DOCSLIB.ORG

Martha Tilton Recalled Raymond Scott

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Martha Tilton Recalled Raymond Scott M artha Tilton recalled Raym ond Scott - Part of 1937 In M usic Pictorial clue in Trivia Quiz Presorted Standard U.S. Postage PAID Atlanta, GA Permit No. 3259 BIG BAND JUMP NEWSLETTER VOLUME 112 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER. 2007 INTERVIEWS JO STAFFORD & M AR TH A TILTO N These newsletters take on a direction of their own. Early this year we began to re-visit some of the Big Band girl vocalists, promising in that issue to do it again. During preparation for this newsletter two letters arrived asking about the girl singers, encouraging us to continue our se­ ries in this issue. (See LETTERS TO THE EDI­ TOR.) As a result of two letters inquiring about female singers and the continuation of our series on those singers, much of the first half of this newsletter is devoted to “The Girl Singers. ” Stafford in the '50s Two other events also encouraged the direction of this issue. One was a rare public appearance BBJ: Your first professional singing work? of Jo Stafford in May at the annual Big Band Academy of America get-together in Studio City. JS: I had two older sisters, quite a bit older, 11 and The other was the recent loss of singer Martha 14 years older than I. They were already in Tilton who died in early December last year at local radio in Long Beach, California and finally came age 91. We re-acquaint ourselves with both of up to Hollywood, doing radio in and around Los them through their own words Angeles. We were together for two or three years singing on radio and background singing in motion J O S TA F F O R D pictures. We had quite a successful run of it and then The Background I graduated from them to the Pipers. In the beginning there were eight of us and we got together on what we Jo Stafford is a native of California where her Tennes­ call a “cattle call” for a musical called “Alexander’s see native parents moved before she was bom in No­ Ragtime Band.” vember of 1917. Neither of her parents had good singing voices, but as a child Jo amused herself by BBJ: Your first solo number with Tommy Dorsey singing and by age ten she could not only read music but was LITTLE MAN WITH A CANDY CI­ play the piano. Jo ’ s first professional singing j obs were GAR. What kind of song was it? with her sisters Pauline and Christine with whom she performed until 1938 when she became the only female JS: Strictly a ballad written by Matt Dennis and voice in a group of seven men who called themselves Tom Adair....a very beautiful song....and I “The Pied Pipers.” asked Tom as a special favor i f he ’ d let me record it and he said, “It’s yours, Josie!” That’s how easy it was. The following are excerpts from Jo Stafford’s com­ ments made in various interviews from the mid-nine- BBJ: You went to Capitol Records as a solo singer. ties. Our first question was about her musical history before she became a Pied Piper. JS: Very early on. When we were still with Dor­ sey, Johnny Mercer was a big fan of the Tommy VOLUME 112 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2007 Dorsey band and whenever he was in New York and we with off-key and off-ternpo piano and vocals. were playing there, or out here at the Palladium, he’d They caused a mild sensation with both musi­ always come to see the band. On one of those visits, he cians and fans. told me and the Pipers that he was forming this record company and if and when we ever left T ommy he ’ d like BBJ: Tell us about the Jonathan and Darlene to talk to us about coming with the record company as recordings. a quartet. He’d like to have me do some solo work, too. JS: That was a good parlor trick, to put it on with Several months after we left Tommy we did come back other records and have this sound start coming out here to California and got in touch with John. He out. People would just look at each other, and they was as good as his word and signed us to Capitol didn’t know whether to say anything or not, and some Records which was a very new company then. It was listeners were perfectly happy with it. a wonderful place to work because the whole thing was run by strictly musicians. BBJ: How did the Jonathan and Darlene idea come about? BBJ: When you left Capitol and moved to Colum­ bia, was it an emotional move? JS: For years at friend’s houses or little get- togethers, Paul had this silly version of JS: In a way it was except by that time I was so used STARDUST he used to do just for laughs. There was to Paul (Weston, of course) that I wanted to a Columbia Record convention down in Key West and continue working with him and I had it in my contract one night after the meetings they all went into a little bar that if he left the record there and the piano player was pretty much a copy of company I could go too. Jonathan Edwards. After the piano player packed up When he went to Colum­ and left, Paul sat down and played that goofy version of bia, very shortly thereafter ST ARDUST that he ’ d been doing for years out here for I