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Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Janfeb03 (Page 2)
January - February, 2003 50 Years Ago... by Carla Whalen The lot was humming with activity in Allen, Slim Pickens, Eddy Waller, Roy the years 1952 and 1953. Republic Pictures Barcroft, Rod Cameron, Forrest Tucker, owned the facility, continued to produce Harry Carey, Jr., John Agar and Jim Davis; feature films, and was beginning to enter with cowgirls Mary Ellen Kay, Penny into television production. Republic made Edwards, Marjorie Lord, Estelita Rodriguez forty-six features in ’52 and ’53, of which and Gale Storm. The most famous feature twenty six were westerns starring big B- of this two-year period was The Quiet Man movie cowboys Allan "Rocky" Lane, Rex starring John Wayne, Maureen O’Hara, Barry Fitzgerald and Ward Bond. This was shot mostly on distant location in a very rainy Ireland, with the interiors done back here on the lot on what are now Stages #9 and #10. Republic also continued producing the "cliffhanger" serials it was famous for and Bill Williams, Kit Carson produced four 12-episode Chapterplays during 1952-53; Canadian Mounties vs. over three-hundred fifty B-westerns, Atomic Invaders, Radar Men from the Moon, including fifty-six Gene Autry and eighty- Zombies of the Stratosphere and Jungle Drums two Roy Rogers singing cowboy oaters. By of Africa starring Clayton Moore, who was the early 50’s Republic’s production schedule taking a break from his role as "The Lone was the lowest it had been since 1935, and Ranger." Republic produced Commando Cody most shows were shot on location leaving the – Sky Marshal of the Universe as a television stages available to independent producers. -
Stereotypes of Law Enforcement in Television
UNLV Retrospective Theses & Dissertations 1-1-2006 Stereotypes of law enforcement in television Phillip Michael Kopp University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Kopp, Phillip Michael, "Stereotypes of law enforcement in television" (2006). UNLV Retrospective Theses & Dissertations. 1952. http://dx.doi.org/10.25669/b07u-pkrd This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. STEREOTYPES OF LAW ENFORCEMENT IN TELEVISION by Phillip Michael Kopp Associate of Science Riverside Community College 2000 Bachelor of Science California Baptist University 2003 A thesis submitted in partial fulfillment of the requirement for the Master of Arts Degree in Criminal Justice Department of Criminal Justice Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1436765 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
The Impact of American TV Shows on German Television and Culture in the 1960S”
Concordia University - Portland CU Commons Humanities Faculty Articles & Other Works Humanities Department 11-11-2004 Westwinds: The mpI act of American TV Shows on German Television and Culture in the 1960s Gerd Horten Concordia University - Portland, [email protected] Follow this and additional works at: http://commons.cu-portland.edu/humfacultyresearch Part of the History Commons Recommended Citation Horten, Gerd, "Westwinds: The mpI act of American TV Shows on German Television and Culture in the 1960s" (2004). Humanities Faculty Articles & Other Works. 22. http://commons.cu-portland.edu/humfacultyresearch/22 This Presentation is brought to you for free and open access by the Humanities Department at CU Commons. It has been accepted for inclusion in Humanities Faculty Articles & Other Works by an authorized administrator of CU Commons. For more information, please contact libraryadmin@cu- portland.edu. 1 Gerd Horten Associate Professor of History [email protected] Concordia University, Portland Paper for the 2004 ASA-Conference: “Westwinds: The Impact of American TV Shows on German Television and Culture in the 1960s” Coming on the heels of the economic “miracle,” as West German and international observers described the dramatic turnaround of the 1950s, West German consumer culture fully came of age in the 1960s. The most severe consequences of postwar deprivations like starvation, rationing or the focus on sheer economic survival became a thing of the past for most West Germans. The consumerist cornucopia promised particularly by the victorious United States, long desired and emulated, increasingly became a lived reality for quickly expanding segments of the population in the Federal Republic. -
Abstracts and Bios
1 ABSTRACTS AND BIOS Theories: Thursday, July 11, 13:15-14:15 Ron Rodman, “‘Contemporary Cool’ as Televisual Existential Sign” Television composers have incorporated popular contemporary musical styles and genres into their music for programs and commercials to act as a signifying agent of “coolness,” reflecting social acceptability and desirability. Such desirability usually helps a particular show’s ratings, thus generating more commercial revenue. Because “cool” operates on both the poietic (producerly) and esthesic (reception) level of the semiotic space of TV, it serves as a trope that situates itself in a sort of matrix where television narrative interacts with the viewer’s reality. This trope of “contemporary cool” surfaced very early on American television, and was found on many programs and commercials. Early on, coolness was often rooted in the use of jazz music, and was often borrowed from the cinema, especially cinematic genres such as film noir and the 1960s spy thrillers such as the James Bond series. This paper traces the “contemporary cool” trope through the music of American television. Early examples of cool on television are grounded in the musical styles presented on the show, most notably the use of jazz on shows like M Squad, and The Dick Van Dyke Show. However, the use of the jazz style was no guarantee that a program would be considered cool—jazz themes for programs like Shotgun Slade and Hawaii Five- O, failed to generate a “cool” ethos. Since “coolness” cannot be tied to a particular musical style, it is what Eero Tarasti would call an “existential” sign, that is, a sign that is originally tied to an object (Dasein) but departs from the signified in the objectal world and floats as a signifier without any content, only to be re- connected to another object at a later time. -
Contents J Une 1998
CONTENTS J UNE 1998 Features Departments 19 Wrestling with the Industry 2 Editor’s Page The Society of Composers and Lyricists third The Summer of annual Film & TV Music Conference. Our Discontent By Lukas Kendall 4News 22 Gojira! King of the Deals, events, awards, Rubber Monsters and so much more On the eve of Godzilla's latest attempt at world 5 Record Label domination, we review two new CD releases and Round-up his entire career in Japanese cinema You know you want it By Jeff Bond 6Now Playing The theme is out there, and Movies and CDs in Mark Snow talks about it 27 Bruce Broughton release page 30 Buyer’s Guide 8 Concerts The first part of our latest composer spotlight, Live performances featuring works from 1991-1998 around the world Compiled by Jason Comerford, Jeff Bond and 8 Concert Report Doug Adams Goldsmith’s Music for Orchestra 10 Upcoming Film Interviews Assignments Who’s writing what 30 Mark Spots the X Series composer Mark Snow fights the future in 12 Mail Bag the big screen extension of The X-Files The Unsinkable By Doug Adams Jimmy H. Dinner music for a pack of 33 Music for Maniacs 16 Downbeat hungry leviathans A conversation with Jay Chattaway on the The Music is in the Mail page 22 occasion of the release of his first film soundtrack—17 years later 18 Reader Ads By David Friede 38 Score Capsule reviews of Reviews Lost in Space, Mercury Rising, Moby Dick, 36 From the Farthest Reaches to The Butcher Boy, Lolita, Just Plain Far Out and lots more Two long-awaited Chattaway CDs reviewed 40 FSM Marketplace 46 I Can’t Believe it’s a Soundtrack! Seven wacky CD releases reviewed 48 Retrograde Sale Away! We've cast our nets and pulled in a large catch of CD reviews page 38 ABOUT THE COVER: SCULLEY AND MULDER Film Score Monthly (ISSN 1077-4289) is published monthly for $29.95 per year by Lukas Kendall, 5455 Wilshire Blvd, Suite 1500, PLUMB THE DEPTHS OF DECEIT IN THE X-FILES. -
