Harry Lillis "Bing" Crosby was an American singer and actor. The first multimedia star, Crosby was a leader in record sales, radio ratings, motion picture grosses from 1931 to 1954, his early career coincided with recording innovations that allowed him to develop an intimate singing style that influenced many male singers who followed him, including Perry Como, Frank Sinatra, Dick Haymes, Dean Martin. Yank magazine said that he was "the person who had done the most for the morale of overseas servicemen" during World War II. In 1948, American polls declared him the "most admired man alive", ahead of Jackie Robinson and Pope Pius XII. In 1948, Music Digest estimated that his recordings filled more than half of the 80,000 weekly hours allocated to recorded radio music. Crosby won an Academy Award for Best Actor for his role as Father Chuck O'Malley in the 1944 motion picture Going My Way and was nominated for his reprise of the role in The Bells of St. Mary's opposite Ingrid Bergman the next year, becoming the first of six actors to be nominated twice for playing the same character.
In 1963, Crosby received the first Grammy Global Achievement Award. He is one of 33 people to have three stars on the Hollywood Walk of Fame, in the categories of motion pictures and audio recording, he was known for his collaborations with longtime friend Bob Hope, starring in the Road to... films from 1940 to 1962. Crosby influenced the development of the postwar recording industry. After seeing a demonstration of a German broadcast quality reel-to-reel tape recorder brought to America by John T. Mullin, he invested $50,000 in a California electronics company called Ampex to build copies, he convinced ABC to allow him to tape his shows. He became the first performer to pre-record his radio shows and master his commercial recordings onto magnetic tape. Through the medium of recording, he constructed his radio programs with the same directorial tools and craftsmanship used in motion picture production, a practice that became an industry standard. In addition to his work with early audio tape recording, he helped to finance the development of videotape, bought television stations, bred racehorses, co-owned the Pittsburgh Pirates baseball team.
Crosby was born on May 3, 1903 in Tacoma, Washington, in a house his father built at 1112 North J Street. In 1906, his family moved to Spokane and in 1913, his father built a house at 508 E. Sharp Avenue; the house sits on the campus of Gonzaga University. It functions today as a museum housing over 200 artifacts from his life and career, including his Oscar, he was the fourth of seven children: brothers Laurence Earl, Everett Nathaniel, Edward John, George Robert. His parents were Harry Lowe Crosby, a bookkeeper, Catherine Helen "Kate", his mother was a second generation Irish-American. His father was of English descent. Through another line on his father's side, Crosby is descended from Mayflower passenger William Brewster. On November 8, 1937, after Lux Radio Theatre's adaptation of She Loves Me Not, Joan Blondell asked Crosby how he got his nickname: Crosby: "Well, I'll tell you, back in the knee-britches day, when I was a wee little tyke, a mere broth of a lad, as we say in Spokane, I used to totter around the streets, with a gun on each hip, my favorite after school pastime was a game known as "Cops and Robbers", I didn't care which side I was on, when a cop or robber came into view, I would haul out my trusty six-shooters, made of wood, loudly exclaim bing! bing!, as my luckless victim fell clutching his side, I would shout bing! bing!, I would let him have it again, as his friends came to his rescue, shooting as they came, I would shout bing! bing! bing! bing! bing! bing! bing! bing!"Blondell: "I'm surprised they didn't call you "Killer" Crosby!
Now tell me another story, Grandpa! Crosby: "No, so help me, it's the truth, ask Mister De Mille."De Mille: "I'll vouch for it, Bing."That story was pure whimsy for dramatic effect and the truth is that a neighbor - Valentine Hobart - named him "Bingo from Bingville" after a comic feature in the local paper called "The Bingville Bugle" which the young Harry liked. In time, Bingo got shortened to Bing. In 1917, Crosby took a summer job as property boy at Spokane's "Auditorium," where he witnessed some of the finest acts of the day, including Al Jolson, who held him spellbound with ad libbing and parodies of Hawaiian songs, he described Jolson's delivery as "electric."Crosby graduated from Gonzaga High School in 1920 and enrolled at Gonzaga University. He did not earn a degree; as a freshman, he played on the university's baseball team. The university granted him an honorary doctorate in 1937. Today, Gonzaga University houses a large collection of photographs and other material related to Crosby.
In 1923, Crosby was invited to join a new band composed of high school students a few years younger than himself. Al Rinker, Miles Rinker, James Heaton, Claire Pritchard and Robert Pritchard, along with drummer Crosby, formed the Musicaladers, who performed at dances both for high school students and club-goers; the group disbanded after two years. Crosby and Al Rinker obtained work at the Clemmer Theatre in Spokane. Crosby was a member of a vocal trio called'The Three Harmo
A film called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession; the process of filmmaking is both an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, other visual effects; the word "cinema", short for cinematography, is used to refer to filmmaking and the film industry, to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, perceptions, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were recorded onto plastic film through a photochemical process and shown through a movie projector onto a large screen.
Contemporary films are now fully digital through the entire process of production and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack. Films are cultural artifacts created by specific cultures, they reflect those cultures. Film is considered to be an important art form, a source of popular entertainment, a powerful medium for educating—or indoctrinating—citizens; the visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages; the individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears.
The perception of motion is due to a psychological effect called the phi phenomenon. The name "film" originates from the fact that photographic film has been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture and flick; the most common term in the United States is movie. Common terms for the field in general include the big screen, the silver screen, the movies, cinema. In early years, the word sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, costumes, direction, audiences and scores. Much terminology used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film; the magic lantern created by Christiaan Huygens in the 1650s, could be used to project animation, achieved by various types of mechanical slides.
Two glass slides, one with the stationary part of the picture and the other with the part, to move, would be placed one on top of the other and projected together the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the zoetrope demonstrated that a designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if they were displayed one after the other at a sufficiently rapid rate; these devices relied on the phenomenon of persistence of vision to make the display appear continuous though the observer's view was blocked as each drawing rotated into the location where its predecessor had just been glimpsed.
Each sequence was limited to a small number of drawings twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen; the use of sequences of photographs in such devices was limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were moving. The sensitivity was improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wi
Little Boy Lost (1953 film)
Little Boy Lost is a 1953 American drama film directed by George Seaton and starring Bing Crosby, Claude Dauphin, Christian Fourcade. Based on the novel Little Boy Lost by Marghanita Laski, the film is about a war correspondent stationed in Paris during World War II and once married to a French girl, murdered by the Nazis. Following the war, he returns to France trying to find his son, whom he lost during a bombing raid but has been told is living in an orphanage in Paris. Costumes were designed by Edith Head. Makeup was supervised by Wally Westmore. During World War II an American war correspondent, Bill Wainwright, was stationed in Paris, he fell in love with a French singer, Lisa Garret. They had a son, Jean. Wainwright was assigned to cover the Battle of Dunkirk and after the evacuation of Allied troops and the French surrender he could not return to Paris, he learned that his wife was murdered by the Nazis for participating in the French Resistance and that his small son went missing during a bombing raid.
This background information is presented via a flashback narrated by Wainwright. The war is now over and the grieving widower has returned to Paris to find his lost little boy, his best friend is Pierre Verdier. Wainwright has been told. There, he finds a sad and confused boy, who does bear a resemblance to Lisa, Wainwright believes he might be his son; the Mother Superior insists that the boy is his, but Wainwright is skeptical and sets out to test him. He begins to form an emotional attachment to the boy, but when the boy fails the test, Wainwright realizes that the child has been fed information in order to help him pass the test, he confronts the nun, who confesses to having tried to help the boy because of her determination to have her orphans placed in good homes and have happy lives. Though Wainwright and the boy have formed a bond, he cannot get over his grief until he speaks to a friend who advises him to face up to his wife's death. While out and about, he has seen a stuffed toy identical to one that Wainwright had won at a carnival for Lisa, and, named "Binky".
He has it sent to the orphanage. The movie ends as Wainwright returns to the orphanage, having realized that he needs the boy if he may not be the son he lost. Jean, seeing the stuffed dog, hugs it and calls it "Binky", thus revealing that he is Wainwright's son. Bing Crosby as Bill Wainwright Claude Dauphin as Pierre Verdier Christian Fourcade as Jean Gabrielle Dorziat as Mother Superior Nicole Maurey as Lisa Garret Colette Deréal as Nelly Georgette Anys as Madame Quilleboeuf Henri Letondal as Tracing Service Clerk Peter Baldwin as Lt. Walker Filming took place in Paris in September 1952 and continued in Hollywood from November to December 1952. Bing Crosby received the news, he returned to California and his wife died on November 1, 1952. Returning to the studio, Crosby had to face a grueling scene, one of the most important in the picture; the war correspondent, who had never in his own heart accepted the fact that his wife was dead, was forced to listen to the official, brutal account of her death, read by her friend.
He had to realize that to go on living and to love the living, a man must bury his dead. The film had its New York premiere at the Rivoli as a benefit for the Overseas Press Club on September 21, 1953; the following day Bosley Crowther of The New York Times wrote “…here Mr. Crosby is playing a straight dramatic role in a picture of deep emotional content and genuinely tragic, overtones. Except for two or three song numbers that are worked in there are few other points of contact with the bright and chipper Bingle of old, and yet it must be said for Mr. Crosby that he manages to convey a strong sense of real emotional torment in a tragically wracked character and that he serves as a credible buffer in a candidly heart-socking film..."Variety said: "Based on the Marghanita Laski story of a father’s search for the young son from whom he had become separated because of the war, the film doesn’t come off with the tremendous heart impact of the original, or of the television version seen only a season or two back, although it does have sufficient moving moments to be satisfactory family filmfare"Little Boy Lost received the Golden Globe Award for Best Film Promoting International Understanding.
It was entered into the 1954 Cannes Film Festival. "Mon Coeur est un violon": sung by Nicole Maurey "Darktown Strutters' Ball": sung by Bing Crosby and Nicole Maurey "A Propos de Rien": sung by Nicole Maurey and again by Bing Crosby "Oh! Susanna": sung by boys' group and again by Christian Fourcade. "Cela M'est Egal": sung by Bing Crosby "Sur le Pont d'Avignon": sung by Claude Dauphin and Christian Fourcade "Frère Jacques": sung by Bing Crosby, Claude Dauphin and Christian Fourcade "The Magic Window”: sung by Bing CrosbyCrosby recorded four of the songs for Decca Records and these were issued on a 10" LP titled The Country Girl / Little Boy Lost. Crosby's songs were included in the Bing's Hollywood series. Little Boy Lost on IMDb Little Boy Lost at AllMovie
Houghton Mifflin Harcourt
Houghton Mifflin Harcourt is a publisher of textbooks, instructional technology materials, reference works, fiction and non-fiction for both young readers and adults. The company is based in Boston's Financial District; the company was known as Houghton Mifflin Company but changed its name following the 2007 acquisition of Harcourt Publishing. Prior to March 2010, it was a subsidiary of Education Media and Publishing Group Limited, an Irish-owned holding company registered in the Cayman Islands and known as Riverdeep. In 1832, William Ticknor and John Allen purchased a bookselling business in Boston and began to involve themselves in publishing. James Thomas Fields joined as a partner in 1843 and with Tickner gathered an impressive list of writers, including Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau; the duo formed a close relationship with Riverside Press, a Boston printing company owned by Henry Oscar Houghton. Houghton founded his own publishing company with partner Melancthon Hurd in 1864, with George Mifflin joining the partnership in 1872.
In 1878, Ticknor and Fields, now under the leadership of James R. Osgood, found itself in financial difficulties and merged its operations with Hurd and Houghton; the new partnership, named Houghton and Company, held the rights to the literary works of both publishers. When Osgood left the firm two years the business reemerged as Houghton and Company. Despite a lucrative partnership with Lawson Valentine, Houghton and Company still had debt it had inherited from Ticknor and Fields, so it decided to add partners. In 1884 James D. Hurd, the son of Melancthon Hurd, became a partner. In 1888, three others became partners as well: James Murray Kay, Thurlow Weed Barnes, Henry Oscar Houghton Jr. Shortly thereafter, the company established an Educational Department, from 1891 to 1908 sales of educational materials increased by 500 percent; the firm incorporated in 1908. Soon after 1916, Houghton Mifflin became involved in publishing standardized tests and testing materials, working with such test developers as E. F. Lindquist.
By 1921, the company was the fourth-largest educational publisher in the United States. In 1961, Houghton Mifflin famously passed on Julia Child's Mastering the Art of French Cooking, giving it up to Alfred A. Knopf who published it in 1962, it is considered by many to be the bible of French cooking. Houghton Mifflin's strategic error was depicted in the 2009 film Julia. In 1967, Houghton Mifflin became a publicly traded company on the New York Stock Exchange under the stock symbol HTN. In 1979, Houghton Mifflin acquired the children's division of Seabury Press. Under president Nader F. Darehshori Houghton Mifflin acquired McDougal Littell in 1994 for $138 million, an educational publisher of secondary school materials, the following year acquired D. C. Heath and Company, a publisher of supplemental educational resources. In 1996, the company created their Great Source Education Group to combine the supplemental material product lines of their School Division and these two companies. In 1998, HMH announced a sub-brand called LOGAL Software, to release a new line of interactive science software called Science Gateways, to support the United States curriculum.
As of 2017, Houghton Mifflin Harcourt is offering the "Logal Science" brand as a licensing opportunity on its website. In 2017, it was announced that Houghton Mifflin Harcourt would be getting involved in TV production with a planned 2019 Netflix series that will revive the Carmen Sandiego franchise. Mergers and acquisitions activities have had major effects on this company. In 2001, Houghton Mifflin was acquired by French media giant Vivendi Universal for $2.2 billion including assumed debt. In 2002, facing mounting financial and legal pressures, Vivendi sold Houghton to private equity investors Thomas H. Lee Partners, Bain Capital, Blackstone Group for $1.66 billion, including assumed debt. On December 22, 2006, it was announced that Riverdeep PLC had completed its acquisition of Houghton Mifflin; the new joint enterprise would be called the Houghton Mifflin Riverdeep Group. Riverdeep paid $1.75 billion in cash and assumed $1.61 billion in debt from the private investment firms Thomas H. Lee Partners, Bain Capital and Blackstone Group.
Tony Lucki, a former non-executive director of Riverdeep, remained in his position as the company's chief executive officer until April 2009. Houghton Mifflin sold its professional testing unit, Promissor, to Pearson plc in 2006; the company combined its remaining assessment products within Riverside Publishing, including San Francisco-based Edusoft. On July 16, 2007, Houghton Mifflin Riverdeep announced that it signed a definitive agreement to acquire the Harcourt Education, Harcourt Trade and Greenwood-Heinemann divisions of Reed Elsevier for $4 billion; the expanded company would become Houghton Mifflin Harcourt. McDougal Littell was merged with Harcourt's Rinehart & Winston to form Holt McDougal. On December 3, 2007, Cengage Learning announced that it had agreed to acquire the assets of the Houghton Mifflin College Division for $750 million, pending regulatory approval. On November 25, 2008, Houghton Mifflin Harcourt announced a temporary freeze on acquisition of new trade division titles in response to the economic crisis of 2008.
The publisher of the trade division resigned in protest. Many observers familiar with the publishing industry saw the move as a devastating blunder. Harcourt Religion was sold to Our Sunday Visitor in 2009. On July 27, 2009, the Irish
A hardcover or hardback book is one bound with rigid protective covers. It has a sewn spine which allows the book to lie flat on a surface when opened. Following the ISBN sequence numbers, books of this type may be identified by the abbreviation Hbk. Hardcover books are printed on acid-free paper, they are much more durable than paperbacks, which have flexible damaged paper covers. Hardcover books are marginally more costly to manufacture. Hardcovers are protected by artistic dust jackets, but a "jacketless" alternative is becoming popular: these "paper-over-board" or "jacketless hardcover" bindings forgo the dust jacket in favor of printing the cover design directly onto the board binding. If brisk sales are anticipated, a hardcover edition of a book is released first, followed by a "trade" paperback edition the next year; some publishers publish paperback originals. For popular books these sales cycles may be extended, followed by a mass market paperback edition typeset in a more compact size and printed on shallower, less hardy paper.
This is intended to, in part, prolong the life of the immediate buying boom that occurs for some best sellers: After the attention to the book has subsided, a lower-cost version in the paperback, is released to sell further copies. In the past the release of a paperback edition was one year after the hardback, but by the early twenty-first century paperbacks were released six months after the hardback by some publishers, it is unusual for a book, first published in paperback to be followed by a hardback. An example is the novel The Judgment of Paris by Gore Vidal, which had its revised edition of 1961 first published in paperback, in hardcover. Hardcover books are sold at higher prices than comparable paperbacks. Books for the general public are printed in hardback only for authors who are expected to be successful, or as a precursor to the paperback to predict sale levels. Hardcovers consist of a page block, two boards, a cloth or heavy paper covering; the pages are sewn together and glued onto a flexible spine between the boards, it too is covered by the cloth.
A paper wrapper, or dust jacket, is put over the binding, folding over each horizontal end of the boards. Dust jackets serve to protect the underlying cover from wear. On the folded part, or flap, over the front cover is a blurb, or a summary of the book; the back flap is. Reviews are placed on the back of the jacket. Many modern bestselling hardcover books use a partial cloth cover, with cloth covered board on the spine only, only boards covering the rest of the book. Bookbinding Paperback
A paperback known as a softcover or سعيد, is a type of book characterized by a thick paper or paperboard cover, held together with glue rather than stitches or staples. In contrast, hardcover or hardback books are bound with cardboard covered with cloth; the pages on the inside are made of paper. Inexpensive books bound in paper have existed since at least the 19th century in such forms as pamphlets, dime novels, airport novels. Modern paperbacks can be differentiated by size. In the U. S. there are "mass-market paperbacks" and larger, more durable "trade paperbacks." In the U. K. there are A-format, B-format, the largest C-format sizes. Paperback editions of books are issued when a publisher decides to release a book in a low-cost format. Cheaper, lower quality paper. Paperbacks can be the preferred medium when a book is not expected to be a major seller or where the publisher wishes to release a book without putting forth a large investment. Examples include many novels, newer editions or reprintings of older books.
Since paperbacks tend to have a smaller profit margin, many publishers try to balance the profit to be made by selling fewer hardcovers against the potential profit to be made by selling more paperbacks with a smaller profit per unit. First editions of many modern books genre fiction, are issued in paperback. Best-selling books, on the other hand, may maintain sales in hardcover for an extended period to reap the greater profits that the hardcovers provide; the early 19th century saw numerous improvements in the printing and book-distribution processes, with the introduction of steam-powered printing presses, pulp mills, automatic type setting, a network of railways. These innovations enabled the likes of Simms and McIntyre of Belfast, Routledge & Sons and Ward & Lock to mass-produce cheap uniform yellowback or paperback editions of existing works, distribute and sell them across the British Isles, principally via the ubiquitous W H Smith & Sons newsagent found at most urban British railway stations.
These paper bound volumes were offered for sale at a fraction of the historic cost of a book, were of a smaller format, 110 mm × 178 mm, aimed at the railway traveller. The Routledge's Railway Library series of paperbacks remained in print until 1898, offered the traveling public 1,277 unique titles; the German-language market supported examples of cheap paper-bound books: Bernhard Tauchnitz started the Collection of British and American Authors in 1841. These inexpensive, paperbound editions, a direct precursor to mass-market paperbacks ran to over 5,000 volumes. Reclam published Shakespeare in this format from October 1857 and went on to pioneer the mass-market paper-bound Universal-Bibliothek series from 10 November 1867; the German publisher Albatross Books revised the 20th-century mass-market paperback format in 1931, but the approach of World War II cut the experiment short. It proved an immediate financial success in the United Kingdom in 1935 when Penguin Books adopted many of Albatross' innovations, including a conspicuous logo and color-coded covers for different genres.
British publisher Allen Lane invested his own financial capital to launch the Penguin Books imprint in 1935, initiating the paperback revolution in the English-language book-market by releasing ten reprint titles. The first released book on Penguin's 1935 list was André Maurois' Ariel. Lane intended to produce inexpensive books, he purchased paperback rights from publishers, ordered large print runs to keep unit prices low, looked to non-traditional book-selling retail locations. Booksellers were reluctant to buy his books, but when Woolworths placed a large order, the books sold well. After that initial success, booksellers showed more willingness to stock paperbacks, the name "Penguin" became associated with the word "paperback". In 1939, Robert de Graaf issued a similar line in the United States, partnering with Simon & Schuster to create the Pocket Books label; the term "pocket book" became synonymous with paperback in English-speaking North America. In French, the term livre de poche is still in use today.
De Graaf, like Lane, negotiated paperback rights from other publishers, produced many runs. His practices contrasted with those of Lane by his adoption of illustrated covers aimed at the North American market. To reach an broader market than Lane, he used distribution networks of newspapers and magazines, which had a lengthy history of being aimed at mass audiences; because of its number-one position in what became a long list of pocket editions, James Hilton's Lost Horizon is cited as the first American paperback book. However, the first mass-market, pocket-sized, paperback book printed in the US was an edition of Pearl Buck's The Good Earth, produced by Pocket Books as a proof-of-concept in late 1938, sold in New York City. In World War II, the U. S. military distributed some 122 million "Armed Services Editions" paperback novels to the troops, which helped popularize the format after the war. Through the circulation of the paperback in kiosks and bookstores and intellectual knowledge was able to reach the masses.
This occurred at the same time that the masses were starting to attend university, leading to the student revolts of 1968 prompting open access to knowledge. The paperback book meant that more people were able to and access knowledge and this led to people wanting more and more of it; this accessibility posed a threat to the wealthy by imposing that