Volume 63, Number 1, Spring 2015
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PARTNERS in Hope and Discovery Where the Power of Childhood Meets the Power of Research
PARTNERS in Hope and Discovery Where the power of childhood meets the power of research 2016 ANNUAL REPORT WHERE BREAKTHROUGHS HAPPEN The National Institutes of Health (NIH) is the world’s premier biomedical research institution—and the breakthroughs that happen here are the first steps toward eradicating diseases, easing pain, and making better lives possible. None Inn residents of these medical advances would be participated possible without the people who drive them: children, families and caregivers, in 283 clinicians and staff—the community The CLINICAL Children’s Inn brings together. The Inn TRIALS provides relief, support, and strength to at the NIH these pioneers whose participation in in FY16 medical trials at the NIH can change the story for children around the world. Inn residents are a part of pediatric protocols in 15 of the 27 INSTITUTES and CENTERS at the NIH On the cover: Inn resident Reem, age 7 from Egypt, with her NIH physician, Dr. Neal Young. She is being treated for aplastic anemia at the National Heart, Lung and Blood Institute. As partners in discovery and care, OUR VISION we strive for the day when no family endures the heartbreak of a seriously ill child. Letter from the Chair of the Board and Chief Executive Officer The Inn’s Board of Directors had an eventful We are so grateful to you: our donors, volunteers, year. We have worked diligently to restructure and friends, who help The Children’s Inn make a and prepare The Inn for the future, and recently profound impact on the lives of the NIH’s young- welcomed some talented new members to our est patients. -
Leslie Caron
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] Leslie Caron Photo: John Mann Location: London, United Kingdom Eye Colour: Blue Height: 5'1" (154cm) Hair Colour: Dark Brown Playing Age: Over 60 years Hair Length: Long Appearance: White Film Film, Suzanne de Persand, Le Divorce, Merchant Ivory Productions, James Ivory Film, Madame Audel, Chocolat, Miramax Films, Lasse Hallström Film, Regine De Chantelle, The Reef, CBS, Robert Allan Ackerman Film, Marguerite, Let It Be Me, Savoy Pictures, Eleanor Begstein Film, Katie Parker, Funny Bones, Hollywood Pictures, Peter Chelsom Film, Elizabeth Prideaux, Damage, Studio Canal, Louis Malle Film, Waitress, Guns, Malibu Bay Films, Andy Sidaris Film, Jane Hillary, Courage Mountain, Triumph Films, Christopher Leitch Film, Henia Liebskind, Dangerous Moves, Gaumont, Richard Dembo Film, Mother, Imperative, TeleCulture, Krzysztof Zanussi Film, uncredited, Chanel Solitaire, United Film Distribution Company, George Kaczender Film, Lucille Berger, All Stars Film, Dr. Sammy Lee, Goldengirl, AVCO Embassy Pictures, Joseph Sargent Film, Nicole, Nicole, Troma Entertainment, István Ventilla Film, Alla Nazimova, Valentino, United Artists, Ken Russell Film, Véra, The Man Who Loved Women, United Artists, François Truffaut Film, Céleste, Surreal Estate, Caribou Films, Eduardo de Gregorio Film, Katherine Creighton, Chandler, MGM, Paul Magwood Film, Sister Mary, Madron, Four Star-Excelsior, Jerry Hopper -
PDF Download Judy Garlands Judy at Carnegie Hall Kindle
JUDY GARLANDS JUDY AT CARNEGIE HALL PDF, EPUB, EBOOK Manuel Betancourt | 144 pages | 14 May 2020 | Bloomsbury Publishing PLC | 9781501355103 | English | New York, United States Judy Garlands Judy at Carnegie Hall PDF Book Two of her classmates in school were Mickey Rooney and Judy Garland. In fact when you see there are tributes to a band that never existed The Rutles and The Muppet Show you could argue this one has run its course Her father was a butcher. Actor Psycho. Actor Alexis Zorbas. The following year, he played the lead character in the first Mickey McGuire short film. Minimal wear on the exterior of item. Self Great Performances. Learn More - opens in a new window or tab Any international shipping and import charges are paid in part to Pitney Bowes Inc. Actress The Shining. Carol Channing was born January 31, , at Seattle, Washington, the daughter of a prominent newspaper editor, who was very active in the Christian Science movement. He was married to Thomas Kirdahy. Marilyn Monroe was an American actress, comedienne, singer, and model. Actor Pillow Talk. Alone Together. Romantic Sad Sentimental. He first took the stage as a toddler in his parents vaudeville act at 17 months old. Moving to the center of the stage, she sings with emotion as her gloved hand paints the air above her head. He made his first film appearance in Tell Your Friends Share this list:. Kay Thompson Soundtrack Funny Face Sleek, effervescent, gregarious and indefatigable only begins to describe the indescribable Kay Thompson -- a one-of-a-kind author, pianist, actress, comedienne, singer, composer, coach, dancer, choreographer, clothing designer, and arguably one of entertainment's most unique and charismatic Dropped out of high school at the age of fifteen My Profile. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Charles Walters: the Director Who Made Hollywood Dance Melinda F
