Battle of Giants by SHEILAH GRAHAM Televised from New York
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The Cambridge Companion to F. Scott Fitzgerald
THE CAMBRIDGE COMPANION TO F. SCOTT FITZGERALD EDITED BY RUTH PRIGOZY Hofstra University PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211,USA 10 Stamford Road, Oakleigh, vic 3166, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Sabon 10/13 pt. System LATEX 2ε [TB] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication Data The Cambridge companion to F. Scott Fitzgerald / edited by Ruth Prigozy. p. cm. – (Cambridge companions to literature) Includes bibliographical references and index. isbn 0 521 62447 9 – isbn 0 521 62474 6 (pbk.) 1. Fitzgerald, F. Scott (Francis Scott), 1896–1940 – Criticism and interpretation – Handbooks, manuals, etc. I. Prigozy, Ruth. II. Series. ps3511.I9 Z575 2002 8130.52 –dc21 [B] 2001025957 isbn 0 521 62447 9 hardback isbn 0 521 62474 6 paperback CONTENTS Notes on contributors page xi Preface xv List of abbreviations xvi Chronology xvii 1 Introduction: Scott, Zelda, and the culture of celebrity 1 ruth prigozy 2 F. Scott Fitzgerald, age consciousness, and the rise of American youth culture 28 kirk curnutt 3 The question of vocation in This Side of Paradise and The Beautiful and Damned 48 james l. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
PLAYNOTES Season: 43 Issue: 05
PLAYNOTES SEASON: 43 ISSUE: 05 BACKGROUND INFORMATION PORTLANDSTAGE The Theater of Maine INTERVIEWS & COMMENTARY AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. By Johnathan Tollins Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
Editorial Introduction
The Pennsylvania State University The Graduate School College of the Liberal Arts TEMPORARILY DEVOTEDLY YOURS: THE LETTERS OF GINEVRA KING TO F. SCOTT FITZGERALD A Dissertation in English by Robert Russell Bleil © 2008 Robert Russell Bleil Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2008 ii The dissertation of Robert Russell Bleil was reviewed and approved* by the following: James L. W. West III Edwin Erle Sparks Professor of English Dissertation Advisor Co-Chair of Committee Christopher Clausen Professor of English, emeritus Co-Chair of Committee Mark S. Morrisson Professor of English William L. Joyce Dorothy Foehr Huck Chair and Head of Special Collections, University Libraries and Professor of History Robert R. Edwards Edwin Erle Sparks Professor of English and Comparative Literature Director of Graduate Studies Department of English *Signatures are on file in the Graduate School iii ABSTRACT When Ginevra King met F. Scott Fitzgerald in St. Paul, Minnesota on January 4, 1915 there was instant chemistry between them. That night in her diary, Ginevra exclaimed, “Scott perfectly darling am dipped about.” For his part, Scott was equally smitten with Ginevra; although he was due back in Princeton immediately, Scott stayed over an extra day to spend more time with the brunette debutante from Chicago. Upon his return to Princeton, Scott immediately sent Ginevra a special delivery letter; according to the customs of the time, such a letter constituted Scott’s formal declaration that he was interested in pursuing a correspondence with Ginevra. A vivacious and fun- loving girl, Ginevra was no stranger to the importance of a “special delie” and the epistolary game was afoot. -
Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (Guest Post)*
“Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (guest post)* Helen Morgan Original album package Paul Robeson Before the long-playing record (or LP) made original cast albums a key component of the Broadway musical, record companies recognized the potential of turning a Broadway score into a unified experience for home listeners. The 1927 musical “Show Boat” was the first to receive this treatment. In 1932, the year of “Show Boat’s” first Broadway revival, the Brunswick label released a set of four specially-recorded 78s of songs from the show. The discs were bound in a handsome album featuring cover art taken from the sheet music for the Broadway show which had, in turn, been derived from the cover of Edna Ferber’s 1926 novel. The lavish set’s liner notes described the collection as an “album of music from one of the most tuneful and popular operettas of the modern day.” Conducted by Victor Young and using custom orchestral arrangements—not those played by the pit orchestra in the theater—the Brunswick set features two singing stars who shaped “Show Boat” both in the minds of its creators and for the show’s enthusiastic early audiences: Paul Robeson and Helen Morgan. Music critics praised the unity of Young’s collection, “obviously recorded as a unit and with great care.” And even though listening to all eight sides would have been a clunky affair at the time—involving much changing and flipping of discs—Young clearly imagined the set as a whole. The inclusion of sides titled “Overture” and “’Show Boat’ Finale” suggest a partial playing order. -
