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Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
AMBASSADOR JOHN GUNTHER DEAN Interviewed By: Charles Stuart Kennedy Initial Interview Date; September 6, 2000 Copyright 2000 ADST
AMBASSADOR JOHN GUNTHER DEAN Interviewed by: Charles Stuart Kennedy Initial Interview Date; September 6, 2000 Copyright 2000 ADST Q. Today is September 6, 2000. This is an interview with John Gunther Dean. This is being done on behalf of the Association for Diplomatic Studies and Training. I'm Charles Stuart Kennedy. Let's start at the beginning. Could you tell me when and where you were born and something about your family. DEAN: Okay. I was born on February 24, 1926 in the German city of Breslau, an industrial city of 650,000 people, where they made locomotives, airplanes. Silesia is one of the two lungs of Germany: the Ruhr Valley and Silesia. My father was a corporation lawyer who was on the Board of Directors of banks, chairman of a machine-tool company, mining corporations, etc... He was close to many of the leading industrial and financial people in Germany, in the period between the First World War and the Second World War. My father was also the President of the Jewish Community in Breslau. His friend Max Warburg played the same role in Hamburg. Q. Was this the banking Warburg. DEAN: That's right. Max Warburg was the head of the banking house at that time. Sigmund was his nephew who went to England. Q. "Dean" was ... DEAN: My father changed our name legally by going to court in New York Dean - 1 in March 1939. My father's name was Dr. Josef Dienstfertig. You will find his name in books listing the prominent men in industry and finance at the time. -
TOM MCINTOSH NEA Jazz Master (2008)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOM MCINTOSH NEA Jazz Master (2008) Interviewee: Tom McIntosh (December 6, 1927 – July 26, 2017) Interviewer: Eric Jackson with recording engineer Ken Kimery Date: December 9-10, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 57 pp. Eric Jackson: Today is Friday December 9th. We are talking to Tom “Mac” McIntosh. Tom, let’s begin at the beginning. You were born in Baltimore December 6th 1927? McIntosh: Baltimore, Maryland. Eric Jackson: Baltimore, Maryland. December 6th, 1927? McIntosh: That is correct. Eric Jackson: How big was your family? Were you the youngest, the oldest…? McIntosh: My father had a son by another woman that was seven years older than me. I was the oldest of my mother’s children. My mother had six children. I was the oldest of the six. Eric Jackson: Was it a musical household? McIntosh: Fortunately, I had a mother and a father that were musically inclined. My father, he yearned to be the lead singer in the Mills Brothers. I didn’t appreciate that until later on in years when I discovered that Dean Martin and Frank Sinatra all said that it was the leader of the Mills Brothers that made them want to sing. And looking back, my father was like the leader had a paunch on. But, he made it attractive For additional information contact the Archives Center at 202.633.3270 or [email protected] because he could move his belly in sync with the rhythm of “the lazy river…” (Scats the song) And his belly is moving in rhythm with it! He was always very attractive. -
See Script Preview
Written & Arranged by Chip Deffaa Music & Lyrics by Irving Berlin (and others) PRODUCTION SCRIPT www.stagerights.com SAY IT WITH MUSIC: THE IRVING BERLIN SAGA Copyright © 2018 by Chip Deffaa All Rights Reserved All performances and public readings of SAY IT WITH MUSIC: THE IRVING BERLIN SAGA are subject to royalties. It is fully protected under the copyright laws of the United States of America, of all countries covered by the International Copyright Union, of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and all countries with which the United States has reciprocal copyright relations. All rights are strictly reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronic, photocopying, recording, or otherwise, without the prior written permission of the author. Publication of this play does not necessarily imply that it is available for performance by amateurs or professionals. It is strongly recommended all interested parties apply to Steele Spring Stage Rights for performance rights before starting rehearsals or advertising. No changes shall be made in the play for the purpose of your production without prior written consent. All billing stipulations in your license agreement must be strictly adhered to. No person, firm or entity may receive credit larger or more prominent than that accorded the Author. For all stage performance inquiries, please contact: Steele Spring Stage Rights 3845 Cazador Street Los Angeles, CA 90065 (323) 739-0413 www.stagerights.com PRODUCTION HISTORY The first reading of this musical play, under the direction of playwright Chip Deffaa, took place on February 19, 2018 at New York’s 13th Street Repertory Theater (Edith O’Hara, founder/original artistic director; Joe Battista, managing director), starring Michael Townsend Wright, Suzanne Dressler, and Jed Q. -
Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun. -
War Comes to America
Video Transcript for Archival Research Catalog (ARC) Identifier 36073 War Comes to America Text: This film has been compiled from authentic newsreel, official United Nation, and captured enemy film. Use has been made of certain motion pictures with historical backgrounds. When necessary, for purposes of clarity, a few reenactments have been made under War Department Supervision. Children: I pledge allegiance to the flag of the United States of America, and to the republic for which it stands, one nation, indivisible, with liberty and justice for all. Narrator: In the jungles of New Guinea, on the barren shores of the Aleutians, in the tropic heat of the Pacific Islands, in the subzero cold of the skies over Germany, in Burma and Iceland, the Philippines and Iran, France, in China and Italy, Americans fighting. Fighting over an area extending seven-eighths of the way around the world. Men from the green hills of New England; the sun-baked plains of the Middle West; the cotton fields of the South; the close-packed streets of Manhattan, Chicago; the teeming factories of Detroit, Los Angeles; the endless stretching distances of the Southwest; men from the hills and from the plains; from the villages and from the cities; bookkeepers; soda jerks; mechanics; college students; rich man; poor man; beggar man; thief; doctor; lawyer; merchant; chief. Now veteran fighting men. Yet two years ago many had never fired a gun or seen the ocean or been off the ground. Americans, fighting for their country while half a world away from it. Fighting for their country, and for more than their country. -
