DOCSLIB.ORG

New York Clipper (February 1923)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New York Clipper (February 1923) m—m—nrr THEATRICAL PUBL|CAri0N IN AMERIOV J 111 III ill iwi III III til ui lu n\ ni iii fvi m /ii /«rTw . ! ' 1 ' I Mil::; ill ----^ a-- J • THE NEW YORK CLIPPER Febniary 7;-1923 HOOF AND. FOUR WALLS" SCORES LONDON MANAGERS AMAZED UNION OUT FOR "CLOKD SHOP" "PLUS FOURS" CLEVER PLAY LoMiON, Jan. 29.—"A Roof and Four ' London, Jan. 29.—London managers are London, Feb. 5.—The Musicians' Union London, Feb. 5.—It is due to tiie work WaUs" nas presented at the Apollo The- flabbergasted by. the sudden era of popu- here is agitating for "dosed shop," and of Peggy O'Neil mainly, and that of C. atre and received a hearty reception. It b larity of Shakespearian plays are enjoymg to that effect has issued a printed statement Aubrey Smith, that "Plus Fours," the new a stoiy of ai struggling composer and his on New York stages. Some have gone so which it is sending out to all ofBdals and comedy by H. Vachell and Harold Simp- wife. They invited a mosic publisher to far as to venture an opinion that the members of trade unions, impressing upon son, which is bdng presented at the Hay- borne to bear some of the composer's American managers have injected risque '!the officials and members of trade unions market, owes its success. The openjng numbers, but instead of liking the songs, ingredients in_ the- balcony and boudoir the necessity of engaging members of the scene of the play is in a cheap lodging he raves about the wife's voice. He sets scenes, thus giving the plays a semblance Musicians' Union whenever they require house in Bloomsbuiy. where we find 'Wil- ' about imlring her famous, and in two. years of a "high brow' bedroom farce. Inas- the services of musicians." bur Nuthall. and his sister, Josephine she is one of the greatest prima donnas in much as Shakespearian productions have The statement declares that "Should we (Peg^ O'Ndl), broke, due to an acddent the land. ,The composer insists on main- not benefitted London box ofiRces in years, find any society or branch of a trade union to Wilbur, who is an artist. taining-, his- economic independence. -A they believe some trick- is being utilized to engaging non-union musidans, we shall re- He applies for a position as a private friendship, platonic, purely springs up be- stimulate an interest in the Bard's plays. port them to the Trades 'Council, and make secretary and gets a letter from a well- tween' toe wife and a notorious peer, to .the just their ' It considerably During year dosed no West End conduct public known author offering him the job. - Wil- the ' which gomposer objects, through jeal- Theatre devoted a night to Shakespeare, hampers our work when our members are "bur's 'health 'prevents him from,accq>t- loiisy^'' leatei-lbis nufe-tty the . He- live in and in 1921 there were only two attempts not .recognized T>y their fellow trade- ing, so his sister deddes to 'impersonate country. The peer begins .to pay obnoxi- . to present him to fashionable London audi- unionists. -There is-^ idea that a work- .' him and take the position. She .'arrives , attentions to the i>riniii'donna, and' she is ai ' union ous "eiices, and neither could be classified as a man who inember of his trade at the author's, home, in maile attire, and becomes disgusted with him and returns commercial venture. ' and happens -to play a -musical instruinent, althou^gh Jier employer .'is supposed to be- to her husband.- and aU ends happily. Meanwhile, England's movement for a may- be regarded as asuiiionist musidan, an authority on women, he does not see plays Phyliss-Neilson Tory the wife ex- national Shakespearian memorial theatre is without being a member of the musicians' through' disguise. However, two ' her : - ceUentI}r, . bodi from dramatic . that, a and vo^ at a standstill. union. -We .joeed hardly point out '{Rople do, these being the author's pub- viewpoinL - Nicholas Hannen, O.^ B. Qar- 'df'^'our tmion would hot be membership lisher aiid also his nephew. They are let ence and Allan Jeayes fine. to enable are accepted as 'snfEdent our mem- into the secret of what conditions caused NEW ROSTAND PLAY SCORES union bers -to w'brk at another; trade in a hed to disguise herself and do not betray shop; it would be necessary . for them to. Pakis, Fd>. 5.—Manrice Rostand's new- 'her. There are several situations which ' GIDEON IN-BAMKRUPTCY become members of ' Ihe society attached romantic drama, -"Le Phenix,'' was en- arise, one bdng a part where she is told to such trade. .We are.asking for the same thnsiastically ^eted at the Porte St. Mar- to share her room with the nephew, it is London; . Jan. 29.