IN: The Birth of a Nation (originally called The Clansman) is a 1915 American silent epic drama film directed and co-produced by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from the novel and play The Clansman, both by Thomas Dixon Jr., as well as Dixon's novel The Leopard's Spots. Griffith co-wrote the screenplay with Frank E. Woods, and co-produced the film with Harry Aitken. It was released on February 8, 1915.

Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles premiere of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre, and was the score utilized in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischutz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppe, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979); the latter film also makes use of "Ride of the Valkyries". In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy.

What did this on come with

OUT: For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined

IN: Faber was born on a farm near Cascade, Iowa, on September 6, 1888. He was of Luxembourgish ancestry. While Faber was a child, his father managed a tavern and later ran the Hotel Faber in Cascade. His father became one of the wealthiest citizens in Cascade.

Faber enjoyed the greatest success of his career in the early 1920s. The live-ball era was beginning, but he was among the pitchers who made the most successful transition. The spitball was phased out after the 1920 season, with Faber one of the 17 pitchers permitted to use it for the remainder of their careers. He took advantage of Comiskey Park's spacious dimensions, surrendering only 91 home runs--barely one homer per month--from 1920 to 1931. He was one of only six pitchers to win 100 or more games in both the "dead ball" (through 1920) and live ball eras. Faber finished the 1920 season with 23 wins and led the league in games started. During the summer of 1921, Faber and several other players had to leave a road trip in Washington after receiving subpoenas for the Black Sox trial in Chicago. Faber made the trip but was not asked to testify and he returned to the White Sox without missing a start. In 1921 and 1922, he posted win totals of 25 and 21, respectively, leading the league in ERA (1921-1922), innings (1922) and complete games (1921-1922). He was also among the league leaders in strikeouts each year, while pitching at least 25 complete games and over 300 innings. In the wake of the Black Sox scandal, winning on a consistent basis became increasingly difficult. After being one of the top teams in the league with a powerful offense in the late 1910s, the White Sox had only two winning seasons in his last 13 years, never finishing above fifth place. In the 1921 season, he earned a 25-15 win-loss record for the post-scandal team that limped to a 62-92 finish; from 1921 to 1929 his record was 126-103. In 1927, Ty Cobb had a 21-game hitting streak which was broken when he faced Faber. Despite the widespread hitting of the era, he did not post an ERA over 3.88 until he was 41. Perhaps his last great performance was a one-hitter at age 40 in 1929.

they started losing?

OUT:
the White Sox had only two winning seasons in his last 13 years, never finishing above fifth place.