History of Treetops State Park
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An Analysis and Evaluation of the Acting Career Of
AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down. -
Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
“Talking Union”--The Almanac Singers (1941) Added to the National Registry: 2010 Essay by Cesare Civetta (Guest Post)*
“Talking Union”--The Almanac Singers (1941) Added to the National Registry: 2010 Essay by Cesare Civetta (guest post)* 78rpm album package Pete Seeger, known as the “Father of American Folk music,” had a difficult time of it as a young, budding singer. While serving in the US Army during World War II, he wrote to his wife, Toshi, “Every song I started to write and gave up was a failure. I started to paint because I failed to get a job as a journalist. I started singing and playing more because I was a failure as a painter. I went into the army because I was having more and more failure musically.” But he practiced his banjo for hours and hours each day, usually starting as soon as he woke in the morning, and became a virtuoso on the instrument, and even went on to invent the “long-neck banjo.” The origin of the Almanacs Singers’ name, according to Lee Hays, is that every farmer's home contains at least two books: the Bible, and the Almanac! The Almanacs Singers’ first job was a lunch performance at the Jade Mountain Restaurant in New York in December of 1940 where they were paid $2.50! The original members of the group were Pete Seeger, Lee Hays, Millard Campbell, John Peter Hawes, and later Woody Guthrie. Initially, Seeger used the name Pete Bowers because his dad was then working for the US government and he could have lost his job due to his son’s left-leaning politically charged music. The Singers sang anti-war songs, songs about the draft, and songs about President Roosevelt, frequently attacking him. -
Josh White, St. James Infirmary, 1964 The
blacklisting efforts of Appleton’s infa- its minor key. Scores of musicians have mous rotten scoundrel, Joe McCarthy. recorded some version of St. James over © May 2011 by We also were not aware that White the years. The most well known ver- Peter© 2012 Berryman by ArchivedPeter at louandpeter.comBerryman toured despite increasing physical prob- sion, for good reason, was recorded in Archived at louandpeter.com lems, and died only five years after this 1928 (!) by Louis Armstrong. But Josh Josh White, St. James Infirmary, 1964 concert, in September 1969. White is the man who really brought it to us that afternoon, in a spellbinding The Madison Public Library website Josh White had a unique and compli- rendition, highlighting its beautiful (and maybe all such sites) provides ac- cated life, which took him from travel- weirdness. cess to thousands of online newspaper ing with country blues street musicians archives around the world to anyone as an impoverished boy to eventually If you want a new way to feel the deep with a card. This came in handy lately. appearing on Broadway. Though he strangeness of this song, have a look at considered himself primarily an enter- the 1933 Betty Boop cartoon Snow I've mentioned before that my music tainer, he was legendary as a political White, produced by Max Fleischer, fea- partner Lou and my guitar-playing pal artist and activist. He worked in film, turing Cab Calloway singing a wild in- Paul attended a Josh White concert in including playing himself in the great terpretation of it. The vocal begins a bit Oshkosh in the mid sixties. -
Folk Music, Internal Migration, and the Cultural Left
Internal Migration and the Left Futures That Internal Migration Place-Specifi c Introduction Never Were and the Left Material Resources THE SOUTH AND THE MAKING OF THE AMERICAN OTHER: FOLK MUSIC, INTERNAL MIGRATION, AND THE CULTURAL LEFT Risto Lenz In 1940, actor and activist Will Geer organized the “Grapes of Wraths Evening,” a benefi t concert for the John Steinbeck Committee for Agricultural Workers at Forrest Theater in New York City. The pro- gram served as a blueprint for what would later defi ne the American folk music revival: Urban Northerners sharing the stage with “authentic” rural Southerners, together celebrating America’s musical heritage in a politically charged framework (here: helping migrant farmwork- ers). Among the “real” folk were Aunt Molly Jackson, an organizer for the Kentucky coal mines and a singer of union songs, Huddie “Lead Belly” Ledbetter, an African American songster from Louisiana, and Woody Guthrie, a singer from Oklahoma. The three musicians, 1 He is sometimes also who would all spend their subsequent lives in New York as well as referred to as “Leadbelly.” in California, represent the three main migration fl ows of Southerners Both spellings are pos- sible. I will hereaft er use moving out of farms and towns of the American South in great “Lead Belly” since it was numbers and into cities and suburbs of the North and the West: The the preferred spelling of the singer himself as 1 Great Migration of black Southerners (Lead Belly ), the dust bowl well as of the Lead Belly migration (Guthrie), and the Appalachian migration (Jackson).2 The Foundation. -
Catalogue 143 ~ Holiday 2008 Contents
Between the Covers - Rare Books, Inc. 112 Nicholson Rd (856) 456-8008 will be billed to meet their requirements. We accept Visa, MasterCard, American Express, Discover, and Gloucester City NJ 08030 Fax (856) 456-7675 PayPal. www.betweenthecovers.com [email protected] Domestic orders please include $5.00 postage for the first item, $2.00 for each item thereafter. Images are not to scale. All books are returnable within ten days if returned in Overseas orders will be sent airmail at cost (unless other arrange- the same condition as sent. Books may be reserved by telephone, fax, or email. ments are requested). All items insured. NJ residents please add 7% sales tax. All items subject to prior sale. Payment should accompany order if you are Members ABAA, ILAB. unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions Cover verse and design by Tom Bloom © 2008 Between the Covers Rare Books, Inc. Catalogue 143 ~ Holiday 2008 Contents: ................................................................Page Literature (General Fiction & Non-Fiction) ...........................1 Baseball ................................................................................72 African-Americana ...............................................................55 Photography & Illustration ..................................................75 Children’s Books ..................................................................59 Music ...................................................................................80 -
THE HEIRESS / 1949 (A Herdeira)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA E A VIDA CONTINUA 25 de julho de 2020 THE HEIRESS / 1949 (A Herdeira) um filme de William Wyler Realização: William Wyler / Argumento: Ruth e Augustus Goetz, com base na peça que escreveram a partir de “Washington Square” de Henry James / Fotografia: Leo Tover / Montagem: William Hornbeck / Música: Aaron Copland / Direcção Artística: Harry Horner e John Meehan / Décors: Emil Kuri / Guarda-Roupa: Edith Head e Gile Steele / Interpretação: Olivia de Havilland (Catherine Sloper), Montgomery Clift (Morris Townsend), Ralph Richardson (Dr. Austin Sloper), Miriam Hopkins (Lavinia Penniman), Vanessa Brown (Maria), Mona Freeman (Marian Almond), Ray Collins (Jefferson Almond), Betty Lindley (Mrs Montgomery), Selena Royle (Elizabeth Almond), Paul Lees (Arthur Townsend), etc. Produção: William Wyler para a Paramount / Cópia: DCP, preto e branco, legendado em eletronicamente em português, 115 minutos / Estreia Mundial: Nova Iorque, Outubro de 1949, no Radio City Hall / Estreia em Portugal: Cinema Éden, a 24 de Março de 1951. ____________________________ Esta adaptação de um dos romances mais memoráveis (e legíveis...) de Henry James começou a sua carreira na Broadway, com Wendy Hiller, Peter Cookson e Ralph Richardson nos principais papéis. Segundo reza a história, foi a mulher de Lewis Milestone, grande amiga de Olivia de Havilland, quem sugeriu à estrela que fosse a correr ver a peça, dizendo que seria um veículo ideal para ela. De Havilland concordou e convenceu William Wyler a fazer o mesmo. A Paramount comprou os direitos e pediu aos autores para escreverem a versão cinematográfica. Hiller e Cookson foram despachados, mas Richardson foi escolhido para repetir o seu devastador desempenho na tela, na companhia de de Havilland e de um jovem actor que, até à data, tinha feito dois filmes: o mítico Red River de Howard Hawks e The Search de Fred Zinnemann. -
Montgomery Clift's
Montgomery Clift’s ‘Longest Suicide in Hollywood’ Detailed in New Book “The Longest Suicide in Hollywood Explores the Last Years and Death of the 1950s Star SAN FRANCISCO, May 29, 2021: On May 12, 1956, Montgomery Clift and Elizabeth Taylor were in the midst of filming the MGM epic Raintree County. They were due to head off for location shooting when Taylor decided to throw a small dinner party at her home in Beverly Hills before the trip. In addition to Taylor and then-husband Michael Wilding, Rock Hudson, Phyllis Gates and Kevin McCarthy were joined by Montgomery Clift for a quiet evening at the secluded home. At about 12:30 am the party began to break up and Montgomery Clift headed home, following actor Kevin McCarthy down the winding roads in the hills above Hollywood. The night would forever alter the life of Montgomery Clift when he blacked out behind the wheel and drove off the road. Clift’s car cascaded off the side of the road, over an embankment and became wrapped around a telephone pole. He was found crumpled up under the dashboard, bloody and nearly dead. Now, 65 years later, a new book from Aplomb Publishing and author John William Law details the fateful night and the impact it had on Clift’s life as well as the filming of Raintree County. The Longest Suicide in Hollywood – The Death of Montgomery Clift will be published in print and ebook on July 23, 2021, on the 55th anniversary of Montgomery Clift’s death in 1966. With details from those who were there that night and the months it took for the actor to recover, The Longest Suicide in Hollywood chronicles the years of drug and alcohol abuse and the toll it took on Clift’s mind and body. -
Reading Publics and Canon Formation in 20Th Century Us Fiction
Copyright by Laura Knowles Wallace 2016 The Dissertation Committee for Laura Knowles Wallace Certifies that this is the approved version of the following dissertation: QUEER NOVELTY: READING PUBLICS AND CANON FORMATION IN 20TH CENTURY US FICTION Committee: Brian Bremen, Supervisor Chad Bennett Ann Cvetkovich Jennifer Wilks Janet Staiger QUEER NOVELTY: READING PUBLICS AND CANON FORMATION IN 20TH CENTURY US FICTION by Laura Knowles Wallace, BA, MA Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2016 Dedication For who else but my students, whose insistent presence served as persistent reminder of the stakes of this project? The many ways contemporary queer readers and critics have invested pre-Stonewall writing and images with romance or nostalgia or distaste all point to the funny communicability of shadow-relations and secret emotions across time, as if they acquire heft only in the long term, where the difficulty of the problems they want to solve (like historical isolation and suffering) can emerge in their full intractability. Christopher Nealon, Foundlings, 2001 I don’t have to wonder whose group I’m in today. Certainly the people who always think the public problem is theirs are gay. Eileen Myles, “To Hell,” Sorry, Tree, 2007 Acknowledgements Thank you to my committee (Brian Bremen, Jennifer Wilks, Chad Bennett, Ann Cvetkovich, and Janet Staiger) for your time, your enthusiasm, and your questions. Thank you to the other faculty members whose teaching and encouragement shaped this project, especially Hannah Wojciehowski, Eric Darnell Pritchard, Mia Carter, and Heather Houser. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Paul Bowles’ Aesthetics of Containment Surrealism, Music, the Short Story Sam V. H. Reese A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Arts The University of Sydney 2014 Acknowledgments 3 Introduction 5 Chapter 1: Bowles, Freedom and America Bowles and the Critics 13 Freedom and Liberal Criticism 26 Patterns -
Doppelgaengersmall.Pdf
the director’s cut THE DIRECTOR’S CUT Freud’s Doppelgaenger, The Cut, and Deleted Scenes Geoffrey Garrison Contents Introduction 9 Freud’s Doppelgaenger 13 The Cut 157 Deleted Scenes 189 Bibliographical Essay 239 Introduction When the John Huston fi lm Freud the Secret Passion was dubbed into German, nineteen minutes of the English version were left out of the fi lm. This omission occupied the place of desire that led the short video The Cut, realized in 2005 with the support of the Jan van Eyck Academie in Maastricht, the Netherlands. I had originally proposed to fi nd the material left out of the German version of the fi lm as the basis for a piece—what exactly that art work would be, I did not know at the time. Three years later, I am putting the fi nishing touches on this book as a way of driving the last nail into the coffi n of what has been a long and obsessive production, with many detours. Taking its title from the practice of releasing expanded versions of fi lms on DVD, The Director’s Cut supplements the nineteen minute fi lm The Cut—nineteen minutes to fi ll, in a roundabout way, the space left by the deleted footage—by supplying some needed background and following some abandoned routes. The fi rst and longest screenplay, Freud’s Doppelgaenger, tells of the fi lming of Freud the Secret Passion through the life of Montgomery Clift, 10 i n t r o d u c t i o n Introduction 11 the actor who portrayed Freud in Huston’s fi lm. -
Hitchcock Great Anxiety
a remadeVanity Fair collection design layout by Coritha Guyala table of contents dial m for murder 03 rear window 04 marnie 05 rebecca 06 strangers on a train 07 vertigo 08 to catch a thief 09 lifeboat 10 the birds 11 north by northwest 12 psycho 13 dial for 03 MMURDER 1954 Charlize Theron. Photograph by Norman Jean Roy. The scene in which Charles Alexander Swann (Dawson) attempts to strangle Margot Mary Wendice (Kelly), only to be himself stabbed with a pair of scis- sors, caused Hitchcock great anxiety. Although the entire film was shot in just 36 days, this single scene required a full week of rehearsals and multiple takes to get the choreography and timing right. The original still: Anthony Dawson and Grace Kelly. © Warner Brothers. 04 Rea R 1954 Windo Scarlett Johansson and Javier Bardem. W Photograph by Norman Jean Roy. The film has been called a superb commentary on watching films, on loneliness, and on obsession, as well as a sharp critique of the male psyche. But at its essence, Rear Window is a paean to old-fashioned snooping. “Sure he’s a snooper, but aren’t we all?” said Hitchcock. “I’ll bet you that nine out of ten people, if they see a woman across the courtyard undressing for bed, or even a man puttering around in his room, will stay and look; no one turns away and says, ‘It’s none of my business.’ ” The original still: Grace Kelly and James Stewart. Paramount/Neal Peters Collection. 05 1964 Marnie Naomi Watts. Photograph by Julian Broad.