The Television Works of Bernard Herrmann
Television Works of Bernard Herrmann By William Wrobel While Bernard Herrmann is generally best known as a feature film composer, he also established a prodigious amount of work for both radio and television. The scope of this paper is Herrmann’s television music that ranges from his first (“A Christmas Carol”) in December 1954 to his known final one (an episode of The Virginian titled “Last Grave At Socorro Creek”) in early 1969. The format of this paper is to elaborate, at least in part, on each of his works for the “small screen” based on as complete a list that can be presently verified. This presentation will not necessarily be based in factual, chronological order since exact dates of completion are rarely given in his television scores (unlike most of his feature film works). A list based on original airdates would be logical, but this would not be applicable to his television “suites” (such as the so-called Western Saga suite or collection of thematic cues). Such suites for the CBS-TV Music Library were composed for the purpose of being later “tracked” when needed as part of a body of “stock” music for episodes of CBS series which had no original score, tracked in by a music editor (usually Gene Feldman). For purposes of simplicity, the sequence of this paper’s presentation of Herrmann’s television works will be based according to the two only entertainment entities he did television work for: CBS and Universal-Revue Studios (the latter productions usually aired on the NBC network). Only in one case (“The Richard Boone Show”) were the shows produced at MGM Studios for NBC. -
Coll E C T Ion P R O F
ARSC Study Guide Film Noir Television COLLECTION PROFILE Considered by some to be a movement and others a genre, the classic period of film noir stretched from 1941 to 1958, bookended by the seminal films The Maltese Falcon and Touch of Evil. Film noir (or literally “black film”), a term coined by the French film critic Nino Frank, was often used to describe films that exhibited low- key black and white cinematography reminiscent of German Expressionism and plots centered around moral ambiguity and a rampant fear of sexuality. Often described and studied strictly in terms of its filmic manifestations, many of the stylistic aesthetics and narrative techniques of noir were prevalent on American television in such programs ranging from crime dramas (“Johnny Staccato,” “The Man With a Camera,” Set in the shadows of New York's mean streets, NBC's noir series “77 Sunset Strip”), and police procedurals “Johnny Staccato” (1959-60) starred John Cassavetes as a jazz- (“Dragnet,” “Naked City,” “The Untouchables”), pianist turned private detective. Cassavetes also directed a to science fiction anthologies (“The Outer number of episodes. Limits,” “The Twilight Zone”). Many of these programs not only exhibit noir style, but showcase the artistic efforts of many film noir luminaries. John Brahm (The Lodger, Guest in the House) directed episodes of both “Alfred Hitchcock Presents” and “The Twilight Zone.” John Cassavetes (Shadows, A Woman Under the Influence) starred and directed in “Johnny Staccato.” Joseph Cotten (The Third Man, Shadow of a Doubt) -
January 1990
Cover Photo by Leslie Burke 18 ED MANN A long stint with Frank Zappa has given Ed Mann the opportunity to improvise and experiment with percussion in a multitude of ways. Here, Ed shares some of what he has learned along the way, and discusses his first solo album, his work with the Repercussion Unit, and the role of the percussionist and of electronics in music. by Rick Mattingly 24 STEVE RILEY Burke One might not expect the drummer from such bands as Keel, WASP, and L.A. Guns to consider jazz his real Leslie by passion, but that's just one of the ironies of Steve Riley. Photo In this interview, Steve also talks about some of the highs and lows of the music business he has encountered, and the lessons he has learned from them. by Robyn Flans ALVIN 28 STOLLER As one of the more sought-after big band drummers in New York, Alvin Stoller worked with, among others, the bands of Benny Goodman, Tommy Dorsey, and Charlie Jachles Spivak. In the 40 years since he moved out west, Stoller Mike has backed up singers and movie stars like Ella Fitzgerald, by Billie Holiday, Gene Kelly, and Fred Astaire, and has done Photo endless TV, radio, and movie scores. Here Stoller reflects on his career and talks about the music business he is still very much a part of. by Burt Korall MD SOUND SUPPLEMENT ED MANN FEATURING Kotos 32 CHAD WACKERMAN Notes and transcribed examples of Ed Mann's and Chad Jaeger by Wackerman's parts from "This Is Tomorrow," from Mann's Photo solo album Get Up. -
