Communistinfiltr05unit.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Communistinfiltr05unit.Pdf C r/rr//tj rj/'ffftT* stf/WrM COMMUNIST INFILTRATION OF HOLLYWOOD MOTION-PICTURE INDUSTRY-PART 5 HEARINGS BEFORE THE COMMITTEE ON UN-AMERICAN ACTIVITIES HOUSE OF REPRESENTATIVES EIGHTY-SECOND CONGKESS FIRST SESSION SEPTEMBER 20, 21, 24 AND 25, 1951 Printed for the use of the Committee on Un-American Activities UNITED STATES GOVERNMENT PRINTING OFFICE 81595 WASHINGTON : 1951 COMMITTEE ON UN-AMERICAN ACTIVITIES United States House of Representatives JOHN S. WOOD, Georgia, Chairman FRANCIS E. WALTER, Pennsylvania HAROLD H. VELDE, Illinois MORGAN M. MOULDER, Missouri BERNARD W. KEARNEY, New York CLYDE DOYLE, California DONALD L. JACKSON, California JAMES B. FRAZIER, Jr., Tennessee CHARLES E. POTTER, Michigan Subcommittee Appointed To Sit in Los Angeles, Calif., To Hold Hearings Under This Title JOHN S. WOOD, Georgia, Chairman, 1 FRANCIS E. WALTER, Pennsylvania DONALD L. JACKSON, California CLYDE DOYLE, California CHARLES E. POTTER, Michigan Frank S. Tavenner, Jr., Counsel Louis J. Russell, Senior Investigator John W. Carrington, Cleric of Committee Raphael I. Nixon, Director of Research 1 Acting chairman in the absence of Representative John S. Wood. n CONTENTS September 20, 1951: Testimony of— Pae« Robert L. Richards 1640 Ann Roth Morgan Richards 1650 Ellenore Abowitz 1654 Marguerite Roberts ., 1666 Michael Wilson 1674 John Sanford 1680 David Raskin 1682 William Blowitz _. 1696 Herta Uerkvitz 1699 September 21, 1951: Testimony of— Max Howard Schoen 1703 Elizabeth Wilson 1716 Jeff Corey 1733 Mary Virginia Farmer 1736 Louise Rousseau 1739 Dr. Murray Abowitz 1742 September 24, 1951: Testimony of— Carl Foreman 1753 Reuben Ship 1771 Bernyce Polifka Fleury 1775 Donald Gordon 1785 Josef Mischel 1793 Lester Koenig 1905 September 25, 1951: Testimony of— George Beck 1817 Karl Tunberg 1834 Sidney Buchman 1856 in COMMUNIST INFILTRATION OF HOLLYWOOD MOTION- PICTURE INDUSTRY—PART 5 THURSDAY, SEPTEMBER 20, 1951 United States House of Representatives, Subcommittee of the Committee on Un-American Activities, Los Angeles* Calif. PUBLIC HEARING A subcommittee of the Committee on Un-American Activities met pursuant to adjournment at 10 : 10 a. m. in room 518, Federal Build- ing, Los Angeles, Calif., Hon. John S. Wood (chairman), presiding. Committee members present: Representatives John S. Wood (chairman), Francis E. Walter, Clyde Doyle, Donald L. Jackson, and Charles E. Potter. Staff members present: Frank S. Tavenner, Jr., counsel; Thomas W. Beale, Sr., assistant counsel; Louis J. Russell, senior investigator; William A. Wheeler, investigator; and John W. Carrington, clerk. Mr. Wood. Let the committee be in order, please. Let the record disclose that the entire subcommittee is present. Are you ready to proceed, Mr. Counsel ? Mr. Tavenner. Yes, sir. Mr. Wood. Who do you have first ? Mr. Tavenner. Mrs. Ellenore Abowitz. Mr. Wood. Mrs. Abowitz. Mr. Kenny. I am representing Mrs. Abowitz. She doesn't seem to have arrived yet. She will be here shortly, I'm sure. Mr. Wood. Does it interfere with your program, Mr. Counsel ? If so we will take a short recess until she comes. Mr. Tavenner. What is your judgment of the time she will arrive? Mr. Kenny. I talked to her earlier this morning and she lives quite a distance out and she was on her way down. I expect her any moment. Mr. Tavenner. If that is so then, Mr. Chairman, I suggest that we wait a few minutes. Mr. Wood. Very well. The committee will stand in recess for 5 minutes to see if she will arrive in that time, and if not we will proceed with something else. (A short recess was here taken.) Mr. Wood. Let the committee be in order. Mr. Tavenner. Mr. Chairman, I am informed that the witness has had transportation difficulties and it may be as much as a half hour before she arrives. In light of that I think we may as well proceed with another witness. 