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A Film by Chris Hegedus and D a Pennebaker

a film by Chris Hegedus and D A Pennebaker 84 minutes, 2010 National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “Gripping” – Jay Weston, The Huffington Post “Chris Hegedus and D.A. Pennebaker turn to the highest levels of professional cooking in Kings of Pastry,” a short work whose drama plays like a higher-stakes version of popular cuisine-oriented reality TV shows.” – John DeFore, The Hollywood Reporter “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A.
American Old-Time Musics, Heritage, Place A

THE UNIVERSITY OF CHICAGO SOUNDS OF THE MODERN BACKWOODS: AMERICAN OLD-TIME MUSICS, HERITAGE, PLACE A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY LAURA C.O. SHEARING CHICAGO, ILLINOIS JUNE 2020 ã Copyright 2020 Laura C.O. Shearing All rights reserved. ––For Henrietta Adeline, my wildwood flower Table of Contents List of Figures .............................................................................................................................. v List of Tables .............................................................................................................................. vi Acknowledgements .................................................................................................................... vii Abstract ...................................................................................................................................... ix Introduction ................................................................................................................................ 1 1. Contextualizing Old-Time ..................................................................................................... 22 2. The Making of an Old-Time Heritage Epicenter in Surry County, North Carolina ................... 66 3. Musical Trail-Making in Southern Appalachia ....................................................................... 119 4. American Old-Time in the British Isles ................................................................................
Song Pack Listing

TRACK LISTING BY TITLE Packs 1-86 Kwizoke Karaoke listings available - tel: 01204 387410 - Title Artist Number "F" You` Lily Allen 66260 'S Wonderful Diana Krall 65083 0 Interest` Jason Mraz 13920 1 2 Step Ciara Ft Missy Elliot. 63899 1000 Miles From Nowhere` Dwight Yoakam 65663 1234 Plain White T's 66239 15 Step Radiohead 65473 18 Til I Die` Bryan Adams 64013 19 Something` Mark Willis 14327 1973` James Blunt 65436 1985` Bowling For Soup 14226 20 Flight Rock Various Artists 66108 21 Guns Green Day 66148 2468 Motorway Tom Robinson 65710 25 Minutes` Michael Learns To Rock 66643 4 In The Morning` Gwen Stefani 65429 455 Rocket Kathy Mattea 66292 4Ever` The Veronicas 64132 5 Colours In Her Hair` Mcfly 13868 505 Arctic Monkeys 65336 7 Things` Miley Cirus [Hannah Montana] 65965 96 Quite Bitter Beings` Cky [Camp Kill Yourself] 13724 A Beautiful Lie` 30 Seconds To Mars 65535 A Bell Will Ring Oasis 64043 A Better Place To Be` Harry Chapin 12417 A Big Hunk O' Love Elvis Presley 2551 A Boy From Nowhere` Tom Jones 12737 A Boy Named Sue Johnny Cash 4633 A Certain Smile Johnny Mathis 6401 A Daisy A Day Judd Strunk 65794 A Day In The Life Beatles 1882 A Design For Life` Manic Street Preachers 4493 A Different Beat` Boyzone 4867 A Different Corner George Michael 2326 A Drop In The Ocean Ron Pope 65655 A Fairytale Of New York` Pogues & Kirsty Mccoll 5860 A Favor House Coheed And Cambria 64258 A Foggy Day In London Town Michael Buble 63921 A Fool Such As I Elvis Presley 1053 A Gentleman's Excuse Me Fish 2838 A Girl Like You Edwyn Collins 2349 A Girl Like
COLIN LINDEN from Canada to Nashville