Radio Television
Belknap Collection for the Performing Arts Radio Television RADIO & TELEVISION The Sound of Radio and Television The golden age of broadcasting from the radio heyday of the 20s, 30s and 40s, when Jack Benny, Bob Hope, The Shadow, Fanny Brice and H.V. Kaltenborn ruled the airwaves, through the television era when variety, drama, comedy, sports and world history flashed into our living rooms, each day. The rise of technology and the extraordinary popularity of radio and television, in the past century, led to revolutionary changes in entertainment, news gathering and delivery, lifestyles and history represented by the sights, sounds and ephemera from a magical and legendary era. Writer Robert Campbell called this broadcasting phenomenon "the reality that changed our world forever." Guide to scripts by Preston Wood. One of the more prolific of scriptwriters from the "Golden Age" of radio and television drama and comedy, Preston Wood has produced an amazing and varied list of credits in his sixty-year career. The PRESTON WOOD SCRIPT COLLECTION spans every genre from the western to science fiction and includes many of the classic television episodes cited by broadcast historians and baby boomer fans of the 50s, 60s and 70s. Dick Summer Audio Collection. Collection of audio compact discs (CDs) featuring the spoken word readings and narrations ("personal audios") of legendary radio personality, voice artist, poet, writer and "story teller" Dick Summer. For more information on the Belknap Collection for the Performing Arts contact: Jim Liversidge University of Florida George A. Smathers Libraries Department of Special and Area Studies Collections PO Box 117007 Gainesville, FL 32611-7007 (352) 273-2759 email: [email protected] Copyright © 2003- University of Florida George A. -
Composer, Conductor & Cast Index
COMPOSER/CONDUCTOR/CAST INDEX AABERG, DENNY ACKERMAN, LONI It's a Bird, It's a Plane, It's Great Motion Picture Themes Innermost Limits of Pure Fun George M! Superman Guns at Batasi AABERG, PHILIP So Long 174th Street Night They Raided Minsky's Hamlet Shape of the Land Starting Here, Starting Now Shoestring Revue '57 Honey Pot AANAMI CHOIR ACKERMAN, WILLIAM ADAMS, MASON Joseph Andrews Seven Percent Solution Prison Shape of the Land Thousand Miles of Mountains ACKERMAN, ZOE Today We Bought a Home Sleuth AARON, HANK Smashing Time No No Nanette ADAMS, NEILE Hank Aaron Swashbuckler AARONSON, IRVING ACKLAND, JOSS This Could Be the Night ADAMS, RICHIE (RITCHIE) Tom Jones Pennies from Heaven Apple Torn Curtain Banana Splits ABADES, MARTINEZ Evita ADDY, WESLEY Little Night Music Tomorrow La Violetera Evening with William Little Prince ADAMS, SKIP ABADY, TEMPLE Shakespeare Night of the Comet George K. Arthur's Prize Package ACTMAN, IRVING ADE, KING SUNNY Guys and Dolls ADAMS, TRUDE ABATO, VINCENT Africans She Loves Me Music of Kay Swift ADAIR, JOHN ADELSON, LEONARD Cradle Will Rock ADAMS, WALTER ABBAN, EKOW Zenda Tarzan's Greatest Jungle Absolute Beginners ADAIR, TOM ADIARTE, PATRICK California Adventure! ABBEY ROAD SINGERS ADAMS, WILL Flower Drum Song American Dreamer ADAIR, YVONNE ADIR, MICHA Gentlemen Prefer Blondes Little Black Sambo ABBOTT, BUD ADAMSON, BARRY From Israel with Love In the Navy ADAM, NOELLE ADLAM, BETH No Strings Lost Highway ABBOTT, DIANNE ADAMSON, HAROLD Wildcat New York, New York ADAMS, BRYAN ADLER, BRUCE Night In Heaven Affair to Remember ABEL, WILL B. Around the World In 80 Days Golden Land Coco ADAMS, CATLIN ADLER, F.