Shirley Temple

Shirley Temple Black (born April 23, 1928),

 

is an American film and television actress, singer, dancer, autobiographer, and former U.S. Ambassador to Ghana and Czechoslovakia. She began her film career in 1932 at the age of four (thought by the public to be three) and in 1934, skyrocketed to superstardom in Bright Eyes, a feature film designed specifically for her talents.

She received a special Academy Award in February 1935, and film hits such as Curly Top and Heidi followed year after year during the mid to late 1930s.

 

Licensed merchandise that capitalized on her wholesome image included dolls, dishes, and clothing.

 

Her box office popularity waned as she reached adolescence, and she left the film industry at the age of 12 to attend high school. She appeared in a few films of varying quality in her mid to late teens, and retired completely from films in 1950 at the age of 22. She was the top box-office draw four years in a row (1935–38) in a Motion Picture Herald poll

 

Temple returned to show business in 1958 with a two-season television anthology series of fairy tale adaptations. She made guest appearances on various television shows in the early 1960s and filmed a sitcom pilot that was never released. She sat on the boards of many corporations and organizations including The Walt Disney Company, Del Monte Foods, and the National Wildlife Federation. In 1967, she ran unsuccessfully for United States Congress, and was appointed United States Ambassador to Ghana in 1974 and to Czechoslovakia in 1989. In 1988, she published her autobiography, Child Star. Temple is the recipient of many awards and honors including Kennedy Center Honors and a Screen Actors Guild Life Achievement Award.

 

Temple’s hand and foot prints at Grauman’s Chinese Theater

Her famouse song “cuppycake”

 

Good Housewife

How to be a good housewife?!


 

Bill Keane

William Aloysius Keane (October 5, 1922 – November 8, 2011), better known as Bil Keane, was an American cartoonist notable for his work on the long-running newspaper comic The Family Circus, which began its run in 1960 and continues in syndication.

Keane is a four-time recipient of the National Cartoonists Society’s Award for Best Syndicated Panel, winning in 1967, 1971, 1973 and 1974.Then in 1982, Keane was named the Society’s Cartoonist of the Year and received its top honor, the Reuben Award.[8] He also received the Elzie Segar Award in 1982 for his unique contribution to the cartooning profession. Keane was honored with the Silver T-Square Award from the National Cartoonist Society in 2002 for “outstanding dedication” to the NCS and the cartooning profession.

In 1998, he became the tenth recipient of the Arizona Heritage Award, joining—among others—Barry Goldwater, Sandra Day O’Connor, Mo Udall and Erma Bombeck.

Born in Philadelphia, Pennsylvania, Keane taught himself to draw while attending Northeast Catholic High School by mimicking the style of the cartoons published in The New Yorker. His first cartoon was published on May 21, 1936 on the amateur page of the Philadelphia Daily News. While in high school, his in-comic signature spelled his name “Bill Keane”, but early in his career, he omitted the second L from his first name “to be distinctive”.

Keane served in the U.S. Army from 1942 to 1945, drawing for Yank and creating the “At Ease with the Japanese” feature for the Pacific edition of Stars and Stripes. While stationed in Australia he met Thelma “Thel” Carne.Bil and Thel were married in Brisbane in 1948 and settled in Roslyn, Pennsylvania. Thel, the inspiration for the “Mommy” character in his long-running strip, died on May 23, 2008 from complications due to Alzheimer’s Disease.[4][5] They have five children, Gayle, Neal, Glen, Christopher and Jeff. Glen works as an animator.

He worked for the Philadelphia Bulletin as a staff artist from 1946 to 1959, where he launched his first regular comic strip Silly Philly. His first syndicated strip, Channel Chuckles, premiered in 1954 and ran until 1977.

In 1959, the Keane family moved to Paradise Valley, Arizona. His daily newspaper panel The Family Circus premiered on February 29, 1960.

Keane was the president of the National Cartoonists Society from 1981 to 1983 and was the emcee of the Society’s annual awards banquet for 16 years.

From 1981 to 1983, Bil published the gag strip Eggheads in collaboration with his son Jeff, who now draws and writes The Family Circus and continues the comic legacy with his own unique insight and humor. Like his father, Jeff Keane has been president of the National Cartoonists Society (NCS), serving two consecutive terms (four years). The NCS is the organizing body that honors cartoonists with the coveted Reuben Awards.

Keane died on November 8, 2011 at his home in Paradise Valley, Arizona (near Phoenix), at 89, from congestive heart failure

The Family Circus Cartoon

The Family Circus  is a syndicated comic strip

 created and written by cartoonist Bil Keane (read the next post, it’s will be all about this man)

 and inked/colored by his son,Jeff Keane.

The strip generally uses a single captioned panel with a round border, hence the original name of the series, which was changed following objections from the magazine Family Circle.

The series debuted on February 29, 1960, and has been in continuous production ever since. According to publisher King Features Syndicate, it is the most widely syndicated cartoon panel in the world, appearing in 1,500 newspapers.Compilations of Family Circus comic strips have sold over 13 million copies worldwide.

Read more The Family Circus

 

 


 

That’s Entertainment!

That’s Entertainment! is a 1974 compilation film released by Metro-Goldwyn-Mayer to celebrate its 50th anniversary. It was followed by two sequels and a related film called That’s Dancing!.

The film, compiled by its writer-producer-director, Jack Haley, Jr.  under the supervision of executive producer Daniel Melnick, turned the spotlight on MGM’s legacy of musical film from the 1920s through the 1950s, featuring performances culled from dozens of the studio’s famous films. Archive footage of

Judy Garland

Eleanor Powell

Lena Horne

Esther Williams

Ann Miller

Kathryn Grayson

Howard Keel

Jeanette MacDonald

Cyd Charisse

June Allyson

Mickey Rooney

Mario Lanza

and many others was featured.

Released during the height of the Watergate scandal and just after the Vietnam war, That’s Entertainment! was marketed with a tagline of “Boy, do we need it now!” The idea of celebrating the happy-go-lucky musicals of an earlier era hit a nerve with a nostalgic public; That’s Entertainment! was hailed by critics and would become one of the top twenty highest-grossing films of 1974.

The film was compiled in various segments hosted by a succession of the studio’s legendary stars:

 Frank Sinatra

Gene Kelly

Fred Astaire

and others like: Peter Lawford, Donald O’Connor, Debbie Reynolds, Mickey Rooney, Bing Crosby, James Stewart, Elizabeth Taylor, and Liza Minnelli.

Most of the hosts were filmed on MGM’s famous backlot, which looks disturbingly ramshackle and rundown in this film, because MGM had sold the property to developers and the sets were about to be demolished (several of the stars, including Bing Crosby, remark on this during their segments). The most notable degradation can be seen when Fred Astaire revisits the ruins of a train station set that had been used in the opening of The Band Wagon two decades earlier, and when Peter Lawford revisits exteriors used in his late-40s musical, Good News. That’s Entertainment! was the last major project to be filmed on the backlot.

Over the years, under the leadership of Louis B. Mayer and others, Metro-Goldwyn-Mayer has produced a series of musical films whose success and artistic merit remain unsurpassed in motion picture history. There were literally thousands of people …. artists, craftsmen and technicians …. who poured their talents into the creation of the great MGM musicals. This film is dedicated to them.

