What was the name of the first Hollywood movie released by D W Griffith in 1910?

Film History Milestones - 1910 Event and Significance 1910 Carl Laemmle set up his own Independent    Motion Picture Company (IMP) to counteract the Edison Trust (the MPPC). 1910 Laemmle introduced the star system, causing    the rise of the American movie star phenomenon, by hiring now-forgotten    Florence Lawrence ("The Biograph Girl"), one of Biograph's anonymous stars, and beginning a massive    publicity campaign. By most accounts, Lawrence was the first US motion picture "movie star." Carl Laemmle orchestrated a shameless but spectacular, high-profile 'publicity stunt'     in March of 1910, with rumors of her death in a street-car accident in St. Louis, and her     subsequent resurrection at the IMP Company's St. Louis premiere of her    first IMP film (The Broken Oath, aka The Broken Bath), in April of 1910. She was the first film star to make a 'personal appearance' (as a publicity stunt). 1910 The first screen credit was given to Florence Lawrence, in IMP's short crime romance The Broken Oath (aka The Broken Bath), directed by her husband Harry Solter. 1910 Dialogue titles began to appear with regularity.    Studios began distributing publicity stills of actors and actresses. 1910 The first US multi-reel "feature" film was Vitagraph's five-reel Life of Moses (1910). It was shown    at a single sitting in New Orleans. Such multi-reel films weakened exhibitors'    control of their programs (i.e., prior to this development, exhibitors    effectively "edited" the program by arranging their selections of short films    without directorial intervention.) 1910 Film companies began to move to the area later    known as Hollywood. Los Angeles annexed Hollywood. 1910 The first film made in    the new municipality of Hollywood, by Biograph and director D.W. Griffith, In    Old California (1910),   was released. It launched the film industry in the city. Griffith was the   first to negotiate and start film producing in Hollywood, where the weather    was considered more favorable for film-making. 1910 For the first time, Hollywood purchased the    rights to adapt a novel from a publisher (Little, Brown & Company who    published Helen Hunt Jackson's novel Ramona), for a D.W. Griffith    film to be made in 1910. 1910 The first western silent film super-star Tom Mix made his first major screen appearance as Bronco Buster in Selig Polyscope's Ranch Life in the Great Southwest (1910), filmed at their studio in the Los Angeles area. The one time bartender, cow hand and Texas Ranger would go on to make hundreds of silent westerns for both Selig and Fox Studios, some of which he also produced, wrote or directed. 1910 Brooklyn Eagle newspaper cartoonist John     Randolph Bray patented the 'cel' process ultimately used by animators.     He pioneered true animated (motion-picture) cartoons with structured     story lines. 1910 The first movie stunt -- a man jumped into    the Hudson River from a burning balloon. 1910 Filmdom's first major comedy star of the early silent film era, the happy and rotund John Bunny (almost 300 pounds), originally a successful stage comic, made his film debut in Brooklyn-based Vitagraph's Jack Fat and Jim Slim at Coney Island (1910), and was paid $40/week. By 1911 he was Vitagraph's biggest moneymaker. He died in 1915 at the height of his fame. 1910 The first Frankenstein monster film in the    US was Edison's Frankenstein, a 16-minute (one-reel) version made    by the Edison Motion Picture Studios and starring stage veteran Charles Ogle (uncredited) as the monster, and Mary Fuller as Frankenstein's fiancée Elizabeth. The film was directed and written by J. Searle Dawley and filmed in    the Bronx. The monster appeared misshapen and pathetic rather than horrifying    in this first film adaptation of Mary Shelley's novel. In this early    version, the Monster was created in a cauldron of chemicals. 1910 Vaudeville press agent William Foster launched his Foster Photoplay Company, the first A


In Chaplin's The Great Dictator, what was the dictator's name?

Charlie Chaplin : The Final Speech from The Great Dictator The Final Speech from The Great Dictator Transcript of Charlie Chaplin’s Final Speech in The Great Dictator I’m sorry, but I don’t want to be an emperor. That’s not my business. I don’t want to rule or conquer anyone. I should like to help everyone - if possible - Jew, Gentile - black man - white. We all want to help one another. Human beings are like that. We want to live by each other’s happiness - not by each other’s misery. We don’t want to hate and despise one another. In this world there is room for everyone. And the good earth is rich and can provide for everyone. The way of life can be free and beautiful, but we have lost the way. Greed has poisoned men’s souls, has barricaded the world with hate, has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want. Our knowledge has made us cynical. Our cleverness, hard and unkind. We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost…. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men - cries out for universal brotherhood - for the unity of us all. Even now my voice is reaching millions throughout the world - millions of despairing men, women, and little children - victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say - do not despair. The misery that is now upon us is but the passing of greed - the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people. And so long as men die, liberty will never perish. ….. Soldiers! don’t give yourselves to brutes - men who despise you - enslave you - who regiment your lives - tell you what to do - what to think and what to feel! Who drill you - diet you - treat you like cattle, use you as cannon fodder. Don’t give yourselves to these unnatural men - machine men with machine minds and machine hearts! You are not machines! You are not cattle! You are men! You have the love of humanity in your hearts! You don’t hate! Only the unloved hate - the unloved and the unnatural! Soldiers! Don’t fight for slavery! Fight for liberty! In the 17th Chapter of St Luke it is written: “the Kingdom of God is within man” - not one man nor a group of men, but in all men! In you! You, the people have the power - the power to create machines. The power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure. Then - in the name of democracy - let us use that power - let us all unite. Let us fight for a new world - a decent world that will give men a chance to work - that will give youth a future and old age a security. By the promise of these things, brutes have risen to power. But they lie! They do not fulfil that promise. They never will! Dictators free themselves but they enslave the people! Now let us fight to fulfil that promise! Let us fight to free the world - to do away with national barriers - to do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men’s happiness. Soldiers! in the name of democracy, let us all unite! Final speech from The Great Dictator Copyright © Roy Export S.A.S. All rights reserved You might also want to read...


To which conductor did Vaughan Williams dedicate his 8th Symphony?

Vaughan Williams: Symphony No. 8 in D minor on CD, SACD, DVD & download (MP3 & FLAC) - Buy online from Presto Classical London Philharmonic Orchestra Recorded live at Southbank Centre’s Royal Festival Hall, London, on 24 September 2008 (Symphony No. 8) and 1 May 2013 (Symphony No. 4). Vaughan Williams was one of the 20th century’s most important symphonic voices. He composed in almost every genre, and even within his nine symphonies he encompassed a wide range of styles, sound-worlds and formal approaches. At its 1935 premiere the Fourth Symphony surprised many who were more used to the ‘pastoral’ sound of his earlier symphonies. Yet fellow British composer William Walton admired the work greatly, speaking of it as ‘the greatest symphony since Beethoven’. The Eighth is the shortest of the composer’s symphonies, and much more light-hearted and joyous in mood. At the same time, it too is full of remarkable invention, especially the composer’s experiments in orchestral colour. Vladimir Jurowski has a strong affinity with British music, having embraced (both in concert and on the LPO Label) Britten, Holst and increasingly Vaughan Williams, as well as contemporary British composers such as Mark-Anthony Turnage and Julian Anderson. Ryan Wigglesworth is the leading composer/conductor of his generation. He works with leading orchestras internationally and is currently English National Opera’s Composer in Residence. He has a formidable pedigree with British repertoire including Birtwistle’s The Minotaur at Covent Garden and Knussen’s Higglety Pigglety Pop! at Aldeburgh, and has already introduced a host of British music, including the Sky Arts Award-winning world premiere of Julian Anderson’s The Discovery of Heaven with the LPO. This performance was released on the LPO label in 2013 with The Crazed Moon and the world premiere recording of Fantasias, conducted by Vladimir Jurowski. The disc was a Gramophone Editor’s Choice and a finalist in their 2014 Awards. Both these Vaughan Williams symphonies were recorded live in concert at Royal Festival Hall. The Symphony No. 4 concert in May 2013 was part of Southbank Centre’s The Rest Is Noise year-long festival of 20th-century music, inspired by Alex Ross’s bestselling book of the same name. “both symphonies are well played and recorded.” Financial Times, 7th February 2015 “Jurowski’s account of the Eighth is well judged and paced, without ever really revealing why he should have chosen to conduct that particular symphony, but it’s Ryan Wigglesworth’s performance of the Fourth that really makes the disc worthwhile. The precision of the London Philharmonic’s playing is the starting point for a reading of tremendous power and authority.” The Guardian, 20th March 2015 *** “[Jurowski] keeps sonority and expression taut, yet in a way that gives the orchestra time to play. They respond superbly, alighting on the music's idiom - the 80-year-old Vaughan Williams's wryly imaginative take on his own earlier style - with unerring touch and precision.” BBC Music Magazine, Awards Issue 2015 ***/***** “Both conductors…make a strong case for these symphonies…Wigglesworth's Fourth arrives with a roar but the outrage is in the remorseless drive; Jurowski suggests parallels with Rachmaninov's The Bells in the tintinnabulations of the Eighth.” Gramophone Magazine, May 2015 Hallé Orchestra , Sir John Barbirolli Sir John Barbirolli’s affinity with the music of Ralph Vaughan Williams was formed in his teens when he heard Gervase Elwes sing On Wenlock Edge. But it was from 1943, when he became conductor of the Hallé Orchestra in Manchester, that he developed into one of the composer’s favourite interpreters of the symphonies. Vaughan Williams described him as ‘one of those wizards who can take the dry bones of crotchets and quavers and breathe into them the breath of life’. But closest to his heart, perhaps, was A London Symphony, partly because it is the most warmly and colourfully scored of the nine and also because it enshrines the Edwardian London in which Barbirolli spent his boyhood. No one who was for


"What did critic John Mason Brown describe as ""chewing gum for the eyes?"""