went to Columbia too. fun, and a couple of the guys from Columbia said, “You’ve got to make an album.” Paul thought they BBJ: How long did you were kidding, but they thought it was pretty dam funny and Paul Weston and pretty wonderful. work together before you made it a permanent On the way back on the plane he got cold feet and union? thought: “Well, I need a partner on this; I can’t do the whole thing.” That’s when Darlene came into being. JS: Oh, we were Darlene started because of songs I’ve had to record friends for quite a few years before we really from time to time I really thought were pretty terrible got serious about each other. We were on oppo­ songs. At the end of the record date if we had a few site coasts most of the time and we’d see each minutes, the musicians in the band had an equal opinion other two or three times a year if I’d come out to record of the song and thought it ought to be given the or he’d come east to record, but we were on opposite treatment it deserved. The guys would then play it real coasts for so long. We didn’t really get to know each straight and I would sing it bad. That was where other in a romantic sense until the late ‘40s when I Darlene came from and when Jonathan and Darlene brought my radio show out here to California. Paul was hitched up together the result was five albums. the conductor so we started seeing each other seriously. We were good friends for a long time before we were Daughter Amy Weston sings in the Los Angeles romantically involved. area and son Tim Weston manages Corinthian Records, a label with a catalog of Jo Stafford, For those who don ’t know or have forgotten, Paul Weston and Jo Stafford recorded some purposely Paul Weston and Jonathan and Darlene albums. terrible albums as Jonathan and Darlene Edwards Jo Stafford will be 91 on November 12,h. 2 VOLUME 112 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2007 M A R TH A T IL T O N three since Helen and he was dissatisfied and still The Background looking for a singer which I didn’t know. His manager heard me sing those four bars (laughs) and said to Martha Tilton was the second of the permanent vocal­ Benny, “Why don’t you audition this girl? She sounds ists Benny Goodman hired after a series of singers were like she has a really good voice.” So I did. After the either considered or actually with the band for a short rehearsal was over I auditioned time. After the extremely popu­ and sang three or four numbers. lar Helen Ward left there were I was hired right then and there. three songs recorded by Goodman with Ella Fitzgerald. BBJ: Most people remem­ Goodman considered Bea Wain ber you for the record­ but lost her to Larry Clinton. ing of AND THE ANGELS The short tenured list included SING. Margaret McCrae, Frances Hunt, Peg LaCentra and Betty MT: Yes. That was the Van. Martha Tilton joined the big recording I had Goodman organization in mid- with Benny. If s kind of ironic. 1937. The only thing that Benny didn ’ t try to solo on. You know, Ziggy Martha Tilton’s family moved Elman did the trumpet part from Kansas to Los Angeles which was great. He did such a when she was seven years old. goodjobonthat. (Editor’snote: Tilton in the '50s Her mother played the piano Benny Goodman also did not and she recalls singing and playing the piano since she solo on Richard Maltby’s composition SIX FLATS was a little girl. The Benny Goodman association was UNFURNISHED.) the beginning of her wide public acclaim and was the basis for our first question.
Load more

Recommended publications
  • Los Angeles Times: Martha Tilton, 91; '40S Vocalist Know For
    http://www.latimes.com/news/obituaries/la-me-tilton12dec12,0,2930884.story?coll=la-news-obituaries OBITUARIES Martha Tilton, 91; '40s vocalist know for 'And the Angels Sing' By Dennis McLellan Times Staff Writer December 12, 2006 Martha Tilton, a popular big-band vocalist best known for her recording of "And the Angels Sing" with the Benny Goodman orchestra in 1939, has died. She was 91. Known as "Liltin' Martha Tilton" during her 1940s heyday, Tilton died of natural causes Friday at her home in Brentwood, said her granddaughter Maura Smith. In the words of George T. Simon, author of the 1967 book "The Big Bands," Tilton was "a young, pretty and effervescent lass" when she was singing with the Jimmy Dorsey orchestra in the mid-1930s. Tilton didn't start recording, however, until she joined Benny Goodman in 1937. "To me, she was so unique because she didn't reinterpret the song that the composers gave her; she sang it straight, without her own styling or imprint on it," Chuck Cecil, longtime host of the Los Angeles-area radio show "The Swingin' Years," told The Times on Monday. "So many of them become song stylists and they sort of reinterpret the song," Cecil said, "but she sang it with clarity and with charm — and very successfully. I'd say one of the definitive records of the swing era was the song 'And the Angels Sing.' " During Tilton's time as vocalist with Goodman, the band made history when it performed the first-ever jazz concert at Carnegie Hall in 1938.
