Publisher: Ando Music Publishing
A book as a basic toolbox for thousands of new pop and rock grooves. It starts of with combining binary and ternary Hi-Hat rhythms with different Bass drum and Snare Drum figures, followed up with exercises blending on various styles such as Shuffle, Halftime Shuffle, Funk, Hip-Hop, Hand-To-Hand-Coordination, Paradiddle-Patterns, up to Doublebass Grooves.
When a programme runs for years, and sometimes decades, it is a proven mark of quality and popularity that would be hard to dispel. The situation comedy ‘Fibber McGee and Molly’ ran from 1935 to 1959 on the NBC Red network and was often the most popular and eagerly awaited show of the week. Fibber was a story-teller prone to mad-cap schemes who was gently eased back into reality by his ever-loving wife Molly. The comic duo, played by the real-life married couple of Jim & Marion Jordan, lived in the working-class community of Wistful Vista. Here, they played out their adventures amongst neighbours, friends and acquaintances. Comedy and life came together in an almost perfect blend of American life. 79 Wistful Vista was their home visited weekly by an audience that sought refuge from a long line of exhausting real-life events that stretched from the Great Depression, World War 2, Korea and even Rock N Roll. Here they could find cheer and comfort in the middle of their struggles. With it’s lovable cast, it’s recurring characters, appealing storylines and interludes of music, it was a world that the airwaves and audiences loved.Show book
Part of the charm of Yakov Smirnoff's comedy lies in his inspiring and humbling story. From fleeing from the USSR to his newfound life as an American citizen, you'll love hearing his hilarious and heartwarming stories in this special.Show book
Crime is the dark side of civilisation. The under belly of human failing and greed. Within societies, down through the ages, it has appropriated its rules and taken what it wants by foul and unfair means. ‘Crime Classics’ examines all manner of crimes and murders from the past. It carefully recreates the complete crime through thorough and pains-taking research. The cases range from the assassinations of Lincoln and Julius Caesar to the more obscure, such as Bathsheba Spooner, who killed her husband Joshua in 1778 and became the first woman tried and executed in America. Your host each week, is Mr. Thomas Hyland — ‘connoisseur of crime, student of violence, and teller of murders’ and played by Lou Merrill.Show book
A study of an important but neglected director that “fills many gaps and updates our knowledge of a major filmmaker of the silent period and beyond” (Positif). The profusion of research on film history means that there are now few Hollywood filmmakers in the category of Neglected Master, but John M. Stahl has been stuck in it for far too long. His strong association with melodrama and the “woman’s film” is a key to this neglect; those mainstays of popular cinema are no longer the object of critical scorn or indifference, but Stahl has until now hardly benefited from this welcome change in attitude. His remarkable silent melodramas were either lost or buried in archives, while his major sound films such as Imitation of Life and Magnificent Obsession, equally successful in their time, have been overshadowed by the glamour of the 1950s remakes by Douglas Sirk. Sirk is a far from neglected figure; Stahl’s much longer Hollywood career deserves attention and celebration in its own right, as this book definitively shows. Drawing on a wide range of film and document archives, scholars from three continents come together to cover Stahl’s work, as director and also producer, from its beginnings during World War I to his death, as a still active filmmaker, in 1950. Between them they make a strong case for Stahl as an important figure in cinema history, and as author of many films that still have the power to move their audiences.Show book
New Voices in Arab Cinema focuses on contemporary filmmaking since the 1980s, but also considers the longer history of Arab cinema. Taking into consideration film from the Middle East and North Africa and giving a special nod to films produced since the Arab Spring and the Syrian crisis, Roy Armes explores themes such as modes of production, national cinemas, the role of the state and private industry on film, international developments in film, key filmmakers, and the validity of current notions like globalization, migration and immigration, and exile. This landmark book offers both a coherent, historical overview and an in-depth critical analysis of Arab filmmaking.Show book
Ilya Repin was the most gifted of the group known in Russia as “The Itinerants”. When only twelve years old, he joined Ivan Bounakov’s studio to learn the icon-painter’s craft. Religious representations always remained of great importance for him. From 1864 to 1873 Repin studied at the Academy of the Arts in Saint Petersburg under Kramskoï. Repin also studied in Paris for two years, where he was strongly influenced by outdoor painting without, becoming an Impressionist, a style that he judged too distant from reality. Taken with French pictorial culture, he worked to understand its role in the evolution of contemporary art. Most of Repin’s powerful work deals with the social dilemmas of Russian life in the nineteenth century. He established his reputation in 1873 with the celebrated picture Barge Haulers on the Volga, symbol of the oppressed Russian people pulling their chains. This struggle against the autocracy inspired many works. He also painted Russia’s official history in such works as Ivan the Terrible Meditating at the Deathbed of his Son Ivan. Seen as one of the masters of realist painting, he devoted himself to portraying the lives of his contemporaries: the most renowned Russian writers, artists, and intellectuals; peasants at work; the faithful in procession; and revolutionaries on the barricades. He understood the pains of the people perfectly, as well as the needs and the joys of ordinary lives. Kramskoï said on this subject: “Repin has a gift for showing the peasant as he is. I know many painters who show the moujik, and they do it well, but none can do so with as much talent as Repin.”Repin’s works, which depart from the academic constraints of their predecessors, are both delicate and powerful. He achieved a superior mastery of skill, and found new accents to transcribe the many-coloured and brilliant vibrations he sensed in the ordinary world around him.Show book
