Torrance Herald

Total Page:16

File Type:pdf, Size:1020Kb

Torrance Herald IIUUSUAI, JAMJAKX 21, 19.17. Powell'Francts KIDNAPPED BY REQUEST Appear in Sixth Tap* Ace Tutors Co - Workers - With Dancing Screen Romance GAIJDEN BEHIND LIBRARY Limit Law "One Way Passage," the War­ WILL BE COMPLETED ner Bros, production which Eleanor Powell Instructs DOT PORTRAIT To complete the Improvement A bluff thai has worked shows next Wednesday nt the ... of Eleanor Powell of the brick-wall enclosed gar­ successfully for .14 years Is Torrancc theatre, marks the den plot behind the public li­ finally to he made u perma­ sixth time that William Powell Stagehands, Electricians, A star after her frst picture and Kay Francis have been . the "World's Greatest Fem­ brary, the city council voted to nent und legal addition to teamed, to the delight of their inine Tap Dancer" after ten spend $350 Tuesday night. This torrance oity ordinances. This j thousands' of" admirers ail over Bellhops and Chorus'Girls sum will pay for the Installa­ will be a luiv banning Sunday | u,, country. tap lesions that's Eleanor night dancing nnil limiting tion of sprinkler system, Seldom has the popularity of Eleanor Powell started a tap dancing class on the set Powell . week-day hops to 'I u. m. «. two stare grown so steadily overcome bashfulncss now planting ol grass and trees and Mayai' W. H. Stanger, In or "Horn to Dance," new musical extravaganza opening j'provide a plaster coat to the with each succeeding story in she's overcome the world . aHklng City Attorney C. T. which they have played together Saturday at the Plaza theatre fn Hawthorne, which will brick walls surrounding the Hippy to draft such un ordin­ most unusual dancing was born In Springfield, Mass. space. as has been the case with Pow­ give her the title of "teacher of the ance Tuesday night, declared ell and Miss Francis. classes In the world." . started dancing at the age that "we've bluffed our way During her dancing carper* of six was discovered by part in musical was seen by It was popular demand which M-G-M executives who signed through tills matter for 14 Induced Warner Bros, to revive both on Broadway and In Holly­ Gus Edwards at the age of yours and now Is the time Famed Tarzan thirteen did nightly engage- her to do small dancing rolo It I "One Way* Passage," a picture wood and' even while touring, "Broadway Melody of 1936': . .. we should finally put It un tragedy and mcnts at the Ritz Cafe . hit the bookfi." I which for veiled she says, she has made it a Again Battles ind won leading fern, brooding loveliness has rarely Broadway at sixteen . six I took tost The Civic Auditorium is pro- point to start dancing classes Jungle Odds _ months in stage producers' of-| ininc opposite Robert Tay- been equalled on stage or -flees brought- her no Inck . ".".' 'or i "Born to Dance"... Tiding a popular recreation screen. This atmosphere Has" among her co-workers.- . - ' she plays the role of a stago- center und dances there arc been emphasized by the pho­ Tarzan, amazing character of they said she had to learn tap "I think my most unusual dancing had enough money struck girl . James Stewart attracting increasing crowds tography which in some class was at the Bevcrly Wll- the fiction of Edgar Rice Bur­ for ten lessons worked In Is her boy friend . gossips each Saturday that they an strange way contrasts the lights shire Hotel In Beverly Hflls," roughs, comes once more to the "Follow Thru" for year and a say this holds true o: i and off held by a Wllmlngton labor and shadows of the ship' plying says the star of "Born to screen, as Johnny Weissmuller half . appeared in several she says nothing! organization, the