The Phenomenal RUTHIE FOSTER HADDEN SAYERS Breaking Free ANSON FUNDERBURGH Is Back COLIN LINDEN From Canada To Nashville NUMBER ONE www.bluesmusicmagazine.com US $5.99 Canada $7.99 UK £4.60 Australia A$15.95 COVER PHOTOGRAPHY © SCOTT ALLEN / VIVIDPIX 4 BLUE NOTES NUMBER ONE From The Publisher 5 RIFFS & GROOVES 6 RUTHIE FOSTER From The Editor-In-Chief Timeless Voice by Tim Parsons 20 DELTA JOURNEYS “Rock Stars” 11 HADDEN SAYERS 22 AROUND THE WORLD Back To The Blues “Good Night, Ann Rabson” by Phil Reser 24 Q&A 14 The Many Facets Of with Michael Hill ANSON FUNDERBURGH by Grant Britt 27 BLUES ALIVE! Damon Fowler 17 COLIN LINDEN Ronnie Earl Guitar Master 30 REVIEWS by Larry Nager New Releases and Box Sets 70 LEGACIES 72 DOWN THE ROAD A S P A L S R A G I A © Y H P A R G O T O H P PHONE TOLL-FREE 866-702-7778 EMAIL [email protected] WEB bluesmusicmagazine.com GuitarDMasterEEP ROOTS COLIN LINDEN’S Journey from Howlin’ Wolf to Hollywood by Larry Nager WHO YOU THINK sideman deluxe ﬂying under the radar for pre-war blues to his eerie recreation Colin Linden is depends on which side in his trademark black hat and shades. of Skip James’ “Hard Time Killing Floor.” of the border you call home. In his native Specializing in the bluesier side of He toured arenas with the O Brother Canada, he’s long been known as one Americana, he can be heard on spinoff tour Down From The Mountain of the world’s premier blues and roots wide-ranging, high proﬁle projects and put in a year backing Country Music guitarists and producers, lending his including the O Brother Where Art Thou? Hall of Famer Emmylou Harris.
Ctba Newsletter 0304

REA ONGOING EVENTS AUSTIN AREA Chriesman Community Center CTBA Don Cook 979-567-0573 PARIS •Beginner/Intermed. Jam CLEBURNE • Jam & Stage Show Central Texas A • Show & Jam • 3rd Sat: Jam 5:00, Show 7:00 1st & 3rd Thursday 7-9 pm 3rd Fri Cleburne Civic Center, Chisum HS, Hwy 19 & 24, south Steve Mangold 512-345-6155 1501 W Henderson (Hwy 67)7 pm, of Paris $5-members $6-others • CTBA Jam Session $3 www.geocities.com/ntbbluegrass Brenda Burks 903-784-8859 Sunday at Artz Rib House COPPERAS COVE PEARL Bluegrass 3-5 pm,512-442-8283 • Jam • Jam & Stage Show ARTZ RIB HOUSE Fri-VFW Post 8577 at 1506 1st Sat: Jam 12:00, Show 4:30 Volume 25 • Live Bluegrass Show Veterans Ave 7 pm Hwy 183, 7 mi. south of Purmela 2330 S. Lamar, 6:00 pm Number 4 512-442-8283 254-542-6710 [email protected] Ronald Medart 254-865-6013 AAAMS JAM GARLAND ROCKNE Wed, Anderson Mill Baptist • Bluegrass on the Square • Bluegrass/Country Jam April 2003 Church,10633 Lake Creek Pkwy Sat- March thru October between 1st Sat: 3pm til ..., 8 mi. S. of Dinner 5:30 ($3) 6:30-8:30 pm, Main and State Sts. at 6th, 7:30- Cedar Creek on FM 535 Bulletin 1 am Jim Miller 972-276-3197 TOMBALL 259-7702- call to join for dinner GRANITE SHOALS • Spring Creek Club Jam/Show Tom, Brad & Alice Fredericksburg •AFTM (Austin Friends of • Bluegrass and Gospel Jam 4th Sat: 5pm-jam, 7pm-show Traditional Music)Contra Dance Last Sat: 6:30-10:00 pm Oklahoma Community Center, 3rd Sat., Lutheran church at 3501 706 Phillips Ranch Rd.
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University

Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot.
DA Pennebaker Ð¤Ð¸Ð

D. A. Pennebaker Ð¤Ð¸Ð»Ð¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð¤Ð¸Ð»Ð¼Ð¾Ð³Ñ€Ð°Ñ„Ð¸Ñ) 65 Revisited https://bg.listvote.com/lists/film/movies/65-revisited-1765462/actors Jimi Plays Monterey https://bg.listvote.com/lists/film/movies/jimi-plays-monterey-104883643/actors Monterey Pop https://bg.listvote.com/lists/film/movies/monterey-pop-1179100/actors Moon Over Broadway https://bg.listvote.com/lists/film/movies/moon-over-broadway-12126255/actors Dont Look Back https://bg.listvote.com/lists/film/movies/dont-look-back-1242182/actors The Videos 86â€“98 https://bg.listvote.com/lists/film/movies/the-videos-86%E2%80%9398-1631438/actors https://bg.listvote.com/lists/film/movies/original-cast-album%3A-company- Original Cast Album: Company 19928838/actors Unlocking the Cage https://bg.listvote.com/lists/film/movies/unlocking-the-cage-24602700/actors Depeche Mode: 101 https://bg.listvote.com/lists/film/movies/depeche-mode%3A-101-30106960/actors Town Bloody Hall https://bg.listvote.com/lists/film/movies/town-bloody-hall-30324618/actors Sweet Toronto https://bg.listvote.com/lists/film/movies/sweet-toronto-3506548/actors Audition at RCA https://bg.listvote.com/lists/film/movies/audition-at-rca-35229956/actors Ziggy Stardust and the Spiders from https://bg.listvote.com/lists/film/movies/ziggy-stardust-and-the-spiders-from-mars- Mars 3648454/actors https://bg.listvote.com/lists/film/movies/assume-the-position-with-mr.-wuhl- Assume the Position with Mr. Wuhl 4810324/actors Down from the Mountain https://bg.listvote.com/lists/film/movies/down-from-the-mountain-5302947/actors Keep on Rockin' https://bg.listvote.com/lists/film/movies/keep-on-rockin%27-6383139/actors Kings of Pastry https://bg.listvote.com/lists/film/movies/kings-of-pastry-6413078/actors One P.M.
Post-Catholic Ireland in Literature and Popular Culture

