Meet Me In St Louis

"Meet Me in St. Louis" was written by Sally Benson in 1941. It tells the story of the Smith family in 1903, who were looking forward to the 1904 World's Fair in St. Louis. It was originally published in New Yorker magazine as "The Kensington Stories" and later adapted to become the major motion picture, "Meet Me in St. Louis," starring Judy Garland in 1944.

This comprehensive approach to functional musicianship at the keyboard includes varied repertoire, theory, technique, sight-reading, harmonization from lead sheets, ear training and ensembles. Great for college non-music majors, continuing education classes, music dealer in-store programs and group piano classes at the middle and high school levels. Book 1 contains 15 units each with a variety of repertoire, exercises, unit review worksheets and an assignment page.

In 'Meet Me in St Louis', one of the most popular MGM musicals, Judy Garland stars as the classic American teenager. For this book, Gerald Kaufman interviewed many of the stars. This text captures the essence of Miss Garland's performance and the machinations of the legendary MGM studios.

You are holding a ticket to one of the largest and most magnificent celebrations of all time -- the 1904 St. Louis World's Fair! For seven months nearly twenty million visitors from around the globe flooded the fairgrounds of Forest Park. Many explored the twelve mammoth palaces (made of plaster and horsehair!), which showcased amazing exhibits. Others enjoyed watching the first Olympic Games in the United States, keeping cool all summer with a new treat that became an instant hit -- the ice-cream cone. And everyone loved viewing all 1275 acres of fairgrounds from atop the 265-foot Ferris wheel. Robert Jackson describes the planning, building, events, and memory of a fair that enthralled millions with its magic. In fascinating detail, he captures the energy and imagination of turn-of-the-century America, when fairgoers begged friends and family to meet them in St. Louis.

Stephanie Clark has just graduated from high school and secretly dreams of going to college in Miami to study marine biology and help save the oceans. Her finances, however, are making the dream seem impossible. When an anonymous benefactor in her hometown of St. Louis offers a large cash reward to the winner of a scavenger hunt, she dares to hope her dream may come true. While deciphering clues and trying to beat out the competition, Stephanie never expects to cross paths with Camden Mills, a popular boy from high school that she knows little about. Will Stephanie have what it takes to win the scavenger hunt, or will she be sidetracked by Cam's charms? In this uniquely place-based novel, be transported into the city of St. Louis and come along for the ride as Stephanie gives making her dreams come true one last shot.

Passionate, strong-minded nonfiction from the National Book Award-winning author of The Corrections Jonathan Franzen's The Corrections was the best-loved and most-written-about novel of 2001. Nearly every in-depth review of it discussed what became known as "The Harper's Essay," Franzen's controversial 1996 investigation of the fate of the American novel. This essay is reprinted for the first time in How to be Alone, along with the personal essays and the dead-on reportage that earned Franzen a wide readership before the success of The Corrections. Although his subjects range from the sex-advice industry to the way a supermax prison works, each piece wrestles with familiar themes of Franzen's writing: the erosion of civic life and private dignity and the hidden persistence of loneliness in postmodern, imperial America. Recent pieces include a moving essay on his father's stuggle with Alzheimer's disease (which has already been reprinted around the world) and a rueful account of Franzen's brief tenure as an Oprah Winfrey author. As a collection, these essays record what Franzen calls "a movement away from an angry and frightened isolation toward an acceptance--even a celebration--of being a reader and a writer." At the same time they show the wry distrust of the claims of technology and psychology, the love-hate relationship with consumerism, and the subversive belief in the tragic shape of the individual life that help make Franzen one of our sharpest, toughest, and most entertaining social critics.

Austin’s thriving film culture, renowned for international events such as SXSW and the Austin Film Festival, extends back to the early 1970s when students in the Department of Radio-Television-Film at the University of Texas at Austin ran a film programming unit that screened movies for students and the public. Dubbed CinemaTexas, the program offered viewers a wide variety of films—old and new, mainstream, classic, and cult—at a time when finding and watching films after their first run was very difficult and prohibitively expensive. For each film, RTF graduate students wrote program notes that included production details, a sampling of critical reactions, and an original essay that placed the film and its director within context and explained the movie’s historical significance. Over time, CinemaTexas Program Notes became more ambitious and were distributed around the world, including to luminaries such as film critic Pauline Kael. This anthology gathers a sampling of CinemaTexas Program Notes, organized into four sections: “USA Film History,” “Hollywood Auteurs,” “Cinema-Fist: Renegade Talents,” and “America’s Shadow Cinema.” Many of the note writers have become prominent film studies scholars, as well as leading figures in the film, TV, music, and video game industries. As a collection, CinemaTexas Notes strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures—whether in Austin, New York, or Europe—have forwarded the development of film studies as a discipline.