1929 ON WITH THE SHOW film songs LOT OF TWO Betty Compson ETHEL WATERS ukulele

The Great Gabbo is a fascinating psychological drama starring the captivating Erich von Stroheim. One of the most brilliant film directors of all time, von Stroheim was also an arresting actor whose screen presence is rarely rivaled today. In his most wide ranging and complex role, von Stroheim plays a profound but emotionally tortured ventriloquist who uses his dummy Otto to let out his rage. The beautiful and remarkable Betty Compson plays von Stroheim's assistant who loves him, but has trouble getting past his deeply troubled mind. Compson is excellent, but this film is about von Stroheim and his deterioration into insanity. Powerfully subtle, richly simple, The Great Gabbo is an artistic triumph thanks to the genius of Erich von Stroheim.

Ethel Waters overcame her disadvantaged childhood to become the most famous African American actress, singer, and entertainer of her time. Her critically acclaimed move to Broadway in the mid 1920s—after having first triumphed in Black vaudeville during the Harlem Renaissance—brought the startlingly innovative and subtle character of Black Theatre into the mainstream. Ethel transformed such songs as "Dinah, " "Am I Blue?, " "Stormy Weather, " and Irving Berlin's "Heat Wave" into classics and inspired the next generation of Black female vocalists. She gave sophistication and class to the blues and American popular song, and she influenced countless singers including Judy Garland and Frank Sinatra.Tough, uncompromising, courageous, and ambitious, Ethel Waters became one of the first African American women to be given equal billing with white stars on the Broadway stage. In 1943, the film version of her Broadway success, Cabin in the Sky, established her as Hollywood's first Black-leading lady. In such plays as Mamba's Daughters and films including The Member of the Wedding, she shattered the myth that Black women could perform only as singers. For her work in Pinky, she received an Academy Award nomination for Best Supporting Actress, the second African American to be so honored.Although she was arguably the most influential female blues and jazz singer of the 1920s and 1930s, as well as a major Black figure in 20th century theatre, cinema, radio, and television, she is now the least remembered. In Ethel Waters: Stormy Weather, Stephen Bourne documents the career of this monumental figure in American popular culture, offering new insights into the work of this forgotten legend. Supplemented by fourteen photographs, this biography leaves little doubt as to why—for decades—no other Black star was held in such high regard.

Compiled and arranged by Jumpin' Jim Beloff, The Daily Ukulele features 365 well-known songs with easy ukulele arrangements. All arrangements feature melody, lyrics and uke chord grids and are in ukulele-friendly keys that are particularly suited for groups of one to one hundred to play and sing. Includes favorites by the Beatles, Beach Boys and Bob Dylan, folk songs, kids songs, Christmas carols and Broadway and Hollywood tunes, all with a spiral binding for easy usage. Also features a tips and techniques section, complete chord chart, ukulele history overview and vintage ukulele-themed photos and art throughout. The Daily Ukulele offers ukulele fun all year long!

Ethel Waters overcame her disadvantaged childhood to become the most famous African American actress, singer, and entertainer of her time. Her critically acclaimed move to Broadway in the mid 1920s—after having first triumphed in Black vaudeville during the Harlem Renaissance—brought the startlingly innovative and subtle character of Black Theatre into the mainstream. Ethel transformed such songs as "Dinah, " "Am I Blue?, " "Stormy Weather, " and Irving Berlin's "Heat Wave" into classics and inspired the next generation of Black female vocalists. She gave sophistication and class to the blues and American popular song, and she influenced countless singers including Judy Garland and Frank Sinatra.Tough, uncompromising, courageous, and ambitious, Ethel Waters became one of the first African American women to be given equal billing with white stars on the Broadway stage. In 1943, the film version of her Broadway success, Cabin in the Sky, established her as Hollywood's first Black-leading lady. In such plays as Mamba's Daughters and films including The Member of the Wedding, she shattered the myth that Black women could perform only as singers. For her work in Pinky, she received an Academy Award nomination for Best Supporting Actress, the second African American to be so honored.Although she was arguably the most influential female blues and jazz singer of the 1920s and 1930s, as well as a major Black figure in 20th century theatre, cinema, radio, and television, she is now the least remembered. In Ethel Waters: Stormy Weather, Stephen Bourne documents the career of this monumental figure in American popular culture, offering new insights into the work of this forgotten legend. Supplemented by fourteen photographs, this biography leaves little doubt as to why—for decades—no other Black star was held in such high regard.

Store Search search Title, ISBN and Author Songs of Dream (1903) by Ethel Clifford Estimated delivery 3-12 business days Format Paperback Condition Brand New Details ISBN 1437057063 ISBN-13 9781437057065 Title Songs of Dream (1903) Author Ethel Clifford Format Paperback Year 2008 Pages 152 Publisher Kessinger Publishing Dimensions 6 in. x 0.3 in. x 9 in. About Us Grand Eagle Retail is the ideal place for all your reading and entertainment needs! With fast shipping, low prices, friendly service

From "Over the Rainbow" to "Moon River" and from Al Jolson to Barbra Streisand, The Songs of Hollywood traces the fascinating history of song in film, both in musicals and in dramatic movies such as High Noon. Extremely well-illustrated with 200 film stills, this delightful book sheds much light on some of Hollywood's best known and loved repertoire, explaining how the film industry made certain songs memorable, and highlighting important moments of film history along the way. The book focuses on how the songs were presented in the movies, from early talkies where actors portrayed singers "performing" the songs, to the Golden Age in which characters burst into expressive, integral song--not as a "performance" but as a spontaneous outpouring of feeling. The book looks at song presentation in 1930s classics with Fred Astaire and Ginger Rogers and in 1940s gems with Judy Garland and Gene Kelly. The authors also look at the decline of the genre since 1960, when most original musicals were replaced by film versions of Broadway hits such as My Fair Lady.