The Southeastern Librarian Volume 63 | Issue 1 Article 9 4-9-2015 Charles Walters: The Director Who Made Hollywood Dance Melinda F. Matthews University of Louisiana at Monroe Follow this and additional works at: https://digitalcommons.kennesaw.edu/seln Part of the Library and Information Science Commons Recommended Citation Matthews, Melinda F. (2015) "Charles Walters: The Director Who Made Hollywood Dance," The Southeastern Librarian: Vol. 63 : Iss. 1 , Article 9. Available at: https://digitalcommons.kennesaw.edu/seln/vol63/iss1/9 This Book Review is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Southeastern Librarian by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. political ascendancy of Southern liberalism within the Graham’s 1950 primary loss, Pleasants believes, dealt a Democratic Party. Scott’s push to improve roads, medical significant blow to Scott’s progressive agenda. care, and education for all North Carolina citizens won him a strong following; yet, he also was seen by many With the Supreme Court’s landmark 1954 decision in politicians and business leaders as controversial and Brown vs. Board of Education, the backlash against polarizing. During his time in office, Scott would be Southern liberals solidified around the issue of buffeted by the regional and national headwinds of desegregation. Pleasants argues that Scott immediately segregationist politics and strident anti-Communism. This recognized that he would need to speak out against school biography reveals how a deepening conservative backlash integration if he wanted to remain a viable candidate for against southern liberals adversely impacted Scott’s public office. -
®'N$\ in "Alias a at 8 06 Beery Gentleman," KEWTOM T a Unm a 4Th a Puttarnut Sts
amusements and Wild Bill Doolan been so In- nately, the the kids are all perfec- ventlon and reunion in Baltimore **■ All of West’s Bad Men sulted as by this implication that 3d headquar- tionists. August 13-14, Army HA SIM SPLITTING Scott could take them on as a MacMurray, in reading a speech ter! has announced. LAPP FESTIVAL Routed by Old Randy group. ,w of 10 lines, omitted one word. Little HOW—ENDS SAT. The script writers are a bit eva- HE 'Easter Parade’ Is Festival In Keith Feature immediately turned to Director l ho Gay sive on this point to be sure. From Gigi _AMUSEMENTS_ ho ‘RETURN Of THE BAD MEN." »n RKO time to time, the story suggests Claude Biryon. MMIRUnH by Nat Holt, directed HA Picture produced that outlaws were a temperamental she “that isn’t Astaire and Berlin by Ray Enright. original screenplay by “Mr. Binyon," said, I HA HiaQKuUw Jack Natteford and Lud Ward. At Keith *. lot and walked out on one another HE Honoring the it is in the script!” > THE CAST: Scott's work easier. way _,4_^><l _•_ Randolph Scott just to make HE By Jay Carmody Vance is now taking the | Sundance Kid_ Robert Ryan the MacMurray i ho ■i.i.HianifliiHG be life wretched for Anne Jeffreys As picture ends, however, The Democrats and Republicans may making Chevenne_ home with him every DEMOCRAT k ha ■ftSUMHHiWMMi Pettit _Oeorge "Gabby" Hayes Guthrie is as clean as a whistle, script night. each but wants to make I— 1 ha other, Metro-Goldwyn-Maver only everybody Jacqueline White LJ CONVENTION / Madge a town where gamblers and bar- And there’s a dangerous look in his he happy with Easter Parade.” It should have no trouble at all achieving Cole Younger_ Steve Brodie («i. -
January-February
COLLECTIONS CORNER PETITE FEET VOICES BEYOND Recently Acquired A Concert in Celebration BONDAGE of Artist Allan Rohan Crite An Anthology of Verse BOSTON ATHENÆUM by African Americans JANUARY-FEBRUARY 2016 NOW ON VIEW Concert with jazz ensemble Petite Feet The Athenæum recently acquired Interior with Figure, Antwerp by of the 19th Century Otto Grundmann. Grundmann, who had his earliest artistic training in Tuesday, February 23, 6-7 pm his native Dresden, came to America in 1876 to accept the directorship Registration begins February 9 at 9 am Book talk with literary scholars Erika DeSimone and Fidel Louis of the new School of the Museum of Fine Arts in Boston. He served P R Members $15 Non-members $30 in that role, and as a highly respected teacher, until his death in 1890. Thursday, February 25, 6-7 pm He specialized in genre painting (scenes of everyday life) in the Prolific Boston artist Allan Rohan Crite Registration begins February 11 at 9 am tradition of seventeenth-century Dutch masters such as Vermeer. created an extensive body of work featuring R Members Free Non-Members $15 This recent acquisition, the first painting by this important Boston the daily life of ordinary African Americans. P artist to enter the Athenæum’s collection, is in every way In celebration of his work, and in collabora- Voices Beyond Bondage: An Anthology of characteristic of his work. The painting can be viewed in the tion with the New England Conservatory’s Verse by African Americans of the 19th sitting room off the hallway leading to the Children’s Library. -
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. -
Ready for His Close-Up