P O S T - C A T H O L I C I R E L A N D I N L I T E R A T U R E A N D POPULAR CULTURE Lisa McGonigle A thesis submitted for the degree of Doctor of Philosophy at the University of Otago, Dunedin, New Zealand April 2013 ABSTRACT This thesis proposes the concept of turn-of-the-millennium Irish culture as “post-Catholic”. It outlines how the Catholic Church had occupied so powerful a position in the post- independent Irish State, but recent decades have seen such profound changes in the moral and political authority ceded to the Church. This thesis therefore argues that the dissolution of the Church’s hegemony constitutes a paradigm sociopolitical and cultural shift, which it defines as the move from a Catholic to post-Catholic society. It also argues that this shift has been both reflected in and effected by literature and popular culture, focusing in particular on issues of gender and sexuality in selected cultural texts. Chapter One examines how Marian Keyes uses the chick-lit novel to write back against conservative Catholicism and the maternalisation of Irish women, supplanting the “Irish Catholic Mammy” with a younger, sexually active generation of Irish women who do not define their subjectivity in terms of their maternal duties. It argues that Keyes’ hostility towards the Catholic Church affects, indeed directs, the sexual politics and frankness of her work and her treatment of topics such as abortion and divorce. Chapter Two investigates how popular novelist Maeve Binchy explores female sexuality and desire in opposition to a traditional Catholic discourse of sin and virtue.
Don Alan Pennebaker [*] Kevin Finner

Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 203 Don Alan Pennebaker [*] Kevin Finner [*] Don Alan Pennebaker, auch nominiert als D.A., Don A. oder Donn A. Pennebaker. Geboren am 15. Juli 1925, dreht der heute vierundachtzigjährige Don Alan Pennebaker, Sohn eines Fotografen, noch immer Filme. Nach seinem Militärdienst und einem Ingenieurstudium in Yale sowie am M.I.T in Cambridge arbeitete er in verschiedenen Berufen, bevor er auf Drew und Leacock stieß. Michael Barchet zufolge verdiente Pennebaker sein Geld zunächst als Werbetexter und entwickelte u.a. ein computergestütztes Buchungssystem für Fluglinien (Barchet 1991, 154). Inspiriert durch den Filmemacher Francis Thompson drehte Pennebaker mit Ende zwanzig mit DAYBREAK EXPRESS (1953) und BABY (1954) seine ersten Filme über die New Yorker U-Bahn und einen Zoobesuch mit seiner Tochter. Letzterer war eigentlich nichts anderes als ein Amateur-Familienfilm. Jedoch wurde ihm während des Schneidens bewusst, dass er nicht seinem Material eine Story aufdrängen, sondern dass er sich Story und Rhythmus später in der Montage aus sich selbst heraus entwickeln lassen sollte (Saunders 2007, 10). Zusammen mit Richard Leacock wurde Pennebaker ein Gründungsmitglied von Drew Associates und arbeite dort für die nächsten drei Jahre. Nach den Erfolgen um PRIMARY (1960, Robert Drew), THE CHAIR (1963, ROBERT DREW) und CRISIS: BEHIND A PRESIDENTIAL COMMITMENT (1963, Robert Drew) sah sich Pennebaker nicht mehr in der Lage, die Forderungen von ABC, Time-Life und Drew zu erfüllen und strebte zusammen mit Leacock nach mehr künstlerischer Freiheit: My decision to quit wasn’t the result of any great moral conflict, I simply wasn’t able to fulfill their demands, because I realized that our process of filming could produce better films.
Youssou Ndour: I Bring What I Love

