-on-the-loose-3104973/actors Blues Busters -
The Capitol Dome
THE CAPITOL DOME The Capitol in the Movies John Quincy Adams and Speakers of the House Irish Artists in the Capitol Complex Westward the Course of Empire Takes Its Way A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETYVOLUME 55, NUMBER 22018 From the Editor’s Desk Like the lantern shining within the Tholos Dr. Paula Murphy, like Peart, studies atop the Dome whenever either or both America from the British Isles. Her research chambers of Congress are in session, this into Irish and Irish-American contributions issue of The Capitol Dome sheds light in all to the Capitol complex confirms an import- directions. Two of the four articles deal pri- ant artistic legacy while revealing some sur- marily with art, one focuses on politics, and prising contributions from important but one is a fascinating exposé of how the two unsung artists. Her research on this side of can overlap. “the Pond” was supported by a USCHS In the first article, Michael Canning Capitol Fellowship. reveals how the Capitol, far from being only Another Capitol Fellow alumnus, John a palette for other artist’s creations, has been Busch, makes an ingenious case-study of an artist (actor) in its own right. Whether as the historical impact of steam navigation. a walk-on in a cameo role (as in Quiz Show), Throughout the nineteenth century, steam- or a featured performer sharing the marquee boats shared top billing with locomotives as (as in Mr. Smith Goes to Washington), the the most celebrated and recognizable motif of Capitol, Library of Congress, and other sites technological progress. -
1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr. -
The Karsch & Fried Families
The Karsch & Fried Families Initial Research Prepared for Blair Adam Karsch By Michael Goldstein July 15, 2008 The Karsch Family From the Ukraine to America Kherson Gubernia, America and the Karsch Family The Karsch family ancestral origins are from the Kherson Gubernia and the towns of Kherson and Odessa. These locations are in today’s Ukraine. Little is known of the family before its arrival in the USA other than that the earliest identified ancestor was Zelig Karsch who appears to have lived somewhere in this area. Since records are kept by town no further European research is being undertaken until we are reasonably certain of the town of origin. Kherson Gubernia was an administrative-territorial unit in Russian-ruled Southern Ukraine between the Dnieper and Dniester Rivers. One of the three gubernias created after New Russia gubernia was abolished in 1802, it was called Mykolaiv gubernia until 1803, when Kherson became the new capital. From 1809 the gubernia had five counties: Kherson, Oleksandriia, Olviopil, Tyraspil, and Yelysavethrad. Odesa County was added in 1825. Odesa and their vicinity were governed separately: Odesa by a gradonachalnik answerable directly to the tsar and (from 1822) the governor-general of New Russia and Bessarabia, and Mykolaiv by a military governor. The gubernia had a population of about 1,330,000 in 1863, 2,027,000 in 1885, 2,733,600 in 1897, and 3,744,600 in 1914. In the 1850s Jews consisted 6 to 7 percent and in 1914, 12 percent. In- migration accounted for much of the population growth; e.g. -
1944-06-30, [P ]
Friday, .Tune 3*), JQ44 THE TOLEDO UNION JOURNAL Page 5 ‘Dear Marfin Heard on a Hollywood Movie Set HOLLY WOOD — John News and Gossip of Stage and Serei n Conte and Marilyn Maxwell are enacting one of the j. - ■- <fr.:-;-UUZ;.,> . .ll . , ..■■j , f -r .. Lr „ — . .. romantic interludes in the Abbott and Costello starrer, Star I*refers Pie “Lost in a Harem," on &tage Stars Use Own Names 26 at M-G-M. «► As the scene begins, Ar Birthday ‘Cake’ , S mF k v i Conte takes Marilyn's hand HOLLYWOOD — Judy Gar In New Screen Vogue and says; {, .