mayor re­ the Pacific with the stolen de­ Dance." "Here my class was .other musical hits Loves to give dancing lessons ported. lights of the doomed lovers. n (center) with Frank Orth (Inft) and Joe Kelly composed of ,tne bellhops In the and Maurcen O'Sullivan are rc- as the thugs his valet hires to kidnap Joe so he united in "Tarzan Escapes," in "Born ' Da"cc" . claims to have more classes * on't ha hotel who arranged their free ,,. ., . i M-G-M's new musical hit start- than anyone else in the world MEET NEXT TUESDAY ' Bombproof Bed Perfected play In the big game In a scene from "Polo Joe" hich Is open­ time so that I could give them Metro-Goldwyn-Mayer's latest |.,ng tonlgnt at ^ Torrancc The regular meeting of the BERLIN (U.P.) A German ing tonight at the Plaza theatre In Hawthorne. ten minutes' instruction every jurigle adventure ' romance that | :theatre. electricians at the theatre city council will be held Tuesday inv«^lor ' has patented "a bomb­ night after I returned from the opens at the Torrance theatre || Came to Hollywood for'small among the stage hands. night, Jan. 26. proof four-poster bed". studio. on Sunday. QUEEN OF TAPS LEADS BAND "While working in 'At Home Abroad' last summer in New The present story marks the York my class stacted with the closest approach' of Tarzan to chorus boys and girls who were civilization. He Is captured by ilso In the show. Then grad a "bring-'cm-back-allve" animal ually the orchestra joined in collector who locks him ir and soon the stage hands were cage and plans to take him to doing time steps. I still get London to exhibit. In a thrill­ letters from some of them tell ing and dramatic climax the Ing me just what steps they're son of the primeval wilds out­ having trouble with." wits his civilized enemy, saves himself, and also his animal friends. * JOE SETTLES Breath-taking and spine-tingl­ FEUD WITH ing factors of the new picture include giant vampire bats from POLO DONKEY whose attack Wclssmullcr res­ cues a safari; the routing of Joe E. Brown Isnl Rolng to an'army of'savages by a herd heaven on a mule, but he plays of stampeding elephants; na­ HAVE PARALYSED a' few chukkers of polo on a tive tortures; a plunge over a donkey in a barn in a hilarious cliff, and a perilous escape from sequence for his new Warner death crocodile-infested The Motor Car Industry... Bros, comedy, "Polo Joe," which r'vcr. As in the preceding Tar- opens Sunday at the "Torrance ran stories Wclssmullcr swings theatre. through the jungle via trees Curtailed Production "Today Dressed In a complete polo and vines and in other ways regalia, Joe chased and was exhibits his magnificent athletic chased by the donkey from the There is a Greater Scarcity bai and through a house while "Skeets" Gallagher, his Changes Made In Eleanor Powell in a scqne from "Born to Dance" valet, watches with astonish- of Cars-Ready to be Delivered Joe runs around in, f clos, the donkey following at " ;Reeerit further oxpSJiSlon af Than at Any Time in the His­ JOE HAS A KICK COMING till In desperation, he finally Humphreys Music company, 130 vaults through vindow. Pine avenue, Long Beach, caused As Joe walks back, the don­ Don K Humphreys, owner, to tory of the Automobile In­ key nuzzles at his pockets, till appoint Elwood Reeves, former Joe pulls out a lump of sugar ly manager of the musical in­ ant! gives it to the animal. strument department, as gener­ dustry!!.. , This settles the feud. al director of the entire organi­ zation. PENSION MEETING Don Gllkerson replaces Reeves »« B U T »« A meeting of the Southwest In Humphreys band Instrument McGroarty (pension) club will department, Mrs. Blanche Boyer be held Friday night, Jan. 22, at 109th and South Broadway, department and Miss Marjorie a new address. All members Reeves is to manage recordings. and friends arc invited to at­ Clarence W. Christcnson and J. tend, hear reports on old-age I. Strom will continue as man­ pension legislation, play Bupko agers of the piano and radio and . enjoy refreshments. departments respectively. I ._/ 6 PHONE TORRANCE 132 Thursday, Friday, Saturday, January 21, 22, 23 Joe K. Brawn (right) with Richard (Skeets) Gallaghcr as the considerate valet who brings In a donkey so his master may "BORN TO DANCE" have a bit of practice .for his polo In a scene from "Polo Joe," with y"opening Sunday at the Torrance theatre. ELEANOR POWELL and JAMES STEW/ART The Chinese, AVabs, Greeks, Some of the latest hats seen "CAN THIS" BE DIXIE" Etruscans, Finns and Italians In London are trimmed with tin i with have all been claimed as origin­ flowers or gold and silver feath- JANE WITHERS and SLIM SUMMERVILLE WALTER G. LINCH... "Who For 15 Years Has ators of the compass. , Maintained A Perfect Record of "Taking Sunday, Monday, Tuesday, January 24, 25, 26 "POLO JOE" Care*' oft His Customers ... Can Make with JOE E. BROWN and "TARZAN ESCAPES" with JOHNNIE WEISMULLER and IU W niOUNE. CALU'OIiNIA MAUREEN O'SULLIVAN Immediate Delivery Telephone 21)0 "The Friendly Family Theatre" Thursday, Friday, January 21, 22 Wednesday Only, January 27 ,ioif E. DODGE BKOWN III "ONE WAY PASSAGE" and HAltltY CAKEY with WM. POWELL and KAY FRANCIS und KENT TAYLOU in —and— PLYMOUTH FRIDAY NIGHT PLAY MAGlC SCREEN! 1937 "15 MAIDEN LANE" Saturday, Sunday, Monday, Tuesday, Jan. 23, 24, 25, 23 with CLAIRE TREVOR and CEASAR ROMERO SfeSS*ta "BORN TO DANCE" ?? SURPRISE NIGHT ?? Prices Have Not Raised YET ... But??? and Hulduvvr for "DAI f) " |fip" 2—SHOWS 6 and 9 P.M.—2 Saturday Only Added Sunday, Monday, Tuesday PETIUl iii "fDAPKcnAtiv IID"ur Thursday, Friday, Saturday, January 28, 29, 30 Wednesday, January 27, One Day Only "BANJO ON MY KNEE" with Walter G.
Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
    Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr.
    [Show full text]
  • 2008: a Year of Variety
    The Judy Room2008 Year In Review 2008: A YEAR OF VARIETY In 2008 our world of “Judy Fandom” experienced a wide variety of products, events, and celebrations. Along with some wonderful CD, DVD and print releases, we were treated to some great events, like the high-tech “Judy Garland In Concert” which suc- essfully showcased Judy “live” in concert. Warner Home Video announced their first- ever 6k resolution restoration - and they chose A Star Is Born! Vincente Minnelli’s childhood home received a commemorative marker. The off-Broadway show “Judy and Me” received glowing reviews. The artwork to Judy’s 1962 animated film Gay Purr-ee (she was the voice of the main character, “Mewsette”) was featured in a special exhibition by the Academy of Mo- tion Picture Arts & Sciences. The Judy Garland Festival in Grand Rapids, Minnesota was again a success. And the 2009 70th anniversary of The Wizard of Oz began early with com- memorative stamps and noted designers creating their own interpretations of the famed Ruby Slippers, all for the Elizabeth Glazer Pediatric AIDS foundation - some- thing Judy herself probably would have supported had she lived. The following pages feature the highlights of the year, plus what’s to come (that I know of so far) for 2009. It’s a testament to Judy’s tal- ent and genius that here we are almost 40 years past her death, and she’s still making news, and still having an impact on the world of entertainment. I hope you enjoy this year’s Year In Review, and I thank you for your continued support.