—Meville Joseph* as recognition, and we- say emphatically, that Gideon, the American composti*, attended tin. Rostaiid is a very 'gifted young poet. ^ the only spare room. She tries to get the if anyone plays an instrument for remu- a meethig of his creditors held recently at His lyrical inspiration is appealing and his maid to help her, but the maid also gives neration he shall be a member of the the Ban^uptcy Building, and there attri- beautifnl lines carry the audience off its everything away. Finally everything is Musicians' Union." buted his failure to extravagance, losses in feet The ideas, and tfadr poetic form, cleared up and the play ends cleverly and continually excite admiration. But whui betting and - heavy interest on loans to satisfactorily. mon^-lenders. His liaMities were given one pauses to reflect in the cold light of CRECHE AT THE HIPPODROME at £3,500, of which is to.money- reason, without the music of the verse, the £900 due crethe has London, Feb. S.—A theatre - action appears chaotic ; the characters futile "OLD TIMERS" ACT A HIT lenders. The balance goes to private loans by scene is laid in beoi added to the Balham Hipi>odrome and book-makers. Gideon stated that be and unconvincing. The London, Feb. 5. Several, newcomers Jack Buchanan, in order to aid mothers — was engaged by the Co-Optimists at a some imaginary court The story is all been cannot leave thnr children at home have added to the cast of "The salary of £50 per week, and that he was very romantic, unreal and rather naive. who the performance. The Veterans of Variety," who have been meet- last act endless lamenta- to come and see ^ also under contract to Messrs. Fiands, The a empty—an ing with sensational success at the Pal- ' mothers now leave their youngsters in the Day and Hunter, the music publishers from tion. ladium, they appearing. creche, where there are cots, chairs and where are The wfaom he received £300 a year as an ad- new "old-timers" are T. W. Barrett the a trained nurse in attendance. vance on royalties! - These two are part of - "MARY" IS NOVEL REVUE Desmond Sisters, Lively Lilly Bumard, his assets, which include jeweliy valued Qarke abd Glenney, Marie Collins, and London, iFebi 4.—"^aiy of the •Movies," at £^5. and an interest in ''Tons of PICTURE ACTRESS INJURQ> Arthur Albert The original members of Moaey" said to 'bci of big value. a new revue with forty people, staged in 29.—Violet Hopson, the Ae act are Marguerite Cbmdlle, 'Sable The 'meeting was adjourned to enable eight scenes, will be presented here shortly. I.ONDPN, Jan. injiired at Fern, Jake Friedman, Florrie Robina, The book is Harry M. Vemon and the motion picture actress, was Ep- Gidecn. to submit a proposal for the pay- by Charles. Bignell, Tom Costdio, Arthur music of the scenes som recently .while working in 'a scene, in ment of his debts in full. by Roy Marsh. Most Roberts, Charles Lee and Leo Dryden. are laid in America and two motion picture whidi she was thrown from a horse. Her reels are used in the production. Eileen fall was a violent one, and she became un- remaining in that condition for COCHRANE TO DO U. S. PLAYS -Doran, formerly with Ziegfeld's "FolUes," consdous, "ARLEQUIN" CLOSES recovering. 'win appear in the title rote. It irill open several hours. She is now — Feb. 5. B. will London, Feb. S. "Arlequin" has been LonsoN, —C Cochrane first in March. during the week withdrawn from the Empire present three American successes here in WRITER Theatre, ow- the course of the next few months,' name- PLAY BY TOUR WALLS' ing to the fact that it could not be ojterated under the heavy overhead expenses it ly, .Tartners Again," "So This Is Lon- "HAPPY ENDING" CLOSES London, Jan. 29.—Edward Percy, the. had. don" and. "NeOy Kelly." The first will author of "If Walls Told" has just The salary list was too heavy for the show, London, Jan. 29.—^lan Hay's new play, Four be the Montague Glass and Jules Eekert completed a new play in collaboration with and business hasn't been any too mod with "The Happy Ending," had a very abrupt Sir Goodman comedy, "Krtners A^ajn," Nichols. It will be a _b;g pro- it Alfred Butt and Albert De Cour- ending at the St James Theatre, after a Wallace whidi will open at'.the Garrick. on Febni- of about sixty and yille have lost a large sum of money in few performances. Robert Lorraine re- duction with a cast aiy 28th, with Bob Leonard and Phil will be called "Coloman." The Repertory its production.
