Glenn Miller and His Orchestra “Top 10 Hits” 1939-1943
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GLENN MILLER ORCHESTRA Highlights
GLENN MILLER ORCHESTRA Highlights Glenn Miller was born on March 1, 1904, in Clarinda, Iowa. Glenn Miller originally wrote the music for Moonlight Serenade (later to become his theme song) as an exercise when he was studying with noted arranger, Joseph Schilinger. The first Glenn Miller Orchestra, formed in 1937, was a financial failure. In March 1938, Glenn Miller launched his second band, and unlike the first band, it became an enormous success with multiple hit records and huge box office sales. At the height of the orchestra’s popularity, Glenn Miller disbanded his musical organization in 1942 to volunteer for the army. He then organized the famous Glenn Miller Army Air Force Band. On December 15, 1944, Major Glenn Miller took off in a single engine plane from England – against his better judgment – to precede his band to France, never to be seen again. The army officially declared him dead one year later. Due to popular demand, the Miller Estate authorized the formation of the present Glenn Miller Orchestra in 1956. In 1941, Glenn Miller and His Orchestra had more hit records in one year, including A String of Pearls, than anybody in the history of the recording industry. Although other songs had sold over a million record copies, in 1941 Glenn Miller’s recording of Chattanooga Choo Choo received the first Gold Record ever to be awarded. The Glenn Miller Orchestra has been “on the road” longer and more continuously than any other Big Band ever. The Glenn Miller Orchestra travels over 100,000 miles each year, playing nearly 300 dates. -
Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
In the Mood for Instruments Parent Guide
OurStory: Duke Ellington and Jazz In the Mood for Instruments Parent Guide Read the “Directions” sheets for specific instructions. SUMMARY In this activity children will use one or more online tools to explore the way a musician can change the mood of a song by changing the instruments that play the song. WHY This activity will get children thinking about artistic decisions, both through looking at examples and by making their own decisions. TIME ■ 5–10 minutes RECOMMENDED AGE GROUP This activity will work best for children in kindergarten through 4th grade. CHALLENGE WORDS ■ Call-and-response: when one person makes a pattern of sounds, and the next person either repeats the same pattern or changes it just a little ■ Instrument: a tool used to produce music ■ Rhythm: a flow of sound in music with a pattern of beats GET READY ■ Read Duke Ellington: The Piano Prince and His Orchestra, a beautiful picture-book biography of one of America’s most famous jazz musicians. For tips on reading this book together, check out the Guided Reading Activity (http://americanhistory.si.edu/ ourstory/pdf/jazz/jazz_reading.pdf). ■ Read the Step Back in Time sheets. YOU NEED ■ Duke Ellington book ■ Directions sheet (attached) ■ Step Back in Time sheets (attached) ■ Computer with Internet and speakers or headphones More information at http://americanhistory.si.edu/ourstory/activities/jazz/. OurStory: Duke Ellington and Jazz In the Mood for Instruments Step Back in Time, page 1 of 2 For more information, visit the National Museum of American History Web site http://americanhistory.si.edu/ourstory/activities/jazz/. -
Grt Milk? PETERTHREE: Yes, Death by Grt Milk
NARRATOR: The period of civil war has ended. The rebels have defeated the evil galactic monarchy and established the harmonious Federated Alliance. Now, Ambassador Pleck Decksetter and his intrepid crew travel the farthest reaches of the galaxy to explore astounding new worlds, discover their heroic destinies, and meet weird bug creatures and stuff. This is Mission to Zyxx. [Intro music] PLECK: Hey Dar? Can I ask a question about your past? DAR: Okay? PLECK: I just know you had a crazy life before the Federated Alliance, so like, what was your specialty? How would you kill people? DAR: Oh, man. Um. I really thought this was heading in a different direction when you said specialty, I was game to explain to you what my specialty is- PLECK: Okay, right, yeah DAR: But how I would kill people? PLECK: You were into smuggling, right? So like, you'd get into trouble and like, a ship would be like, we're gonna kill you! And you'd be like, not if I can do anything about it! C-53: Do you think that's what Dar sounds like? DAR: Honestly, I'm just gonna say it was like he was there. PLECK: That's... I dunno. BARGIE: It's my birthday! DAR: Woah. PLECK: What? BARGIE: It's my birthday everybody so uh.. happy birthday to me! PLECK: Congratulations! How old are you, Bargie? BARGIE: Oh you never ask a ship their age! DAR: You never ask a ship their age. C-53: That's considered very rude. BARGIE: Very rude! Everybody gets to go around and say one thing they love about me. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Appendix 2-2 1 ISSUE ID COMMENT NO