Television Is Chewing Gum for the Eyes | Quote Investigator Television Is Chewing Gum for the Eyes Frank Lloyd Wright? John Mason Brown? Henri Peyre? Fred Allen? Dick Cavett? Anonymous? Dear Quote Investigator: The most acerbic criticism I have heard directed at TV was attributed to the famous architect Frank Lloyd Wright: Television is just chewing gum for the eyes. However, I recently saw the remark credited to a drama critic named John Mason Brown. Could you explore this saying? Quote Investigator: The earliest evidence of this vivid metaphor located by QI appeared in a 1944 book by Henri Peyre who was a Professor of French at Yale University. In 1944 television sets were still very expensive, and the industry was immature in the U.S. The metaphor was applied to movies and radio broadcasts instead. Boldface has been added to excerpts: 1 Yet there is no sorrier sight to watch then the vacant faces of those former high school and college students when, at thirty-five or fifty, all their mental alertness having vanished, the spark gone from their eyes, they dutifully chew their gum to keep from yawning, while absorbing the chewing gum for the eyes of the movies or the chewing gum for the ears of the radio. The same men who once read Shakespeare, Molière, Byron glance at the headlines of their tabloid papers, turn straight to the page of the funnies, to devour them with the same dutiful sense of boredom as they swallow their hamburger at lunchtime and their highball after dinner. More than a decade later this figurative language was applied to another communication medium. In January 1955 Steven H. Scheur who was a well-known film critic visited the “book-lined New York apartment” of John Mason Brown who was a prominent theater critic. They discussed the quality of the programs broadcast on television. Brown applied the chewing-gum metaphor to TV: 2 Although Brown is generally recognized as our most eminent theater essayist—Saturday Review of Literature—he confesses to a special partiality for TV news shows. “So much of TV seems to be chewing gum for the eyes. … TV desperately needs more self-reliance and pride in the medium.” By 1958 the remark was being credited to the architect Frank Lloyd Wright. Details are given further below. Here are additional selected citations in chronological order. In June 1955 “Time” magazine wrote about a radio program called “Invitation to Learning” featuring three participants: critic John Mason Brown, essayist Clifton Fadiman and moderator Lyman Bryson. During the show Brown repeated his harsh characterization of TV: 3 Talk is cheap, the three decided, but conversation has a different price tag on it. “There must be mind in talk to make it conversation,” said Moderator Bryson. “Television programs are so much chewing gum for the eyes,” said Critic Brown. “A conversation has to be more than just chewing gum or wastage.” Essayist Fadiman urged intellectual exercise. Brown’s remark was memorable, and it was included in a collection titled “Best Quotes of ’54 ’55 ’56” compiled by James Beasley Simpson. Brown used the saying when he was interviewed by the compiler in July 1955, but this time he credited another unnamed person: 4 “Some television programs are so much chewing gum for the eyes.” John Mason Brown, quoting a friend of his small son, interview with James Simpson, July 28, 1955. In October 1955 the popular columnist Walter Winchell printed a version of the saying with a similar indirect attribution: 5 John Mason Brown’s quipper-snapper: “I heard someone (a young man of 17 but of great wisdom) define many television programs as being just so much chewing gum for the eyes.” In January 1958 the saying was attributed to Frank Lloyd Wright by the columnist Ed Sullivan who stated that Wright employed the expression during a dinner. This is the earliest evidence of this common ascription located by QI: 6 Frank Lloyd Wright’s definition, at a Chicago dinner: “TV is chewing gum for the eyes,” would be applauded by Clement Attlee, who explains his refusal to buy a TV set: “I don’t want it. I


Who wrote the book on which the musical Whistle Down the Wind was based?

Whistle Down the Wind  | Tickets | Broadway | Broadway.com Whistle Down the Wind Browse more shows you may also be interested in. Duration A musical by Andrew Lloyd Webber based on the novel by Mary Hayley Bell (mother of Hayley Mills, who starred in the movie). The setting has been moved from England ... Story Read More A musical by Andrew Lloyd Webber based on the novel by Mary Hayley Bell (mother of Hayley Mills, who starred in the movie). The setting has been moved from England to rural Louisiana in 1959. Kids discover a man in their barn. He's ill and before he passes out, they ask his name: Jesus Christ, he says, and they believe him and so determine to hide him. In fact, he is a murderer. A mob gathers to find the man. Swallow wants him to be the Christ in the hope he can bring her dead mother back to life.


In what country was British choreographer Sir Frederick Ashton born?

Sir Frederick Ashton | British choreographer | Britannica.com British choreographer Alternative Title: Sir Frederick William Mallandaine Ashton Sir Frederick Ashton Sir Frederick William Mallandaine Ashton born Christopher Wheeldon Sir Frederick Ashton, in full Sir Frederick William Mallandaine Ashton (born September 17, 1904, Guayaquil , Ecuador —died August 18, 1988, Sussex , England ), principal choreographer and director of England’s Royal Ballet , the repertoire of which includes about 30 of his ballets. Frederick Ashton (left) and Robert Helpmann rehearsing their roles as the Ugly Sisters in … Central Press/Pictorial Parade Ashton studied dancing in London under Léonide Massine , Nicholas Legat, and Marie Rambert, who encouraged his first choreographic efforts, The Tragedy of Fashion (1926) and Capriol Suite (1930). Ashton joined the Vic-Wells (later the Sadler’s Wells and then the Royal) Ballet in 1933 and distinguished himself as a mime and character dancer in such roles as Carabosse in The Sleeping Beauty and the gigolo in Façade and as the versatile choreographer of ballets that include Cinderella, Sylvia, and Daphnis and Chloë and the film Tales of Hoffmann (1951). He was the Royal Ballet’s principal choreographer from 1933 to 1970, during which time he also served as its associate director (1952 to 1963) and its director (1963 to 1970). In 1970 he retired from his administrative position in order to devote his time exclusively to choreography . In 1963 Ashton created Marguerite and Armand especially for the new partnership of Margot Fonteyn and Rudolf Nureyev . Others included The Dream (1964), a one-act ballet based on Shakespeare’s A Midsummer Night’s Dream; Monotones (Part I, 1965; Part II, 1966), to music of Erik Satie; Jazz Calendar (1968); Enigma Variations (1968); A Month in the Country (1976); and Rhapsody (1981), based on music by Sergey Rachmaninoff . In 1970 Ashton choreographed and danced in the motion picture Tales of Beatrix Potter. His major works include such enduring favourites as Façade (1931), Les Rendezvous (1933), Les Patineurs (1937), Symphonic Variations (1946), Illuminations (for the New York City Ballet , 1950), Homage to the Queen (1953), Romeo and Juliet (for the Royal Danish Ballet , 1955), Birthday Offering (1956), Ondine (1958), and La Fille mal gardée (1960). Ashton was knighted in 1962. Learn More in these related articles:


Which director's autobiography was called The Name Above the Title?

The Name Above The Title: An Autobiography: Amazon.co.uk: Frank Capra: 9780306807718: Books Product Description From the Back Cover Although Frank Capra (1897-1991) is best known as the director of It Happened One Night, Mr. Deeds Goes to Town, You Can't Take It with You, Mr. Smith Goes to Washington, Arsenic and Old Lace, and It's a Wonderful Life, he was also an award-winning documentary filmmaker as well as a behind-the-scenes force in the Director's Guild, the Motion Picture Academy, and the Producer's Guild. He worked with or knew socially everyone in the movie business from Mack Sennett, Chaplin, and Keaton in the silent era, through the illustrious names of the golden age. He directed Clark Gable, Jimmy Stewart, Cary Grant, Gary Cooper, Bing Crosby, Frank Sinatra, Jean Harlow, Claudette Colbert, Bette Davis, and others. Reading his autobiography is like having Capra sitting in your living room, regaling you with his anecdotes. In The Name Above the Title he reveals the deeply personal story of how, despite winning six Academy Awards, he struggled throughout his life against the glamors, vagaries, and frustrations of Hollywood for the creative freedom to make some of the most memorable films of all time. About the Author Frank Capra (1897--1991) directed many films in Hollywood, including It Happened One Night, Mr. Deeds Goes to Town, You Can't Take It with You, Mr. Smith Goes to Washington, Arsenic and Old Lace, and It's a Wonderful Life. What Other Items Do Customers Buy After Viewing This Item?


Where was blues singer Leadbelly when he was 'discovered' musically?

Roots of Blues -- Lead Belly „ Goodnight Irene" - YouTube Roots of Blues -- Lead Belly „ Goodnight Irene" Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jul 18, 2008 „Goodnight Irene" Austin -- University of Texas, June 15, 1949 Lead Belly (vcl) (g) Huddie William Ledbetter, (January, 1888 -- December 6, 1949) was an American folk and blues musician, notable for his clear and forceful singing, his virtuosity on the twelve string guitar, and the rich songbook of folk standards he introduced. He is best known as Leadbelly or Lead Belly. Though many releases list him as "Leadbelly," he himself spelled it "Lead Belly." This is also the usage on his tombstone, as well as the Lead Belly Foundation. Although he most commonly played the twelve string, he could also play the piano, mandolin, harmonica, violin, concertina, and accordion. In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion instead of the guitar. In other recordings he just sings while clapping his hands or stomping his foot. The topics of Lead Belly's music covered a wide range of subjects, including gospel songs; blues songs about women, liquor and racism; and folk songs about cowboys, prison, work, sailors, cattle herding and dancing. He also wrote songs concerning the newsmakers of the day, such as President Franklin Roosevelt, Adolf Hitler, Jean Harlow, the Scottsboro Boys and multi-millionaire Howard Hughes. Fame in 1986. The day of his birth has also been debated. The most common date given is January 20, but other sources suggest he was born on January 21 or 29. The only document we have that Ledbetter, himself, helped fill out is his World War II draft registration from 1942 where he gives his birth date as January 23, 1889 Lead Belly's boastful spirit and penchant for the occasional skirmish sometimes led him into trouble with the law, and in January 1918 he was thrown into prison for the second time, this time after killing one of his relatives, Will Stafford, in a fight. He was incarcerated in Sugar Land, Texas and it is there that he got the inspiration for the song Midnight Special. It is said that he was released two years into his 35-year sentence after writing a song appealing to Governor Pat Morris Neff for his freedom. Lead Belly had swayed Governor Neff by appealing to his strong religious values. That, in combination with good behavior (including entertaining by playing for the guards and fellow prisoners), was Lead Belly's ticket out of jail. In 1930, Lead Belly was back in prison, this time in Louisiana for attempted homicide. It was there, three years later, that he was "discovered" by musicologists John and Alan Lomax, who were enchanted by his talent, passion and singularity as a performer, and recorded hundreds of his songs on portable recording equipment for the Library of Congress. The following year Lead Belly was once again pardoned, this time after a petition for his early release was taken to Louisiana Governor O.K. Allen by the Lomaxes. The petition was on the other side of a recording of one of his most popular songs, "Goodnight Irene". The state's prison records, however, show he was released due to for more Information see: http://en.wikipedia.org/wiki/Lead_Belly Category


Most of the Three Tenors come from which country?