Moon River

By Audrey Hepburn

By Andy Williams

By Patti Page

“Moon River” is a song composed by Johnny Mercer (lyrics) and Henry Mancini (music) in 1961, for whom it won that year’s Academy Award for Best Original Song. It was originally sung in the movie Breakfast at Tiffany’s by Audrey Hepburn, although it has been covered by many other artists. The song also won the 1962 Grammy Award for Record of the Year.

It became the theme song for Andy Williams, who first recorded it in 1961 and performed it at the Academy Awards ceremonies in 1962. He sang the first eight bars at the beginning of his television show and also named his production company and venue in Branson, Missouri after it. Williams’ version was disliked by Cadence Records president Archie Bleyer, who believed it had little or no appeal to teenagers.

Pingu Snowboarding


 

I remmeber that I was watching this tv series in my childhood at KTV2 everyday after noon.

Pingu is a Swiss stop-motion claymated television series created by Otmar Gutmann. The series was produced by The Pygos Group and Trickfilmstudio for Swiss television. The show is about a family of anthropomorphic penguins at the South Pole. The main character is the family’s son and title character, Pingu.

The show ran originally for 4 seasons from 1986 to 1998 on SF DRS. In 1998, there were 2 Pingu episodes made (one of them being “Pingu & the Doll”) that never aired due to schedule problems. In 1999, they showed the 2 episodes with a Pingu marathon between commercials. However, HiT Entertainment’s request for more episodes convinced Pygos to bring back the show in 2004, with 2 more seasons. When the show’s final episode aired, they stopped making Pingu due to low advertising & was canceled yet again in the beginning of 2011, so HiT decided to upload clips of Pingu to YouTube.

Martha Graham

 

Martha Graham (May 11, 1894 – April 1, 1991) was an American dancer & choreographer of modern dance, whose influence on dance has been compared to the influence Stravinsky had on music, Picasso had on the visual arts, or Frank Lloyd Wright had on architecture.

Graham invented a new language of movement, and used it to reveal the passion, the rage and the ecstasy common to human experience. She danced and choreographed for over seventy years, and during that time she was the first dancer ever to perform at The White House, travel abroad as a cultural ambassador, and receive the highest civilian award of the USA: the Presidential Medal of Freedom.

In her lifetime she received honors ranging from the Key to the City of Paris to Japan’s Imperial Order of the Precious Crown. She said, “I have spent all my life with dance and being a dancer. It’s permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.”

Martha Graham was born in Pittsburgh, Pennsylvania in 1894. Her father George Graham was what in the Victorian era was known as an “alienist”, an early form of psychiatry. The Grahams were strict Presbyterians. Dr. Graham was a third generation American of Irish descent and her mother Jane Beers was a tenth generation descendant of Puritan Miles Standish. With a physician’s salary, the Grahams had a high standard of living. Dr. Graham often brought home to his wife strawberries in the dead of winter when they were very exotic and difficult to come by. Martha was strongly discouraged from considering any career in the performing arts.

In 1925, Martha was employed at the George Eastman School of Design where Rouben Mamoulian was head of the School of Drama. Among other performances, together they produced a short two color film called The Flute of Krishna, featuring Eastman students. Mamoulian left Eastman shortly thereafter and Graham chose to leave also, even though she was asked to stay on.

In 1926, the Martha Graham Center of Contemporary Dance was established. One of her students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in 1965, Graham became the company’s first director.

In 1936, Graham made her defining work, “Chronicle”, which signaled the beginning of a new era in contemporary dance. The dance brought serious issues to the stage for the general public in a dramatic manner. Influenced by the Wall Street Crash, the Great Depression and the Spanish Civil War, it focused on depression and isolation, reflected in the dark nature of both the set and costumes.

During 1938, Erick Hawkins was the first man to dance with her company. The following year, he officially joined her troupe, dancing male lead in a number of Graham’s works. They were married in 1948. He left her troupe in 1951, and they divorced in 1954.

Her largest-scale work, the evening-length Clytemnestra, was created in 1958, and features a score by Egyptian-born composer Halim El-Dabh. She also collaborated with composers including Aaron Copland, such as on Appalachian Spring, Louis Horst, Samuel Barber, William Schuman, Carlos Surinach, Norman Dello Joio, and Gian Carlo Menoti. Graham’s mother died in Santa Barbara in 1958. Her oldest friend and musical collaborator Louis Horst died in 1964. She said of Horst “His sympathy and understanding, but primarily his faith, gave me a landscape to move in. Without it, I should certainly have been lost.” Graham’s lighting designer Jean Rosenthal died of cancer in 1967.

Graham’s dance style is based upon contraction and release of the body. She despised the term “modern dance” and preferred “contemporary dance”. She thought the concept of what was “modern” was constantly changing and was thus inexact as a definition.

For a majority of her life Graham resisted the recording of her dances and would not allow them to be filmed or photographed. She believed the performances should exist only live on the stage and in no other form. At one point she even burned volumes of her diaries and notes to prevent them from being seen. There were a few notable exceptions. For example, she worked on a limited basis with still photographers, Imogen Cunningham in the 1930s, and Barbara Morgan in the 1940s. Graham considered Philippe Halsman’s photographs of “Dark Meadows” the most complete photographic record of any of her dances. Halsman also photographed in the 1940s: “Letter to the World”, “Cave of the Heart”, “Night Journey” and “Every Soul is a Circus”. In later years her thinking on the matter evolved and others convinced her to let them recreate some of what was lost.

Graham started her career at an age that was considered late for a dancer. She was still dancing by the late 1960s, and turned increasingly to alcohol to soothe her own despair at her declining body. Her works from this era included roles for herself which were more acted than danced and relied on the movement of the company dancing around her. Graham’s love of dance was so profound that she refused to leave the stage despite critics who said she was past her prime. When the chorus of critics grew too loud, Graham finally left the stage.

In her biography Martha Agnes de Mille cites Graham’s last performance as the evening of May 25, 1968, in a ‘Time of Snow’. But in A Dancer’s Life biographer Russell Freedman lists the year of Graham’s final performance as 1969. In her 1991 autobiography Blood Memory Graham herself lists her final performance as her 1970 appearance in “Cortege of Eagles” when she was 76 years old.

In the years that followed her departure from the stage Graham sank into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband. Graham’s health declined precipitously as she abused alcohol to numb her pain. In Blood Memory she wrote:

It wasn’t until years after I had relinquished a ballet that I could bear to watch someone else dance it. I believe in never looking back, never indulging in nostalgia, or reminiscing. Yet how can you avoid it when you look on stage and see a dancer made up to look as you did thirty years ago, dancing a ballet you created with someone you were then deeply in love with, your husband? I think that is a circle of hell Dante omitted.

[When I stopped dancing] I had lost my will to live. I stayed home alone, ate very little, and drank too much and brooded. My face was ruined, and people say I looked odd, which I agreed with. Finally my system just gave in. I was in the hospital for a long time, much of it in a coma.

Graham not only survived her hospital stay but she rallied. In 1972 she quit drinking, returned to her studio, reorganized her company and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 1990’s Maple Leaf Rag.

She was awarded the Presidential Medal of Freedom in 1976 by President Gerald Ford (the First Lady Betty Ford had danced with Graham in her youth).

Graham choreographed until her death in New York city from pneumonia in 1991 at the age of 96. She was cremated, and her ashes were spread over the Sangre de Cristo Mountains in northern New Mexico.

