Sammy Davis Jr.'S Facts on Tap Dancing | Entertainment Guide
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Not Your Mother's Library Transcript Episode 11: Mamma Mia! and More Musicals (Brief Intro Music) Rachel: Hello, and Welcome T
Not Your Mother’s Library Transcript Episode 11: Mamma Mia! and More Musicals (Brief intro music) Rachel: Hello, and welcome to Not Your Mother’s Library, a readers’ advisory podcast from the Oak Creek Public Library. I’m Rachel, and once again since Melody’s departure I am without a co-host. This is where you would stick a crying-face emoji. Luckily for everyone, though, today we have a brand new guest! This is most excellent, truly, because we are going to be talking about musicals, and I do not have any sort of expertise in that area. So, to balance the episode out with a more professional perspective, I would like to welcome to the podcast Oak Creek Library’s very own Technical Services Librarian! Would you like to introduce yourself? Joanne: Hello, everyone. I am a new guest! Hooray! (laughs) Rachel: Yeah! Joanne: So, I am the Technical Services Librarian here at the Oak Creek Library. My name is Joanne. I graduated from Carroll University with a degree in music, which was super helpful for libraries. Not so much. Rachel: (laughs) Joanne: And then went to UW-Milwaukee to get my masters in library science, and I’ve been working in public libraries ever since. I’ve always had a love of music since I've been in a child. My mom is actually a church organist, and so I think that’s where I get it from. Rachel: Wow, yeah. Joanne: I used to play piano—I did about 10 years and then quit. (laughs) So, I might be able to read some sheet music but probably not very well. -
Bill 'Bojangles'
‘It’s all the way you look at it, you know’: reading Bill ‘Bojangles’ Robinson’s film career Author: Hannah Durkin Affiliation: University of Nottingham, UK This article engages with a major paradox in African American tap dancer Bill ‘Bojangles’ Robinson’s film image – namely, its concurrent adherences to and contestations of dehumanising racial iconography – to reveal the complex and often ambivalent ways in which identity is staged and enacted. Although Robinson is often understood as an embodiment of popular cultural imagery historically designed to dehumanise African Americans, this paper shows that Robinson’s artistry displaces these readings by providing viewing pleasure for black, as much as white, audiences. Robinson’s racially segregated scenes in Dixiana (1930) and Hooray for Love (1935) illuminate classical Hollywood’s racial codes, whilst also showing how his inclusion within these otherwise all-white films provides grounding for creative and self-reflexive artistry. The films’ references to Robinson’s stage image and artistry overlap with minstrelsy-derived constructions of ‘blackness’, with the effect that they heighten possible interpretations of his cinematic persona by evading representational conclusion. Ultimately, Robinson’s films should be read as sites of representational struggle that help to uncover the slipperiness of performances of African American identities in 1930s Hollywood. Keywords: Bill ‘Bojangles’ Robinson; tap dance; minstrelsy; specialty number; classical Hollywood Hannah Durkin. Email: [email protected] In 1935 musical Hooray for Love, a character played by Bill ‘Bojangles’ Robinson (1878-1949), one of Hollywood’s first black screen stars, declares, ‘it’s all the way you look at it, you know’ to describe his surroundings. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
ABOUT KATIE EAGLESON Katie Eagleson's First Musical Memory Is
ABOUT KATIE EAGLESON Katie Eagleson’s first musical memory is of sitting in the family station wagon, singing along with the car radio – and her mother – and Patti Page. The song was “Let Me Go Lover,” but Katie was singing “Ging Ging Go Gover” because she was two years old. Fast forward to the present and you can hear Katie’s own recordings on the radio; on WNYC in New York, WXPN and WRTI in Philadelphia, and other broadcast stations. She's also played frequently on internet radio's The Jonathan Channel. The youngest of seven children, Katie grew up harmonizing with her sisters, singing songs they learned from their mother. Singing with her family, and listening to the great singers of American popular music, such as Judy Garland, Fred Astaire, Nat King Cole, and Barbra Streisand, provided the inspiration that determined Katie’s musical taste and career path. Katie considers herself a lyric interpreter. With her excellent pitch and crystal clear diction, it is obvious that she has great respect and appreciation for the composer and lyricist. Performing the music of songwriters such as the Gershwins, Cole Porter, Stephen Sondheim, or Marilyn and Alan Bergman, she delivers the lyrics, whether sad, romantic, or funny, with great sincerity. “I’m drawn to songs, of any era, that have words I can sing with emotional honesty,” said Katie. “When those words are combined with well-crafted music, I think the impact of each is intensified. And that to me is magic.” As one reviewer wrote, “The Great American Songbook is a treasure of American culture, and Katie Eagleson is one of those rare vocalists whose artistry both preserves and inspires it.” Since the beginning of her professional career, Katie has been the featured vocalist in many ensembles, ranging from duos to Big Bands, singing “pop” music, in venues large and small, and for events both public and private, including the Philadelphia Museum of Art, Chris’ Jazz Café, and the Sellersville Theater. -