YOUSSOU NDOUR: I BRING WHAT I LOVE Directed and Produced by Elizabeth Chai Vasarhelyi Publicity Outreach & Promotion: Distributor: (National, NY, LA): Karen O’Hara Ken Eisen Frank Lomento O’Hara Promotions Shadow Distribution 42 West 520-326-0813 207-872-5111 646-467-9056 [email protected] [email protected] [email protected] SHORT SYNOPSIS Youssou Ndour: I Bring What I Love is a music-infused cinematic journey about the power of one man’s voice to inspire change. One of Time magazine’s100 most influential people in the world and called “the rare rock star whose music matters,” Senegalese singer Youssou Ndour is beloved internationally and at home. In 2005, the Grammy- winning artist defied expectations and produced his most personal album, Egypt, presenting his Islamic faith as a peaceable and tolerant religion. While the record received international acclaim, it was denounced as blasphemy in his native Senegal. Director Chai Vasarhelyi follows Ndour for over two years, filming in Africa, Europe, and America, to tell the story of how he faces these challenges and eventually wins over audiences both at home and abroad. DIRECTOR’S STATEMENT A friend introduced me to Youssou’s music six months before I started shooting this film. I didn’t understand a word, but it didn’t matter. His songs were magic, and gave me the idea for a big, beautiful film about Africa. At the time, I felt helpless and frustrated by the political situation in the world. Youssou and his actions, however, constantly defy the sentiment that we, as individuals, are unable to create change.
(This Is) a Song for the Lonely

#1 - Nelly #1 Crush - Garbage (take Me Home) Country Roads - Toots And The Maytals (this Is) A Song For The Lonely - Cher (without You) What Do I Do With Me - Tanya Tucker 1 2 Step - Ciara Feat Missy Elliott 1 4 - Feist 1 Thing - Amerie 10,000 Nights - Alphabeat 100 Percent Chance Of Rain - Gary Morris 100 Years - Five For Fighting 1000 Miles - Vanessa Carlton 123 - Gloria Estefan 1-2-3-4 Sumpin' New - Coolio 18 & Life - Skid Row 19 And Crazy - Bomshel 19-2000 - Gorillaz 1973 - James Blunt 1973(radio Version) - James Blunt 1979 - Smashing Pumpkins 1982 - Randy Travis 1985 - Bowling For Soup 1999 - Prince 19th Nervous Breakdown - Rolling Stones 2 Become 1 - Spice Girls, The 2 Faced - Louise 2 Hearts - Kylie Minogue 21 Guns - Green Day 21 Questions - 50 Cent 24 Hours F - Next Of Kin 2-4-6-8 Motorway - Tom Robinson Band 25 Miles - Edwin Starr 25 Or 6 To 4 - Chicago 29 Nights - Danni Leigh 3 Am - Matchbox Twenty 33 (Thirty-Three) - Smashing Pumpkins 4 In The Morning - Gwen Stefani 4 Minutes - Madonna And Justin Timberlake 4 P.m. - Sukiyaki 4 Seasons Of Loneliness - Boyz Ii Men 45 - Shinedown 4ever - Veronicas, The 5 6 7 8 - Steps 5 Colours In Her Hair - Mcfly 50 50 - Lemar 500 Miles - Peter Paul And Mary 500 Miles Away From Home - Bobby Bare 5-4-3-2-1 - Manfred Mann 59th Street Bridge Song - Simon And Garfunkel 6 Soulsville U.s.a - Wilson Pickett 7 - Prince And The New Power Generation 7 Days - Craig David 7 Rooms Of Gloom - Four Tops 7 Ways - Abs 74-75 - Connells 800 Pound Jesus - Sawyer Brown 8th World Wonder - Kimberly Locke 9 To 5 - Dolly
LANGUAGE and IDENTITY in POST-1800 IRISH DRAMA DISSERTATION Presented to the Graduate Council of the University of North Texas I

LANGUAGE AND IDENTITY IN POST-1800 IRISH DRAMA DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Dawn E. Duncan, B.A., M.Ed. Denton, Texas May, 1994 LANGUAGE AND IDENTITY IN POST-1800 IRISH DRAMA DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Dawn E. Duncan, B.A., M.Ed. Denton, Texas May, 1994 Duncan, Dawn E., Language and Identity in Post-1800 Irish Drama. Doctor of Philosophy (English), May, 1994, 249 pp., works cited, 115 titles. Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty- year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society—religiously, economically, and geographically—and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception.