Popular Music Part Three
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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
The Intriguing Human Preference for a Ternary Patterned Reality
75 Kragujevac J. Sci. 27 (2005) 75-114. THE INTRIGUING HUMAN PREFERENCE FOR A TERNARY PATTERNED REALITY Lionello Pogliani,* Douglas J. Klein,‡ and Alexandru T. Balaban¥ *Dipartimento di Chimica Università della Calabria, 87030 Rende (CS), Italy; ‡Texas A&M University at Galveston, Galveston, Texas, 77553-1675, USA; ¥ Texas A&M University at Galveston, Galveston, Texas, 77551, USA E-mails: [email protected]; [email protected]; balabana @tamug.tamu.edu (Received February 10, 2005) Three paths through the high spring grass / One is the quicker / and I take it (Haikku by Yosa Buson, Spring wind on the river bank Kema) How did number theory degrade to numerology? How did numerology influence different aspects of human creation? How could some numbers assume such an extraordinary meaning? Why some numbers appear so often throughout the fabric of reality? Has reality really a preference for a ternary pattern? Present excursion through the ‘life’ and ‘deeds’ of this pattern and of its parent number in different fields of human culture try to offer an answer to some of these questions giving at the same time a glance of the strange preference of the human mind for a patterned reality based on number three, which, like the 'unary' and 'dualistic' patterned reality, but in a more emphatic way, ended up assuming an archetypical character in the intellectual sphere of humanity. Introduction Three is not only the sole number that is the sum of all the natural numbers less than itself, but it lies between arguably the two most important irrational and transcendental numbers of all mathematics, i.e., e < 3 < π. -
Program Notes
“Come on along, you can’t go wrong Kicking the clouds away!” Broadway was booming in the 1920s with the energy of youth and new ideas roaring across the nation. In New York City, immigrants such as George Gershwin were infusing American music with their own indigenous traditions. The melting pot was cooking up a completely new sound and jazz was a key ingredient. At the time, radio and the phonograph weren’t widely available; sheet music and live performances remained the popular ways to enjoy the latest hits. In fact, New York City’s Tin Pan Alley was overflowing with "song pluggers" like George Gershwin who demonstrated new tunes to promote the sale of sheet music. George and his brother Ira Gershwin composed music and lyrics for the 1927 Broadway musical Funny Face. It was the second musical they had written as a vehicle for Fred and Adele Astaire. As such, Funny Face enabled the tap-dancing duo to feature new and well-loved routines. During a number entitled “High Hat,” Fred sported evening clothes and a top hat while tapping in front of an enormous male chorus. The image of Fred during that song became iconic and versions of the routine appeared in later years. The unforgettable score featured such gems as “’S Wonderful,” “My One And Only,” “He Loves and She Loves,” and “The Babbitt and the Bromide.” The plot concerned a girl named Frankie (Adele Astaire), who persuaded her boyfriend Peter (Allen Kearns) to help retrieve her stolen diary from Jimmie Reeve (Fred Astaire). However, Peter pilfered a piece of jewelry and a wild chase ensued. -
Spring 06 02-16.Indd
CENTER FOR AUSTRIAN STUDIES AUSTRIAN STUDIES NEWSLETTER Vol. 18, No. 1 Spring 2006 Reflections on William Fulbright’s legacy by Lonnie Johnson In April 2005, Fulbright commissions all over the world commemorated the centennial anniversary of the birth of J. William Fulbright (1905-1995), the founder of the US government’s flag- ship international educa- tional exchange program. As a junior senator from Arkan- sas, Fulbright endorsed a pro- active internationalist agenda during and after World War II and made a name for him- self not only as an advocate of the United Nations and educational exchange pro- grams, but also as one of the most courageous opponents of Joseph McCarthy. In August 1946, Fulbright was responsible for tagging an amendment on to the Sur- plus Property Act of 1944, which stipulated that for- U.S. Fulbright grantees visiting the Melk Monastery during their orientation program in September 2005. eign income earned overseas by the sale of US wartime property could be used to finance educational Salzburg, Klagenfurt, Linz, Graz, and Vienna, as well as