Here Are a Number of Recognizable Singers Who Are Noted As Prominent Contributors to the Songbook Genre
Music Take- Home Packet Inside About the Songbook Song Facts & Lyrics Music & Movement Additional Viewing YouTube playlist https://bit.ly/AllegraSongbookSongs This packet was created by Board-Certified Music Therapist, Allegra Hein (MT-BC) who consults with the Perfect Harmony program. About the Songbook The “Great American Songbook” is the canon of the most important and influential American popular songs and jazz standards from the early 20th century that have stood the test of time in their life and legacy. Often referred to as "American Standards", the songs published during the Golden Age of this genre include those popular and enduring tunes from the 1920s to the 1950s that were created for Broadway theatre, musical theatre, and Hollywood musical film. The times in which much of this music was written were tumultuous ones for a rapidly growing and changing America. The music of the Great American Songbook offered hope of better days during the Great Depression, built morale during two world wars, helped build social bridges within our culture, and whistled beside us during unprecedented economic growth. About the Songbook We defended our country, raised families, and built a nation while singing these songs. There are a number of recognizable singers who are noted as prominent contributors to the Songbook genre. Ella Fitzgerald, Fred Astaire, Rosemary Clooney, Nat King Cole, Sammy Davis Jr., Judy Garland, Billie Holiday, Lena Horne, Al Jolson, Dean Martin, Frank Sinatra, Mel Tormé, Margaret Whiting, and Andy Williams are widely recognized for their performances and recordings which defined the genre. This is by no means an exhaustive list; there are countless others who are widely recognized for their performances of music from the Great American Songbook. -
ROBINSON, WILLIAM E.: Papers, 1935-69
DWIGHT D. EISENHOWER LIBRARY ABILENE, KANSAS ROBINSON, WILLIAM E.: Papers, 1935-69 William E. Robinson held positions as a newspaper executive with the New York Evening Journal (1933-36) and the New York Herald Tribune (1936-54), directed his own public relations firm of Robinson-Hannegan Associates (1954-55), and served as president and chairman of the board of Coca-Cola, Inc. (1955-61). In addition to having a long and distinguished career in business, Mr. Robinson also enjoyed a long and close personal friendship with Dwight D. Eisenhower, dating from their first meeting in World War II until their deaths in 1969. Mr. Robinson’s papers reflect both his business career and, especially, his association with Dwight D. Eisenhower. Mr. Robinson first met General Eisenhower in 1944 when the former was in Europe to reestablish publication of the Herald Tribune’s European edition. Their association became more intimate in 1947 when Mr. Robinson prevailed upon the General to write his World War II memoirs. According to arrangements worked out by Mr. Robinson, General Eisenhower’s Crusade in Europe came out in the fall of 1948, published in book form by Doubleday and syndicated to newspapers worldwide by the Herald Tribune. The two men were drawn together by a great admiration and respect for each other’s ideas and judgments, and an abiding common passion for playing bridge and golf. It was Mr. Robinson, in the spring of 1948 after the General had finished drafting his memoirs, who first introduced the Eisenhowers to Augusta National Golf Club. When General Eisenhower became president of Columbia University in New York City, the two had frequent occasions to play bridge together and to enjoy a game of golf at Blind Brook Golf Club where Mr. -
An Interview with Raoul Peck
INTERVIEW “He Gave Me the Words”: An Interview with Raoul Peck Leah Mirakhor Yale University Abstract I Am Not Your Negro (2016) takes its direction from the notes for a book enti- tled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on twentieth- and twenty-first-century American politics and culture. Peck compiles archival material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture, and a series of banal images indexing the American dream. Juxtaposed against this mythology is footage of Dorothy Counts walking to school, the assassination of black leaders and activists, KKK rallies, and the different formations of the contemporary carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for the film, the similarities and shifts he wanted to document in American culture since the 1960s, and some of the criticism he has received for not emphasizing more Baldwin’s sexuality. Keywords: James Baldwin, Gloria Baldwin Karefa-Smart, race, film, America, The Devil Finds Work, “Remember this House,” violence, sexuality, Patrice Lumumba, film I Am Not Your Negro (2016) is a work that has been a lifetime in the making for Raoul Peck. Before he met James Baldwin’s younger sister, Gloria Baldwin Karefa-Smart, a decade ago at her home in Washington D.C. -