    [Show full text]
  • TAP INTO HISTORY Study Guide for Educators
    TAP INTO HISTORY Study Guide for Educators Highlights of Tap History: ​ 1600’s: English people migrate to the United States, bringing social dance, waltzes, jigs, reels and clogs. At the same time, Africans come to America (as slaves) and bring percussive, grounded and syncopated rhythms. 1880’s: Vaudeville (a variety entertainment performance circuit) establishes tap as an American art form. 1915: Metal taps are added to shoes. 1930’s-50’s: The era of dance movies starring Fred Astaire, Ginger Rogers, Eleanor Powell, Bill Robinson, Buddy Ebsen, James Cagney, Gene Kelly, Donald O’Connor, Ann Miller, and others. 1970’s: Dance studios and colleges start teaching tap. Hip hop and other social dance forms eclipse tap’s popularity. 1980’s: The first tap companies are formed, primarily by women, and the first international tap festival takes place in New York City. 1989: Congress establishes National Tap Dance Day to honor Bill “Bojangles” Robinson’s birthday, May 25th. 1990’s: Tap/percussive dance shows such as Riverdance, Lord of the Dance, Stomp and Tap Dogs ​ ​ ​ ​ ​ ​ ​ become popular worldwide. Savion Glover becomes the poster child for the genre for his appearances in shows like Bring in ‘da Noise, Bring in ‘da Funk and on Sesame Street. ​ ​ ​ ​ Present: Many veteran tap dancers pass away, giving rise to a new generation of tap dancers like Michelle Dorrance, Chloe Arnold, and Jason Samuels Smith. Contemporary tap dance pushes the boundaries of the art form beyond just tapping, exploring elements such as storytelling, technology, and fusion with other dance forms. Questions? [email protected] © 2020 Ryan P.
    [Show full text]
  • Peter Ford, a Star's
    Page 70 Classic Images April 2011 Peter Ford, A Star’s Son The Hardest Job In The World by Charles Ziarko It was the perfect family. Mom “He’s the luckiest kid in the would file for divorce. “I filed on the and Country/Western sounds of the was an athletic, beautiful woman who world”, the fans must have imagined grounds of mental cruelty, and that’s day. And in the 1950s, their 10-year- gave up international fame to devote as they pored over the photos of this exactly what I meant,” she reported. old son Peter could claim respon- herself to being a mother. Dad was All-American family appearing reg- sibility for beginning the decline a sexy, charismatic leading man just ularly in newspapers and movie fan Like many war-time romances, of American popular music. When reemerging in A-list Hollywood, but magazines. Looks can be deceiving, this story really began when the little director Richard Brooks began look- taking time to shower his family however, especially in Hollywood. family moved into a place of their ing into the latest trends in popular with loving attention. Their son was own, composer Max Steiner’s old music in preparation for his new a blonde, blue-eyed little boy, an The dad was actor Glenn Ford, home, less than a mile from where movie, young Peter handed him three only child, photographed endlessly who conceived his baby boy with they were married in a movie-star of his favorite rock ’n’ roll records. enjoying all the perks of the privi- dancer-actress Eleanor Powell on mansion on Bedford Drive that mom One of these was chosen to be the leged.
    [Show full text]
  • 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.
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • Review of THOUSANDS CHEER
    THOUSANDS CHEER is a May, 2014 LVCA dvd donation to the Hugh Stouppe Memorial Library of the Heritage United Methodist Church of Ligonier, Pennsylvania. It’s reviewed below by Kino Ken. 12 of a possible 20 points *** of a possible ***** Key: *indicates outstanding technical achievement or performance United States 1943 Technicolor 125 minutes live action feature musical romance Metro-Goldwyn-Mayer Producer: Joseph Pasternak Points: 1 Direction: George Sidney 1 Editing: George Boemler 2 Cinematography: George Folsey 2 Lighting: Natalie Kalmus, Henri Jaffa 0 Screenplay: Paul Jarrico and Richard Collins based on their story “Private Miss Jones” 2 Music: Herbert Stothart and George Bassman Orchestrators: Murray Cutter, Roger Edens, Paul Marquardt Vocal Arrangements: Roger Edens Choreography: Fred Kelly* 1 Art Direction: Cedric Gibbons, Daniel Cathcart 1 Sound: Norwood Fenton Recording Director: Douglas Shearer 1 Acting 1 Creativity 12 total points CAST: Kathryn Grayson* (Kathryn Jones), Gene Kelly (* for dancing only) (Private Eddie Marsh), Mary Astor (Hyllary Jones), John Boles (Colonel Bill Jones), Ben Blue (Chuck Polansky), Frances Rafferty (Marie Corbino), Mary Elliott (Helen Corbino), Frank Jenks (Sergeant Koslack), Frank Sully (Alan), Dick Simmons (Captain Fred Avery), Ben Lessy (Silent Monk), Mickey Rooney* (Emcee at the show), Judy Garland (Judy Garland), Red Skelton (Red Skelton), Eleanor Powell (Eleanor Powell), Ann Sothern (Ann Sothern), Lucille Ball (Lucille Ball), Virginia O’Brien (Virginia O’Brien), Frank Morgan (Dr. Frank Morgan), Lena Horne* (Lena Horne), Marsha Hunt (Marsha Hunt), Marilyn Maxwell (Drug Store Clerk in Red Skelton Skit), Donna Reed, Margaret O’Brien (j)* (Customers in Red Skelton Skit), June Allyson (June Allyson), Gloria DeHaven (Gloria DeHaven), John Conte (Dr.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Examining the Careers and Artistic Contributions of Fred Astaire's
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Fall 12-14-2015 Backwards in High Heels: Examining the Careers and Artistic Contributions of Fred Astaire’s Female Dance Partners Fiona Mowbray Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons, Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Mowbray, Fiona, "Backwards in High Heels: Examining the Careers and Artistic Contributions of Fred Astaire’s Female Dance Partners" (2015). Honors College Capstone Experience/Thesis Projects. Paper 591. http://digitalcommons.wku.edu/stu_hon_theses/591 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. BACKWARDS IN HIGH HEELS: EXAMINING THE CAREERS AND ARTISTIC CONTRIBUTION OF FRED ASTAIRE’S FEMALE DANCE PARTNERS A Capstone Experience/Thesis Paper Presented in Partial Fulfillment of the Requirements for the Degrees Bachelor of Fine Arts and Bachelor of Science with Honors College Graduate Distinction at Western Kentucky University By Fiona Mowbray ***** Western Kentucky University 2015 CE/T Committee: Approved by Dr. Michelle Dvoskin, Advisor Dr. Julie Lyn Barber ______________________ Advisor Dr. Dana Bradley Department of Theatre & Dance Copyright by Fiona Mowbray 2015 ABSTRACT This project examines the careers and contributions of three of Fred Astaire’s female dancing partners during the golden age of movie musicals: Ginger Rogers, Vera- Ellen, and Cyd Charisse.
    [Show full text]
  • The Development of Child Stars in the Studio System of the 1930S Through '50S
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 "Daddy Dearest": The Development of Child Stars in the Studio System of the 1930s through '50s Brittany N. Dalton [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Child Psychology Commons, and the Film and Media Studies Commons Recommended Citation Dalton, Brittany N., ""Daddy Dearest": The Development of Child Stars in the Studio System of the 1930s through '50s" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1437 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. 1 “Daddy Dearest”: The Development of Child Stars in the Studio System of the 1930s through the ‘50s Written by Brittany N. Dalton Special Thanks: Julia A. Malia, Ph. D., C.F.L.E. May 10, 2011 Abstract 2 The purpose of this paper is to analyze the effects growing up in the studio system had on child stars from the 1930s through 1950s. I chose to focus my research and analysis on three child stars in particular: Judy Garland, Elizabeth Taylor, and Shirley Temple. These three actresses each had different experiences in their careers and relationships to the studio; however, they were all well-known and influential child stars.
    [Show full text]
  • Exploring Dance: an Outline for the Study of Dance Appreciation with Suggested Films
    UNLV Retrospective Theses & Dissertations 1-1-1990 Exploring dance: An outline for the study of dance appreciation with suggested films Jacque J Jaeger University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Jaeger, Jacque J, "Exploring dance: An outline for the study of dance appreciation with suggested films" (1990). UNLV Retrospective Theses & Dissertations. 124. http://dx.doi.org/10.25669/k8ze-jyex 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 Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
    [Show full text]