Load more

Recommended publications
  • THE HEW ROCK from the U K Sire Records Expands Through Its Lengthy Involvement with the British Music Scene
    THE HEW ROCK FROM THE U K Sire Records Expands Through Its Lengthy Involvement With The British Music Scene don, my introduction to the British scene in contact with Len Wood, then managing Stein by Seymour came from the record and sheet music director of EMI, King’s U.K. licensee. At one My teenage years were so consumed charts of New Musical Express and Melody meeting he and Syd Nathan, King’s fiery with rock ‘n’ roll music that I marked the Maker that appeared in this country in Cash founder, were heatedly debating King’s at- passage of time with such events as Atlantic Box and Billboard each week and, later, tempt to secure an option on all EMI reper- changing the color of its label from yellow to from the magazines themselves. Itwashere toire if it was passed on by Capitol. Nathan red, Bobby Lester being replaced by Har- that I first became aware of sub-publishing, did not succeed, but it was not until several vey Fuqua in the Moonglows, and RCA noticing that many of the American hits years later that I realized how important this purchasing Elvis’ contract from Sun. Grow- were published by different companies I option could have been. ing up in Brooklyn in the mid-1950s gave had never heard of, such as Lawrence When I heard the Beatles’ first me easy access to the great live revues held Wright, Boosey and Hawkes, Campbell- Parlophone record, “Love Me Do,” I was periodically at that borough’s premiere Connelly, Keith Prowse, Feldmans, not overly impressed.
    [Show full text]
  • 1 the Association for Diplomatic Studies and Training Foreign
    The Association for Diplomatic Studies and Training Foreign Assistance Series HAROLD M. JONES Interviewed by: Self Initial interview date: n/a Copyright 2002 ADST Dedicated with love and affection to my family, especially to Loretta, my lovable supporting and charming wife ACKNOWLEDGEMENTS The inaccuracies in this book might have been enormous without the response of a great number of people I contacted by phone to help with the recall of events, places, and people written about. To all of them I am indebted. Since we did not keep a diary of anything that resembled organized notes of the many happenings, many of our friends responded with vivid memories. I have written about people who have come into our lives and stayed for years or simply for a single visit. More specifically, Carol, our third oldest daughter and now a resident of Boulder, Colorado contributed greatly to the effort with her newly acquired editing skills. The other girls showed varying degrees of interest, and generally endorsed the effort as a good idea but could hardly find time to respond to my request for a statement about their feelings or impressions when they returned to the USA to attend college, seek employment and to live. There is no one I am so indebted to as Karen St. Rossi, a friend of the daughters and whose family we met in Kenya. Thanks to Estrellita, one of our twins, for suggesting that I link up with Karen. “Do you use your computer spelling capacity? And do you know the rule of i before e except after c?” Karen asked after completing the first lot given her for editing.
    [Show full text]
  • Marten Stol WOMEN in the ANCIENT NEAR EAST
    Marten Stol WOMEN IN THE ANCIENT NEAR EAST Marten Stol Women in the Ancient Near East Marten Stol Women in the Ancient Near East Translated by Helen and Mervyn Richardson ISBN 978-1-61451-323-0 e-ISBN (PDF) 978-1-61451-263-9 e-ISBN (EPUB) 978-1-5015-0021-3 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/ by-nc-nd/3.0/ Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. Original edition: Vrouwen van Babylon. Prinsessen, priesteressen, prostituees in de bakermat van de cultuur. Uitgeverij Kok, Utrecht (2012). Translated by Helen and Mervyn Richardson © 2016 Walter de Gruyter Inc., Boston/Berlin Cover Image: Marten Stol Typesetting: Dörlemann Satz GmbH & Co. KG, Lemförde Printing and binding: cpi books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Table of Contents Introduction 1 Map 5 1 Her outward appearance 7 1.1 Phases of life 7 1.2 The girl 10 1.3 The virgin 13 1.4 Women’s clothing 17 1.5 Cosmetics and beauty 47 1.6 The language of women 56 1.7 Women’s names 58 2 Marriage 60 2.1 Preparations 62 2.2 Age for marrying 66 2.3 Regulations 67 2.4 The betrothal 72 2.5 The wedding 93 2.6
    [Show full text]
  • Ms Coll\Wheeler, R. Wheeler, Roger, Collector. Theatrical
    Ms Coll\Wheeler, R. Wheeler, Roger, collector. Theatrical memorabilia, 1770-1940. 15 linear ft. (ca. 12,800 items in 32 boxes). Biography: Proprietor of Rare Old Programs, Newtonville, Mass. Summary: Theatrical memorabilia such as programs, playbills, photographs, engravings, and prints. Although there are some playbills as early as 1770, most of the material is from the 19th and 20th centuries. In addition to plays there is some material relating to concerts, operettas, musical comedies, musical revues, and movies. The majority of the collection centers around Shakespeare. Included with an unbound copy of each play (The Edinburgh Shakespeare Folio Edition) there are portraits, engravings, and photographs of actors in their roles; playbills; programs; cast lists; other types of illustrative material; reviews of various productions; and other printed material. Such well known names as George Arliss, Sarah Bernhardt, the Booths, John Drew, the Barrymores, and William Gillette are included in this collection. Organization: Arranged. Finding aids: Contents list, 19p. Restrictions on use: Collection is shelved offsite and requires 48 hours for access. Available for faculty, students, and researchers engaged in scholarly or publication projects. Permission to publish materials must be obtained in writing from the Librarian for Rare Books and Manuscripts. 1. Arliss, George, 1868-1946. 2. Bernhardt, Sarah, 1844-1923. 3. Booth, Edwin, 1833-1893. 4. Booth, John Wilkes, 1838-1865. 5. Booth, Junius Brutus, 1796-1852. 6. Drew, John, 1827-1862. 7. Drew, John, 1853-1927. 8. Barrymore, Lionel, 1878-1954. 9. Barrymore, Ethel, 1879-1959. 10. Barrymore, Georgiana Drew, 1856- 1893. 11. Barrymore, John, 1882-1942. 12. Barrymore, Maurice, 1848-1904.
    [Show full text]
  • Updated 2019 Completemedia
    April 15, 2019 Dear Members of the Media, On behalf of the Boston Athletic Association, principal sponsor John Hancock, and all of our sponsors and supporters, we welcome you to the City of Boston and the 123rd running of the Boston Marathon. As the oldest annually contested marathon in the world, the Boston Marathon represents more than a 26.2-mile footrace. The roads from Hopkinton to Boston have served as a beacon for well over a century, bringing those from all backgrounds together to celebrate the pursuit of athletic excellence. From our early beginnings in 1897 through this year’s 123rd running, the Boston Marathon has been an annual tradition that is on full display every April near and far. We hope that all will be able to savor the spirit of the Boston Marathon, regardless whether you are an athlete or volunteer, spectator or member of the media. Race week will surely not disappoint. The race towards Boylston Street will continue to showcase some of the world’s best athletes. Fronting the charge on Marathon Monday will be a quartet of defending champions who persevered through some of the harshest weather conditions in race history twelve months ago. Desiree Linden, the determined and resilient American who snapped a 33-year USA winless streak in the women’s open division, returns with hopes of keeping her crown. Linden has said that last year’s race was the culmination of more than a decade of trying to tame the beast of Boston – a race course that rewards those who are both patient and daring.