FOR IMMEDIATE RELEASE: May 7, 2013
FOR IMMEDIATE RELEASE: May 7, 2013 MEDIA CONTACT: Susan Yannetti Public Relations Manager [email protected] Phone: 941.351.9010 ext. 4800 Mobile: 941.735.1131 ASOLO REPERTORY THEATRE PROUDLY PRESENTS WORLD PREMIERE OF NOAH RACEY’S PULSE New Song & Dance Spectacular is Brainchild of Hoofer/Tapper, Singer, and Choreographer Noah Racey; Production is Directed by Broadway’s Jeff Calhoun (Newsies) (SARASOTA, May 7, 2013) — Extending this season’s hot streak of productions that make bold artistic statements, Asolo Repertory Theatre is thrilled to present Noah Racey’s Pulse. A song and dance celebration that harkens back to the golden age of hoofing, Pulse is written, conceived, and choreographed by Broadway song and dance man Noah Racey in collaboration with Broadway director and two-time Tony Award nominee Jeff Calhoun. Pulse opens on Thursday, May 23 with an 8 p.m. curtain. Opening night will be preceded by two preview performances on Tuesday, May 21 at 7:30 p.m. and May 22 at 8 p.m. The show runs through June 16, 2013 in Asolo Rep’s Mertz Theatre located in The FSU Center for the Performing Arts. “I believe that Pulse is one of the most electrifying projects to ever appear on the American musical stage, and everyone at this theatre is so incredibly excited to be having its world premiere at Asolo Rep,” said Michael Donald Edwards, Asolo Repertory Theatre’s Producing Artistic Director. “I’m most excited about exposing audiences to song and dance that is as good and as accomplished as I have ever seen. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
FRED ASTAIRE: Class, Execution, and Perfection Personified the Essay Offers a Retrospective of the Highlights of the Dancer’S Career
FRED ASTAIRE: class, execution, and perfection personified The essay offers a retrospective of the highlights of the dancer’s career. In addition a financial report of Top Hat is included at the end of the essay. 8 pages long. Fred Astaire: class, execution, and perfection personified The year is 1935, when Top Hat was released and the industries of music, film and dance are at a peak like they’ve never been before. The reason for this is their combined effect; music provided the sound, dance visualised the music, and film provided a wide spread exposure and a financial outlet to feed the industry all the way down to the "clubs". The period from 1927-mid fifties saw an explosion of musical talents like no other era in history. Among these new talents were the not so new faces of Fred Astaire and Ginger Rogers as they had thrived on Broadway for many years before their film career. The peak of their nine-film career occurred with the release of Top Hat on September 6, 1935. To understand their success we must first understand the dynamics of both the music and film industry. Then we must look at Fred Astaire and his contribution to the Hollywood musicals. Only then will the understanding of Top Hat's historical context fall into place. Fred Astaire was fortunate to be part of an explosion of talent in both the film and music history that was caused by consistency. Consistency means that the artist of those days produced many films and recorded many songs each and every year. -
Hollywood Stars and Their Army Service from the Spanish American
James E. Wise, Paul W. Wilderson. Stars in Khaki: Movie Actors in the Army and Air Services. Annapolis: Naval Institute Press, 2000. xi + 244 pp. $24.95, cloth, ISBN 978-1-55750-958-1. Reviewed by Charles C. Kolb Published on H-PCAACA (November, 2000) Hollywood Stars and their Army Service from In Stars in Blue we learned about Wayne the Spanish American War to Vietnam Morris, Douglas Fairbanks, Jr., Henry Fonda, This splendid book is the third and fnal vol‐ Humphrey Bogart, Paul Newman, Aldo Ray, ume in historian-biographer Wise's trilogy and it Ernest Borgnine, Robert Montgomery, Cesar makes a ftting companion to its two illustrious Romero, and dozens of other flm stars. With the predecessors. In 1997 Wise and his co-author Ann sequel, Stars in the Corps , we discovered the con‐ Rehill wrote Stars in Blue: Movie Actors in Ameri‐ tributions made by more than 30 motion picture ca's Sea Services in which flm actors who served stars including Sterling Hayden, Tyrone Power, in the U.S. Navy, Naval Reserve, Coast Guard, or Steve McQueen, Lee Marvin, Gene Hackman, Coast Guard Reserve from 1920 through the Kore‐ George C. Scott, Harvey Keitel, Brian Dennehy, an War are profiled. Wise and Rehill also au‐ Hugh O'Brien, Ed McMahon, and Dale Dye. As in thored Stars in the Corps: Movie Actors in the these two volumes, the emphasis in Stars in Khaki United States Marines (1999) which covers the is on World War II. Many of the men who served same period but emphasizes Marines in the Pacif‐ in the U.S.