1639 1640 COMMUNISM IN MOTION-PICTURE INDUSTRY Mr. Wood. Very well. Whom do you call ? Mr. Tavenner. Mr. Robert L. Richards. Mr. Wood. Are you Mr. Robert Richards ? Mr. Richards. I am. Mr. Wood. Raise your right hand, sir, and be sworn. You do sol- emnly swear that the evidence you give this subcommittee will be the truth, the whole truth and nothing but the truth, so help you God ? Mr. Richards. I do. TESTIMONY OF ROBERT L. RICHARDS, ACCOMPANIED BY HIS COUNSEL, ROBERT KENNY Mr. Wood. Have a seat, sir. Are you represented by counsel? Mr. Richards. I am. Mr. Wood. Will counsel please identify himself for the record? Mr. Kenny. Robert Kenny, of Los Angeles. Mr. Wood. You may proceed, Mr. Tavenner. Mr. Tavenner. You are Mr. Robert Richards ? Mr. Richards. I would like to raise a question. I don't know whether I am being on television here or not, but I see the television cameras here. Are they in operation ? Mr. Tavenner. It is assumed that they are. I never know when they are and when they are not. Mr. Richards. Is there any question as to my privilege of being on this television or not ? Mr. Tavenner. I should think if you have any objection to it, the chairman and the committee will consider your objection and act upon it. Mr. Richards. Yes; I think I do, if you have no objection to my objection. Mr. Wood. That is a qualified objection. If you object Mr. Richards. Yes; I do. (Discussion off the record among members of the committee.) Mr. Wood. It is the decision of the committee that your objections will be respected Mr. Richards. Thank you, Mr. Chairman. Mr. Wood. And you will not appear on any television that is in the room. Mr. Richards. Thank you very much, Mr. Chairman. Mr. Tavenner. Will you instruct them that the television be cut off? Mr. Wood. The television people are instructed not to televize this witness. Mr. Tavenner. Mr. Richards Mr. Walter. Just a minute, Mr. Tavenner. Mr. Wood. In view of the fact that television facilities are—may I have attention, please? Mr. Rtciiards. I beg your pardon. Mr. Wood. That the television facilities are permitted in the hear- ing room through the courtesy of the committee I am sure that it isn't necessary for me to caution them with respect to the directive that has been given now that the witness is not to be shown on tele- vision. COMMUNISM IN MOTION-PICTURE INDUSTRY 1641 Mr. Richards. I hadn't understood, Mr. Chairman, I'm sorry. This means, then, that my face will not appear on television but my voice is that correct? will ; Mr. Wood. Your voice will appear whether the television is in here or not. Mr. Kichards. That is true. I understand. Mr. Wood. There is no difference in the character of the testimony that you will give here now than it would be if these television cameras were not in the room. Mr. Kichards. I understand perfectly, sir. Mr. Wood. Is that satisfactory ? Mr. Richards. Yes, indeed. By all means. Mr. Wood. You may proceed, Mr. Counsel. Mr. Tavenner. Will you please state your full name, Mr. Rich- ards. Mr. Richards. Robert Loring Richards. Mr. Tavenner. When and where were you born. Mr. Richards ? Mr. Richards. I was born in New York City, March 1, 1909. Mr. Tavenner. What is your profession or occupation ? Mr. Richards. I am a writer. Mr. Tavenner. How long have you been a writer ? Mr. Richards. I have been a writer since about 1936. Mr. Tavenner. Will you state to the committee briefly what your educational training has been for the practice of your profession ? Mr. Richards. Yes. I attended the Horace Mann School in New York City—high school—and graduated from Harvard College in 1932. Mr. Tavenner. Will you state briefly what your record of em- ployment