    [Show full text]
  • The Beatles on Film
    Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964
    [Show full text]
  • The Beatles BC
    Last Updated: 29 Jn 20 If you have a copy of Introducing the Beatles that you are trying to identify ... search on this page for 1062. Beatles records in the United States are typically found on the Capitol or Apple label. But people often ask about records, such as Introducing the Beatles, which were released by companies other than Capitol/Apple. In these articles, I will attempt to discuss the history of Beatles recordings in the US which predate their Capitol contract. Known variations of those records will be listed, along with their approximate values. The first Beatles record released anywhere was "My Bonnie" and "The Saints," with the Beatles backing Tony Sheridan. This German record (Polydor NH 24-673) was issued in two forms (with a German intro or an English intro) and with a picture sleeve. [More information can be found in this article about the Beatles' association with Tony Sheridan.] "My Bonnie" was Tony's first record and his break into the record industry. As many people know, the word "Beatles" was considered difficult to interpret by Germans, so Polydor billed the artist as Tony Sheridan and the Beat Brothers (October 1961). From that point on, Tony's band was known as the Beat Brothers, which caused some confusion to later Beatles fans. In January of 1962, Beatles manager Brian Epstein began negotiating with Polydor to release "My Bonnie" in England. Because of his negotiations, the UK "My Bonnie" release (Polydor NH 66-833) showed the artist as "Tony Sheridan and the Beatles." The record sold modestly, apparently well enough to consider releasing it in America.
    [Show full text]
  • SC-Cardinal-Magazine-2018.Pdf
    the CARDINALSt. Charles Preparatory School Alumni Magazine Fall 2018 Inside Read about The Vision for the Future, the school’s $20 million – and most ambitious initiative ever – meant to secure a bright future for generations of students into the next century (page 3). In its fourth year, our “Evening With...” speaker series welcomed Wes Moore to campus on September 6th. View photo galleries of the day’s activities and read about the inspirational messages he shared with students and the school community (pages 4-9). Read about the 2017 Borromean Lecture and the message delivered by guest presenter Ken Woodward last November (pages 13-18) as well as internationally acclaimed artist Jan Dilenschneider’s “ECO Vision” show held this summer to benefit the school (pages 19-20). The Cardinal Community always takes time to gather together to celebrate and commemorate their ties to St. Charles. View hundreds of photos and read about these events: the 30th Annual Cardinal Christmas (pages 50-59), Spaghetti Dinner (pages 60-67), Father/Son Mass & Breakfast (pages 68-73), Alumni Golf Outing (pages 28-29) and Cardinal Society gathering (pages 114-119). In November, the school honored several of its most loyal, generous and accomplished community members at two special recognition celebrations: the 2017 Borromean Awards at the Feast Day Mass (pages 25-26) and the Distinguished Alumnus Awards at the Thanksgiving liturgy (page 27). We know that the St. Charles Community is always excited and proud to hear about the accomplishments of our student- athletes and their service to their fellow man. National Merit honorees, an appointee to the U.S.
    [Show full text]
  • Let Freedom Sing! Four African-American Concert Singers in Nineteenth-Century America
    LET FREEDOM SING! FOUR AFRICAN-AMERICAN CONCERT SINGERS IN NINETEENTH-CENTURY AMERICA By SONYA R. GABLE-WILSON A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Sonya R. Gable-Wilson ACKNOWLEDGMENTS Special thanks are given to my husband, Ken Wilson. Without his never-ending love, support (both mentally and financially), encouragement, and many, many sacrifices, I could not have persevered and completed this project. Throughout this task I also had the joy of working with a great committee: Elizabeth Graham, Raymond Chobaz, Arthur Jennings, Brian Ward, and David Kushner. This group gave frequent advice, new ideas, and often steered me toward a more objective direction. I am especially grateful to David Kushner, not only for his wisdom, guidance, patience, and many chats over the past several years, but also for instilling in so many students a love of musicology. Most of all, many thanks go to all of these people for believing in my success. This project would not have existed without the assistance of many individuals in various public libraries, city halls, and universities nationwide, who contributed their time and efforts in helping with this research. Special thanks are given to the University of Florida music librarians, Robena Cornwell and Michelle Wilbanks-Fox, for their knowledge and continued support over the years. Without these ladies, this huge task would have been impossible. Also, recognition and appreciation should be given to Luvada Harrison and Linda Thompson Williams for taking the time to answer questions concerning the industry.
    [Show full text]
  • Source : Bibliothèque Du CIO / IOC Library BASKETBALL COMMITTEE
    In the semi-finals competition stiffened. In the same group were now the U.S.A. and the U.S.S.R., neither of whom had so far been fully extended. But first the other group. Here only one match was won by a handsome margin; in none of the others was the winner more than 9 points ahead. Uruguay played two heated, furious matches, losing by two The basketball matches were played in two different arenas: the eliminating matches and points to France with only three Uruguayans on the court when the match ended. The the opening round of the tournament in the Tennis Palace in the heart of the city, where referee had to be carried to a dressing room after a regrettable scene. The other ended in two courts had been available for practice, and the semi-finals and finals in Messuhalli II, Uruguay's favour, Argentine, who had played the best basketball in the first round, losing adjacent to the Olympic Stadium. by one point. Bulgaria's awkward style seemed to keep France puzzled, with the result Dressing rooms, showers and the practice courts made the Tennis Palace a very good that she failed to make the top final group. The French players were curiously slack in venue, but unfortunately there was little space for the public. In Messuhalli II, again, the this match. Argentine defeated France by nine goals and Uruguay Bulgaria by eight. In barriers of the spectator stands at the two ends were perilously close to the play-area. The her match with Bulgaria Argentine piled up 100 goals.
    [Show full text]
  • Amplified Music and Multimodality
    Making Things Louder: Amplified Music and Multimodality PhD Thesis Johannes Mulder University of Technology Sydney Faculty of Arts and Social Sciences Supervisor: Professor Theo van Leeuwen Submitted April 2013 Certificate of Authorship/Originality I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Johannes Mulder ii Acknowledgments I am very grateful to Theo van Leeuwen who both inspired and supervised this thesis. In a relatively short time he has shared a vast amount of his own work and insights, forming the ‘roots’ of this work. Bert Bongers’ for his invaluable and continuing friendship, support and our never-ending critical dialogue. Tony Mitchell has kindly and patiently proofread this dissertation, which has been crucial in eliminating the inherent quirks of bilingualism (which in itself sounds like a Dutchism). Some of my best friends are live sound engineers: Paul, Joke, Bart, Jeroen, Carl, Marc, you are all part of this. Two people, Martje van Riel and Xander Lub were instrumental in making me go back to University. I particularly want to thank my friend Arnoud van Deelen (the self appointed chair of my fan club) for his long lasting support morally, and financially.
    [Show full text]
  • Beatles History – Part One: 1956–1964
    BEATLES HISTORY – PART ONE: 1956–1964 January 1956–June 1957: The ‘Skiffle Craze’ In January 1956, Lonnie Donegan’s recording of “Rock Island Line” stormed into the British hit parade and started what would become known as the ‘skiffle craze’ in Great Britain (vgl. McDevitt 1997: 3). Skiffle was originally an amateur jazz style comprising elements of blues, gospel, and work songs. The instrumentation resembled New Or- leans street bands called ‘spasms,’ which relied on home-made instru- ments. Before skiffle was first professionally recorded by American jazz musicians in the 1920s and 1930s, it had been performed at ‘rent parties’ in North American cities like Chicago and Kansas City. Many African- American migrant workers organized rent parties in order to raise money for their monthly payments (vgl. Garry 1997: 87). Skiffle provided the musical entertainment at these parties, as everybody was able to partici- pate in the band, which usually consisted of home-made acoustic guitars or a piano backed by a rhythm section of household instruments, such as a washboard, a washtub bass, and a jug (vgl. McDevitt 1997:16). Jazz trumpeter and guitarist Ken Colyer pioneered the skiffle scene in Great Britain. In 1949, he formed the Crane River Jazz Band in Cran- ford, Middlesex, together with Ben Marshall (guitar), Pat Hawes (wash- board), and Julian Davies (bass). Their repertoire included skiffle songs “to illustrate aspects of the roots of jazz and to add variety to a pro- gramme” (Dewe 1998: 4). After leaving the group in 1951, Colyer mi- grated to the United States to work with jazz musicians in New Orleans.
    [Show full text]