collaborative exchange with other countries. This amendment laid the foundations for awards for students and scholars at the Diplomatic Academy, Internation- the educational exchange program that came to bear his name. The pro- ales Forschungszentrum Kulturwissenschaften (an international research gram is currently based on the Fulbright-Hayes Act of 1961, which pro- center for cultural studies), the Sigmund Freud Museum, and the Muse- vided US funding for the program as an annual line item in the federal umsQuartier in Vienna. The Fulbright Commission also cosponsors an budget and included provisions facilitating contributions to the program continued on page 25 by foreign governments and other entities. -
MEMORIES Volume Two, Number Four Winter 1977
A¥&, . , I M E M o R I E S ,~ 1;1\(·; CHO~H' I q 1 1 Yo l. 2 No.4 (,r Il"l,c: .\n " \, Parnu.ouu, 1 ez: ---------------------------_._--- MEMORIES Volume Two, Number Four Winter 1977 CONTENTS "Harry Lillis Crosby' Bing" by E,than Edwards................... Page 4 "Memories Index' Volume 'llwo" ••••••••••••••••••••••••••••••••••• Page 20 »»))»»»»)»»»))»))»)»))))»)»)))»))»»)»))»)» »)»»» This issue Qf Memories is dedicated to the memory of Bing Crosby. Special thanks to Frank Matesic for making his Crosby collection avail able to us, and to Robert Angus for allowing us access to his interview with Jack Mullin. »»))»)»»»))»))))»)»»)»»»))»»))»»)))))»»» ))))»)»» The Old Time Radio Club, of Buffalo meets on the second Monday of eVJery month at St. Matthew's Church, 1182 Sceneca Street, Buffalo, New York. Anyone interested in the radio programs of the past is welcome to attend a meeting and observe or participate. Meetings begin at 7'30 PM • .Membership in the OTRCOB is $10.00 per year. Members receive a membership card, Memories, and the club's monthly newsletter, ~ Il lustrated Press. Comments, memberships, and contributions to the maga zine may be sent to this address' OTRCOB P.O. BOX 119 KENMORE. NEW YORK 14217 »» »)»)»» )))»))»»»»»)»)»»»»»»»» »»» »)»»» »)» Memories staffa Editors' Chuck Seeley & Peter Mo Bellanca Production l~ager. Mill Dunworth Memories, Volume 2, Number 4, Winter 1977, copyright @ by the OTRCOB. All ri~hts are assigned to the contributorso Pages 2 and 15 are copy right (g) 1976 by the Club Crosby. Cover c'oprright@ 1962 by Nicholas Volpe. New act notice on Page 7 copyright~ 1977 by Variety. 3 HARRY LILLIS CROSBY: B.·.IN··. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
Ac-Cent-Tchu-Ate the Positive Achin Hearted Blues After Youve Gone
Ac-cent-tchu-ate The Positive Baltimore Bluesette Achin Hearted Blues Barbados Bluesology After Youve Gone Basin Street Blues Bluin The Blues Afternoon In Paris Battle Hymn Of The Republic Body And Soul Again Baubles Bangles And Beads Bohemia After Dark Aggravatin Papa Be My Love Bouncing With Bud Ah-leu-cha Beale Street Blues Bourbon Street Parade Aint Cha Glad Beale Street Mama Breeze And J Aint Misbehavin Beau Koo Jack Breezin Along With The Breeze Aint She Sweet Beautiful Love Broadway Air Mail Special BeBop Brother Can You Spare A Dime Airegin Because Of You Brown Sugar Alabama Jubilee Begin The Beguine Buddy Boldens Blues Alabamy Bound Bei Mir Bist Du Schoen Buddys Habits Alexanders Ragtime Band Believe It Beloved Budo Alice Blue Gown Bemsha Swing Bugle Boy March All Alone Bernies Tune Bugle Call Rag All Gods Chillun Got Rhythm Besame Mucho But Beautiful All I Do Is Dream Of You Besie Couldnt Help It But Not For Me All My Life Best Things In Life Are Free Button Up Your Overcoat All Of Me Between The Devil And The Deep Buzzy All Of You Blue Sea By The Beautiful Sea All Or Nothing At All Bewitched By The Light Of The Silvery Moon All That Meat And No Potatoes Beyond The Blue Horizon By The River Sainte Marie All The Things You Are Biden’ My Time By The Waters Of Minnetonka All Through The Night Big Butter And Egg Man Bye And Bye All Too Soon Big Noise From Winnetka Bye Bye Blackbird Alligator Crawl Bill Bailey Bye Bye Blues Almost Like Being In Love Billie Boy C Jam Blues Alone Billies Bounce Cakewalking Babies From Home Alone Together -
Extract from Chapter Four: When You Grow Up, Little Lady