* diettjo, land defied tradition on her HOLLYWOOD (Special)—If a present trend continues in “I love you.” Hofljwood wri’ers may soon stop worrying about what names to “I’m — I’m speechless,” twenty-second birthday. ' ' I ’ says Marilyn. “As we say in At a family dinner tendered give their screen characters. Actors will simply use their own America, 'this is so sud the young star by her mother, names—as more and more of them are now doing. den'.” By TED TAYLOR Mrs. Ethel Gilmore, the familiar Take the instance of Jose Iturbi. He made his screen debat AmAmL W. birthday cake was conspicuous playing himself in "Thousads Cheer.” “After I have regained my throne, will you marry by its absence. Judy’s favorite In 20th Century Fox s Four Jills and a Jeep,” they prac- HOLLYWOOD (FP)—This fs probably the first ease on record dessert is chocolate pie. After tically dropped the traditional me?” Conte asks her. M-G-M Stars Two New “Yes,” repli“s Maralyn, as of a man nominating himself for a movie plot. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
January 2015
January 2015 HDNet Movies delivers the ultimate movie watching experience – uncut - uninterrupted – all in high definition. HDNet Movies showcases a diverse slate of box-office hits, iconic classics and award winners spanning the 1950s to 2000s. HDNet Movies also features kidScene, a daily and Friday Night program block dedicated to both younger movie lovers and the young at heart. For complete movie schedule information, visit www.hdnetmovies.com. Each Month HDNet Movies rolls out the red carpet and shines the spotlight on Hollywood Blockbusters, Award Winners and Memorable Movies th rd Always (Premiere) January 8 at 6:30pm The Missing (Premiere) January 3 at 8:00pm Starring Richard Dreyfuss, Holly Hunter, John Starring Tommy Lee Jones, Cate Blanchett, Evan Goodman, Audrey Hepburn. Directed by Steven Rachel Wood. Directed by Ron Howard. Spielberg. The Quick and the Dead January 3rd at 6:00pm Antwone Fisher (Premiere) January 2nd at 4:35pm Starring Sharon Stone, Gene Hackman, Russell Starring Derek Luke, Denzel Washington, Joy Bryant. Crowe, Leonardo DiCaprio. Directed by Sam Raimi. Directed by Denzel Washington. Tears of the Sun (Premiere) January 10th at th A Few Good Men January 10 at 6:30pm 9:00pm Starring Tom Cruise, Jack Nicholson, Demi Moore, Starring Bruce Willis, Monica Bellucci, Cole Hauser, Kevin Bacon. Directed by Rob Reiner. Tom Skerritt. Directed by Antoine Fuqua. Make kidScene your destination every day from 6:00am to 4:30pm. Check program schedule or www.hdnetmovies.com for all scheduled broadcasts. An American Tale January 1st at 6:00am Lego: The Adventures of Clutch Powers (Premiere) January 4th at 7:30am Featuring voices of: Christopher Plummer, Madeline Kahn, Dom DeLuise. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
(And Holmes Related) Films and Television Programs
Checklist of Sherlock Holmes (and Holmes related) Films and Television Programs CATEGORY Sherlock Holmes has been a popular character from the earliest days of motion pictures. Writers and producers realized Canonical story (Based on one of the original 56 s that use of a deerstalker and magnifying lens was an easily recognized indication of a detective character. This has led stories or 4 novels) to many presentations of a comedic detective with Sherlockian mannerisms or props. Many writers have also had an Pastiche (Serious storyline but not canonical) p established character in a series use Holmes’s icons (the deerstalker and lens) in order to convey the fact that they are acting like a detective. Derivative (Based on someone from the original d Added since 5-22-14 tales or a descendant) The listing has been split into subcategories to indicate the various cinema and television presentations of Holmes either Associated (Someone imitating Holmes or a a in straightforward stories or pastiches; as portrayals of someone with Holmes-like characteristics; or as parody or noncanonical character who has Holmes's comedic depictions. Almost all of the animation presentations are parodies or of characters with Holmes-like mannerisms during the episode) mannerisms and so that section has not been split into different subcategories. For further information see "Notes" at the Comedy/parody c end of the list. Not classified - Title Date Country Holmes Watson Production Co. Alternate titles and Notes Source(s) Page Movie Films - Serious Portrayals (Canonical and Pastiches) The Adventures of Sherlock Holmes 1905 * USA Gilbert M. Anderson ? --- The Vitagraph Co. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero.