2017, ISBN: 9780822331100

Taschenbuch, Gebundene Ausgabe

The Liberace Show - 1980's Programsections include: The Liberace Story, The Million Dollar Wardrobe, Liberace the Designer,Trademarks that Say Liberace, Tonight's Program, A Superstar Sal… Mehr…

The Liberace Show - 1980's Programsections include: The Liberace Story, The Million Dollar Wardrobe, Liberace the Designer,Trademarks that Say Liberace, Tonight's Program, A Superstar Salute to Mr. Showman, The Liberace Foundation, The Liberace Museum, etc.Paperback9 x 13.1 inches, 28 pagesWadziu Valentino Liberace (May 16, 1919 February 4, 1987), known as Liberace, was an American pianist, singer, and actor. A child prodigy and the son of working-class immigrants, Liberace enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame, from the 1950s to the 1970s, Liberace was the highest-paid entertainer in the world, with established concert residencies in Las Vegas, and an international touring schedule. Liberace embraced a lifestyle of flamboyant excess both on and off stage, acquiring the sobriquet "Mr. Showmanship".Wadziu Valentino Liberace (known as "Lee" to his friends and "Walter" to family) was born in West Allis, Wisconsin. His father, Salvatore ("Sam") Liberace (December 9, 1885 April 1, 1977), was an immigrant from Formia, Italy. His mother, Frances Zuchowska (August 31, 1892 November 1, 1980), was of Polish descent. Liberace was born with a caul, which in some cultures is considered indicative of genius, good luck, or the promise of a prosperous future. He had a twin, who died at birth. He had three siblings, a brother George, a violinist and his sister Angelina, and younger brother Rudy.Liberace's father played the French horn in bands and movie theaters but often worked as a factory worker or laborer. While Sam encouraged music in his family, his wife, Frances, believed music lessons and a record player to be unaffordable luxuries. This caused family disputes. Liberace later stated, "My dad's love and respect for music created in him a deep determination to give as his legacy to the world, a family of musicians dedicated to the advancement of the art".Liberace began playing the piano at age four. While Sam took his children to concerts to further expose them to music, he was also a taskmaster demanding high standards from the children in both practice and performance. Liberace's prodigious talent was evident from his early years. By age seven, he was capable of memorizing difficult pieces. He studied the technique of the Polish pianist Ignacy Paderewski. At age eight, he met Paderewski backstage after a concert at the Pabst Theater in Milwaukee. "I was intoxicated by the joy I got from the great virtuoso's playing. My dreams were filled with fantasies of following his footstepsInspired and fired with ambition, I began to practice with a fervor that made my previous interest in the piano look like neglect". Paderewski later became a family friend.The Depression was financially hard on the Liberace family. In childhood, Liberace suffered from a speech impediment and as a teen from the taunts of neighborhood children who mocked him for his effeminate personality and his avoidance of sports and his fondness for cooking and the piano. Liberace concentrated on his piano playing with the help of music teacher Florence Kelly, who oversaw Liberace's musical development for 10 years. He gained experience playing popular music in theaters, on local radio, for dancing classes, for clubs, and for weddings. In 1934, he played jazz piano with a school group called "The Mixers" and later with other groups. Liberace also performed in cabarets and strip clubs. Though Sam and Frances did not approve, their son was earning a tidy living during hard times. For a while, Liberace adopted the stage name "Walter Busterkeys". He also showed an interest in draftsmanship, design, and painting, and became a fastidious dresser and follower of fashion. By this time, he was already displaying a penchant for turning eccentricities into attention-getting practices, and earned popularity at school, despite some making him an object of ridicule.A participant in a formal classical music competition in 1937, Liberace was praised for his "flair and showmanship". At the end of a traditional classical concert in La Crosse in 1939, Liberace played his first requested encore, the popular comedy song "Three Little Fishies". He later stated that he played the popular tune in the styles of several different classical composers. The 20-year-old played with the Chicago Symphony Orchestra on January 15, 1940, at the Pabst Theater in Milwaukee, performing Liszt's Second Piano Concerto under the baton of Hans Lange, for which he received strong reviews. He also toured in the Midwest.Between 1942 and 1944, Liberace moved away from straight classical performance and reinvented his act to one featuring "pop with a bit of classics" or as he also called it "classical music with the boring parts left out". In the early 1940s, he struggled in New York City, but by the mid- and late-1940s, he was performing in night clubs in major cities around the United States, largely abandoning the classical music altogether. He changed from a classical pianist to an entertainer and showman, unpredictably and whimsically mixing the serious with light fare, e.g., Chopin with "Home on the Range". For a while, he played piano along with a phonograph on stage. The gimmick helped gain him attention. He also added interaction with the audiencetaking requests, talking with the patrons, making jokes, giving lessons to chosen audience members. He also began to pay greater attention to such details as staging, lighting, and presentation. The transformation to entertainer was driven by Liberace's desire to connect directly with his audiences, and secondarily from the reality of the difficult competition in the classical piano world.In 1943, he began to appear in Soundies (the 1940s precursor to music videos). He recreated two flashy numbers from his nightclub act, the standards "Tiger Rag" and "Twelfth Street Rag". In these films, he was billed as Walter Liberace. Both "Soundies" were later released to the home-movie market by Castle Films. In 1944, he made his first appearances in Las Vegas, which later became his principal venue. He was playing at the best clubs, finally appearing at the Persian Room in 1945, with Variety proclaiming, "Liberace looks like a cross between Cary Grant and Robert Alda. He has an effective manner, attractive hands which he spotlights properly, and withal, rings the bell in the dramatically lighted, well-presented, showmanly routine. He should snowball into box office". The Chicago Times was similarly impressed: He "made like Chopin one minute and then turns on a Chico Marx bit the next".During this time, Liberace worked to refine his act. He added the candelabrum as his trademark, inspired by a similar prop in the Chopin biopic A Song to Remember (1945). He adopted "Liberace" as his stage name, making a point in press releases that it was pronounced "Liber-Ah-chee". He wore white tie and tails for better visibility in large halls. Besides clubs and occasional work as an accompanist and rehearsal pianist, Liberace played for private parties, including those at the Park Avenue home of millionaire oilman J. Paul Getty. By 1947, he was billing himself as "Liberacethe most amazing piano virtuoso of the present day". He had to have a piano to match his growing presence, so he bought a rare, oversized, gold-leafed Blüthner Grand, which he hyped up in his press kit as a "priceless piano". (Later, he performed with an array of extravagant, custom-decorated pianos, some encrusted with rhinestones and mirrors.) He moved to the Los Angeles neighborhood of North Hollywood in 1947 and was performing at local clubs, such as Ciro's and The Mocambo, for stars such as Rosalind Russell, Clark Gable, Gloria Swanson, and Shirley Temple. He did not always play to packed rooms, and he learned to perform with extra energy to thinner crowds, to maintain his own enthusiasm.Liberace created a publicity machine which helped to make him a star. Despite his success in the supper-club circuit, where he was often an intermission act, his ambition was to reach larger audiences as a headliner and a television, movie, and recording star. Liberace began to expand his act and made it more extravagant, with more costumes and a larger supporting cast. His large-scale Las Vegas act became his hallmark, expanding his fan base, and making him wealthy.His New York City performance at Madison Square Garden in 1954, which earned him a record $138,000 (equivalent to $1,260,000 in 2017) for one performance, was more successful than the great triumph his idol Paderewski had made 20 years earlier. He was mentioned as a sex symbol in The Chordettes 1954 #1 hit "Mr. Sandman". By 1955, he was making $50,000 per week at the Riviera Hotel and Casino in Las Vegas and had over 200 official fan clubs with a quarter of a million members. He was making over $1 million per year from public appearances, and millions from television. Liberace was frequently covered by the major magazines, and he became a pop-culture superstar, but he also became the butt of jokes by comedians and the public.Liberace appeared on the March 8, 1956, episode of the TV quiz program You Bet Your Life hosted by Groucho Marx.Music critics were generally harsh in their assessment of his piano playing. Critic Lewis Funke wrote after the Carnegie Hall concert, Liberace's music "must be served with all the available tricks, as loud as possible, as soft as possible, and as sentimental as possible. It's almost all showmanship topped by whipped cream and cherries." Even worse was his lack of reverence and fealty to the great composers. "Liberace recreatesif that is the wordeach composition in his own image. When it is too difficult, he simplifies it. When it is too simple, he complicates it". His sloppy technique included "slackness of rhythms, wrong tempos, distorted phrasing, an excess of prettification and sentimentality, a failure to stick to what the composer has written".Liberace once stated, "I don't give concerts, I put on a show." Unlike the concerts of classical pianists which normally ended with applause and a retreat off-stage, Liberace's shows ended with the public invited on-stage to touch his clothes, piano, jewelry, and hands. Kisses, handshakes, hugs, and caresses usually followed. A critic summed up his appeal near the end of Liberace's life: "Mr. Showmanship has another more potent, drawing power to his show: the warm and wonderful way he works his audience. Surprisingly enough, behind all the glitz glitter, the corny false modesty, and the shy smile, Liberace exudes a love that is returned to him a thousand-fold."Liberace was a conservative in his politics and faith, eschewing dissidents and rebels. He believed fervently in capitalism and was also fascinated with royalty, ceremony, and luxury. He loved to hobnob with the rich and famous, acting as starstruck with presidents and kings as his fans behaved with him. Yet to his fans, he was still one of them, a Midwesterner who had earned his success through hard work, and who invited them to enjoy it with him.In the next phase of his life, having earned sudden wealth, Liberace spent lavishlyincorporating materialism into his life and his act. He designed and built his first celebrity house in 1953, with a piano theme appearing throughout, including a piano-shaped swimming pool. His dream home, with its lavish furnishings, elaborate bath, and antiques throughout, added to his appeal. He leveraged his fame through hundreds of promotional tie-ins with banks, insurance companies, automobile companies, food companies, and even morticians. Liberace was considered a perfect pitchman, given his folksy connection with his vast audience of housewives. Sponsors sent him complimentary products, including his white Cadillac limousine, and he reciprocated enthusiastically: "If I am selling tuna fish, I believe in tuna fish."The critics had a field day with his gimmicky act, his showy but careful piano playing, his non-stop promotions, and his gaudy display of success, but he remained largely unaffected, as preserved by the famous quotation, first recorded in a letter to a critic, "Thank you for your very amusing review. After reading it, in fact, my brother George and I laughed all the way to the bank." He used a similar response to subsequent poor reviews, famously modifying it to "I cried all the way to the bank." In an appearance on The Tonight Show some years later, Liberace reran the anecdote to Johnny Carson, and finished it by saying, "I don't cry all the way to the bank any more I bought the bank!"Liberace mostly bypassed radio before trying a television career, thinking radio unsuitable given his act's dependency on the visual. Despite his enthusiasm about the possibilities of television, Liberace was disappointed after his early guest appearances on CBS's The Kate Smith Show, and DuMont's Cavalcade of Stars, with Jackie Gleason (later The Jackie Gleason Show on CBS). Liberace was particularly displeased with the frenetic camera work and his short appearance time. He soon wanted his own show where he could control his presentation as he did with his club shows.His first show on local television in Los Angeles was a smash hit, earning the highest ratings of any local show, which he parlayed into a sold-out appearance at the Hollywood Bowl. That led to a summer replacement program for Dinah Shore.The 15-minute network television program, The Liberace Show, began on July 1, 1952, but did not lead to a regular network series. Instead, producer Duke Goldstone mounted a filmed version of Liberace's local show performed before a live audience for syndication in 1953 and sold it to scores of local stations. The widespread exposure of the syndicated series made the pianist more popular and prosperous than ever. His first two years' earnings from television netted him $7 million and on future reruns, he earned up to 80% of the profits.Liberace learned early on to add "schmaltz" to his television show and to cater to the tastes of the mass audience by joking and chatting to the camera as if performing in the viewer's own living room. He also used dramatic lighting, split images, costume changes, and exaggerated hand movements to create visual interest. His television performances featured enthusiasm and humor.Liberace also employed "ritualistic domesticity", used by such early TV greats as Jack Benny and Lucille Ball. His brother George often appeared as guest violinist and orchestra director, and his mother was usually in the front row of the audience, with brother Rudy and sister Angelina often mentioned to lend an air of "family". Liberace began each show in the same way, then mixed production numbers with chat, and signed off each broadcast softly singing "I'll Be Seeing You", which he made his theme song. His musical selections were broad, includin, 1980's, 3, London: Macmillan and Co., 1895. this is the Macmillan issue, xxiii, [i], 323 pp., octavo, former owner's name to half title, else near fine in original gilt stamped cloth, London: Macmillan and Co., 1895, 0, Latin Heritage Foundation, 2012. Paperback. New. 90 pages. Spanish language. 8.43x5.43x0.31 inches., Latin Heritage Foundation, 2012, 6, Cornell University Press. Used - Good. Item in good condition and has highlighting/writing on text. Used texts may not contain supplemental items such as CDs, info-trac etc..., Cornell University Press, 2.5, Cornell University Press. Used - Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc..., Cornell University Press, 3, Oster / 2004 Sunbeam Products, Inc., Boca Raton, FLCD  #: 114380-000-000Michelle Bernstein (born March 21, 1970) is a James Beard Foundation Award-winning chef from Miami, Florida. She has drawn widespread acclaim for her culinary skills and as an expert in Latin-style flavors of cooking.The daughter of an Argentine-Jewish mother and a father with Russian-Jewish roots and a former ballerina and honors graduate from Johnson & Wales University,Chef Bernstein is a winner of the prestigious James Beard Award, South 2008.In 2001 she opened the restaurant Azul at the Mandarin Oriental and was soon lauded for her sophisticated haute cuisine by Esquire Magazine food critic John Mariani, who dubbed it "the best new restaurant in America.Bernstein was previously a co-host of the Food Network series Melting Pot and was once in a battle on Iron Chef America versus Bobby Flay, from which she emerged victorious. She has since appeared on numerous shows, including as a guest judge on Top Chef. She also continues to host her PBS weekly television series, Check, Please! South Florida and is a regular guest on multiple national television shows, including The Today Show, the Martha Stewart Show, and Univision Networks top-rated morning show, Despierta America.In 2005, Bernstein and her husband, David Martinez, became business partners and left Azul to open Michy's together in Miami. Gourmet Magazine declared it one of the "Top 50 restaurants in the country" and Food & Wine Magazine dubbed it "Best New Restaurant 2006".In May, 2006, Delta Air Lines partnered with Bernstein to be a consulting chef designing Business Elite and First Class meals.Their third restaurant arrived in 2008, called SRA. Martinez, an eclectic tapas restaurant in the Miami Design District. In 2009, SRA. Martinez was dubbed one of the "Best New Restaurants in America" by food critic John Mariani in Esquire Magazine. They are currently planning their fourth venture together, Michelle Bernstein, a new restaurant to open in Fall 2009. Bernstein has also opened a Miami chapter of Common Threads, a program designed to inspire culinary prowess in underprivileged children ages 811. It's an after-school program that meets weekly and instills in youngsters the importance of balanced, nutritious meals. Bernstein said in a 2011 interview, with Aventura Business Monthly, that many of the kids she mentors are fortunate to get "fast food" for dinner most nights.In 2011, Michelle opened Crumb on Parchment, a cozy cafe in the heart of the Miami Design District.In 2015, Bernstein and her husband opened Seagrape at the Thompson hotel, Miami Beach; they also run all food and beverage operations in the Hotel.In April 2015 debuted her own TV show "SoFlo Taste", "will celebrate the food of South Florida and the people who love it," she said.