Extract From Chapter Four: When You Grow Up, Little Lady In the summer of 1934, Lew took the band on the road again, and they played to sell-out audiences in Manchester, Edinburgh, Glasgow, Portsmouth and Nottingham, where Tiny Winters recalled that „people were scrambling for autographs in the interval, it was a near-riot. It really did bring home to us how people felt about the band.‟ When Al Bowlly sang, the dancers stopped dancing, and clustered ten-deep in front of the band-stand. In Bradford, he left the stage during an instrumental number, and was besieged by girls. He couldn‟t fight his way back to the microphone in time for his next vocal, and the band had to fill in for 32 bars. In that same year, Bowlly went to the USA, with Bill Harty, to sing with a new Ray Noble band. Alan Kane became the band‟s regular vocalist, while Jock Jacobson took over the drummer‟s stool. Albert Harris joined as guitarist, and Stanley Black was now on piano. In February 1935 the new band opened at the Hollywood Restaurant in Piccadilly. In March, trumpeter Nat Gonella left, to launch his career as a band-leader, with a smaller jazzier ensemble - The Georgians. Tommy McQuater took his place. At the Holborn Empire, Lew Stone made his debut as a comedian, with a languidly elegant rendering of the comedy song „Algernon Whifflesnoop John‟, complete with monocle, and supported by trumpeter Alfie Noakes as his obsequious butler. His deadpan vocal delivery also enhanced „The Gentleman Obviously Doesn‟t Believe‟, „Knock Knock‟, and most memorably „I‟ll be-BBCing You‟. -
100 Years: a Century of Song 1930S
100 Years: A Century of Song 1930s Page 42 | 100 Years: A Century of song 1930 A Little of What You Fancy Don’t Be Cruel Here Comes Emily Brown / (Does You Good) to a Vegetabuel Cheer Up and Smile Marie Lloyd Lesley Sarony Jack Payne A Mother’s Lament Don’t Dilly Dally on Here we are again!? Various the Way (My Old Man) Fred Wheeler Marie Lloyd After Your Kiss / I’d Like Hey Diddle Diddle to Find the Guy That Don’t Have Any More, Harry Champion Wrote the Stein Song Missus Moore I am Yours Jack Payne Lily Morris Bert Lown Orchestra Alexander’s Ragtime Band Down at the Old I Lift Up My Finger Irving Berlin Bull and Bush Lesley Sarony Florrie Ford Amy / Oh! What a Silly I’m In The Market For You Place to Kiss a Girl Everybody knows me Van Phillips Jack Hylton in my old brown hat Harry Champion I’m Learning a Lot From Another Little Drink You / Singing a Song George Robey Exactly Like You / to the Stars Blue Is the Night Any Old Iron Roy Fox Jack Payne Harry Champion I’m Twenty-one today Fancy You Falling for Me / Jack Pleasants Beside the Seaside, Body and Soul Beside the Sea Jack Hylton I’m William the Conqueror Mark Sheridan Harry Champion Forty-Seven Ginger- Beware of Love / Headed Sailors If You were the Only Give Me Back My Heart Lesley Sarony Girl in the World Jack Payne George Robey Georgia On My Mind Body & Soul Hoagy Carmichael It’s a Long Way Paul Whiteman to Tipperary Get Happy Florrie Ford Boiled Beef and Carrots Nat Shilkret Harry Champion Jack o’ Lanterns / Great Day / Without a Song Wind in the Willows Broadway Baby Dolls -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
215269798.Pdf
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
AM Bing Crosby Bio & Career Stats Rev100314
Press Contact: Natasha Padilla, WNET 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AmericanMasters American Masters Bing Crosby Rediscovered Premieres nationally Tuesday, December 2 at 8 p.m. on PBS Holiday encore presentation Friday, December 26 at 9 p.m. on PBS (check local listings) Bing Crosby Biography & Career Highlights Biography by Gary Giddins (©Gary Giddins 2007) To most Americans, he was the eternal Crooner: a much celebrated and beloved performer of unparalleled popularity. Yet Bing Crosby was far more than that: He was an architect of 20th century entertainment, a force in the development of three industries that barely existed when he came into the world: recordings, motion pictures, and broadcasting. As the most successful recording artist of all time; an abiding star of movies, radio, and television; and a firm believer in the wonders of technology, he helped to transform and define the cultural life not only of the United States, but of the world. When Harry Lillis Crosby was born, on May 3, 1903, to a working-class Catholic Irish- Anglo family with deep roots in the American Northwest, there was little reason to think he would amount to much. Though an obviously intelligent and conscientious student, his primary interests were sports (he won many swimming medals), school plays, and music–he played drums (not very well), sang, and whistled. At Gonzaga University, he decided to study law because he could think of nothing better at the time and it pleased his parents.