In 1998, Time listed her as the “Dancer of the Century” and as one of the most important people of the 20th century.

The most requested dance materials at the New York Public Library have to do with the work of Martha Graham.

Graham was inducted into the National Museum of Dance C.V. Whitney Hall of Fame in 1987.

Helen Keller

These days, I’m reading a book about Helen Keller and her articles. I really like it and people must learn from her Patience, determination, success and love of life.

Who is Helen Keller?

Helen Adams Keller (June 27, 1880 – June 1, 1968) was an American author, political activist, and lecturer. She was the first deafblind person to earn a Bachelor of Arts degree. The story of how Keller’s teacher, Anne Sullivan,  broke through the isolation imposed by a near complete lack of language, allowing the girl to blossom as she learned to communicate, has become widely known through the dramatic depictions of the play and film The Miracle Worker.

A prolific author, Keller was well-traveled, and was outspoken in her opposition to war. A member of the Socialist Party of America and the Wobblies, she campaigned for women’s suffrage, workers’ rights, and socialism, as well as many other leftist causes.

Helen Adams Keller was born on June 27, 1880, in Tuscumbia, Alabama. Her family lived on a homestead, Ivy Green, that Helen’s grandfather had built decades earlier.Helen’s father, Arthur H. Keller, spent many years as an editor for the Tuscumbia North Alabamian and had served as a captain for the Confederate Army. Helen’s paternal grandmother was the second cousin of Robert E. Lee. Helen’s mother, Kate Adams, was the daughter of Charles Adams. Though originally from Massachusetts, Charles Adams also fought for the Confederate Army during the American Civil War, earning the rank of brigadier-general.

Helen’s father’s lineage can be traced to Casper Keller, a native of Switzerland. Coincidentally, one of Helen’s Swiss ancestors was the first teacher for the deaf in Zurich. Helen reflects upon this coincidence in her first autobiography, stating “that there is no king who has not had a slave among his ancestors, and no slave who has not had a king among his.”

Helen Keller was not born blind and deaf; it was not until she was 19 months old that she contracted an illness described by doctors as “an acute congestion of the stomach and the brain”, which might have been scarlet fever or meningitis. The illness did not last for a particularly long time, but it left her deaf and blind. At that time, she was able to communicate somewhat with Martha Washington, the six-year-old daughter of the family cook, who understood her signs; by the age of seven, she had over 60 home signs to communicate with her family.

In 1886, her mother, inspired by an account in Charles Dickens’ American Notes of the successful education of another deaf and blind woman, Laura Bridgman, dispatched young Helen, accompanied by her father, to seek out Dr. J. Julian Chisolm, an eye, ear, nose, and throat specialist in Baltimore, for advice. He subsequently put them in touch with Alexander Graham Bell, who was working with deaf children at the time. Bell advised the couple to contact the Perkins Institute for the Blind, the school where Bridgman had been educated, which was then located in South Boston. Michael Anaganos, the school’s director, asked former student Anne Sullivan, herself visually impaired and only 20 years old, to become Keller’s instructor. It was the beginning of a 49-years-long relationship, Sullivan evolving into governess and then eventual companion.

Anne Sullivan arrived at Keller’s house in March 1887, and immediately began to teach Helen to communicate by spelling words into her hand, beginning with “d-o-l-l” for the doll that she had brought Keller as a present. Keller was frustrated, at first, because she did not understand that every object had a word uniquely identifying it. In fact, when Sullivan was trying to teach Keller the word for “mug”, Keller became so frustrated she broke the doll. Keller’s big breakthrough in communication came the next month, when she realized that the motions her teacher was making on the palm of her hand, while running cool water over her other hand, symbolized the idea of “water”; she then nearly exhausted Sullivan demanding the names of all the other familiar objects in her world.

Due to a protruding left eye, Keller was usually photographed in profile. Both her eyes were replaced in adulthood with glass replicas for “medical and cosmetic reasons”.

Starting in May, 1888, Keller attended the Perkins Institute for the Blind. In 1894, Helen Keller and Anne Sullivan moved to New York to attend the Wright-Humason School for the Deaf, and to learn from Sarah Fuller at the Horace Mann School for the Deaf. In 1896, they returned to Massachusetts and Keller entered The Cambridge School for Young Ladies before gaining admittance, in 1900, to Radcliffe College, where she lived in Briggs Hall, South House. Her admirer, Mark Twain, had introduced her to Standard Oil magnate Henry Huttleston Rogers, who, with his wife, paid for her education. In 1904, at the age of 24, Keller graduated from Radcliffe, becoming the first deaf blind person to earn a Bachelor of Arts degree. She maintained a correspondence with the Austrian philosopher and pedagogue Wilhelm Jerusalem, who was one of the first to discover her literary talent.

Anne Sullivan stayed as a companion to Helen Keller long after she taught her. Anne married John Macy in 1905, and her health started failing around 1914. Polly Thompson was hired to keep house. She was a young woman from Scotland who didn’t have experience with deaf or blind people. She progressed to working as a secretary as well, and eventually became a constant companion to Keller.

Keller moved to Forest Hills, Queens together with Anne and John, and used the house as a base for her efforts on behalf of American Foundation for the Blind.

After Anne died in 1936, Keller and Thompson moved to Connecticut. They traveled worldwide and raised funding for the blind. Thompson had a stroke in 1957 from which she never fully recovered, and died in 1960.

Winnie Corbally, a nurse who was originally brought in to care for Thompson in 1957, stayed on after her death and was Keller’s companion for the rest of her life.

Keller went on to become a world-famous speaker and author. She is remembered as an advocate for people with disabilities, amid numerous other causes. She was a suffragist, a pacifist, an opponent of Woodrow Wilson, a radical socialist and a birth control supporter. In 1915 she and George Kessler founded the Helen Keller International (HKI) organization. This organization is devoted to research in vision, health and nutrition. In 1920 she helped to found the American Civil Liberties Union (ACLU). Keller and Sullivan traveled to over 39 countries, making several trips to Japan and becoming a favorite of the Japanese people. Keller met every U.S. President from Grover Cleveland to Lyndon B. Johnson and was friends with many famous figures, including Alexander Graham Bell, Charlie Chaplin and Mark Twain.

Keller was a member of the Socialist Party and actively campaigned and wrote in support of the working class from 1909 to 1921. She supported Socialist Party candidate Eugene V. Debs in each of his campaigns for the presidency.

Keller and her friend Mark Twain were both considered radicals at the beginning of the 20th century, and as a consequence, their political views have been forgotten or glossed over in popular perception. Newspaper columnists who had praised her courage and intelligence before she expressed her socialist views now called attention to her disabilities. The editor of the Brooklyn Eagle wrote that her “mistakes sprung out of the manifest limitations of her development.” Keller responded to that editor, referring to having met him before he knew of her political views: At that time the compliments he paid me were so generous that I blush to remember them. But now that I have come out for socialism he reminds me and the public that I am blind and deaf and especially liable to error. I must have shrunk in intelligence during the years since I met him…Oh, ridiculous Brooklyn Eagle! Socially blind and deaf, it defends an intolerable system, a system that is the cause of much of the physical blindness and deafness which we are trying to prevent.