The Three Tenors - Pavarotti, Domingo, and Carreras The Three Tenors The Three Tenors Jose Carreras, Placido Domingo, and Luciano Pavarotti The Three Tenors - Luciano Pavarotti, Placido Domingo, and Jose Carreras.  Photo By: Yoshikatsu Tsuno / Getty Images By Aaron Green Who Are the Three Tenors? The Three Tenors are made up of three of the world's most famous and beloved operatic tenors which include Jose Carreras, Placido Domingo, and Luciano Pavarotti. Jose Carreras (1946-) Born in Barcelona, Spain, Jose Carreras has been performing since he was 11 years old.  Professionally, Carreras began his operatic career on December 19, 1970, when he sang the principal role of Gennaro alongside Montserrat Caballe in Donizetti's Lucrezia Borgia .  Aside from performing, Carreras serves as president for the José Carreras International Leukaemia Foundation, which he founded after successfully overcoming his own battle with cancer. Placido Domingo (1941-) With over 100 operas and 147 roles under his belt, Placido Domingo is a seasoned operatic star.  Born in Madrid, Spain, the celebrated tenor made his operatic debut as “Alfredo” in La Triviata at Monterrey, Mexico in 1961.  Just as Carreras and Pavarotti, Domingo has performed in opera houses around the world.  Now in his mid-70s and understanding the changes in his voice, Domingo sings baritone roles instead.  In 1993, Domingo founded a young singer competition called Operalia.  The competition is open to 18-32 year olds, and is hosted in a different city every year.  Out of nearly 1,000 entrants, only the top 40 are selected for the competition. continue reading below our video Great Singers Gone too Soon Luciano Pavarotti (1935-2007) Born in Modena, Italy, Pavarotti had dreams of becoming a soccer goalkeeper, and it turned out he was quite good.  However, his interest in music edged its way ahead after he won first place in the Llangollen International Singing Competition in Wales.  Pavarotti went on to become one of the first opera stars to have nearly his entire performing career recorded musically and visually.  He easily sold out shows and performed for millions of people in single performances. The Origin of the Three Tenors The idea for the Three Tenors came from Mario Dradi, an Italian manager and producer.  Dradi's idea was to create a group of tenors for a concert and donate a portion of the proceeds to Jose Carreras's foundation after his successful treatment of leukemia.  Jose Carreras, along with his two friends,  Placido Domingo and Luciano Pavarotti , agreed to perform as the Three Tenors .  Dradi's idea came to fruition on July 7, 1990, the day before the FIFA World Cup in Rome.  The concert was watched by over 800 million viewers, and was so well received that when a recording of the concert was released, it became the biggest selling classical album in history.  The album, Carreras - Domingo - Pavarotti: the Three Tenors in Concert , set a Guinness World Record.  Because of the trio's instant success, they performed at the following three FIFA World Cups: Los Angeles in 1994, Paris in 1998, and Yokohama in 2002.  The tremendous reception of the Three Tenors was due largely in part to their incredible voices, down-to-earth, likable personalities, and song selections. The trio would regularly perform classic and well-known operatic arias, as well as popular Broadway show tunes that even the most novice classical music listener could love and appreciate.  Given the trio's enormous popularity, imitations of the Three Tenors quickly arose all over the world, including the Three Canadian Tenors, the Chinese Tenors, as well as the Three Mo' Tenors. The Three Tenors: Recommended YouTube Videos The Three Tenors sing "O Sole Mio" (1994) ( Watch on YouTube ) The Three Tenors sing "La donna e mobile" (1994) ( Watch on YouTube ) The Three Tenors sing "Singin' in the Rain" (1994) ( Watch on YouTube ) The Three Tenors sing "New York, New York" (1996) ( Watch on YouTube ) The Three Tenors sing "Ti Voglio Tanto Bene" (1998) ( Watch on YouTube ) The Three Tenors sing "Nessun Dorm


Celebrity Speech Impediments, Accents, Dialects, etc. Follow DL on Celebrity Speech Impediments, Accents, Dialects, etc. Liza's "sh" - when did it start? Why has it worsened? Carol's "sh" sibilant lateral lisp - is it just exaggerated, or does she do it in private too? Holly Hunter - uses the same regionalism for every role, regardless of where the play/tv show/movie is set. Hepburn uses her New England dialect in DRAGON SEED when she's supposed to be a Chinese! Discuss the celebrity speech impediments that you find endearing or irritating in the extreme by Anonymous reply 174 07/27/2016 Holly Hunter owns this thread. There's a reason her only accolades have come from a movie in which she didn't say a word. It's not the ridiculous accent as much as it sounds like she constantly has marbles and snuff in her mouth. by Anonymous Drew Barrymore's baby-doll lisp is totally distracting. by Anonymous Oliver Hudson has a lisp he cannot conceal. by Anonymous reply 11 05/30/2010 Adam Scott-- who grew up in Santa Cruz, CA-- has a bit of the universal rich kid stoner's drawl. The soft o's, etc. I love it. by Anonymous reply 13 05/30/2010 Whitney's. Her speech is so slurred. I don't know what it's about. Her tongue is weird, too, when she sings. by Anonymous reply 14 05/30/2010 Peter Sarsgaard has something going on with his speech, but I can't quite put my finger on it. It's a general ooziness. So sleazy, of course I love it. by Anonymous reply 18 05/30/2010 Bernadette Peters's Queens accent -- I can't believe she hasn't been asked to blend when singing. In the cast recording for "Gypsy," the actors playing Louise and Herbie sing "togetherrrrr" and Bernadette sings "togetha." Sticks out in a big way. by Anonymous reply 22 05/30/2010 I thought part of acting school was to take speech and enunciation classes and learn how to hide or fake an accent. by Anonymous most don't go to acting school by Anonymous reply 24 05/30/2010 Annie Lennox rules with her soft Scottish burr. I don't hear it in her songs, though, even live ones. by Anonymous reply 25 05/30/2010 Holly Hunter is hearing impaired and has that southern accent. It is amazing that she can speak as well as she does. Carol Kane is another one who is hearing impaired as well. I cannot snark on either one of those two at all. Drew Barrymore is horrible. I think she was told to keep the lisp as a child (for a cuteness factor) and just could never get rid of it. Some child stars are told such things. Barbara Walters spent part of her girlhood in Boston. I think that made her speech issue worse or something. There is an interview she did somewhere on the net where her Boston accent shone through like the dickens, but she also had that total inability to pronounce her "R's" as well. It is really weird and I wish I could remember where I saw it, but I cannot. Troy Garity has a horrible way of speaking. He is Jane Fonda's son and I have no idea what is wrong with him, but he can barely speak clearly at all and he oftentimes speaks really slowly like a stroke victim or something. I think he owns this thread. The best person who kept their accent is Paula Prentiss. She almost always used her own Texas accent in films and all and just did not let it stop her because she had a masterful command of her voice. by Anonymous Russell Simmons owns this thread. by Anonymous reply 27 05/30/2010 [quoteIt's so funny to hear that bit of Australia come out of his mouth, when he's supposed to be in ancient Troy or outer space. Because we all know that people in ancient Troy spoke with a British accent. by Anonymous 05/30/2010 Keep on rolling them, idiot at R28. The point is that the cast were also supposed to speak with a uniformity of accents - the British accent was the one chosen. by Anonymous reply 29 05/30/2010 I think R8 is right about Australian actors. My friend is an actor from Australia and she says the same thing. Their film industry is tiny and everyone knows they have to master American accent if they want to have a chance at international career. by Anonymous 05/30/2010 ADAM ARK


Ryan O'Neal - Biography - IMDb Ryan O'Neal Biography Showing all 68 items Jump to: Overview  (3) | Mini Bio  (1) | Spouse  (2) | Trade Mark  (4) | Trivia  (49) | Personal Quotes  (8) | Salary  (1) Overview (3) Charles Samuel Eldridge Patrick Ryan O'Neal III Height 6' 1" (1.85 m) Mini Bio (1) Ryan O'Neal was born on April 20, 1941 in Los Angeles, California, USA as Charles Samuel Eldridge Patrick Ryan O'Neal III. He is an actor, known for Peyton Place (1964), Barry Lyndon (1975) and Paper Moon (1973). He was previously married to Leigh Taylor-Young and Joanna Moore . Spouse (2) ( 3 April  1963      - 1967) (divorced) (2 children) Trade Mark (4) Often plays inept characters in comedies Trivia (49) Father of actor Patrick O'Neal from his marriage to Leigh Taylor-Young . He was considered for the role of Michael Corleone in The Godfather (1972) In remission in his battle with leukemia. Was originally considered for the role of Rocky Balboa in Rocky (1976). However, "Rocky" scriptwriter Sylvester Stallone had sold the film rights on the condition that he got to play the title role, so he and not O'Neal wound up starring in the picture. Began his career as a stand-in and stunt man. Former brother-in-law of Dey Young and Lance Young . He was a close friend of Lee Majors until a relationship blossomed between him and Majors' wife Farrah Fawcett . He attended and graduated from Munich American High School in Munich, Germany, in 1959. His father was a Hollywood writer who was doing a stint working for the American government radio network "Radio Free Europe", which beamed programing and propaganda into Communist-controlled Eastern Europe. As a teenager, he was a Golden Gloves boxer who compiled an amateur boxing record of 18-4 with 13 knockouts. His manager is Neil Hassman . One of his best friends is Charlie Mattera . 5/07: Prosecutors decided not to file charges against him following a brawl with his son and allegations of assault on 2/3/07. Son of actress Patricia O'Neal and author/screenwriter Charles O'Neal . Was a Golden Gloves boxer in 1956-1957 with an 18-4 record including 13 knockouts. His first acting job was on the German series Tales of the Vikings (1959) in 1959. Ryan's paternal grandfather, Charles Samuel O'Neal, was born in South Carolina, and had Irish and English ancestry. Ryan's paternal grandmother, Elizabeth Maude Duffey, was born in Ireland, as was Ryan's maternal grandfather, Richard Edward O'Callaghan. Ryan's maternal grandmother, Mathilde Pius, was born in New York, to a Jewish family; Mathilde's father, Gustave Pius, was from Germany, and Mathilde's mother, Rebecca/Regina Iglick, was from Schrimm (now Srem, Poland). Was arrested on charges of assault with a deadly weapon and negligent discharge of a firearm after a fight with his son Griffin O'Neal . Griffin apparently tied his intoxicated younger brother Redmond O'Neal to a staircase in order to keep him from leaving the house to use more drugs. When Ryan returned home and saw his son tied to the staircase he became so enraged that he fired a warning shot in order to scare Griffin. [February 2007] He and his son Redmond O'Neal were arrested on suspicion of narcotics possession. [September 2008] Was sentenced to undergo 18 months of rehabilitation treatment after pleading guilty to drug possession in relation to his arrest in September 2008. [January 2009] Although he and Farrah Fawcett split in 1997, they got back together in 2001 after he was diagnosed with leukemia. Though never able to marry Farrah Fawcett , Ryan O'Neal did propose to Farrah with every intention of walking down the aisle with her. Farrah died at 9:28 AM PST on June 25, 2009 before she and O'Neal could marry. In 1960, O'Neal served fifty-one days of a 60-day sentence for assaulting a stranger during a New Year's Eve party in Los Angeles. 1959:Won:Ryan O'Neal knocked out Frankie Lohman in 1-round in an amateur boxing match in Munich, Germany. 1957:Lost:Ryan O'Neal lost a 3-round decision to Tony Foramero in Los Angeles, CA in an amateur boxing match.(Golden Gloves Tournament:Open


Who wrote the song Mad Dogs And Englishmen?

Lyrics for Mad Dogs And Englishmen - Noel Coward. | ESL Lounge Mad Dogs And Englishmen    Noel Coward In tropical climes there are certain times of day When all the citizens retire to tear their clothes off and perspire. It's one of the rules that the greatest fools obey, Because the sun is much too sultry And one must avoid its ultry-violet ray. The natives grieve when the white men leave their huts, Because they're obviously, definitely nuts! Mad dogs and Englishmen go out in the midday sun, The Japanese don´t care to, the Chinese wouldn´t dare to, Hindus and Argentines sleep firmly from twelve to one But Englishmen detest-a siesta. In the Philippines they have lovely screens to protect you from the glare. In the Malay States, there are hats like plates which the Britishers won't wear. At twelve noon the natives swoon and no further work is done, But mad dogs and Englishmen go out in the midday sun. It's such a surprise for the Eastern eyes to see, that though the English are effete, they're quite impervious to heat, When the white man rides every native hides in glee, Because the simple creatures hope he will impale his solar topee on a tree. It seems such a shame when the English claim the earth, They give rise to such hilarity and mirth. Ha ha ha ha hoo hoo hoo hoo hee hee hee hee ...... Mad dogs and Englishmen go out in the midday sun. The toughest Burmese bandit can never understand it. In Rangoon the heat of noon is just what the natives shun, They put their Scotch or Rye down, and lie down. In a jungle town where the sun beats down to the rage of man and beast The English garb of the English sahib merely gets a bit more creased. In Bangkok at twelve o'clock they foam at the mouth and run, But mad dogs and Englishmen go out in the midday sun. Mad dogs and Englishmen go out in the midday sun. The smallest Malay rabbit deplores this foolish habit. In Hong Kong they strike a gong and fire off a noonday gun, To reprimand each inmate who's in late. In the mangrove swamps where the python romps there is peace from twelve till two. Even caribous lie around and snooze, for there's nothing else to do. In Bengal to move at all is seldom ever done, But mad dogs and Englishmen go out in the midday sun.


Who wrote the children's classic The Lion, The Witch and The Wardrobe?

The Lion, the Witch and the Wardrobe | Books about Town The Lion, the Witch and the Wardrobe BookBench The Lion, the Witch and the Wardrobe is C.S. Lewis’ most famous and widely read novel. It tells the story of four children who are evacuated from London to a big house in the English countryside during World War II. The youngest of the siblings, Lucy, finds a magical world called Narnia through a wardrobe in a spare room, encountering talking animals and mythical creatures. But Narnia is more dangerous than they imagine, and the children must defeat the cruel White Witch to save Narnia from eternal winter.  C.S. Lewis is one of the UK’s most celebrated authors. He wrote more than 30 books, and the Narnia books have sold over 100 million copies.  This classic favourite is kindly supported by Quad Digital. Mandii Pope's inspiration for the BookBench included original illustrations by Pauline Baynes. You could own this bench This amazing bench could be yours. Bid in advance of our auction on 7 October. Find out more... This BookBench is on the Bloomsbury Trail Sponsor


The first Miss World came from which country?

The First Miss World Contest | History Today The First Miss World Contest Cultural Richard Cavendish provides a brief history of the Miss World contest, first won by Miss Sweden, Kiki Haakinson, on April 19th, 1951. Miss Sweden, Kiki Haakonson, carried off the first Miss World title in the Lyceum Ballroom in London, in what was originally intended to be a one-off event connected with the Festival of Britain. It was the brainchild of Eric Morley, once a London orphan, an Army captain during the war and a self-made entertainment entrepreneur of great shrewdness and drive. He had already started the Come Dancing programme, which would turn into BBC television's longest-running series, and he would set commercial bingo going in Britain, in 1961. He was in his early thirties and working for a dancehall and catering company called Mecca when it was approached by an RAF officer named Phipps, who had been put in charge of Festival of Britain publicity. Phipps was looking for some pizzazz to spice up the more sedate attractions and Morley suggested an international bathing beauty competition. That was supposed to be that, but the following year, when a Miss Universe contest was announced in the United States, Morley was piqued and persuaded his bosses at Mecca to keep Miss World going. It has kept going ever since. By 1970, when Morley's wife Julia, an ex-beauty queen herself, joined him in organising the contest and keeping the contestants' morals and modesty suitably protected (not invariably with success), Miss World was attracting television audiences in almost every country in the world and making huge amounts of money for charity.  To counter accusations that the show was equivalent to a female cattle market, the Morleys introduced questions and answers of a high-souled if stilted nature about each girl's ambitions and intellectual achievements. Morley himself loved appearing every year to announce the results, ‘in reverse order’. Morley was a lively, vigorous character, who became chairman of Mecca. He left in 1978, but he and his wife continued to run Miss World and he was an assiduous raiser of money for charity. British television dropped Miss World in 1988, but by 1997 it was attracting 2.5 billion viewers in 155 countries and Channel Five started covering it again in Britain in 1999. Morley died in 2000, aged eighty-two.


For which movie did Spielberg win his first Oscar?

Oscars Flashback '94: Spielberg Wins His First | ETonline.com Oscars Flashback '94: Spielberg Wins His First By ROBERT PACE December 04, 2012 Hailed filmmaker Steven Spielberg has one of the most beloved bodies of work in film history, but it took him some time to witness his hard work become cast in shiny medal at a major awards ceremony. However, the deep resonation of Schindler's List amongst audiences and critics helped him win his first Oscars in 1994. A professional filmmaker since the late '60s, Spielberg had been in the business for a while and had been putting out hit films from The Blues Brothers to E.T. the Extra-Terrestrial to Back to the Future, but he had yet to receive an Oscar for his work despite five nominations and an honorary Oscar as a producer. VIDEO: E.T. Gets the ET Treatment Spielberg not only won his first Oscar in 1994 for the Holocaust-based Schindler's List but won his first two Oscars that night, adding Best Picture to his Best Director Award. Although he was joyful to have won the award, he was reminded in the pressroom of his initial hesitation in making the film after buying the rights to the story. "I was very intimidated by the subject matter when I first read the book... I was just intimidated by the responsibility," he reflects in the flashback. "I just wasn't ready. Sometimes you're just not ready for these things...I woke up one morning and I said to Kate (wife), 'I've got to make 'Schindler's List,' and she said, 'Where did that come from?' and I said, 'I don't know, but I just have to make it.'" VIDEO: Oscars Flashback '90: Day-Lewis's Right Foot While the influence of Spielberg waiting to take on the final product of Schindler's List will never be known, it never seemed a more brilliant decision for him as he stood there with fistfuls of polished trophies. After waiting years for that very moment, Spielberg reflected on the win. "I could have dealt with never winning an Academy Award because I had practiced dealing with it for the last twelve years," he says. "So, this was a wonderful honor tonight. If I hadn't have gotten it, I probably would have been shattered...It's just great to win. It's just wonderful to win. I think all of us feel that way."


Which part did Michael Jackson play in The Wiz?

The Wiz (1978) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error An adaptation of 'The Wizard of Oz' that tries to capture the essence of the African-American experience. Director: From $2.99 (SD) on Amazon Video ON DISC "No Small Parts" IMDb Exclusive: 'Edge of Seventeen' Star Hailee Steinfeld Hailee Steinfeld has received critical acclaim for her role in the coming-of-age comedy The Edge of Seventeen . What other roles has she played over the years? Don't miss our live coverage of the Golden Globes beginning at 4 p.m. PST on Jan. 8 in our Golden Globes section. a list of 24 titles created 27 May 2012 a list of 30 titles created 14 Jan 2014 a list of 31 titles created 9 months ago a list of 45 titles created 6 months ago a list of 38 titles created 3 months ago Search for " The Wiz " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for     4     Oscars. Another    1 win & 7 nominations. See more awards  » Videos Edit Storyline Dorothy, a twenty-four-year-old kindergarten teacher, born; raised; and still working in Harlem, is celebrating Thanksgiving with her extended family, but she doesn't seem to be thankful for much in life. She lives a self-imposed sheltered life; she is shy and unfulfilled. Things change for her when she is caught in a snowstorm while chasing after her dog, Toto. They are transported to the mysterious Land of Oz, where she is informed that the only possible way to find her way back home is through the assistance of the powerful wizard in Emerald City. As she goes searching for him, she befriends some creatures who are facing problems in life just as she is. In their quest to find and get help from the wizard, they also face Evillene, the equally evil sister of Evermean, the wicked witch, whom Dorothy inadvertently killed when she arrived in Oz, and who may be their biggest obstacle in achieving their goals. Written by Huggo The Wiz! The Stars! The Music! Wow! See more  » Genres: 24 October 1978 (USA) See more  » Also Known As: Dolby (35 mm prints)| 70 mm 6-Track (70 mm prints) Color: Did You Know? Trivia Simultaneously with the release of the film, Congoleum, the flooring company that designed the look of the Yellow Brick Road for the film, also marketed the same design (also called Yellow Brick Road) for home use. See more » Goofs The scarecrow is still learning how to walk after he got down from the pole. When Dorothy runs to the taxis, the scarecrow walks perfectly to another place behind Dorothy. When they sing "Ease on down the road," the scarecrow is sill trying to walk to the Yellow Brick Road. See more » Quotes Scarecrow : Now I'll never get my brain! Tinman : Nor my heart. Lion : Or my courage Dorothy : But you don't need them now because you've had them all the time. Scarecrow, you're the one who figured out how to find the yellow brick road and how to destroy Evillene, and every smart move we've made, didn't you? Lion, you wouldn't even give up when Evillene strung you up by your tail. And, Tin Man, you have more heart than anyone I've ever known. Fitzstephens, Jack ... Music Editor & Guru See more » Connections Featured in Tarnation  (2003) See more » Soundtracks Just Like a Broadway Show--from the Cheap Seats 28 August 2004 | by IconsofFright – See all my reviews I just watched this for the first time, I've was expecting a true spectacle of "bad" cinema. I was surprised to find there is a decent movie here. Some people have remarked Diana Ross was too old to play Dorothy, OK, well, so was Judy Garland. True. There's really nothing wrong with this musical--The songs are excellent, performed by some great talents. The production design is spectacular (maybe a little dated, but still something to look at). The sets are a little nightmarish looking, true, but I liked that. I re


Which brothers bought Shepperton movie studios in 1994?

Shepperton Studios [gb] Sign in with Facebook Other Sign in options Shepperton Studios [gb] IMDbPro.com offers expanded company and employee contact details for over 62,600 companies in the entertainment industry as well as representation listings for over 140,000 individuals, including actors, directors, and producers. More information for this company is available on IMDbPro . Contact: The Book Thief (2013) ... Foley Recorded At Belle (2013) ... Foley Recorded At, Sound Re-recorded At The Numbers Station (2013) ... Foley Recording Frankenweenie (2012) ... Foley Recording My Week with Marilyn (2011) ... Sound Re-recording Facilities Hysteria (2011) ... Foley Recorded At Scott Pilgrim vs. the World (2010) ... Foley Recording Facility Nine (2009) ... Re-recording Facility (as Pinewood & Shepperton Studios) Pirate Radio (2009) ... Filmed On Location At (as Shepperton Studios, London, England) Keeping Mum (2005) ... Sound Re-recorded At Doom (2005) ... Sound Re-recorded At (as Shepperton Studios, England, UK) Color Me Kubrick (2005) ... Adr And Foley Recording, Sound Re-recorded At Mrs Henderson Presents (2005) ... Movie Studio Proof (2005) ... Thanks (as Shepperton Studios, London England) Sahara (2005) ... Movie Studio (uncredited) Valiant (2005) ... Sound Re-recording The Phantom of the Opera (2004) ... Foley Recorded At Closer (2004/I) ... Filmed At Alexander (2004) ... Movie Studio Bridget Jones: The Edge of Reason (2004) ... Movie Studio, Sound Re-recorded At (as Pinewood Shepperton Studios) Millions (2004) ... Re-recorded At Birth (2004) ... Foley Recorded At Finding Neverland (2004) ... Foley Recording (as Shepperton Studios) Yes (2004/I) ... Sound Re-recorded At


Which studios did the Rank Organization open in 1936?

A Brief History of The Rank Organisation | VCI Homepage A Brief History of The Rank Organisation Classic film buffs will fondly remember the thrilling sight of the famous “Gong Man” which preceded the opening credits of every movie produced by The Rank Organisation, England’s biggest and finest film production, distribution and exhibition company. The mere presence of this studio icon at the beginning of the film had the effect, much like the proverbial Pavlov’s dog, of wetting the theatre audience’s appetite, while assuring that they were about to share another brilliant movie experience. The Gong Man simply epitomized the best in filmmaking. J. Arthur Rank was born in 1888 in a decidedly Victorian England. He was the son of Joseph Rank, who owned a successful flour milling business. Young Rank eventually inherited his father’s business; however, it was never seriously his cup of tea. Rank was also a devout member of the Methodist Church and even became a Sunday school teacher, to which he often showed religious films. Disparaged by the lack of quality religious films, he began to produce his own, which he also then distributed to other churches and schools and eventually led to the formation of the Religious Film Society. In a momentous turn of events, the Methodist Times newspaper began to editorialize about the negative impact that British and American movies have on Britain’s families. The London Evening News countered with an editorial which suggested that instead of complaining, the Methodist Church should provide a solution for the problem. It was at that moment; J. Arthur Rank committed himself to take up the challenge. Rank, together with a young film producer named John Corfield and Lady Henrietta Yule of Bricket Wood, soon formed the British National Films Company and within short order, produced their first commercial film, Turn of the Tide. Though only modestly successful, their first production did at least provide the novicefilmmakers with an introduction to some of the challenges of working in the movie business. Far from discouraging Rank, the experience provided new motivation and launched the young company on a campaign of partnerships and acquisitions which would eventually create a worldwide conglomerate. Rank and his partners made their next move in 1935, becoming owner-operators of Pinewood Film Studios, which had only recently been created as a potential rival to the Hollywood studios. Then in 1936, Rank made a bold move to improve his distribution, by removing the middlemen who controlled 80% of the British film industry, and clogged the theatrical pipeline with American movies. He began by forming a partnership with filmmaker C.M. Woolf, for the purpose of creating the General Cinema Finance Corporation (GCFC). They then used that company to buy out General Film Distributors, the UK distributors for Universal Pictures. Distribution problems solved. By 1937, Rank’s movie assets were still accumulating, and besides Pinewood, now included Denham Film Studios, as well as several other interests, and it was at this time he consolidated these holdings in a new company called the Rank Organisation. In 1938, the Rank Organisation bought the Odeon cinema chain. In 1938, it also bought Amalgamated Studios in Elstree, and in 1941, it absorbed the Gaumont-British Picture Corporation, which owned 251 cinemas, and the Lime Grove Studios, (which Rank later sold to BBC Television.) It also acquired the Paramount cinema chain, so that by 1942, the Rank Organisation owned a total of 619 cinemas. By the late 1940s, Rank owned a total of five studios adding Ealing Studios and Islington Studios to those not already named above. The conglomerate also included Rank Screen Advertising and Deluxe Laboratories. During the 1940s and 1950s, The Rank Organisation employed some of England’s greatest directors, who produced some of the finest films ever made in Great Britain, including: Michael Powell and Emeric Pressburger (Black Narcissus, The Red Shoes, I Know Where I’m Going), David Lean (Brief Encounter, Great Expecta


Who made the film Renaldo and Clara with Bob Dylan?

Bob Dylan's Renaldo and Clara To Be Finally Released | Literary Kicks Bob Dylan's Renaldo and Clara To Be Finally Released Levi Asher • January 17th, 2011 Summer Of Love Dylanologists rejoice! I've heard from a semi-reliable source that Renaldo and Clara, a much-discussed and little-seen 1978 epic film by Bob Dylan, will soon be finally released on DVD. This astounding, rich and often frustrating movie represented one of the most dramatic episodes in Bob Dylan's long career. An ambitious, intentionally difficult postmodern art film, Renaldo and Clara was panned by critics for being pretentious, incomprehensible and painfully long (all of these things are true). Released in the early years of the punk-rock/new-wave era, the film's windy self-indulgence revealed Dylan as completely out of step with his times. Stung by the criticism, Dylan has refused to release the film ever since. It has not shown in theatres since the 1970s, and has never been officially released on VHS or DVD. But this movie is a masterpiece in spite of its faults, or perhaps because of them. Conceived by Dylan as an early experiment in cinema verite (a genre now typically known as "reality tv"), Renaldo and Clara tells a single story but deliberately confuses the identities of all the characters, several of which are played by Dylan, his former lover Joan Baez or his then-wife Sara Dylan. Bob Neuwirth, T. Bone Burnette, Ronee Blakely, Mick Ronson, Scarlet Rivera, Ronnie Hawkins, Rob Stoner and countless other friends come along for the ride. Various improvised or real-life scenes introduce themes of love, politics and the meaning of America, and by the end none of the themes are easily resolved. The film quality is erratic, the direction is often unclear, and the acting is often clumsy (guitarist Mick Ronson is particularly wooden, and Dylan is no Brando himself) However, stirring scenes and images emerge. Most importantly, the narrative scenes are intercut with stunning complete performances of great songs like Tangled Up In Blue, It Ain't Me Babe, Never Let Me Go, When I Paint My Masterpiece and One More Cup Of Coffee. The film features Dylan in a peak moment of live performance with the Rolling Thunder Revue (the largest and, in my opinion, most exciting band he ever played with). The film's literary credentials are through the roof. It's co-written by Sam Shepard, includes a powerful poetry performance by Anne Waldman, and features many beguiling scenes with Allen Ginsberg and Peter Orlovsky, who light up the screen whenever they appear. This movie is also the only close glimpse curious Dylan fans will ever get of Sara Dylan, the songwriter's greatest muse (Sad-Eyed Lady of the Lowlands) and the mother of his older children. I've seen Renaldo and Clara several times, but always on either a fuzzy bootleg VHS recording or, more recently, in broken segments on YouTube. In either case, the viewing experience is not great (it pretty much looks like the image at the top of this page, which show Sara and Bob as Clara and Renaldo). I'm looking forward to seeing it in high quality video for the first time, and hearing the killer live music in high quality audio. Maybe this time I'll even be able to understand more of the story. It's not clear whether Dylan has refused to release this film since the 1970s only to spite the critics or for other reasons. The crash-landing of Renaldo and Clara coincided with Dylan and Sara's divorce, after which the always enigmatic folk-rocker released a brilliant, Kafkaesque album called Street-Legal, then disappeared for several months and reemerged as a born-again Christian. Renaldo and Clara, though an artistic failure in several ways, captures the heat of an artist in a creative frenzy. It probably also captures something about the 1970s as a whole. My old friends at the once-thriving rec.music.dylan Usenet newsgroup may also remember that I once posted an extensive synopsis of the film there (this was one of the very first things I wrote online). Through maintaining this piece over the years, I've been made aware o


Which British composer wrote the theme music for the film Murder on the Orient Express?

Murder On The Orient Express- Soundtrack details - SoundtrackCollector.com Murder On The Orient Express Murder On The Orient Express (1974) Composer(s): Total number of members who have this title in their: Collection: 373 There are 7 compilation albums for this title. Things you can do: Members who have this label in their: Collection: 29 (a) The Body; (b) Remembering Daisy (03:03) 5.  Track listing contributed by Robert DiMucci Capitol Records TOCP 6588   Members who have this label in their: Collection: 11 Members who have this label in their: Collection: 60 from "Murder on the Ori�nt Express" by Richard Rodney Bennett 2.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 3.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 4.  The Ori�nt Express (11:25) from "Murder on the Ori�nt Express" by Richard Rodney Bennett 5.  The Body & Remembering Daisy (03:11) from "Murder on the Ori�nt Express" by Richard Rodney Bennett 6.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 7.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 8.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 9.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 10.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 11.  from "Murder on the Ori�nt Express" by Richard Rodney Bennett 12.  from "Death on the Nile" by Nino Rota 13.  Arrival At Wode Hall (01:30) from "Death on the Nile" by Nino Rota 14.  from "Death on the Nile" by Nino Rota 15.  from "Death on the Nile" by Nino Rota 16.  Duet And Love Theme (03:07) from "Death on the Nile" by Nino Rota 17.  from "Death on the Nile" by Nino Rota 18.  I Love My Baby (02:29) from "Death on the Nile" by Nino Rota 19.  The Statues Of Rameses (02:00) from "Death on the Nile" by Nino Rota 20.  from "Death on the Nile" by Nino Rota 21.  Journey On The Nile (02:53) from "Death on the Nile" by Nino Rota 22.  The Temple Of Karnak (02:13) from "Death on the Nile" by Nino Rota 23.  from "Death on the Nile" by Nino Rota 24.  from "Death on the Nile" by Nino Rota 25.  Fox Trot - Don't Say No To... (01:38) from "Death on the Nile" by Nino Rota 26.  from "Death on the Nile" by Nino Rota 27.  Waltz - The White Nile (01:21) from "Death on the Nile" by Nino Rota 28.  from "Death on the Nile" by Nino Rota 29.  Composed by Sir William Walton 5.  ODD MAN OUT: Prelude (03:53) Composed by Willian Alwyn LADY CAROLINE LAMB: Elegy for Viola and Orchestra (2nd Movement) (02:58) Composed by Sir Richard Rodney Bennett 7.  BRIEF ENCOUNTER: Piano Concerto No.2 (09:16) Composed by Serge Rachmaninoff THE INN OF THE SIXTH HAPPINESS: London Prelude (03:40) Composed by Malcolm Arnold HENRY V: Touch Her Soft Lips and Part (01:28) Composed by Sir William Walton 10.  FOUR WEDDINGS AND A FUNERAL: Love Scene (03:22) Composed by Sir Richard Rodney Bennett 11.  633 SQUADRON: Main Titles (02:44) Composed by Ron Goodwin THE CRUEL SEA: Main Titles and Nocturne (04:43) Composed by Alan Rawsthorne


The expression Great White Hope was used to describe which black boxer's opponents?

The Great White Hope | Civic Issues- Race The Great White Hope 3 Replies As an avid fan of sports and hip-hop it’s easy to recognize the similarities that both possess. For example their both very popular and a part of the mainstream consciousness. Another similarity they share, at least in America, is that they are both realms of society that are dominated by African Americans. While that domination of two of the largest American entertainment realms by one race is interesting what’s even more interesting is the effect it has on the race that is the majority in the other American realms.  This domination of African Americans in hip hop and sports has led to one of the most unique Phenomenon in the world, the phenomenon of “The Great White Hope”. I’m sure we have all heard the term before. It’s usually used in some form of jest. But I think it has deeper racial implications that we often don’t realize or choose to ignore. Why do we even have this term? Well origin wise it comes form the early 1900s, courtesy of the great American write Jack London. At the time Jack Johnson was the best boxer in the world. Unfortunately he was black so he didn’t get a chance at the championship. After chasing the champion for two years, jack Johnson finally got a chance at the title and won handily in fifteen rounds. Not able to stomach the sight of a black boxing champion Jack London called on James Jeffries, who retired to avoid fighting Johnson, to come out of retirement, christening him the “Great White Hope”. Needless to say Jack Johnson demolished James Jeffries. Ever since then whenever there’s a white person as the minority in sports or music they’ve been christened with the unique moniker. But why? Its understandable that the term was used on the past but surely in this day and age we would value people as individuals for their skills rather than their skin color. Sadly, we still use the term. I mean you can ever argue that part of Eminem’s early success came from the fact that he represented a white face in a sea of black rappers. But back to the reasoning behind the term. In my opinion, the moniker is a sign of fear. It shows that white people are afraid of being reduced to the minority. There’s a moment in Django Unchained where Calvin Candie, the southern plantation owner played by Leonardo DiCaprio asks “Why didn’t the blacks rise up and kill all the whites?”.  Well that has come true albeit in a much different way through the freeing of slaves and the subsequent years of civil rights reform. The use of Great White Hope seems to be a defense mechanism to give the white race a champion to defend them from being overwhelmed. Its one thing when the phrase is used in the entertainment world. Athletes and musicians are entertainers and they need to drum up business so you can partly chalk up the use of the phrase to marketing. Using the term evokes images of conflict, which is useful in sports because it forces people to pick sides. What’s alarming though is the use of the phrase outside of the entertainment world. In the Huffington Post article by Bob Burnett it goes in length about Mitt Romney’s attempts to win the white vote by casting himself as the great white hope. While he never uses the phrase, little things like birther jokes help solidify the one big superficial difference between Romney and Obama; that is the color of their skin. Now this is all opinionated and open to discussion. But regardless of what you think about what I stated above there is no denying that there are some deep racial issues in the use of the “Great White Hope”. It’s just hard to pinpoint the exact root feeling and meanings behind the phrase because we don’t take it that seriously anymore. It’s too playful. But the playfulness overshadows a very serious darkness, which has never really been addressed. Which brings us to the question of WHY? Why do we need to label things by race? It can’t just be two boxers fighting in the ring? It has to be “The Great White Hope” Vs “Whoever Opposes the White Race”? I don’t know the answers to these questions but


Which Dallas actress was born on exactly the same day as singer / songwriter Stephen Stills?

January 3 - Famous Birthdays - On This Day On This Day Famous Birthdays on January 3 Full Calendar Birthdays 1 - 200 of 237 Person of Interest 106 BC Cicero , Roman statesman and philosopher, born in Arpinum (d. 43 BC) Roman Statesman & Philosopher 1196 Emperor Tsuchimikado of Japan (d. 1231) 1624 William Tucker, 1st African American child born in America 1680 Johann Baptist Zimmermann, German stucco worker 1698 Pietro Metastasio, Italian poet (d. 1782) 1710 Richard Gridley, American Revolutionary soldier (d. 1796) 1719 Francisco José Freire, Portuguese historian (d. 1773) 1722 Fredric Hasselquist, Swedish naturalist (d. 1752) 1730 Charles Palissot de Montenoy, French writer/politician 1757 Johann Abraham Sixt, composer 1760 John Storm, American Revolutionary soldier (d. 1835) 1763 Joseph Fesch, French cardinal/war commission/earl/senator 1777 Louis Poinsot, French instrument worker 1777 M A Elisa Bonaparte, Corsican monarch of Lucca/Piombino 1778 Antoni Melchior Fijałkowski, Polish bishop (d. 1861) 1786 [Johann Christian] Friedrich Schneider, German composer and conductor (d. 1853) 1789 Carl G Carus, German physician/psychologist/philosopher 1793 Lucretia Coffin Mott, US, teacher/minister/abolitionist/feminist 1802 Feliks Ostrowski, composer 1802 Charles Pelham Villiers, British House of Commons member (d. 1898) 1803 Douglas William Jerrold, author/playwright/wit (Punch Mag), born in London, England 1806 Henriette Sontag, German soprano (d. 1854) 1810 Antoine T d'Abbadie, French explorer (Ethiopia) [or Jul 24] 1810 Eliza Von Bretton di Zerega, Danish West Indies, baroness 1819 Thomas Hill Watts, Atty Gen (Confederacy), (d. 1892) 1819 Charles Piazzi Smyth, Astronomer Royal for Scotland (d. 1900) 1823 Jaak-Nikolaas Lemmens, Flemish composer 1828 Karl Collan, Finnish composer 1829 John G R Acquoy, theologist/church historian 1829 Konrad Duden, German linguist (Der grosse Duden) 1830 Alexander Ewing, composer 1835 Larkin Goldsmith Mead, sculptor 1836 Sakamoto Ryoma, Japanese revolutionary (d. 1867) 1840 Father Joseph Damien de Veuster, Belgium, helped lepers in Hawaii 1853 Iwan Knorr, German composer, born in Mewe (d. 1916) 1855 Hubert Bland, English socialist (d. 1914) 1861 William Renshaw, British champion tennis player (d. 1904) 1862 Sir Matthew Nathan, British Governor of Queensland and other places (d. 1939) 1865 Henry Lytton, British actor and opera singer (d. 1936) 1868 Franz V M Cumont, Belgian religious historian 1869 Paul Charles Rene Landormy, composer 1870 Henry Eichheim, composer 1870 Henry Handel Richardson, Australia, novelist (Richard Mahoney) 1873 Ichizo Kobayashi, Japanese businessman (d. 1957) 1876 Wilhelm Pieck, co-founder German Communist Party/pres (1949-60) 1879 Grace Anna Goodhue Coolidge, US First Lady (1923-29) 1882 Willem Benoy, Flemish actor/director (Pygmalion) Person of Interest 1884 Eli S Jones, US, evangelist (Christ of Indian road) 1884 Raoul Armand Georg Koczalski, composer 1886 Arthur Mailey, cricketer (great Aussie leg-spinner & cartoonist) 1886 John G Fletcher, US, poet (Epic of Arkansas) 1886 Josephine Hull, Newtonville MA, Academy award actress (Harvey) 1887 Helen Parkhurst, US educator (Education on the Dalton plan) 1887 August Macke, German painter (d. 1914) 1891 Osip E Mandelstam, Polish/Russian poet/author (Kamenj) [NS=Jan 15] Person of Interest 1892 J. R. R. Tolkien , British author (The Hobbit, The Lord of the Rings), born in Bloemfontein, South Africa (d. 1973) Writer and Academic 1893 Pierre Drieu La Rochelle, French novelist/essayist (Gilles) 1894 ZaSu Pitts, American actress (Life With Father, Dames, Wedding March), born in Parsons, Kansas (d. 1963) 1895 Boris Mykolayovich Lyatoshyns'ky, composer 1895 Mihail Andricu, composer 1897 Marion Davies, [Marion Cecelia Douras], Bkln, actress (Operator 13) 1897 Pola Negri, [Barbara A Chalupec], Polish/US actress (Madame Bovary) 1898 Johannes Hin, Holland, yachtsman (Olympic-gold-1920) 1900 Dorothy Arnzer, director 1901 Eric Voegelin, Germany, US philosopher (Order & History) 1901 Ngo Dinh Diem, pres/dictator of South Vietnam (1955-63)


Who was the German soldier in Rowan and Martin's Laugh In?

Rowan and Martin's Laugh-In (Series) - TV Tropes Rowan and Martin's Laugh-In You need to login to do this. Get Known if you don't have an account Share Series / Rowan and Martin's Laugh-In × WMG The cast during the second season (1968-69) note From top to bottom, starting from the left — First column: Dave Madden. Second column: Larry Hovis, Chelsea Brown, Judy Carne. Third column: Goldie Hawn, Henry Gibson, Dan Rowan. Fourth column: Arte Johnson, Ruth Buzzi, Dick Martin. Fifth column: Alan Sues, Jo Anne Worley. Not pictured: Gary Owens. Announcer: This show has been prerecorded to give the cast a chance to get away. German Soldier: Veeeeery eenteresting, but they'll never make it across the border. (laughs maniacally) An iconic, anarchic hour-long Sketch Comedy series broadcast on NBC from 1968 to 1973. Created by George Schlatter, it broke new ground in television comedy with its rapid-fire jokes, outrageous characters and — for the time — utterly insane and over-the-top humor. The show's ostensible hosts were the urbane Dan Rowan and the somewhat dim Dick Martin, but this tuxedo-clad pair were frequently outshone by the platoon of seeming lunatics who made up the rest of the cast. The show is best known today for the future stars whose careers it launched — Goldie Hawn, Lily Tomlin , Tiny Tim , Henry Gibson, Ruth Buzzi, Arte Johnson, Pat Paulson, and Jo Anne Worley among others — and the incredible comic moments it managed to pull off (such as then-presidential-candidate Richard Nixon asking America to "sock it to him"). But until the birth of Saturday Night Live several years later, Laugh-In was the touchstone of modern American humor. (SNL emulated it, in some ways — unsurprisingly, because many Laugh-In writers later worked on SNL, including the later show's creator and executive producer, Lorne Michaels .) It was possibly the single largest source of Running Gags , Catch Phrases and other pop culture contributions during the middle of the 20th century, and developed during its surprisingly brief run an utterly unique and frenetically subversive style that carried them directly into the subconscious of the viewer. Because of its wild and unpredictable yet intelligent style, it was also often very successful at getting surprisingly risque material (for the era) on the air — usually by setting up apparently-innocent situations where the viewer's mind would fill in the blanks with suitably dirty punchlines and speculations of their own. Regular features of the show included Rowan and Martin's opening "monologue", Gladys and Tyrone the Dirty Old Man on the park bench, the "cocktail party", the not-quite adventures of the Farkle family, "Laugh-In News" and the end-of-episode "joke wall". In addition to the videotaped studio sketches, there were also a large number of filmed bits, most of them running gags, including most famously Judy Carne and Goldie Hawn go-go dancing, and the raincoated man on his tricycle. Every episode had a celebrity Special Guest who participated — usually with gleeful good humor — in the anarchic goings-on. Certain stars — like Tiny Tim — were particular favorites and were brought back episode after episode until they were almost members of the main cast themselves. Video clips of previous guest stars would also frequently show up on later shows as punchlines, setups or simple Reaction Shots . Part of the show's charm was due to Schlatter's tendency not to do retakes, leaving bungles, bloopers and cast crack-ups in place for broadcast. (In fact, he often deliberately provoked Goldie Hawn into fits of giggles on-camera just so he could film and broadcast her laughing.) This gave the impression of a show that was often completely out of control and on which almost anything could happen. The often psychedelic set design just added to it, although Laugh-In never did any kind of overt hard drug humor (although most episodes had a coy marijuana one-liner or two). George Schlatter attempted to recreate the success of Laugh-In for ABC by cloning it into a show called Turn-On. However, the first episode


Who had a 1980s No 1 hit with Shakedown?

Revisiting Bob Seger's Only No. 1 Hit, 'Shakedown' Subscribe to Ultimate Classic Rock on It took two decades, Eddie Murphy and a five-year break from the Top 10 for Bob Seger to score his first, and only, No. 1 hit. On top of all that, after recording for the same company for 20 years, that hit single was on a different label – a one-off song cut for a soundtrack album. But the Beverly Hills Cop franchise was no ordinary ’80s product. It was product, no mistake, but the movies featured Murphy, the hottest comedy star of the decade. The first film in the series, 1984’s Beverly Hills Cop, was a smash, and its soundtrack album reached No. 1. The 1987 follow-up promised more of the same – but bigger. Glenn Frey had a No. 2 hit with “The Heat Is On” from the first movie. But Bob Seger, who hadn’t had a Top 10 song since “Shame on the Moon” climbed to No. 2 in 1982, did him one better with “Shakedown.” (Reportedly, Frey was supposed to sing the follow-up too, but in a turn of events, Seger ended up with the song.) Remarkably, it was Seger’s only chart-topper after nearly three dozen charting singles. “Shakedown” was written by Bob Seger, Harold Faltermeyer (who hit No. 3 with the instrumental “Axel F” from the first movie) and Keith Forsey, who produced the song (as well as other tracks on the Beverly Hills Cop II soundtrack). And it sounded nothing like the meat-and-potatoes heartland rock that Seger’s fans were used to. In fact, with its heavy use of synthesizers and dance beat that aims for both the Top 40 and club floors, the song is one of the worst of Seger’s long career. But he needed the boost. After breaking out with Night Moves in 1976, Seger was on a roll, logging six Top 10 songs in six years, plus a No. 1 album. In the mid ’80s, with MTV dominating the charts, Bob Seger’s brand of gutsy rock ‘n’ roll – splashed with some old-school R&B and even a bit of Detroit-style garage rock – was falling out of favor with mainstream fans. Seger’s two singles preceding “Shakedown” didn’t even reach the Top 50. So, “Shakedown” was the temporary shot in the arm that Seger needed. But it was temporary. After staying at the top of the chart for one week in August 1987, the song slowly slipped from the upper reaches of the Top 40 – and so did Bob Seger. In the 26 years since it reached No. 1, Seger has had only one other charting single, 1991’s “The Real Love,” which stalled at No. 24. For one week in 1987, though, he was on top of the world, thanks to a summer blockbuster, Eddie Murphy and a song the MTV generation could identify with. See Bob Seger and Other Rockers in the Top 100 Albums of the ’70s Image of


On whose life was the short-lived musical Winnie based?

Movie Review - 'Mandela: Long Walk to Freedom' : NPR With: Idris Elba , Naomie Harris , Terry Pheto In English, Xhosa and Afrikaans. Some movies try to underscore their authenticity by flashing dates, names and locations on the screen. Mandela: Long Walk to Freedom offers some dates and locations, but not much in the way of names. The result is a history of national transformation in which only two people really seem to matter. One of them, of course, is Nelson Mandela, whose memoir is a major source for William Nicholson's script. As embodied by Idris Elba, Mandela is a powerful physical presence. The movie shows its protagonist walking, running and doing pushups to freedom. Even during 27 years in prison, his vigor rarely flags. The other dynamo is Winnie Mandela, Nelson's second wife and eventual adversary, and Naomie Harris fiercely conveys the rage and certainty that make her the film's most interesting character. The scenes in which she refuses to join her husband's campaign for racial reconciliation are the strongest and most complex. Elsewhere, however, complexity doesn't seem to be a priority for director Justin Chadwick, whose previous historical pictures include the soapy, baldly fictionalized The Other Boleyn Girl. There's a lot of Mandela's 95 years to get on screen, plus a few corny dream sequences, and a mere 139 minutes to do it. Article continues after sponsorship Chadwick begins, after a glimpse at the great man's modest rustic childhood, with Mandela's work as a lawyer in Johannesburg in the 1940s. The young attorney displays an erotic bravado that's especially pungent — and risky — in piously racist South Africa. Mandela doesn't just flirt with, fondle and cheat with black women; he embarrasses a white woman into dropping a theft case by displaying a contested pair of underpants to the court. Naomie Harris plays the role of Mandela's second wife, Winnie Mandela, and the two of them spark some of the film's best and most complex moments. Keith Bernstein/The Weinstein Company hide caption toggle caption Keith Bernstein/The Weinstein Company The story then leaps, and jarringly, to the 1960 massacre in Sharpeville, where police opened fire on unarmed demonstrators. That famous outrage is used here as narrative shorthand for Mandela's radicalization, which in fact happened long before that. No matter: He begins to work with the African National Congress and its military wing, Spear of the Nation. Arrested in 1962, Mandela is brought to trial with seven other men. One small detail is all that distinguishes them: The black "boys" are issued shorts, while the one prisoner of Indian descent is given trousers. Most of these men will still be Mandela's cohorts 27 years later, yet they're never introduced. That's typical of the movie, which focuses all too tightly on its namesake. Occasionally, the filmmakers crack open a window and context floods in, usually in the form of vintage TV news footage. Mostly, though, the movie is designed for people who already know some history of South Africa from 1942 to 1994, or who don't much care. The black-on-black carnage of the early '90s is invoked but not explained; in fact this period is depicted almost grudgingly, as an annoying bump on the road to Mandela's electoral triumph. Finally, South Africa's first black president goes to greet his people, heralded by the tintinnabulating guitar of ... U2's "The Edge." Enlisting the Irish pompsters for that final musical flourish is a strange touch, and a telling one. The film was shot entirely in South Africa, and revels in golden light on dry yellow grasslands. But it's still a very British movie, a respectful view from a suitable distance. That approach is echoed by Elba's performance, which is keyed to the public man, not the private one. Mandela: Long Walk to Freedom scants both history and psychology, thus rendering its account of South Africa's self-determination saga equally opaque to scholars and casual observers.


How many Gilbert & Sullivan operas are there?

G&S101: The Gilbert & Sullivan Story I (All the photos below are thumbnails  click on them to see larger versions.) William Gilbert  Arthur Sullivan  Richard D'Oyly Carte Beginning in the 1870s, three Englishmen -- playwright William    S. Gilbert and composer Arthur Sullivan --revolutionized the musical theatre, creating a series of witty, melodic operettas that set a new    standard for stage professionalism. Sullivan's music sparkled with fresh melody,    and Gilbert's librettos blended silliness and satire in settings that ranged from pure fantasy to the utterly realistic. Innovative producer Richard D'Oyly Carte publicized these shows as "light operas", but by any name, they were musicals  some of the finest the world would ever see in any language. Beginnings Gilbert was an unsuccessful attorney before a series of his illustrated comic poems    were published in several popular British magazines. This opened the way to a successful career    as a London playwright and director. At the same time, Sullivan was winning    acclaim as Britain's most promising serious    composer, but he was quite willing to compose lighter pieces to cover the    expenses of the high-society lifestyle he craved. Both men had written minor musical    shows with other collaborators, but neither expected that musical theatre would be their key    to lasting fame. In the 1860s, the British musical theatre consisted of variety shows, French operettas, and the slapdash comic light operas presented by John Hollingshead at his Gaiety Theatre. Hollingshead hired Gilbert and Sullivan to create Thespis (1871 - 63), a mythological spoof involving a theatrical troupe that stumbles onto Mount Olympus and trades places with the aging Greek gods. Written and staged in a frantic five weeks, Gilbert himself later dismissed this show as "crude and ineffective," but it impressed at least one audience member  aspiring producer Richard D'Oyly Carte. Four years later, when Carte needed a one-act "curtain raiser" to share the bill with his production of Offenbach's La Perichole at London's Opera Comique, he convinced G&S to adapt one of Gilbert's satirical poems. Trial By Jury: The Curtain Raiser The opening night of Trial By Jury as recreated for The Gilbert and Sullivan Story. The resulting thirty five minute musical eclipsed La Perichole and became the talk of London. Trial By Jury (1875 - 131) was a delicious spoof of a breach of promise trial, a now-forgotten procedure where a man could be sued by a woman for withdrawing a proposal of marriage. In the show, the defendant is a roguish playboy, the pretty plaintiff (wearing her wedding dress) flirts shamelessly with the all-male jury, and an amoral judge shamelessly resolves the case by marrying the girl himself. Trial By Jury established several comic themes that would run through most of Gilbert and Sullivan's shows  unqualified men who have oiled their way into high public office the course of true love flows in surprising directions a flagrant disdain for women over 40 years of age Example: Trial's "Learned Judge" (originally portrayed by Sullivan's brother Frederic) sings of the questionable tactics that brought him to his exalted position -- At Westminster Hall In the dusk, With a light behind her!" Although both Gilbert and Sullivan looked on operetta as a sideline,    they realized it could prove very profitable. So D'Oyly Carte had little    if any trouble persuading them to attempt a full-length work. The Sorcerer George Grossmith, who originated most of the G&S comic "patter" roles  seen here as John Wellington Wells in The Sorcerer. The Sorcerer (1877 - 178) involved magician John Wellington Wells, who wreaks havoc in a small English   village with a love potion. By having members of the upper and lower classes   fall in love with each other, The Sorcerer lampooned Victorian   notions of social propriety and class distinction, but it's comedy was so polished,   witty and utterly respectable that no one took offense. It had a


"Who said, ""Middle age is when your age starts to show around your middle?"""