has been ? Mr. Richards. I worked for Time, Inc., for about 7 years. I was a writer for and subsequently producer of the March of Time radio pro- gram. I was an associate producer of the March of Time on the screen. That is, the documentary—the newsreel. I left Time mag- azine and worked in an advertising agency for about a year, in radio. I came out to Hollywood about the end of 1942, did some radio, joined the merchant marine, subsequently went into motion pictures. I have been employed for about—I am a little vague on dates—about 4 years quite steadily, writing screen plays in the motion-picture in- dustry. Mr. Tavenner. When did you state that you came to Hollywood? Mr. Richards. I think it was the end of 1942. I am not sure. Mr. Tavenner. Well, in 1942 the Communist Party line, as it was recognized in this country, was the establishment of a second front. Of course, anyone had the right to sponsor the establishment of a second front. We are interested now in learning the extent to which the Communist Party line, which had consisted of that principle, was advocated by organizations influenced by the Communist Party. If you have any information on that subject the committee would like to have it. Mr. Richards. I must—I shall—I will decline to answer that ques- tion on the grounds of possible incrimination and claim my privileges under the fifth amendment of the Constitution of the United States to so den}7—to so decline to answer that. 1642 COMMUNISM IN MOTION-PICTURE industry Mr. Tavexxer. "Well, there appeared an article in tlie September 14, 1942, issue of the Daily Worker to the effect that the League of American Writers was sponsoring the immediate opening of a second front, and I hand you the article in question. It appears from this article that your name was endorsed to this plan as sponsored by the League of American "Writers.
Recommended publications
  • The Films of Raoul Walsh, Part 1
    Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema ....................
    [Show full text]
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
    ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]
  • Jack Oakie & Victoria Horne-Oakie Films
    JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives.
    [Show full text]
  • The Great Gatsby
    BEYOND THE YELLOW BRICK ROAD: Sesquicentennial Visions of Kansas and the Great Plains in Film edited and introduced by Thomas Prasch he place of Kansas’s most iconic film image in the American cinematic imaginary was reaffirmed at this year’s Academy Awards, when the evening closed with “Somewhere Over the Rainbow,” sung by the students of Staten Island’s PS22 Chorus. At the same time, for viewers looking in that performance for the Kansas roots of the refrain, what was clearest was the increasing deterritorialization of the tune: it was no longer about Kansas, but about New York City public-school kids finding their way onto a Hollywood stage. This deterritorializing Ttrend is obvious elsewhere, too: look for the song on YouTube, and the first video that currently pops up is Israel “IZ” Kamakawiwo‘ole’s Hawaiian cover of the tune, which turns it into a paean to his island’s scenery. And note that one of the most regular places to find Oz citations (usefully gathered by the Internet Movie Database at http://www. imdb.com/title/tt0032138/movieconnections) is in the science-fiction genre, in universes far, far away from Kansas. In 2010 alone, for example, such references to the classic film appeared in Fringe, Dollhouse, and Star Wars: The Clone Wars and as a hook in ads for the new fantasy video game Rift. Even David Grossman, the Israeli novelist, worked an Oz reference into his new novel, To the End of the Land (2010), where it is Haifa, not Kansas, that Dorothy is not in anymore (p.
