Other books that might interest you

• 

  The Power of Classical Music

  Smith Show Media Productions

  • 0
  • 0
  • 0

  Learn the power of classical music for all familys

  Show book

• 

  Fibber McGee & Molly - Volume 3...

  Don Quinn

  • 0
  • 0
  • 0

  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

• 

  Goya and artworks

  Jp. A. Calosse

  • 0
  • 0
  • 0

  Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in control of his refractory powers, he produced masterpieces with the speed of Rubens. His court appointment was followed by a decade of incessant activity – years of painting and scandal, with intervals of bad health. Goya’s etchings demonstrate a draughtsmanship of the first rank. In paint, like Velázquez, he is more or less dependent on the model, but not in the detached fashion of the expert in still-life. If a woman was ugly, he made her a despicable horror; if she was alluring, he dramatised her charm. He preferred to finish his portraits at one sitting and was a tyrant with his models. Like Velázquez, he concentrated on faces, but he drew his heads cunningly, and constructed them out of tones of transparent greys. Monstrous forms inhabit his black-and-white world: these are his most profoundly deliberated productions. His fantastic figures, as he called them, fill us with a sense of ignoble joy, aggravate our devilish instincts and delight us with the uncharitable ecstasies of destruction. His genius attained its highest point in his etchings on the horrors of war. When placed beside the work of Goya, other pictures of war pale into sentimental studies of cruelty. He avoided the scattered action of the battlefield, and confined himself to isolated scenes of butchery. Nowhere else did he display such mastery of form and movement, such dramatic gestures and appalling effects of light and darkness. In all directions Goya renewed and innovated.

  Show book

• 

  A Subversive Gospel - Flannery...

  Michael Mears Bruner

  • 0
  • 0
  • 0

  Conference on Christianity and Literature (CCL) Book of the Year - Literary Criticism
  The good news of Jesus Christ is a subversive gospel, and following Jesus is a subversive act.
  These notions were embodied in the literary work of American author Flannery O'Connor, whose writing was deeply informed by both her Southern context and her Christian faith. In this Studies in Theology and the Arts volume, theologian Michael Bruner explores O'Connor's theological aesthetic and argues that she reveals what discipleship to Christ entails by subverting the traditional understandings of beauty, truth, and goodness through her fiction. In addition, Bruner challenges recent scholarship by exploring the little-known influence of Baron Friedrich von Hügel, a twentieth-century Roman Catholic theologian, on her work.
  Bruner's study thus serves as a guide for those who enjoy reading O'Connor and—even more so—those who, like O'Connor herself, follow the subversive path of the crucified and risen one.
  The Studies in Theology and the Arts  series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

  Show book

• 

  Paul and Vincent

  David P. Reiter

  • 0
  • 0
  • 0

  Based on Gauguin’s reflections of his stormy relationship with Vincent at Arles, France, this audio production brings the personalities of the two artists alive. Based on the extracts from the book Letters We Never Sent by David P. Reiter and the source for the ABC PoeticA production.

  Show book

• 

  The Road to Woodstock

  Michael Lang, Holly George-Warren

  • 0
  • 0
  • 0

  The story of the Woodstock Music and Art Fair begins with Michael Lang, a kid out of Bensonhurst, Brooklyn, who liked to smoke a joint and listen to jazz. He would find his way to Florida, open a head shop, and produce his first festival—Miami Pop, featuring Jimi Hendrix, Frank Zappa, and others—then travel to Woodstock, where, after meeting Artie Kornfeld, his vision for a festival where folks could come and stay for a few days amid the rural beauty of upstate New York would become a reality. With Artie, new partners John Roberts and Joel Rosenman, and his handpicked crew, Lang booked talent, from Janis Joplin and the Who to the virtually unknown Santana and Crosby, Stills, and Nash; won over agents, promoters, and townspeople; took on fleets of volunteers; built a festival site from the ground up; and, in the end, created the landmark cultural event that defined a generation.

  Show book