Marilyn Monroe's Star Canon: Postwar American Culture and the Semiotics
University of Kentucky UKnowledge Theses and Dissertations--English English 2016 MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM Amanda Konkle University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.038 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Konkle, Amanda, "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM" (2016). Theses and Dissertations--English. 28. https://uknowledge.uky.edu/english_etds/28 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
1. Dear Scott/Dear Max: the Fitzgerald-Perkins Correspondence, Eds
NOTES INTRODUCTION F. SCOTT FITZGERALD, "THE CULTURAL WORLD," AND THE LURE OF THE AMERICAN SCENE 1. Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, eds. John Kuehl and Jackson R. Bryer (New York: Scribner's, 1971),47. Hereafter cited as Dear Scott/Dear Max. Throughout this book, I preserve Fitzgerald's spelling, punctuation, and diacritical errors as preserved in the edited volumes of his correspondence. 2. F. Scott Fitzgerald, A Life in Letters, ed. Matthew J. Bruccoli (New York: Simon and Schuster, 1994),67. Hereafter cited as Life in Letters. 3. F. Scott Fitzgerald, F. Scott Fitzgerald on Authorship, eds. Matthew J. Bruccoli and Judith S. Baughman (Columbia: University of South Carolina Press, 1996),83. Hereafter cited as Fitzgerald on Authorship. 4. For a superb discussion of the voguish "difficulty" associated with the rise of modernist art, see Leonard Diepeveen, The Difficulties ofModernism (New York: Routledge, 2003),1-42. 5. There is a further irony that might be noted here: putting Joyce and Anderson on the same plane would soon be a good indicator of provin cialism. Fitzgerald could not have written this statement after his sojourn in France, and certainly not after encouraging his friend Ernest Hemingway's nasty parody, The Torrents of Spring (1926). Anderson may be one of the most notable casualties from the period of ambitious claimants, such as Fitzgerald, Hemingway, and William Faulkner, to a place within "the cultural world." 6. Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field, tr. Susan Emanuel (Stanford: Stanford University Press, 1996), 142. 7. "The principle of differentiation is none other than the objective and subjective distance of enterprises of cultural production with respect to the market and to expressed or tacit demand, with producers' strate gies distributing themselves between two extremes that are never, in fact, attained-either total and cynical subordination to demand or absolute independence from the market and its exigencies" (ibid., 141-42). -
The F. Scott Fitzgerald Society Newsletter
The F. Scott Fitzgerald Society Newsletter Volume 23 DECEMBER 2013-2014 The Twelfth International F. Scott Fitzgerald Conference: Montgomery, AL Nov. 6-10, 2013 An antique car worthy of Jay Gatsby helped set Along the way, we enjoyed an afternoon at the the backdrop, the local St. James School band Montgomery planetarium, an aperitif at the local played a medley of jazz and Gatsby-inspired Aviator Bar, and a night of wholly un-1920s rock tunes, and the Southern drawl of Sally Carrol ‘n’ roll in which we were treated to the sizzlin’ Happer filled the air during a performance of guitar licks of Richard Martin and learned that Bill “The Ice Palace” at the opening reception for Blazek is the reincarnation of Hank Williams and the 12th International F. Scott Fitzgerald Society that Walter Raubicheck can channel Dion on com- Conference in Montgomery, Alabama. mand. That vivacious evening, hosted by the F. The closing reception, our “Belles and Jelly-Beans Scott and Zelda Fitzgerald Museum and the Ball,” was held on the Harriott II riverboat. There City of Montgomery, got things off to a great were costumes aplenty as men channeled their start, and the events and excitement contin- inner Gatsby and women their inner flapper. As ued over the next four days of Fitztrava- we cruised along the Alabama River, participants ganza/Zeldapalooza.” enjoyed not only the starry evening and the Montgomery skyline, but also a jazz-age cocktail Around 200 people attended all or some of the presentation by Philip Greene, author of To Have various events during the course of the confer- and Have Another: A Hemingway Cocktail Compan- ence, including academic and scholarly ses- ion. -
Valuations of Femininity in 1920S Stage Adaptations from Women's