A Tribute to Michael Curtiz 1973
Delta Kappa Alpha and the Division of Cinema of the University of Southern California present: tiz November-4 * Passage to Marseilles The Unsuspected Doctor X Mystery of the Wax Museum November 11 * Tenderloin 20,000 Years in Sing Sing Jimmy the Gent Angels with Dirty Faces November 18 * Virginia City Santa Fe Trail The Adventures of Robin Hood The Sea Hawk December 1 Casablanca t December 2 This is the Army Mission to Moscow Black Fury Yankee Doodle Dandy December 9 Mildred Pierce Life with Father Charge of the Light Brigade Dodge City December 16 Captain Blood The Private Lives of Elizabeth and Essex Night and Day I'll See You in My Dreams All performances will be held in room 108 of the Cinema Department. Matinees will start promptly at 1:00 p.m., evening shows at 7:30 p.m. A series of personal appearances by special guests is scheduled for 4:00 p.m. each Sunday. Because of limited seating capacity, admission will be on a first-come, first-served basis, with priority given to DKA members and USC cinema students. There is no admission charge. * If there are no conflicts in scheduling, these programs will be repeated in January. Dates will be announced. tThe gala performance of Casablanca will be held in room 133 of Founders Hall at 8:00 p.m., with special guests in attendance. Tickets for this event are free, but due to limited seating capacity, must be secured from the Cinema Department office (746-2235). A Mmt h"dific Uredrr by Arthur Knight This extended examination of the films of Michael Only in very recent years, with the abrupt demise of Curtiz is not only long overdue, but also altogether Hollywood's studio system, has it become possible to appropriate for a film school such as USC Cinema. -
The Impact of World War II on Women's Fashion in the United States and Britain
UNLV Theses, Dissertations, Professional Papers, and Capstones 12-2011 The impact of World War II on women's fashion in the United States and Britain Meghann Mason University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Cultural History Commons, European History Commons, Fashion Design Commons, Industrial and Product Design Commons, and the United States History Commons Repository Citation Mason, Meghann, "The impact of World War II on women's fashion in the United States and Britain" (2011). UNLV Theses, Dissertations, Professional Papers, and Capstones. 1390. http://dx.doi.org/10.34917/3290388 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE IMPACT OF WORLD WAR II ON WOMEN’S FASHION IN THE UNITED STATES AND BRITAIN By Meghann Mason A thesis submitted in partial fulfillment Of the requirements -
Waging Warners'
Waging Warners’ War by Randi Hokett The connection between Hollywood and American politics has Producing an anti-Nazi film in 1934 was easier said than done, and become an increasingly pertinent area of inquiry in our post 9/11 cul- no studio would release an anti-Nazi film untilConfessions of a Nazi ture. Viewed through the lens of history, it is clear that the marriage Spy (1930) by Warner Bros. Complex issues conspired against the between the media, its moguls and the American political system Warners’ plans to create a film naming the Nazi threat. As Hitler has long affected public life in this country and around the world. gained power, the distribution of such a film in Europe grew increas- Nowhere is this more apparent than at Warner Bros. during World ingly difficult. At home, isolationist sentiment and anti-Semitism, War II, where a personal crusade against fascism ultimately became an together with industry concern that an anti-Nazi film could damage important part of American public policy. relations with the still important German film market, resulted in a 1934 Production Code Administration (PCA) ban on anti-Nazi films. Hollywood, like much of the United States, did not appear to oppose Nazism in the 1930s. Despite the fact that Hollywood’s film empire Unable to explicitly fight fascism through feature films, Jack and had been built largely by Jews, there was little overt acknowledgement Harry monitored the spread of Nazism throughout Europe and of the atrocities committed against Jews in Germany. The exception America. They were active with the Hollywood Anti-Nazi League, was Warner Bros. -
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. -
Picture F?Tj Cjlou,Ellci J~^Cu'sons Hollywood /Mrs
PART 2. PAGE 7 Sunday. December 27. 1912 DETROIT SUNDAY TIMES /7V7OYr CHERRY ericcin picture f?tj cJlou,ellci j~^cu'sons Hollywood /Mrs. Miniver7 Players To Welcome Dominate Starting 11; 43 in Stride Alternates Also Picked MB dß' By LOUELLA O. PARSON’S By BILL WICkKRSIIAM Hr' Motion Picture Editor International Nrw» Service »pr< lai |4> TUK IIKTROIT TLMKH HOLLYWOOD, !>c. 26 jPWBTV' HOLLYWOOD, Dec. 26. r PIME was when practically morning! 1 every filmtown notable Let * hope you will be on speaking terms with Year * Eve turned out on New motion to make swank whoopee and. at me after I print my annual All-American ihe magical moment of midnight, picture team for 1942. This annual feature, in- to raise the glasses in toasts GOOD 12 years ago, is offend after serious augurated to personal good fortune consideration. If you don’t agree with me, write and let mu throughout the coming year. nothing than a good argument. year, however, rev- know. I love better This their Garson, captains my team eling will not be so swank. Their irai Congratulations to Greer who toasts will be drunk to victory. for 1942. 1 name her for her never-to-be-forgotten perform- And that one burst of spirit will ance in "Mrs. Miniver," and place her on my team as center. l*e about it. Not because of the to her credit which will 12 o’clock cocktail curfew, but Greer also has "Random Harvest" because, ere the echo of their ¦** v win her additional fame. subsided, they’ll team in half a dozen shouting has d MR James Cagney, who hasn't made the ’%! i+ making grim resolution" to JWT i k 'iti-uW' years, gets the oovdtd quarterback spot.