Keller joined the Industrial Workers of the World (known as the IWW or the Wobblies) in 1912, saying that parliamentary socialism was “sinking in the political bog”. She wrote for the IWW between 1916 and 1918. In Why I Became an IWW, Keller explained that her motivation for activism came in part from her concern about blindness and other disabilities: I was appointed on a commission to investigate the conditions of the blind. For the first time I, who had thought blindness a misfortune beyond human control, found that too much of it was traceable to wrong industrial conditions, often caused by the selfishness and greed of employers. And the social evil contributed its share. I found that poverty drove women to a life of shame that ended in blindness.

The last sentence refers to prostitution and syphilis, the former a frequent cause of the latter, and the latter a leading cause of blindness.

Keller wrote a total of 12 published books and several articles.

One of her earliest pieces of writing, at age 11, was The Frost King (1891). There were allegations that this story had been plagiarized from The Frost Fairies by Margaret Canby. An investigation into the matter revealed that Keller may have experienced a case of cryptomnesia, which was that she had Canby’s story read to her but forgot about it, while the memory remained in her subconscious.

At age 22, Keller published her autobiography, The Story of My Life (1903), with help from Sullivan and Sullivan’s husband, John Macy. It includes words that Keller wrote and the story of her life up to age 21, and was written during her time in college.

Keller wrote The World I Live In in 1908 giving readers an insight into how she felt about the world. Out of the Dark, a series of essays on socialism, was published in 1913.

When Keller was young, Anne Sullivan introduced her to Phillips Brooks, who introduced her to Christianity, Keller famously saying: “I always knew He was there, but I didn’t know His name!

Her spiritual autobiography, My Religion, was published in 1927 and then in 1994 extensively revised and re-issued under the title Light in My Darkness. It advocates the teachings of Emanuel Swedenborg, the Christian revelator and theologian who gives a spiritual interpretation of the teachings of the Bible and who claims that the second coming of Jesus Christ has already taken place. Adherents use several names to describe themselves, including Second Advent Christian, Swedenborgian and New Church.

When Keller visited Akita Prefecture in Japan in July 1937, she inquired about Hachikō, the famed Akita dog that had died in 1935. She told a Japanese person that she would like to have an Akita dog; one was given to her within a month, with the name of Kamikaze-go. When he died of canine distemper, his older brother, Kenzan-go, was presented to her as an official gift from the Japanese government in July 1938. Keller is credited with having introduced the Akita to the United States through these two dogs.

By 1939 a breed standard had been established and dog shows had been held, but such activities stopped after World War II began. Keller wrote in the Akita Journal: If ever there was an angel in fur, it was Kamikaze. I know I shall never feel quite the same tenderness for any other pet. The Akita dog has all the qualities that appeal to me — he is gentle, companionable and trusty.

Keller suffered a series of strokes in 1961 and spent the last years of her life at her home.

On September 14, 1964, President Lyndon B. Johnson awarded her the Presidential Medal of Freedom, one of the United States’ highest two civilian honors. In 1965 she was elected to the National Women’s Hall of Fame at the New York World’s Fair.

Keller devoted much of her later life to raising funds for the American Foundation for the Blind. She died in her sleep on June 1, 1968, at her home, Arcan Ridge, located in Easton, Connecticut. A service was held in her honor at the National Cathedral in Washington, D.C., and her ashes were placed there next to her constant companions, Anne Sullivan and Polly Thompson.

The Pink Panther (Films)

The Pink Panther is a series of comedy films featuring the bungling French police detective Jacques Clouseau that began in 1963 with the release of the film of the same name. The role was originated by, and is most closely associated with, Peter Sellers. Most of the films were directed and co-written by Blake Edwards, with notable theme music composed by Henry Mancini.

As of 2009, eleven Pink Panther films have been made:

Pink Panther films
Film Year Notes
The Pink Panther 1963 Although centered on David Niven, Peter Sellers was so popular that the resulting series would be built on Clouseau rather than the Phantom/Sir Charles Lytton.
A Shot in the Dark 1964 Released less than a year after The Pink Panther, Clouseau returns to bumble his way through a murder investigation. This also marks the first appearance of both Herbert Lom’s Dreyfus and Burt Kwouk’s Cato.
Inspector Clouseau 1968 This film stars Alan Arkin as Clouseau, and does not have any other recurring characters (Dreyfus, Cato, the Phantom, etc.) from the rest of the series. Although produced by the Mirisch Corporation, Peter Sellers, Blake Edwards and Henry Mancini were not involved in the making of this film.
The Return of the Pink Panther 1975 Not only does this mark the return of the famous “Pink Panther” diamond, but also the successful return of Peter Sellers as Clouseau (along with Edwards, Mancini, Dreyfus, and Cato). Sir Charles Lytton is portrayed by Christopher Plummer.
The Pink Panther Strikes Again 1976 Dreyfus’ insanity reaches a pinnacle, as he tries to intimidate the rest of the world into killing Clouseau.
Revenge of the Pink Panther 1978 This film pits Clouseau against the French Connection. This is the last film for which Sellers played Clouseau; he died two years after its release.
Trail of the Pink Panther 1982 Features Peter Sellers as Clouseau using unused material from Strikes Again, this was intended as a tribute to Sellers, but after its release, Sellers’ widow Lynne Frederick successfully sued Edwards and the studio for tarnishing her late husband’s memory. David Niven and Capucine reprise their original roles.
Curse of the Pink Panther 1983 Inspector Clouseau and The Pink Panther diamond, both of which had gone missing in Trail, are pursued by the bumbling American detective, Clifton Sleigh (Ted Wass). Clouseau returns in an amusing cameo played by an uncredited Roger Moore after having plastic surgery to disguise his identity. Although intended to spawn a new series of misadventures for Sergeant Sleigh, the film’s dismal box office performance and critical drubbing led to a Panther hibernation for the next decade.
Son of the Pink Panther 1993 Roberto Benigni tries to revive the series by portraying Gendarme Jacques Gambrelli, Inspector Clouseau’s illegitimate son by Maria Gambrelli (the murder suspect from A Shot in the Dark). Once again, many former Panther co-stars return. Although intended to relaunch the series with a new lovable bumbling hero, Son became the final installment in the original Panther series.
The Pink Panther 2006 This relaunches a new Pink Panther series starring Steve Martin as Inspector Clouseau and Kevin Kline as Chief Inspector Dreyfus. Not a remake of the original film, this forms a new starting point for a contemporary series, introducing the Clouseau and Dreyfus characters along with the famous diamond to a new generation.
The Pink Panther 2 2009 The sequel to Steve Martin’s 2006 film. Martin reprises his role, but John Cleese replaces Kevin Kline as Chief Inspector Dreyfus.

Despite its use in the titles of most of the films of the series, the “Pink Panther” is not the Clouseau character, but a large and valuable pink diamond which is first shown in the first film in the series. he phrase reappears in the title of the fourth film, The Return of the Pink Panther, in which the theft of the diamond is again the center of the plot; that film also marked the return of Sellers to the role after a gap of ten years, which may have contributed to some confusion between the character and the diamond. The phrase has been used for all the subsequent films in the series, even when the jewel does not figure into the plot (the diamond has only appeared in six of the eleven films in the series).

The first film in the series had an animated opening sequence, created by DePatie-Freleng Enterprises and set to the theme music by Henry Mancini, which featured the Pink Panther character. This character, designed by Hawley Pratt, was subsequently the subject of its own series of animated cartoons which gained its greatest fame when aired on Saturday mornings as The Pink Panther Show. The character would be featured in the opening of every film in the movie series except A Shot in the Dark and Inspector Clouseau.

World War II in color

Watch World War II video in color..

Silent Films

A silent film

 

 is a film with no synchronized recorded sound, especially spoken dialogue. In silent films for entertainment the dialogue is transmitted through muted gestures, pantomime and title cards. The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, synchronized dialogue was only made practical in the late 1920s with the perfection of the audion amplifier tube and the introduction of the Vitaphone system. After The Jazz Singer in 1927, “talkies” became more and more commonplace and within a decade silent films had died out due to technology.

Watch this silent film in 1920’s for Colleen Moore

The first projected sequential proto-movie was made by Eadweard Muybridge some time between 1877 and 1880. The first narrative film was created by Louis Le Prince in 1888. It was a two-second film of people walking in Oakwood streets garden, entitled Roundhay Garden Scene. The art of motion pictures grew into full maturity in the “silent era” before silent films were replaced by “talking pictures” in the late 1920s. Many film scholars and buffs argue that the aesthetic quality of cinema decreased for several years until directors, actors, and production staff adapted to the new “talkies”.

Watch Sir Charlie Chaplin

The visual quality of silent movies—especially those produced in the 1920s—was often high. However, there is a widely held misconception that these films were primitive and barely watchable by modern standards. This misconception comes as a result of silent films being played back at wrong speed and their deteriorated condition. Many silent films exist only in second- or third-generation copies, often copied from already damaged and neglected film stock

Because silent films had no synchronized sound for dialogue, onscreen intertitles were used to narrate story points, present key dialogue and sometimes even comment on the action for the cinema audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Intertitles (or titles as they were generally called at the time) often became graphic elements themselves, featuring illustrations or abstract decoration that commented on the action.

Title card

Showings of silent films almost always featured live music, starting with the pianist at the first public projection of movies by the Lumière Brothers on December 28, 1895 in Paris. From the beginning, music was recognized as essential, contributing to the atmosphere and giving the audience vital emotional cues. (Musicians sometimes played on film sets during shooting for similar reasons.) Small town and neighborhood movie theatres usually had a pianist.

Silent film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: “The sooner the stage people who have come into pictures get out, the better for the pictures.” In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen.

In any case, the large image size and unprecedented intimacy the actor enjoyed with the audience began to affect acting style, making for more subtlety of expression. Actresses such as Mary Pickford in all her films, Eleonora Duse in the Italian film Cenere (1916), Janet Gaynor in Sunrise, Priscilla Dean in Outside the Law and The Dice Woman and Lillian Gish and Greta Garbo in most of their performances made restraint and easy naturalism in acting a virtue. Directors such as Albert Capellani (a French director who also did work in America directing Alla Nazimova films) and Maurice Tourneur insisted on naturalism in their films; Tourneur had been just such a minimalist in his prior stage productions. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927 films featuring expressionistic acting styles such as Metropolis were still being released. Some viewers liked the flamboyant acting for its escape value, and some countries were later than the United States in embracing naturalistic style in their films. In fact today the level of naturalism in acting varies from film to film and our favourites may not be the most naturalistic. Just as today, a film’s success depended upon the setting, the mood, the script, the skills of the director, and the overall talent of the cast.

Until the standardization of the projection speed of 24 frames per second (FPS) for sound films in 1926, silent films were shot at variable speeds (or “frame rates”), typically anywhere from 16 to 23 frames per second or faster, depending on the year and studio. Sixteen frames per second became the most commonly used speed in the earliest silent films, as a result of the Lumière brothers’ Cinematographé. Unless carefully shown at their original speeds they can appear unnaturally fast and jerky, which reinforces their alien appearance to modern viewers. Gus Van Sant mentions in director commentary (~52 minutes into Psycho: Collector’s Edition – 1998) that telecine conversion at grossly incorrect frame rates in the 1950s for broadcast television may have contributed to the alienation of younger audiences (his generation) — thereby accelerating the demise of rebroadcast of silent films as those viewers grew to adulthood. At the same time, some scenes were intentionally undercranked during shooting to accelerate the action, particularly in the case of slapstick comedies. The intended frame rate of a silent film can be ambiguous and since they were usually hand cranked there can even be variation within one film. Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of “restored” films; the 2002 restoration of Metropolis (Germany, 1927) may be the most fiercely debated example.

Projectionists frequently ran silent films slightly faster than the number of frames per second they were shot at. Most films seem to have been shown at 18 frame/s or higher – some even faster than what became sound film speed (24 FPS, or 90 feet per minute). Even if shot at 16 FPS (often cited as “silent speed”), the projection of a cellulose nitrate base film at such a slow speed carried a considerable risk of fire. Often projectionists received general instructions from the distributors as to how fast particular reels or scenes should be projected on the musical director’s cue sheet. In rare instances, usually for larger productions, detailed cue sheets specifically for the projectionist provided a detailed guide to presenting the film. Theaters also—to maximize profit—sometimes varied projection speeds depending on the time of day or popularity of a film.

With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious mood. Similarly, toning of film (such as the common silent film generalization of sepia-toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking.

Top grossing silent films in the United States

  • The Birth of a Nation (1915)
  • The Big Parade (1925)
  • Ben-Hur (1925)
  • Way Down East (1920)
  • The Gold Rush (1925)
  • The Four Horsemen of the Apocalypse (1921)
  • The Circus (1928) – $3,800,000
  • The Covered Wagon (1923)
  • The Hunchback of Notre Dame (1923)
  • The Ten Commandments (1923)
  • Orphans of the Storm (1921)
  • For Heaven’s Sake (1926)
  • Seventh Heaven (1926)
  • Abie’s Irish Rose (1928)
  • Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, the technology became well-developed only in the early 1920s. The next few years saw a race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927), and RCA Photophone (1928).

    Although the release of The Jazz Singer (1927) by Warner Brothers marked the first commercially successful sound film, silent films were the majority of features released in both 1927 and 1928, along with so-called goat-glanded films: silents with a section of sound film inserted. Thus the modern sound film era may be regarded as coming to dominance beginning in 1929.

    For a listing of notable silent era films, see list of years in film for the years between the beginning of film and 1928. The following list includes only films produced in the sound era with the specific artistic intention of being silent.

    • Un Chien Andalou, Salvador Dalí/Luis Buñuel, 1929
    • City Girl, F.W. Murnau, 1930
    • Borderline, Kenneth MacPherson, 1930
    • Earth, Aleksandr Dovzhenko, 1930
    • City Lights, Charlie Chaplin, 1931
    • Tabu, F. W. Murnau, Robert Flaherty, 1931
    • I Was Born, But…, Yasujiro Ozu, 1932
    • A Story of Floating Weeds, Yasujiro Ozu, 1934
    • The Goddess , Wu Yonggang, 1934
    • Modern Times, Charlie Chaplin, 1936

    Merrie Melodies

    Merrie Melodies is the name of a series of animated cartoons distributed by Warner Bros. Pictures between 1931 and 1969.

    Originally produced by Harman-Ising Pictures, Merrie Melodies were produced by Leon Schlesinger Productions from 1933 to 1944. Schlesinger sold his studio to Warner Bros. in 1944, and the newly renamed Warner Bros. Cartoons continued production until 1963. Merrie Melodies were outsourced to DePatie-Freleng Enterprises from 1964 to 1967, and Warner Bros. Cartoons re-assumed production for the series’ final two years.