    [Show full text]
  • Medienwissenschaft / Hamburg: Berichte Und Papiere
    Medienwissenschaft / Hamburg: Berichte und Papiere 19, 2003: Journalismus und Presse im Film. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 5. März 2002. Journalismus und Presse im Film: Eine Filmographie Zusammengestellt von Hans J. Wulff 1903 Delivering Newspapers; USA 1903. 1907 John D___ and the Reporter; USA 1907. -- Kurzfilm. Drama. President of Rancid Oil tries to escape justice, but a reporter serves him with a summons. In the end he has to pay a $29 million fine. 1910 The New Reporter; USA 1910, Lewin Fitzhamon. -- Komödie, Kurzfilm. 1911 The Derelict Reporter; USA 1911. -- D: Ralph Ince. The Reform Candidate; USA 1911, Thomas Edison. The Reporter; USA 1911. 1912 The Cub Reporter's Big Scoop; USA 1912. -- Kurzfilm. Komödie. The Girl Reporter's Big Scoop; USA 1912. -- Kurzfilm. The Old Reporter; USA 1912. -- Kurzfilm. The Star Reporter; USA 1912. 1913 The Cub Reporter's Temptation; USA 1913. -- Kurzfilm. Komödie. The Girl Reporter; USA 1913. -- Kurzfilm. 1914 Cub Reporter's Assignment; USA 1914. Making a Living; USA 1914, Charles Chaplin. -- In Chaplin's first film appearance, in Making a Living, he is a con man who takes a job as a reporter, and steals and passes off a rival reporter's photos of an accident as his own. 1916 The Fourth Estate; USA 1916, Frank Powell. Otto the Reporter; USA 1916, Edwin McKim. -- Komödie. Kurzfilm. 1919 Die feindlichen Reporter (aka: Prinzessin Incognito); Deutschland 1919, Franz Hofer. I'll Get Him Yet; USA 1919, Elmer Clifton. -- 5 Rollen. The Woman Undercover; USA 1919, George Seigmann. 1920 Deadline at Eleven; USA 1920, George Fawcett.
    [Show full text]
  • Creativity in Jazz
    Creativity in Jazz Norman Lawrence Meehan A thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music 2014 1 Creativity in Jazz ................................................................................................................ 1 Acknowledgements .......................................................................................................... 7 Part One: Creativity and Jazz ......................................................................................... 8 Introduction ........................................................................................................................ 9 Why are these questions important? .................................................................................. 9 The central idea ....................................................................................................................... 17 Thesis Plan ................................................................................................................................ 19 Chapter One: Creativity, and its importance ......................................................... 24 Why is creativity important? ............................................................................................... 24 Creativity in Music? ................................................................................................................ 27 Defining creativity .................................................................................................................
    [Show full text]
  • Monterey Jazz Festival
    DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob;
    [Show full text]
  • 1954 07, 08 Voice Magazine
    >3iim iiim iniiiM im iiniim iiM iioiiiiiiim oim iiiiiiiuiii* EXECUTIVE STAFF AND ■falL Qwt^el I DIRECTORS President DEMOS SHAKARIAN VoicE i 8413 Lexington Road, Downey, California •>iiiC ]iiiim m iiN inm iiiiii(]m im iiiii[]iiiiiiim iic]iiiiuiiiiiic$ Vice-Presidents Published Monthly by LEE BRAXTON Full Gospel Business Men’s Box 507, Whiteville, North Carolina Fellowship International GEORGE D. GARDNER 35 Collier Street, Binghamton, New York Incorporated January 2, 1953 as a Non- Profit Religious, Charitable and Educa­ MINER ARGANBRIGHT tional Corporation. Box 367, La Crescenta, California EARL DRAPER Editor and Publisher 1609 Belmont Avenue, Fresno, California T h o m a s R . N ickel Secretary and Treasurer HAROLD G. KABISCH EDITORIAL AND PUBLICATION OFFICE 1059 S. Hope, Los Angeles 15, California 210 WHEELOCK ROAD Editor and Publisher WATSONVILLE. CALIFORNIA THOMAS R. NICKEL 210 Wheelock Road, Watsonville, California Entered as Second-Class Matter at the Post Office at Watsonville. California. HENRY F. CARLSON 644 Echo Lane, Glenview, Illinois Subscription Rate, Domestic and Foreign: C. C. FORD PER YEAR ONE DOLLAR 715 Crescent Drive, Denver, Colorado AL KONSMO Printed in U.S.A. By Monte Vista Press 2717 Locust Avenue, Tacoma, Washington Watsonville, California HENRY KRAUSE 305 South Monroe St., Hutchinson, Kansas JULY-AUGUST, 1954 JACK T. MOORE 6135 Dillingham St., Shreveport, Louisiana REGARDING CORRESPONDENCE JEWEL W. ROSE All manuscripts, photographs and letters Box 313, Shatter, California intended for the Editor and Publisher should be sent to the address shown above. LINWOOD P. SAFFORD All subscriptions and letters regarding sub­ 8507 Colesville Rd., Silver Spring, Maryland scriptions should be sent to the following W.
    [Show full text]