"Between 1995 and 1999, Patton Oswalt lived with an unshakable addiction. It wasn't drugs, alcohol or sex: it was film. After moving to L.A., Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the New Beverly Cinema. Silver screen celluloid became Patton's life schoolbook, informing his notion of acting, writing, comedy, and relationships. Set in the nascent days of L.A.'s alternative comedy scene, Oswalt's memoir chronicles his journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way"--

(Jazz Piano Solos). This cool collection features 24 film classics arranged in a jazzy style, including: Alfie * As Time Goes By * Call Me Irresponsible * Come Rain or Come Shine * Days of Wine and Roses * Easy Living * It Had to Be You * Pure Imagination * Smile * Stella by Starlight * The Way You Look Tonight * You'd Be So Nice to Come Home To * and many more. Includes chord symbols.

Preface Introduction: Whose Jazz, Whose Cinema? 1: The Ethnic Oedipus: The Jazz Singer and Its Remakes 2: Black and Tan Fantasies: The Jazz Biopic 3: Jazz Becomes Art 4: Signifyin(g) the Phallus: Representations of the Jazz Trumpet 5: Duke's Place: Visualizing a Jazz Composer 6: "Actor and Musician": Louis Armstrong and His Films 7: Nat King Cole, Hoagy Carmichael, and the Fate of the Jazz Actor Conclusion: New York, New York and Short Cuts Notes Bibliography Index Copyright © Libri GmbH. All rights reserved.

Our culture has undergone a major shift: younger generations have less and less interest in the printed word as they become predominantly image oriented. In response, as congregations increasingly learn to be more sophisticated in using newer electronic technologies, they are finding themselves at different places in the quest to understand, acquire, manage, and benefit from the technology boom. Worship leaders in congregations already using some electronic media are realizing that they could be doing more with it, and are seeking new ideas. Congregational leaders scrambling to catch up with a worship committee that has decided it's time for a change aren't sure of the next steps. Or maybe there's been a gift to the congregation to be spent on electronics, and no one is quite sure how best to use the money. Michael Bausch's book grows out of several years' of conversation, personal experimentation, and experience with multimedia worship in one modest-sized, small-town church, while also drawing on the experiences and work of other churches learning to use electronic media in worship. Bausch balances concern for practical issues, such as finances and architecture, with attention to theological integrity and the challenges of sustaining media-enhanced worship. He skillfully shows how the artistic resources of the world around us can enhance our awareness of God's presence in worship.

(Piano Solo Songbook). Piano solo arrangements of 24 jazz favorites, including: Almost like Being in Love * Angel Eyes * Autumn Leaves * Bewitched * God Bless' the Child * If You Go Away * It Might as Well Be Spring * Love Me or Leave Me * On Green Dolphin Street * Smoke Gets in Your Eyes * That Old Black Magic * What's New? * Wrap Your Troubles in Dreams (And Dream Your Troubles Away) * and more.

From the first synchronized sound films of the late 1920s through the end of World War II, African American music and dance styles were ubiquitous in films. Black performers, however, were marginalized, mostly limited to appearing in "specialty acts" and various types of short films, whereas stardom was reserved for Whites. Jumping the Color Line discusses vernacular jazz dance in film as a focal point of American race relations. Looking at intersections of race, gender, and class, the book examines how the racialized and gendered body in film performs, challenges, and negotiates identities and stereotypes. Arguing for the transformative and subversive potential of jazz dance performance onscreen, the six chapters address a variety of films and performers, including many that have received little attention to date. Topics include Hollywood's first Black female star (Nina Mae McKinney), male tap dance "class acts" in Black-cast short films of the early 1930s, the film career of Black tap soloist Jeni LeGon, the role of dance in the Soundies jukebox shorts of the 1940s, cinematic images of the Lindy hop, and a series of teen films from the early 1940s that appealed primarily to young White fans of swing culture. With a majority of examples taken from marginal film forms, such as shorts and B movies, the book highlights their role in disseminating alternative images of racial and gender identities as embodied by dancers – images that were at least partly at odds with those typically found in major Hollywood productions.

(Piano Solo Songbook). Fresh solo piano arrangements with chord names of 24 favorite ballads in a jazz style, including: Body and Soul * I Guess I'll Hang My Tears Out to Dry * Misty * My Funny Valentine * The Nearness of You * When I Fall in Love * and more.