KLAMATH RIVER BASIN FISHERIES TASK FORCE MIDTERM EVALUATION INTERVIEW RESPONSES1 ISSUE ID COMMENT NO. I. WOULD THE SITUATION BE WORSE 3 Yes, would be worse without the Act and TF WITHOUT THE ACT AND TASK FORCE? Only have $1 million per year to address a huge basin with all kinds of problems The fact that came up with a plan at all, generated with citizen input, with the TF guiding the pen of the author, is a huge success But a plan is only as good as it its implementation 7 Probably would be worse without the Act and TF. At least TF does get interests to the table. If not talking would be suing. Does serve as a forum, attaches faces to names, become better educated on opposing issues. Members don’t agree on a range of issues, but the forum has merit. 13 Act has helped some; would be worse off without it. Provides a starting point, brings information to the table. Failure is weak stock management under current system. Listing was the only alternative. 14 No, the situation would not be worse without the TF. If TF weren’t there we wouldn’t miss it. There is a better way to address fisheries problems than putting the money into the political arena. Should spend the money on the fish. Is not proud of the way the TF is operating. Are not addressing the real problems from Iron Gate to the Pacific. Fish problems are also affected by the “black box” of processes in the Pacific, harvests in the ocean, Native American harvest and Trinity diversion, which the TF cannot or will not address. -
Jazz Quartess Songlist Pop, Motown & Blues
JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly -
1 Breakfast at Tiffany's Truman Capote, 1958 I Am Always Drawn Back To
1 Breakfast at Tiffany's surrounded by photographs of ice-hockey stars, there is always a large bowl of fresh Truman Capote, 1958 flowers that Joe Bell himself arranges with matronly care. That is what he was doing when I came in. I am always drawn back to places where I have lived, the houses and their "Naturally," he said, rooting a gladiola deep into the bowl, "naturally I wouldn't have neighborhoods. For instance, there is a brownstone in the East Seventies where, got you over here if it wasn't I wanted your opinion. It's peculiar. A very peculiar thing during the early years of the war, I had my first New York apartment. It was one room has happened." crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red "You heard from Holly?" velvet that one associates with hot days on a tram. The walls were stucco, and a color He fingered a leaf, as though uncertain of how to answer. A small man with a fine rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman head of coarse white hair, he has a bony, sloping face better suited to someone far ruins freckled brown with age. The single window looked out on a fire escape. Even so, taller; his complexion seems permanently sunburned: now it grew even redder. "I can't my spirits heightened whenever I felt in my pocket the key to this apartment; with all its say exactly heard from her. I mean, I don't know. -
1439. Chattanooga Choo Choo Backgrounds of S
1439. Chattanooga Choo Choo Backgrounds Of S. Radic Chattanooga Choo Choo is a swing title by Mack Gordon, who wrote the lyrics, and Harry Warren, who composed the music. It's about a steam train ride from New York City to Chattanooga in Tennes- see. Glenn Miller's recording of the 1941 song was nine weeks number one in the Billboard Hot 100 and a total of 23 weeks in the Top 10. Cover versions. Cab Calloway and His Orchestra recorded a version of Chattanooga Choo Choo for Conqueror Records (Conqueror 9914) in 1941. In post- war Germany, singer Hans Bardeleben recorded the title with Heinz Both's band. Bill Haley & His Comets released a cover version in 1954. In 1962 the recording of the US pianist Floyd Cramer was represented in the Billboard Hot 100 for eight weeks and advanced to place 36. In 1967 the American band Harpers Bizarre released a cover version that reached number 45 in the US pop charts and number 1 in the Easy Listening charts for two weeks. George Benson recorded a version of the History. Supposedly, the team of authors wrote the song on his 1968 album Shape of Things to Come. A title during a ride on the Birmingham special train of cover version of Steve Lucky & The Rhumba Bums can the Southern Railway; at that time Chattanooga was be heard in the film Be Cool (2005). an important junction in the network of US railways. The song comes from the film Adopted Happiness The song was also recorded twice in German: First (Sun Valley Serenade) with Sonja Henie, John Payne, recorded in 1947 by Bully Buhlan and Peter Rebhuhn Milton Berle and Joan Davis. -
Cadillac Records at Last
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