Middle age is when your age starts to show around your middle. - Bob Hope - BrainyQuote Middle age is when your age starts to show around your middle. Find on Amazon: Bob Hope Cite this Page: Citation


"About whom did Kenneth Tynan say, ""What one sees in other women drunk, one sees in... sober?"""

Kenneth Tynan - Wikiquote Kenneth Tynan Jump to: navigation , search No theater could sanely flourish until there was an umbilical connection between what was happening on the stage and what was happening in the world . Kenneth Tynan ( 2 April 1927 – 26 July 1980 ) was a British author most famous for his theatre criticism. Contents Quotes[ edit ] We shall be judged by what we do, not by how we felt while we were doing it. How far should one accept the rules of the society in which one lives? To put it another way: at what point does conformity become corruption ? Only by answering such questions does the conscience truly define itself. A good many inconveniences attend playgoing in any large city, but the greatest of them is usually the play itself. Article in the New York Herald Tribune (17 February 1957) I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium. Letter to George Devine (10 March 1964), printed in Kenneth Tynan : A Life by Dominic Shellard [Yale University Press, 2003, ISBN 0-300-09919-3 ], p. 292 I doubt if there are very many rational people in this world to whom the word "fuck" is particularly diabolical or revolting or totally forbidden. Spoken during a discussion on censorship, broadcast live on the BBC program BBC-3, (13 November 1965) Tynan was the first to say this word on British television, leading to an apology from the BBC and several motions in the House of Commons. Any country that has sexual censorship will eventually have political censorship. As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966) I hope I never need to believe in God . It would be an awful confession of failure . As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966) A critic is a man who knows the way but can't drive the car. As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966) No theater could sanely flourish until there was an umbilical connection between what was happening on the stage and what was happening in the world. As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966) Not content to have the audience in the palm of his hand, he goes one further and clinches his fist. As quoted in "Kenneth Tynan — The Critic As Elegant Conversationalist" by by Robert Cushman in The New York Times (17 August 1980) A neurosis is a secret that you don't know you're keeping. Quoted in Kathleen Tynan , The Life of Kenneth Tynan (1987), p. 188 Tynan Right and Left (1967)[ edit ] A good drama critic is one who perceives what is happening in the theatre of his time . A great drama critic also perceives what is not happening. The man who reacts to the universe with a cry of impotent anguish is acceptable as an artist only if he can persuade us that he has sanely considered the other possible reactions and found them inadequate. A good drama critic is one who perceives what is happening in the theatre of his time . A great drama critic also perceives what is not happening. Foreword, p. viii John Osborne spoke out in a vein of ebullient, free-wheeling rancour that betokened the arrival of something new in the theatre — a sophisticated, articulate lower-class. Most of the critics were offended by Jimmy Porter , but not on account of his anger; a working-class hero is expected to be angry. What nettled them was something quite different: his self-confidence. This was no env


Michael Jackson's Will You Be There came from which movie?

WILL YOU BE THERE-MICHAEL JACKSON(FREE WILLY) - YouTube WILL YOU BE THERE-MICHAEL JACKSON(FREE WILLY) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 5, 2007 HOT SONG , HOT MOVIE


Who had a 60s No 1 hit with The Theme From a Summer Place?

BT 100 1960 No 1 - Theme From a Summer Place by Percy Faith - YouTube BT 100 1960 No 1 - Theme From a Summer Place by Percy Faith Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 12, 2014 "Theme from A Summer Place" is a song with lyrics by Mack Discant and music by Max Steiner, written for the 1959 film A Summer Place, which starred Sandra Dee and Troy Donahue. It was recorded for the film by Hugo Winterhalter. Originally known as the "Molly and Johnny Theme", the piece is not the main title theme of the film, but a love theme for the characters played by Dee and Donahue. Percy Faith recorded the most popular version of the tune in the Columbia 30th Street Studio in New York City, which spent an at-the-time record of nine consecutive weeks at #1 on the still-young Billboard Hot 100 singles chart in early 1960. It remains the longest-running #1 instrumental in the history of the chart. Billboard ranked Faith's version as the No. 1 song for 1960.[3] It reached #2 in the UK. It hit #1 in Italy under the title "Scandalo Al Sole". Faith won a Grammy Award for Record of the Year in 1961 for his recording. This was the first movie theme and the first instrumental to win a Record of the Year Grammy. Faith re-recorded the song twice – first, in 1969, as a female choral version, then, in 1976, as a disco version titled "Summer Place '76". In 2008, Faith's original version was ranked at #18 on Billboard's top 100 songs during the first 50 years of the Hot 100 chart. Category


Who won the Best Director Oscar for Platoon?

Platoon - Awards - IMDb Oliver Stone Stone was nominated twice in the category and won an equal number of votes for both films. Tied ... More Stone was nominated twice in the category and won an equal number of votes for both films. Tied with Oliver Stone for Salvador (1986). National Society of Film Critics Awards, USA 1987 3rd place


In which decade of the 20th century was Jessica Lange born?

Helen Hayes - Biography - IMDb Helen Hayes Jump to: Overview  (5) | Mini Bio  (1) | Spouse  (1) | Trivia  (27) | Personal Quotes  (11) Overview (5) First Lady of the American Theater Height 5' (1.52 m) Mini Bio (1) Known as "The First lady of the American Theater", Helen Hayes had a legendary career on stage and in films and television that spanned over eighty years. Hayes was born in Washington, D.C., to Catherine Estelle "Essie" Hayes, an actress who worked in touring companies, and Francis van Arnum Brown, a clerk and salesman. Her maternal grandparents were Irish. A child actress in the first decade of the 20th century, by the time she turned twenty in 1920 she was well on her way to a landmark career on the American stage, becoming perhaps the greatest female star of the theatre during the 1930s and 1940s. She made a handful of scattered films during the silent era and in 1931 was signed to MGM with great fanfare to begin a career starring in films. Her first three films, 'Arrowsmith', 'The Sin of Madelon Claudet', and 'A Farewell to Arms (1932)', were great hits and she would win the 1932 Oscar for Best Actress for her work in Madelon Claudet. Alas, her lack of screen glamour worked against her becoming a box office star during the golden era of Hollywood, and her subsequent films were often not well received by critics. Within four years she had abandoned the screen and returned to the stage for the greatest success of her career, "Victoria Regina", which ran for three years starting in 1935. Helen Hayes returned to motion pictures with a few featured roles in 1950s films and frequently appeared on television. In 1970, she made a screen comeback in 'Airport' (1970), a role originally offered to Claudette Colbert , who declined it, earning Hayes her second Oscar, this time for Best Supporting Actress. Helen Hayes retired from the stage in 1971 but enjoyed enormous fame and popularity over the next fifteen years with many roles in motion pictures and television productions, retiring in 1985 after starring in the TV film 'Murder With Mirrors'. - IMDb Mini Biography By: HarlowMGM Spouse (1) ( 17 August  1928      - 21 April  1956) (his death) (2 children) Trivia (27) Lived for many years in an historic house in Nyack, New York called "Pretty Penny." Located at 235 North Broadway, she regularly offered tours of her well maintained gardens to the local garden clubs. The house was purchased by television personality and actress Rosie O'Donnell , a few years after her death, from her surviving son, actor James MacArthur . Received the Women's International Center (WIC) Living Legacy Award in 1985. Pre-eminent US stage actress. She was regarded as the First Lady of the American Theater. Interred at Oak Hill Cemetery, Nyack, New York, USA. Mother of stage actress Mary MacArthur, who died in 1949 at the age of nineteen, and adoptive mother of actor James MacArthur . Charter member of the National Women's Hall of Fame in 1973. She had a career than spanned over 80 years beginning as a child actress at age 5. The lights of Broadway were dimmed for one minute at 8:00 p.m. on the day she died. She made frequent trips to hospitals because of asthma attacks aggravated by backstage dust. When asthma ended her theatrical career, Hayes wrote books and raised funds for organizations that fight asthma. In 1958, she became the second performer to win the Triple Crown of Acting. Oscars: Best Actress, The Sin of Madelon Claudet (1931) and Best Supporting Actress, Airport (1970), Tony: Best Actress-Play, "Time Remembered" (1958), and Emmy: Best Actress of 1953. Won three Tony Awards, two Best Actress (Dramatic) awards -- one in 1947 for "Happy Birthday," an award that was shared with Ingrid Bergman for "Joan of Lorraine," another in 1958, for "Time Remembered" -- and a third, Special Tony Award in 1980, namely: The Lawrence Langer Memorial Award for Distinguished Lifetime Achievement in the American Theatre. She was also nominated as Best Actress (Dramatic) in 1970 for a revival of "Harvey." Is one of only a few actors to win an Osca


"Which film poster included the line ""I told you... you know nothing about wickedness?"""

PoundPosters.com: The Lady from Shanghai 35.5cm x 28cm Mini Print for Only £1 - Buy now! Trustpilot Film Print: Directed by the iconic Orson Wells, 'The Lady from Shanghai' starred Rita Hayworth as Elsa 'Rosalie' Bannister and was a classic film from the 1940's and 50's film era. This stunning mini print shows an illustrated depiction of Heyworth as she stands seductively in a black dress with her back on show. With the quote "I told you...you know nothing about wickedness", this gorgeous mini print is sure to make an eye catching addition to your home. Related Categories