     

    Producer Leon Schlesinger had already produced one cartoon in the Looney Tunes series, based on music, and its success prompted him to try to sell a sister series to Warner Bros. His selling point was that the new cartoons would feature music from the soundtracks of Warner Bros. films and would thus serve as advertisements for Warner Bros. recordings. The studio agreed, and Schlesinger dubbed the series Merrie Melodies.

    Walt Disney Productions had already scored with their Silly Symphonies. Since cartoon production usually began with a soundtrack, animating a piece of music made it easier to devise plot elements and even characters.

    The origins of the Merrie Melodies series begin with the failure of a live action series of musical shorts called Spoone Melodies, which featured popular songs of the day. These shorts were basically an early type of music video that included segments with a popular artist singing along with appropriate background sequences. The Warner Bros. wanted to promote this music because they had recently acquired (in 1930) the ownership of Brunswick Records along with four music publishers for US $28 million. Because of the success of their Looney Tunes series, Warner Bros. decided to develop a new series of animated musical shorts called Merrie Melodies. Rudy Ising and Hugh Harman led the development. It was meant to be a series of musical cartoons that featured hit songs of the day, especially those then owned by Warner Bros. and featured in their musical films. In 1931, many of the shorts featured the orchestra of Abe Lyman, one of the most famous band leaders of his day.

    The first cartoon of the new Merrie Melodies series was Lady, Play Your Mandolin!, released in 1931. Ising attempted to introduce several characters in his Merrie Melodies films, such as Piggy, Foxy, and Goopy Geer. Eventually however, the series continued without any recurring characters. The shorts proved to be enormously popular with the public. In 1932, a Merrie Melody, entitled: It’s Got Me Again!, was nominated for the first Academy Award to be given for animation.

    When Harman and Ising left Warner Bros., in 1933, they took with them all rights to the characters they had created. Leon Schlesinger had to negotiate with them to keep the rights to the name Merrie Melodies, as well as for the right to use the slogan, So Long Folks, at the end of the cartoons. In 1934, Schlesinger produced his first color Merrie Melodies shorts, Honeymoon Hotel and Beauty and the Beast, which were produced in Cinecolor (Disney had exclusive rights to the richer Technicolor process). Their success convinced Schlesinger to produce all future Merrie Melodies shorts in color as well. Looney Tunes continued in black and white until 1943.

    In 1936, the cartoons began to end with the slogan “That’s all Folks!” which had previously only been used on the Looney Tunes series. The old slogan “So Long, Folks!” was completely abandoned at this time. The same year, Merrie Melodies began using the bulls-eye opening and closing title sequences (in 1942, Looney Tunes would use the same titles, usually in thicker rings). Also by 1936, Disney’s exclusivity on the three-color Technicolor process was lifted, allowing Merrie Melodies a full color palette for the first time.

    Contractually, Merrie Melodies cartoons were obligated to include at least one full chorus from a Warner Bros. song. Warner Bros. requested that these songs be performed by name bands whenever possible, but this lasted only through the first few shorts. The policy annoyed the animators of Merrie Melodies, since the songs often interrupted the cartoons’ momentum and pacing.

    In the late 1930s, the animators were released from this obligation, and the Merrie Melodies shorts came to resemble more closely the black-and-white Looney Tunes series. In addition, several new characters were created to (initially) appear exclusively in the Merrie Melodies series, such as Egghead (who became Elmer Fudd), Inki, Sniffles, and even Warner Bros.’ most popular cartoon star, Bugs Bunny.

    In 1942, Schlesinger began producing Looney Tunes in color as well, and the two series became virtually indistinguishable except by their theme music and opening titles – in addition, characters once exclusive to one series began regularly appearing in the other as well. In 1944, the studio went to an all-color schedule; though for the first year of this, Bugs still appeared mainly in the Merrie Melodies series (not appearing in a Looney Tune until the end of August), whereas Daffy Duck and Porky Pig (who each appeared in a few Merrie Melodies prior to mid-1942) appeared mainly in Looney Tunes that year. It was not until 1946 that the two series completely appeared indistinguishable, and that Bugs appeared in more Looney Tunes than Merrie Melodies.

    By 1942, the theme music for Looney Tunes was “The Merry-Go-Round Broke Down” by Cliff Friend and Dave Franklin and the theme music for Merrie Melodies was an adaptation of “Merrily We Roll Along” by Charles Tobias, Murray Mencher & Eddie Cantor. This continued until 1964, when the WB cartoon logos were modernized, and “The Merry-Go-Round Broke Down” became the theme for the Merrie Melodies as well.

    When the studio went to full color, even the animators themselves did not make any creative distinction between the two series, as evidenced in an interview quote from director Friz Freleng:

    “I never knew if a film I was making would be Looney Tunes or Merrie Melodies, and what the hell difference would it make, anyway?”

    Another reason Warners kept releasing cartoons under both series names was that if they had stopped using one of them, the trademark, after some time, would expire, and other companies could make money off of it. Thus, both series names would continue to be used as to prevent this.

    The last Merrie Melodies cartoon was also the last released by Warner Bros. Cartoons as part of the original series begun in the 1930s. It was Injun Trouble released in 1969.

    Blue Ribbon Merrie Melodies

    Beginning in late 1943, WB, in a cost-conserving effort, began to reissue its backlog of color cartoons under a new program that they called Merrie Melodies “Blue Ribbon” classics. For the reissue, the original front-and-end title sequences were altered. The revised main title card began with the “zooming” WB logo (see “Elements plastered over” below), followed by the title logo set against a background featuring a “blue ribbon” (hence the re-release program’s title) and a Grand Shorts Award trophy, followed by the name of the cartoon. This revised title sequence eliminated the opening technical credits. The end title card was also revised (except on the very first reissues, such as A Wild Hare and I Love to Singa when Schlesinger was still producing the cartoons), replacing the original versions.

    The revised title sequences were edited right into the original negative, thus the original title sequences were cut away and possibly scrapped. Some of these same revised “blue ribbon” reissues can still be seen on television today. For example, the “Blue Ribbon” version of the Bugs Bunny short A Wild Hare was retitled The Wild Hare for reissue, along with some slight subtle edits (the original unaltered version has been released on both LaserDisc and DVD).

    Elements plastered over

    Color Looney Tunes originally released prior to June 1946 that were reissued in this program had the “Porky coming out of a drum” ending (which had him say “th-th-th-that’s all folks!”) replaced with the Merrie Melodies ending sequence (with “That’s All Folks!” being written) from the given reissue season and the 1941 ending version of “Merrily We Roll Along” playing (pre-1936 color Merrie Melodies would also have this ending). Reissues of color Looney Tunes originally released in September 1948 or later would have the 1946 ending version of “The Merry-Go-Round Broke Down” playing over the closing rings, & 1945 opening music playing over the opening (again those of the given reissue season), revealing the fact that the cartoon was originally a Looney Tune. However, if it was reissued 1955, or later the 1945 opening music, & 1946 closing music would be plastered over with the 1955 closing, & ending versions of The Merry-Go-Round Broke Down. At least three of these said Looney Tunes kept their original closing rings: The Goofy Gophers, What’s Brewin’, Bruin? and Hop, Look and Listen.

    On the other hand, post-1944 reissues of 1936–1941 Merrie Melodies usually retained their original closing music (but not always), but had the ending sequence of the reissue season plastered over the original ending sequence (as to hide any mentions of Leon Schlesinger). Sometimes, Merrie Melodies released in September 1944 or later retained their original ending rings (for example, Lost and Foundling opened with the 1947–48 rings, but closed with the late 1944 rings—with the legend “Produced by Warner Bros. Cartoons Inc.”); while other times, they had the closing rings of the reissue season. The 1952–53 season (which had no post-1944 Merrie Melodies re-issued) featured a special closing, shown at left; see The Bashful Buzzard for more info.

    The opening music was almost always the 1941 opening version of “Merrily We Roll Along”. However, a few had the 1945 opening version of that song—some cartoons had the standard length of the Blue Ribbon title sequence, with the audio from the original credits playing over the part where the cartoon’s title is shown (such as Farm Frolics, Old Glory, Wacky Wildlife, and Tick Tock Tuckered), while others had a shortened version of said sequence (edited to fit the length of the music; cartoons with this style opening included Lost and Foundling and Trap Happy Porky). If the reissued cartoon was a Merrie Melodie originally released between late 1941 and early 1945, then the opening music would have been the same from the original release (unless the reissue had the 1945 music), but in other cases, the opening music is different from the original.

    The one exception to the “original credits are cut” rule was The Mighty Hunters, which had the 1952–53 Blue Ribbon opening playing for the first 15 seconds, but then moved into the original title card and credits.

    Later years

    The original method of preparing Blue Ribbon reissues persisted through the 1955–56 season. Most of the cartoons that were reissued without the original title card and credits would end up in the pre-August 1948 package of cartoons sold to Associated Artists Productions (a.a.p.), thus only 5 cartoons in the post-July 1948package would be reissued in this manner: these were Daffy Dilly, The Foghorn Leghorn, Kit for Cat, Scaredy Cat, and You Were Never Duckier. Beginning in the 1956–57 season, “Blue Ribbon” reissues (of other cartoons in the post-July 1948 package) retained the original opening titles and technical credits (the aforementioned Mighty Hunters having been a precedent), with some of the cartoons indicating their original Looney Tunes issue if the opening and closing theme was “The Merry Go-Round Broke Down.” The rings continued to be replaced to correspond with the reissue season.

    I got this video for Daffy Dilly when I was a kid and I still keep it in my videos bag ..

     

    You can also watch Bugs Bunny & Daffy Duck The Iceman Ducket

    And watch smile darn ya smile 1931

    Enjoy it..

    Grauman’s Chinese Theatre

    Grauman’s Chinese Theatre

    Grauman’s Chinese Theatre is a movie theater located at 6925 Hollywood Boulevard in Hollywood. It is located along the historic Hollywood Walk of Fame. The Chinese Theatre was commissioned following the success of the nearby Grauman’s Egyptian Theatre which opened in 1922. Built over 18 months, beginning in January 1926 by a partnership headed by Sid Grauman, the theater opened May 18, 1927, with the premiere of Cecil B. DeMille’s film The King of Kings. It has since been home to many premieres, birthday parties, corporate junkets and three Academy Awards ceremonies. Among the theater’s most distinctive features are the concrete blocks set in the forecourt, which bear the signatures, footprints, and handprints of popular motion picture personalities from the 1920s to the present day.

    There are nearly 200 Hollywood celebrity handprints, footprints, and autographs in the concrete of the theater’s forecourt.

    Photos for old foot, hand prints..

    Jane Russel and Marliyn Monroe  1953 ” Watch the video when they arrived the theatre to make their prints” http://www.youtube.com/watch?v=3JfMLj0tfAY&feature=related

    Jack Nicholson 1974

    and many others like the next names with the exactly date of their hand, foot prints..

  • Norma Talmadge (post dated for the opening day May 18, 1927)
  • Mary Pickford and Douglas Fairbanks (April 30, 1927)
  • Norma Shearer (August 1, 1927)
  • Harold Lloyd (November 21, 1927)
  • William S. Hart (November 28, 1927)
  • Tom Mix and Tony the Wonder Horse (December 12, 1927)
  • Colleen Moore (December 19, 1927)
  • Gloria Swanson (circa 1927)
  • Constance Talmadge (circa 1927)
  • Pola Negri (April 2, 1928)
  • Bebe Daniels (May 11, 1929)
  • Marion Davies (May 13, 1929)
  • Janet Gaynor (May 29, 1929)
  • Joan Crawford (September 14, 1929)
  • Ann Harding (August 30, 1930)
  • Raoul Walsh (November 14, 1930)
  • Wallace Beery and Marie Dressler (January 31, 1931)
  • Jackie Cooper (December 12, 1931)
  • Eddie Cantor (March 9, 1932)
  • Diana Wynyard (January 26, 1933)
  • The Marx Brothers (February 17, 1933)
  • Jean Harlow (September 25 and September 29, 1933)
  • Maurice Chevalier and Jeanette MacDonald (December 4, 1934)
  • Shirley Temple (March 14, 1935)
  • Joe E. Brown (March 5, 1936)
  • Al Jolson (March 12, 1936)
  • Freddie Bartholomew (April 4, 1936)
  • Bing Crosby (April 8, 1936)
  • Victor McLaglen (May 25, 1936)
  • William Powell and Myrna Loy (October 20, 1936)
  • Clark Gable and Woody Van Dyke (January 20, 1937)
  • Dick Powell and Joan Blondell (February 10, 1937)
  • Fredric March (April 21, 1937)
  • May Robson (April 22, 1937)
  • Tyrone Power and Loretta Young (May 31, 1937)
  • Sonja Henie (June 28, 1937)
  • The Ritz Brothers (September 22, 1937)
  • Eleanor Powell (December 23, 1937)
  • Don Ameche (January 27, 1938)
  • Fred Astaire (February 4, 1938)
  • Deanna Durbin (February 7, 1938)
  • Alice Faye and Tony Martin (March 20, 1938)
  • Edgar Bergen and Charlie McCarthy (July 20, 1938)
  • Jean Hersholt (October 11, 1938)
  • Mickey Rooney (October 18, 1938)
  • Nelson Eddy (December 28, 1938)
  • Ginger Rogers (September 5, 1939)
  • Judy Garland (October 10, 1939)
  • Jane Withers (November 6, 1939)
  •  