------------------Licuados - Blending Cultural Lines - Appliance maker promotes dairy-based Latin crossover drink. First came the margarita. Now one of the leading U.S. appliance manufacturers is hoping Americans will leap on the licuado bandwagon.The licuado (pronounced lee-KWA-doh) is the latest Latin crossover drink to capture American taste buds. Popular across Mexico and the Spanish-speaking Americas, this milkand-fruit-based blended beverage has become the "drink del dia" (drink of the day) in California, Texas and other parts of the country.Leading consumer products giant Sunbeam Products Inc. began promoting Latin Licuados in July with its popular Oster® brand beehive blenders. All Oster Contemporary Classic Combination units with portable Blend-N-Go cups contain a "Got Licuado?" recipe pack-in CD featuring Oster spokesperson and celebrity chef Michelle Bernstein."Although licuados are rooted in Latin culture, theyve become popular with all groups and ages," says Lori Gonzalez, marketing director of Oster Global Appliances. "This promotion is one way the Oster brand inspires consumers to be creative and innovative."The California Milk Processor Board (CMPB) which created "Got Licuados?" based on its ubiquitous "got milk?" tagline predicts this traditional non-alcoholic Mexican beverage will become the next burrito."Licuados are making their way out of Hispanic restaurants and into mainstream kitchens, and Oster is leading the way," says Jeff Manning, CMPB executive director."The Oster Blend-N-Go cup and licuados are perfect for a nutritious snack or light meal," adds Gonzalez. "The possibilities are endless."In fact, Licuados are all about creativity and fun.  Whether it's the traditional milk and fruit blended drinks, or more innovative concoctionsusing "pumpkin pie filling," or "peanut butter," Licuados are limited only bythe imagination.  Consumers can create their own masterpieces by blendingmilk, ice and favorite fresh fruit and flavorings. Whether its the traditional milk-and-fruit blended drinks or more innovative concoctions using pumpkin pie filling or peanut butter, licuados are said to be limited only by the imagination., 2004, 5, Unknown Binding. Good. WITH THUMB INDEX Offered by the UK charity Langdon foundation - supporting young men and women with disabilities., 2.5, Battle Creek, MI: W. K. Kellogg Foundation, 1986. Soft Cover. Very Good/No Jacket. 100 pp. (English text) and 109 pp. (Spanish text). Binding is tight, with light rubbing on cover. Text is tight, clean, and unmarked, W. K. Kellogg Foundation, 1986, 3, 144 PAGES, VERY GOOD COND, NO DJ,VERY SL WEAR ON CORNERS, NO FOXING, VERY TIGHT. GOOD INFO ABOUT USING MAKE-UP FOR THE STAGE, TOPICS INCLUDE APPLYING FOUNDATION, KNOWING ONE'S FACE, EYES AND EYEBROWS, PADDING AND ARTIFICIAL FEATURES, INDIAN, MONGOL, SLAV LATIN ETC, IT'S ALL HERE. AND MUCH MORE, SIR ISAAC PITMAN & SONS, 1952, 3, Croom Helm in association with the Friedrich Naumann Foundation. Hardcover. VERY GOOD. Light rubbing wear to cover, spine and page edges. Very minimal writing or notations in margins not affecting the text. Possible clean ex-library copy, with their stickers and or stamp(s)., Croom Helm in association with the Friedrich Naumann Foundation, 3, Penguin, 1967. reprint.. Paperback. Paperback, G. 424pp, text unmarked, covers a little rubbed & page margins yellowed. Prose telling of the Early days of the Roman Empire - from 1000 - 386 BC. Of the works 142 books only 36 have survived. Often inaccurate & contradictory Livy wished to show his countrymen of the greatness of their Heritage, and glories of their ancestors. Translation by A De Selincourt., Penguin, 1967, 0, Duke University Press Books. Hardcover. 0822331101 New book ---------------"I enjoyed reading Subverting Colonial Authority, and feel it significantly contributes to the literature on colonial Latin America and the Andean region."--Robert Jackson, History: A Review of Books "[A] very interesting and fine book. Serulnikov has made an important contribution to our understanding of peasant politics and consciousness, colonial authority and legitimacy, and the evolving understandings peasants and rulers had of each other."--Ward Stavig, American Historical Review "In this important work, Serulnikov concentrates on explaining manifestations of subaltern politics and culture. His well-researched findings from Bolivian and Argentine archives raise important questions about the actions of those at various levels in the Spanish colonial administration and make clear obvious faultlines for future research."--Maurice P. Brungardt, Colonial Latin American Historical Review "This book finally gives us important insights into one of the major colonial Andean rebellions and has implications for understanding the effects of the Bourbon reforms in late colonial Spanish America... [S]pecialists will find this book a very useful, indeed essential, addition to the literature."--Erick D. Langer, Journal of Social History "[O]utstanding... [A] fascinating account of popular political mobilization that successfully combines detailed archival research with the rich historiography of the late colonial Andes... [A] path-breaking study..."--Matthew D. O'Hara, Itinerario "[I]ntelligent, well argued and convincingly set out... [T]his is a most welcome contribution to the study of the Andean rebellions, filling a gap in reading lists for courses analysing the transition from colonial rule in Hispanic America."--Matthew Brown, Bulletin of Latin American Research "This book falls into a long line of good, sometimes pathbreaking, literature about the empowerment and agency of Indians in the Spanish colonial empire of America... Serulnikov's study deepens and enriches our understanding of the remarkable synthesis that occurred when Spaniards and Indians came together to make a new society."-- This innovative political history provides a new perspective on the enduring question of the origins and nature of the Indian revolts against the Spanish that exploded in the southern Andean highlands in the 1780s. Subverting Colonial Authority focuses on one of the main?but least studied?centers of rebel activity during the age of the Túpac Amaru revolution: the overwhelmingly indigenous Northern Potosí region of present-day Bolivia. Tracing how routine political conflict developed into large-scale violent upheaval, Sergio Serulnikov explores the changing forms of colonial domination and peasant politics in the area from the 1740s (the starting point of large political and economic transformations) through the early 1780s, when a massive insurrection of the highland communities shook the foundations of Spanish rule. . New., Duke University Press Books, 6<

ISBN: 9780822331100

Duke University Press Books. Hardcover. 0822331101 New book ---------------"I enjoyed reading Subverting Colonial Authority, and feel it significantly contributes to the literature o… Mehr…

Duke University Press Books. Hardcover. 0822331101 New book ---------------"I enjoyed reading Subverting Colonial Authority, and feel it significantly contributes to the literature on colonial Latin America and the Andean region."--Robert Jackson, History: A Review of Books "[A] very interesting and fine book. Serulnikov has made an important contribution to our understanding of peasant politics and consciousness, colonial authority and legitimacy, and the evolving understandings peasants and rulers had of each other."--Ward Stavig, American Historical Review "In this important work, Serulnikov concentrates on explaining manifestations of subaltern politics and culture. His well-researched findings from Bolivian and Argentine archives raise important questions about the actions of those at various levels in the Spanish colonial administration and make clear obvious faultlines for future research."--Maurice P. Brungardt, Colonial Latin American Historical Review "This book finally gives us important insights into one of the major colonial Andean rebellions and has implications for understanding the effects of the Bourbon reforms in late colonial Spanish America... [S]pecialists will find this book a very useful, indeed essential, addition to the literature."--Erick D. Langer, Journal of Social History "[O]utstanding... [A] fascinating account of popular political mobilization that successfully combines detailed archival research with the rich historiography of the late colonial Andes... [A] path-breaking study..."--Matthew D. O'Hara, Itinerario "[I]ntelligent, well argued and convincingly set out... [T]his is a most welcome contribution to the study of the Andean rebellions, filling a gap in reading lists for courses analysing the transition from colonial rule in Hispanic America."--Matthew Brown, Bulletin of Latin American Research "This book falls into a long line of good, sometimes pathbreaking, literature about the empowerment and agency of Indians in the Spanish colonial empire of America... Serulnikov's study deepens and enriches our understanding of the remarkable synthesis that occurred when Spaniards and Indians came together to make a new society."-- This innovative political history provides a new perspective on the enduring question of the origins and nature of the Indian revolts against the Spanish that exploded in the southern Andean highlands in the 1780s. Subverting Colonial Authority focuses on one of the main?but least studied?centers of rebel activity during the age of the Túpac Amaru revolution: the overwhelmingly indigenous Northern Potosí region of present-day Bolivia. Tracing how routine political conflict developed into large-scale violent upheaval, Sergio Serulnikov explores the changing forms of colonial domination and peasant politics in the area from the 1740s (the starting point of large political and economic transformations) through the early 1780s, when a massive insurrection of the highland communities shook the foundations of Spanish rule. . New., Duke University Press Books, 6<