The study of cinematic style has profoundly shaped our attitude toward movies. Style assigns films to a tradition, distinguishes a classic, and signals the arrival of a pathbreaking innovation. David Bordwell now shows how film scholars have attempted to explain stylistic continuity and change across the history of cinema. Bordwell scrutinizes the theories of style launched by André Bazin, Noël Burch, and other film historians. In the process he celebrates a century of cinema, integrating discussions of film classics such as The Birth of a Nation and Citizen Kane with analyses of more current box-office successes such as Jaws and The Hunt for Red October. Examining the contributions of both noted and neglected directors, he considers the earliest filmmaking, the accomplishments of the silent era, the development of Hollywood, and the strides taken by European and Asian cinema in recent years. On the History of Film Style proposes that stylistic developments often arise from filmmakers' search for engaging and efficient solutions to production problems. Bordwell traces this activity across history through a detailed discussion of cinematic staging. Illustrated with more than 400 frame enlargements, this wide-ranging study provides a new lens for viewing cinema.

Musical accompaniment was an important feature of the early moviegoing experience. The quality of a musical score could easily make or break silent films, and the songs sometimes became more popular than the films. At the same time, interestingly, the silent cinema became itself a major subject in popular music, inspiring a flood of songs about the films, the stars and the experience of going to the movies. Today, few of these songs are remembered. This study begins the documentation of the lost history of songs of the silent cinema. Part One, "Movies and Moviegoing, " chronologically lists and describes songs about movies and moviegoing created between 1896 and 1929. Part Two, "Movie Personalities and Their Films, " provides a brief biography of each person and a description of the songs created about them and for their films. Part Three, "Recordings, " reviews the recordings of these songs and specifies their availability on 78, LP, CD, DVD and the Internet today.

This is the history of Washington Duke and two of his sons, Benjamin Newton Duke and James Buchanan Duke. Although numerous other members of the family play their parts in the story it focuses primarily on the three men who were at the center of the economic and philanthropic activities which made the Dukes of Durham one of America's famous families. The Dukes operated closely and constantly as a family, and only in that context is their full story told.In the years after the Civil War, Washington Duke proved to be an unusually able industrialist and a conscientious, Methodist philanthropist. He was, in fact, a major Southern pioneer in both industry and philanthropy. His two sons by a second marriage were remarkably devoted to each other as well as to their father. Both sons also reflected traits of thier father. While Benjamin N. Duke and James B. Duke had life-long involvement with the business world--first in tobacco, then textiles, and finally electric power--as well as with philanthropy, they actually developed complementary specializations. Benjamin N. Duke, the older of the two, served as the family's primary agent for philanthropy from his early manhood in the late 1800's until he gradually became semi-invalid after 1915. James B. Duke, on the other hand, early displayed a marked talent, even a genius, for business. Toward the end of his life, with the establishment of The Duke Endowment late in 1924, he emerged as one of the nation's major philanthropists, ranking alongside Andrew Carnegie and John D. Rockefeller. A central theme of this book is, however, that the Endowment, despite its magnitude and far-reaching scope, was essentially the institutionalization and culmination of a pattern of family philanthropy that emerged in the 1890's and for which the older brother, Benjamin N. Duke, had always been the primary agent. Thus, the story of James B. Duke, who was and has remained much the more well-known of the two brothers, cannot properly be told out of the family context from which he emerged and in which occurred most of the important phases of his life.Washington Duke, as a small, land-owning yeoman farmer, was typical of the great majority class not only in ante-bellum North Carolina but in the South as a whole. Only after the war, when he and his sons emerged as large-scale industrialists and philanthropists, did the Dukes become atypical. Their story is, then, both agricultural and industrial, both Southern and national. Born North Carolinians, they moved onto a national, even global, stage. Yet all the while they kept deep roots, as well as vast investments of capital, in the Old North State, and they poured many millions into philanthropy, largely in the two Carolinas. Based largely on manuscript sources, many of them hitherto unused, this is the first study of the Duke family. The "New South, " as recent historians have told us, may not have been so new--but it was certainly different in important ways, and the Dukes loomed large among those who helped to make it so.

From "Over the Rainbow" to "Moon River" and from Al Jolson to Barbra Streisand, The Songs of Hollywood traces the fascinating history of song in film, both in musicals and in dramatic movies such as High Noon. Extremely well-illustrated with 200 film stills, this delightful book sheds much light on some of Hollywood's best known and loved repertoire, explaining how the film industry made certain songs memorable, and highlighting important moments of film history along the way. The book focuses on how the songs were presented in the movies, from early talkies where actors portrayed singers "performing" the songs, to the Golden Age in which characters burst into expressive, integral song--not as a "performance" but as a spontaneous outpouring of feeling. The book looks at song presentation in 1930s classics with Fred Astaire and Ginger Rogers and in 1940s gems with Judy Garland and Gene Kelly. The authors also look at the decline of the genre since 1960, when most original musicals were replaced by film versions of Broadway hits such as My Fair Lady.