  • Linda Darnell (March 18, 1940)
  • Rosa Grauman and George Raft (March 25, 1940)
  • John Barrymore (September 5, 1940)
  • Jack Benny (January 13, 1941)
  • Carmen Miranda (March 24, 1941)
  • Barbara Stanwyck and Robert Taylor (June 11, 1941)
  • Rudy Vallee (July 21, 1941)
  • Cecil B. DeMille (August 7, 1941)
  • The Family of Judge James K. Hardy (August 15, 1941)
  • Abbott and Costello (December 8, 1941)
  • Edward Arnold (January 6, 1942)
  • Joan Fontaine (May 26, 1942)
  • Red Skelton (June 18, 1942)
  • Greer Garson (July 23, 1942)
  • Henry Fonda, Rita Hayworth, Charles Boyer, Edward G. Robinson, and Charles Laughton (July 24, 1942)
  • Bob Hope and Dorothy Lamour (February 5, 1943)
  • Betty Grable (February 15, 1943)
  • Monty Woolley (May 28, 1943)
  • Gary Cooper (August 13, 1943)
  • Esther Williams and Private Joe Brian (August 1, 1944)
  • Gene Tierney (January 24, 1945)
  • Jack Oakie (February 21, 1945)
  • Jimmy Durante (October 31, 1945)
  • Sid Grauman (January 24, 1946)
  • Irene Dunne and Rex Harrison (July 8, 1946)
  • Margaret O’Brien (August 15, 1946)
  • Humphrey Bogart (August 21, 1946)
  • Louella Parsons (September 30, 1946)
  • Ray Milland (April 17, 1947)
  • Lauritz Melchior (November 17, 1947)
  • James Stewart (February 13, 1948)
  • Van Johnson (March 25, 1948)
  • George Jessel (March 1, 1949)
  • Roy Rogers and Trigger (April 21, 1949)
  • Richard Widmark and Charles Nelson (April 24, 1949)
  • Jeanne Crain (October 17, 1949)
  • Jean Hersholt (October 20, 1949)
  • Anne Baxter and Gregory Peck (December 15, 1949)
  • Gene Autry and Champion (December 23, 1949)
  •  

  • John Wayne (January 25, 1950)
  • Lana Turner (May 24, 1950)
  • Bette Davis (November 6, 1950)
  • William Lundigan (December 29, 1950)
  • Cary Grant (July 16, 1951)
  • Susan Hayward (August 10, 1951)
  • Hildegard Knef (as Hildegarde Neff) (December 13, 1951)
  • Oskar Werner (December 13, 1951)
  • Jane Wyman (September 17, 1952)
  • Ava Gardner (October 21, 1952)
  • Clifton Webb (December 7, 1952)
  • Olivia de Havilland (December 9, 1952)
  • Adolph Zukor (January 5, 1953)
  • Ezio Pinza (January 26, 1953)
  • Donald O’Connor and mother Effie (February 25, 1953)
  • Marilyn Monroe and Jane Russell (June 26, 1953)
  • Jean Simmons (September 24, 1953)
  • Danny Thomas (January 26, 1954)
  • James Mason (March 30, 1954)
  • Alan Ladd (May 12, 1954)
  • Edmund Purdom (August 30, 1954)
  • Van Heflin (October 8, 1954)
  • George Murphy (November 8, 1954)
  • Yul Brynner and Deborah Kerr (March 22, 1956)
  • Elizabeth Taylor, Rock Hudson, and George Stevens (September 26, 1956)
  • Elmer C. Rhoden (September 16, 1958)
  • Rosalind Russell (February 19, 1959)
  • Cantinflas (December 28, 1960)
  • Doris Day (January 19, 1961)
  • Natalie Wood (December 5, 1961)
  • Charlton Heston (January 18, 1962)
  • Sophia Loren (July 26, 1962)
  • Kirk Douglas (November 1, 1962)
  • Paul Newman and Joanne Woodward (May 25, 1963)
  • Jack Lemmon and Shirley MacLaine (June 29, 1963)
  • Mervyn LeRoy (October 15, 1963)
  • Hayley Mills (February 22, 1964)
  • Dean Martin (March 21, 1964)
  • Peter Sellers (June 3, 1964)
  • Debbie Reynolds (January 14, 1965)
  • Marcello Mastroianni (February 8, 1965)
  • Frank Sinatra (July 20, 1965)
  • Julie Andrews (March 26, 1966)
  • Dick Van Dyke (June 25, 1966)
  • Steve McQueen (March 21, 1967)
  • Sidney Poitier (June 23, 1967)
  • Anthony Quinn (December 21, 1968)
  • Danny Kaye (October 19, 1969)
  • Gene Kelly (November 24, 1969)
  • Ali MacGraw (December 14, 1972)
  • Jack Nicholson (June 17, 1974)
  • Tom Bradley and Ted Mann (May 18, 1977)
  • Herbie the love bug (date unknown).
  • The Chinese Theatre’s 50th Anniversary (May 24, 1977)
  • C-3PO (Anthony Daniels), R2-D2, and Darth Vader (August 3, 1977)
  • George Burns (January 25, 1979)
  • John Travolta (June 2, 1980)
  • Burt Reynolds (September 24, 1981)
  • Rhonda Fleming (September 28, 1981)
  • Sylvester Stallone (June 29, 1983)
  • George Lucas and Steven Spielberg (May 16, 1984)
  • Donald Duck and Clarence Nash (May 21, 1984)
  • Clint Eastwood (August 21, 1984)
  • Mickey Rooney (February 18, 1986)
  • Eddie Murphy and Hollywood’s 100th Anniversary (May 14, 1987)
  • Gene Roddenberry, William Shatner, Leonard Nimoy, DeForest Kelley, Nichelle Nichols, James Doohan, George Takei, and Walter Koenig (December 5, 1991)
  • Harrison Ford (June 4, 1992)
  • Michael Keaton (June 15, 1992)
  • Tom Cruise (June 15, 1992)
  • Mel Gibson (August 23, 1993)
  • Arnold Schwarzenegger (July 14, 1994)
  • Meryl Streep (September 25, 1994)
  • Whoopi Goldberg (February 2, 1995)
  • Bruce Willis (May 18, 1995)
  • Steven Seagal (July 10, 1995)
  • Jim Carrey (November 1, 1995)
  • Johnny Grant (May 13, 1997)
  • Robert Zemeckis (July 8, 1997)
  • Michael Douglas (September 10, 1997)
  • Al Pacino (October 16, 1997)
  • Denzel Washington (January 15, 1998)
  • Walter Matthau (April 2, 1998)
  • Warren Beatty (May 21, 1998)
  • Danny Glover (July 7, 1998)
  • Tom Hanks (July 23, 1998)
  • Robin Williams (December 22, 1998)
  • Susan Sarandon (January 11, 1999)
  • William F. “Bill” Hertz (March 18, 1999)
  • Ron Howard (March 23, 1999)
  • Sean Connery (April 13, 1999)
  • Richard Gere (July 26, 1999)
  • Terry Semel and Bob Daly (September 30, 1999)
  • Well, Ofcourse there is more for now adays celebrities.. but I just mentioned the old celebrities..

    Swing

    Swing (dance)

    Swing dance” is a group of dances that developed concurrently with the swing style of jazz music in the 1920s, ’30s and ’40s, although the earliest of these dance forms predate swing jazz music. The best known of these dances is the Lindy Hop, a popular partner dance that originated in Harlem and is still danced today. While the majority of swing dances began in African American communities as vernacular African American dances, a number of forms (Balboa, for example) developed within Anglo-American or other ethnic group communities.

    Swing jazz features the syncopated timing associated with African American and West African music and dance — a combination of crotchets and quavers (quarter notes and eighth notes) that many swing dancers interpret as ‘triple steps’ and ‘steps’ — yet also introduces changes in the way these rhythms were played — a distinct delay or ‘relaxed’ approach to timing.

    Today there are swing dance scenes in many countries throughout the world. Lindy Hop is often the most popular, though each city and country prefers various dances in different degrees. Each local swing dance community has a distinct local culture and defines “swing dance” and the “appropriate” music to accompany it in different ways.

    Watch different scenes for swing dance..

    • I LOVE RETRO