ALL THE LATEST DANCE REVIEWS RELEASES AND SHOWS READY FOR by doing good work,” he observed. Rather HIS CLOSE-UP than sensationalising such challenges, Marianka Swain salutes a forgotten Phillips offers a maestro of Hollywood’s golden age moving glimpse into a long battle. egendary Yet this is not a movie worthy read, but a L musicals pithy, affectionate director? You’re Above, rehearsing for the backstage tour. There thinking Vincente opening sequence of are detailed accounts Torch Song (1953), in Minnelli, Stanley which Walters returned to of Walters creating Donen, Gene Kelly – the screen at Joan timeless numbers like not Charles Walters. Crawford’s request Garland’s “Get Happy” But, as Brent Phillips this contradictory and tactfully handling argues cogently in figure: the star who temperamental stars; his illuminating new ceded the spotlight Astaire apparently book, that exclusion caught the attention to others, the self- complained endlessly is simply unjust. of choreographer deprecating man in a when trying Charles “Chuck” Robert Alton. Alton cut-throat world, the something new “as a Walters’ work has offered invaluable visionary renowned defence mechanism”, certainly left an mentorship, and the for generous but it was still an indelible impression. performer eventually collaboration. He exciting process: There are beloved, moved to the other addresses the “Well, hell, you were hugely influential side of the camera charge that Walters working with the films on his CV, in MGM’s “dream was a mere company best.” Phillips makes from Meet Me in factory”. There, he man, not a true a compelling case St Louis to High worked with greats auteur, suggesting for that superlative Society, plus Phillips like Astaire and that his lack of also applying to highlights uncredited Rogers, Judy Garland, signature style is a Walters. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Download Doc ~ Charles Walters: the Director Who Made Hollywood Dance
XVFIUQWNCL17 » Book < Charles Walters: The Director Who Made Hollywood Dance Charles Walters: The Director Who Made Hollywood Dance Filesize: 2.07 MB Reviews It is an awesome book that we have possibly go through. It is actually writter in straightforward words and phrases and not confusing. It is extremely difficult to leave it before concluding, once you begin to read the book. (Tierra Kunde) DISCLAIMER | DMCA 9ZGIGQJ078ST Doc // Charles Walters: The Director Who Made Hollywood Dance CHARLES WALTERS: THE DIRECTOR WHO MADE HOLLYWOOD DANCE The University Press of Kentucky. Hardback. Book Condition: new. BRAND NEW, Charles Walters: The Director Who Made Hollywood Dance, Brent Phillips, From the trolley scene in Meet Me in St. Louis (1944) to Fred Astaire and Ginger Rogers's last dance on the silver screen (The Barkleys of Broadway, 1949) to Judy Garland's timeless, tuxedo-clad performance of "Get Happy" (Summer Stock, 1950), Charles Walters staged the iconic musical sequences of Hollywood's golden age. During his career, this Academy Award--nominated director and choreographer showcased the talents of stars such as Gene Kelly, Doris Day, Debbie Reynolds, and Frank Sinatra. However, despite his many critical and commercial triumphs, Walters's name oen goes unrecognized today.In the first full-length biography of Walters, Brent Phillips chronicles the artist's career, from his days as a featured Broadway performer and protege of theater legend Robert Alton to his successes at Metro-Goldwyn- Mayer. He takes readers behind the scenes of many of the studio's most beloved musicals, including Easter Parade (1948), Lili (1953), High Society (1956), and The Unsinkable Molly Brown (1964). -
The Self-Reflexive Musical and the Myth of Entertainment
Feuer, Jane The self-reflexive musical and the myth of entertainment Feuer, Jane, (1995) "The self-reflexive musical and the myth of entertainment", Grant, Barry Keith (ed), Film genre reader II, 441-455, University of Texas Press © Staff and students of the University of Nottingham are reminded that copyright subsists in this extract and the work from which it was taken. This Digital Copy has been made under the terms of a CLA licence which allows you to: * access and download a copy; * print out a copy; Please note that this material is for use ONLY by students registered on the course of study as stated in the section below. All other staff and students are only entitled to browse the material and should not download and/or print out a copy. This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Licence are for use in connection with this Course of Study. You may retain such copies after the end of the course, but strictly for your own personal use. All copies (including electronic copies) shall include this Copyright Notice and shall be destroyed and/or deleted if and when required by the University of Nottingham. Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is permitted without the consent of the copyright holder. The author (which term includes artists and other visual creators) has moral rights in the work and neither staff nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any other derogatory treatment of it, which would be prejudicial to the honour or reputation of the author.