    [Show full text]
  • Jo April 2019.PPP
    An alphabetical listing of her studio recordings, including recording dates, matrix numbers and, when known, dates first issued. Compiled by Jim Marshall, and updated April 2019 I first produced a Jo Stafford discography ‘way back in 1995, encouraged by the late Tom Colborn who probably knew more about Jo’s career than the lady herself. Tom had already done much of the groundwork and, knowing that I’d acquired a computer - an early Amstrad - suggested that I take over the task. I was well into my research when the indispensable "In Tune" magazine started publishing its own in-depth listing of Jo’s huge catalogue of recordings. The work put into that by Brian Henson, Colin Morgan, Robert W. Rice and others was an immeasurable help. My thanks also go to Ken Seavor, John Ridgeway, Lucas Tuinstra, Jeff Lasbury and Ray Purslow plus, of course Jo Stafford and Paul Weston , all of whom contributed to Tom’s original research. More recently I’ve had important help from Michel Ruppli, Tim Weston, Robert Rice, Richard Weize and Adam Daff resulting in what I like to think is an almost “complete" alphabetical listing of Jo’s commercial recordings, including her work with the Pied Pipers and her alter egos, Cinderella G. Stump and Darlene Edwards, not forgetting Jonathan! (Apologies if I’ve forgotten anyone!) Apart from a handful of never-ever issued Capitol and Columbia tracks, almost all Jo’s studio recordings seem to have been reissued on CD and are probably still in print. In fact, the seemingly relentless reissue of Stafford CDs, mainly in the UK, is proof, if proof was needed, of the lady’s long-lasting popularity.
    [Show full text]
  • Preview at 8:30; "Pay-- Cinema 51: 7:30 P.M:, 116 Education 5 P
    SECTION 2, PAGE 3 DIAL 6-3111 WISCONSIN STATE JO0RNAL TUESDAY, MM 22, 1951 ocrattc attitudes throughout Jap- an was considerably expanded m 1950, according to a Motion Pic- flndio ture Export association report from •• Tokyo. • . Highlights For the past three years, the as- TUESDAY sociation, which represents Amer- Drama ica's major film distributors -in WIBA wise WKOW WIBU WBBM WENR-WLS WGN WMAQ 6 >m. — Mystery Theater Japan, has conducted an rfuca- 1U* k« • itTtko 124* ke IK k» ... 890 ko I 720 ka. no in (WBBM): "rhe Deserted Husband tlonal program, designed to drive home to the Japanese a fuller 1:00 Sunrlw • TOD o" tl»* Uncl* Julius • Silent Newi Roundup Capt. Stttbb* Norman Murder Case." 1:15 Frolla MoralDi Farm Hour • Bllent Newi Bob Metier Show .BOW . 7 p. m.—Caval- understanding of America and atusical • Ton in Land CM • Rural Jim Happy Haok The Bill •:4S Clock JJportl; Newi Weather MkU. Boundnp Norman cade of'America the American way of life. Using I I Oonwajr . Mem • Evi'ant Show ROM: Newi CWIBA): Robert select American motion pictures 7:0* Al«i Dreler * TOD o' Unrnlnx Corfu* Club * N»w»: Pton New* Breakfast Nawa Tour Young as Gen. as texts, a group of professional 7:15 Musical Clock • Newj- Serrlo* Patrick emit* Club. • Cliff „ Neunpor .TIP 0' THE MORNING: Look for "Mr. and Missis- 7:30 Jouma) N«»» • Too o1 MornlM Weather; coffee • News: We»ttt»r Gold Oout Breakian John wn Norman Bam Mark W. Clark lecturers has been on continuous 7:45 | Eddy Arnold I • Paulina Fred'* Club: Newt I • Farm Prollo ShoDplnx I Club Family Newi in "Top- Secret," sippi" to rise fast in the music tabulations.
    [Show full text]
  • Jimmy Dorsey Orchestratm Jimmy’S Musical Training Began When He Was a Young Boy in Pennsylvania
    America’s Music On Parade Enjoy an evening of America’s Hits that inspired many of the greatest recordings ever made. A memory of these songs touched our deepest feelings in a way no other songs have or ever will. American’s Hits On Parade are legendary songs from the most thrilling era of music that captured our hearts during an amazing ten years of music and history. The America’s Hits On Parade was everywhere! Radio’s broadcasted from ballrooms like the Aragon, Palomar, Palladium and the “Make Believe” Ballroom. Juke Boxes whirled at home while a world away GI’s warmly welcomed the sounds of America’s Hits. We danced at night clubs, USO’s, ballrooms and truly had the greatest time of our lives. Sit back and enjoy America’s Hits On Parade with an evening of the songs we cherished the most and will never forget listening to - I’ll Never Smile Again - In The Mood - I’m Getting Sentimental Over You - Tangerine - There Are Such Things - Dream - Boogie Woogie - So Rare - Stardust………. and many more. Jimmy Dorsey OrchestraTM Jimmy’s musical training began when he was a young boy in Pennsylvania. Along with his brother Tommy, the talented young musicians joined Paul Whiteman’s Orchestra and at the same time they were recording many records under the billing “The Dorsey Brothers Orchestra”. Their band continued through the early thirties until a dispute over a tempo of a song separated the brothers for decades. Jimmy found himself an instant leader of the band that became the birth of the Jimmy Dorsey Orchestra.