Capital Complex: Valuations of Femininity in 1920s Stage Adaptations from Women’s Culture By Bethany Wood A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Theatre and Drama) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 10/15/12 This dissertation is approved by the following members of the Final Oral Committee: Mary Trotter, Associate Professor, Theatre and Drama Aparna Bhargava Dharwadker, Professor, Theatre and Drama Michael Vanden Heuvel, Professor, Theatre and Drama Julie D’Acci, Professor, Gender and Women’s Studies Jonathan Gray, Professor, Communication Arts © Copyright by Bethany Wood 2012 All Rights Reserved i Acknowledgements I am truly grateful for the generous personal and institutional support I have received throughout the research and writing of this dissertation. I am deeply indebted to my advisor, Dr. Mary Trotter, for her careful reading and insightful comments and questions, which inspired and directed this dissertation. Her advice and queries consistently push and guide my work in productive directions, and I am thankful for her mentorship. I would also like to express my appreciation for my dissertation committee, Dr. Julie D’Acci, Dr. Aparna Dharwadker, Dr. Jonathan Gray, and Dr. Michael Vanden Heuvel, whose suggestions helped hone my initial proposal and advance the complexity of my analysis. I am grateful for their insights and inquiries. Financial support from several institutions assisted with the research and completion -
The Genre of Cabaret
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Black Cats, Berlin, Broadway And Beyond: The Genre Of Cabaret Deborah Tedrick University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Tedrick, Deborah, "Black Cats, Berlin, Broadway And Beyond: The Genre Of Cabaret" (2006). Electronic Theses and Dissertations, 2004-2019. 972. https://stars.library.ucf.edu/etd/972 BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET by DEBORAH LYNNE TEDRICK Bachelor of Music, California State University at Los Angeles, 1989 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2006 © 2006 Deborah Lynne Tedrick ii ABSTRACT Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. -
'~). Begin·Nlllilln"G-Sunda~ ~N~ D~!E~
1//ftLlJe ~i LI.-C - TAr Fr - !,'T!~'ATI TiHEATE \-1f ; '~). Begin·nlllilln"g-S~Unda~ ~n~D~!e~ E Matinee Sa rday Only GEORGE WHITE Presbnts THE 12TH STAqE EDITION OF GEORGE WBITE'S SCANDAr..S Lyrics by Jack Yellen Music by Ray Henderson Dialogue by George vVhi e and William K. Wells Dances by Russell Markert Settings py Russell Patterson and Walter Jagemann Costumes Created !:jy Charles LeMaire 'Orchestrations by Russell Bennett and Conrad Salinger Orchestra U nder Dir~ction of Tom] ones Entire Production Conceived and Directed by George White Willie and Eugene Helen HOWARD -CAST- MORGAN EARL OXFORD GEORGE DEWEY WASHINGTON SAM, TED and RAY STANLEY TWINS RICHARD LANE ESTELLE JAYNE CLAIRE McQUILLEN FRED MANATT ALICE CARLETON HAROLD WILLARD GLORIA RICH VIOLA PAULSON EDNA PAGE ALMA SAUNDERS HAROLD WILLARD PEGGY BADY FLORETTE DU ELK A UDREY HAYES POLL Y STURGIS AND THE GEORGE WHITE GIRLS ACT 1. 7. "CIGARETTE" Sung by Earl Oxford, Claire McQuillen 1. "TUNE IN ON THE WORLD'S and the George White Girls. FIRST TELEVISION BROADCAST" With Viola Paulson and Florette DuElk 8. STANLEY TWINS Anything Can Happen............. '" 9. SWEEPSTAKES ...... .. ......... HELEN . MORGAN Mrs. Harris ............... Estelle Jayne Announcer ., ......... .. Richard Lane A Friend ......... WILLIE HOWARD 2. "LIFE BEGINS AT SWEET SIX Mr. Harris ....... EUGENE HOWARD TEEN" .Sung by HELEN MORGAN 10. "TRUCK IN' IN MY TAILS" Mamie Simple McPherson ......... Sung by GLORIA RICH and the George .................... Constance Carr White Girls - Alma Saunders, P olly Mrs. Vandernuts .......... Estelle Jayne Sturgis, Peggy Bady, Della Muir, Paula Prize Fighter........... Harold Willard Manners, Audrey Hayes, Constance Carr Mae West. -
Taft, Bit Better to Meet Hoover in a Brief Visit
THE WEATHER Forecast by U^ 8. WeatlMr Bureau, NET PRESS R W Hartford.. AVERAGE DAILY CIRCULATION for the Month of January, 1980 Cloudy and slightly colder to* night, possibly snow flurries; Thurs- 5.547 iHanrhratrr turning ' day partly cloudy. Hcmbcrs ol the Audit Bureau ot Clreulntlona PRICE THREE CENTS SOUTH MANCHES'i'ER, CONN., WEDNESDAY, FEBRUARY 5, 1930. FOURTEEN PAGES (Classified Advertising on Page 12) VOL. XLIV., NO. 108 1 CHILDREN BET ^" TAFT CARRIED T O HIS HOME BALDWIN ASKS TAFT, BIT BETTER HICKEY MAKES ; ON HORSE RACE FRANKNESSON H O ARRESTS : Man Arrested ' for Taking TO MEET HOOVER School Pupils’ Lunch Money as Wagers. NAV-AITARLEY ATROADHOUSE Chicago, Feb. 5.— (AP) School authorities today renew IN A BRIEF VISIT ed efforts to prevent gambling , Says House of Commons in the vicinity of schools.' Chef of Resort at Avon and Acting on the complaint of parents, police yesterday ar Has to Learn from the | ARREST 6 PERSONS Former Chief Justice Passes Chauffeur Brought to; rested George Glover who they charged was taking the bets of Press m a t Great Britain | jf j school children on horse races. Comfortable Night and Hartford on Bench War Wagers of 50 and 75 cents, the sums representing the chil Is Planning to Do, | ___ Able to Sit in Easy Chair; dren’s lunch money, were ac rants and Questioned. cepted, police charged. Glover was arrested as he sat in an London, F e b ^ Z i A P ,- S t a n l e y ' Mefflbers of Family Say Real; Expresses Wish to See automobile parked near the Hartford, Feb.