    [Show full text]
  • And That's Jazz" Is a Hard-Driving Chicago- P.O
    April 11, 2010 1:00 - 5:00 pm NVDJS NEWS NVDJS NEWS FIRST CLASS MAIL April-May 2010 And That’s Jazz Napa Valley Dixieland Jazz Society "And That's Jazz" is a hard-driving Chicago- P.O. Box 5494, Style traditional jazz ensemble that plays great Napa, CA 94581 American popular dance music of the 1920s, 30s and 40s. This six-piece group features vocals NAPA VALLEY and instrumentals by such great American song DIXIELAND JAZZ SOCIETY masters as Jellyroll Morton, Duke Ellington, Fats Waller, Louis Armstrong, Hoagy Carmichael and Sunday, April 11 Irving Berlin. The band's traditional front line Sunday, May 9 consists of Cornet, Trombone and Clarinet and is RENEWALS that are DUE 2010 supported by a classic rhythm section of Drums, 1:00-5:00 Tuba and Banjo. April pm Soren Bloch Gene Maurice Cornet, Leader Iver Egland, Catherine Harper John Soulis Trombone Jeff & Linda Green Embassy Suites Al Flood Reeds 1075 California Blvd Dave Richoux Tuba Bill & Nan Lawson Napa, CA Jack Wiecks Banjo, Charles Newman, Jutta Jacobs Bill Todd, Drums, Vocals Lynn Schloss Joan Simpkins May George & Jean Knoblauch May 9, 2010 1:00 - 5:00 pm Jack Ohringer Mission Gold Jazz Band NAPA VALLEY DIXIELAND JAZZ SOCIETY Large dance floor MEMBERSHIP With a name inspired by the golden hills Jammers Welcome above Fremont's Mission San Jose, Mis- Name_______________________________ sion Gold is an eight piece, two cornet Monthly Admission band consisting of a variety of multi- Address_____________________________ Donations talented musicians from all over the Bay City___________________Zip___________ NVDJS $8.00 Area. MGJB was formed in 1980 and has a Telephone:______________Date:________ Other Jazz Clubs $9.00 long tradition of performing the music of Other Guests $10.00 Jelly Roll Morton, King Oliver, Lu Watters Standard Membership Single $20.00/year Youth (12-18 years) $3.00 and Turk Murphy.
    [Show full text]
  • Jazz Piano for Dancers & Listeners
    JAZZ PIANO FOR DANCERS & LISTENERS The Bill Jackman Trio – Volume 2 of 6 1. Autumn Leaves (Latin, 10:15) by Joseph Kosma* 2. Satin Doll (swing, 10:18) by Duke Ellington, Billy Strayhorn, and Johnny Mercer 3. Polka Dots and Moonbeams (ballad, 10:25) by Jimmy Van Heusen 4. The Shadow of Your Smile (Latin, 9:20) by Johnny Mandel 5. Everything Happens to Me (ballad, 10:41) by Matt Dennis 6. All the Things You Are (swing, 8:46) by Jerome Kern 7. The Oakland Slow Blues (slow blues, 13.11) by Bill Jackman Total Playing Time: 72 minutes, 56 seconds * Only the composer(s) of the music are cited. About the Tunes 1. Autumn Leaves (Latin, 10:15) by Joseph Kosma (1947) “Autumn Leaves” has been part of classic American popular music for more than half a century. But it was originally a French song which quickly became an international hit after it was first sung by Yves Montand in a 1946 French film. However, its composer, Joseph Kosma, was not a native Frenchman. Rather he was a Hungarian Jew, who composed scores for Hungarian films in the late 1920s. With the rise of Nazism, he fled to France, where he worked as a café pianist and began a long association with the French poet Jacques Prevert and the French film director Jean Renoir. The latter left France for Hollywood during World War II. Kosma remained, but had to spend much of the time in hiding. “Autumn Leaves” was introduced as a slow ballad, but most jazz musicians have done it as a swing tune (e.g., Miles Davis) and often at a fast tempo.
    [Show full text]
  • Great Escape Vol. 5
    THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Vol. 1 No. 5 November/December 2007 Presented by: www.dixieswing.com Buddy Hughes: One Night on the Stand with Thornhill By Bob Knack While rummaging through my record room recently, I the most exciting band ever.” In the review, DB magazine came across a dusty cardboard box containing a morsel of real reported that Vannerson had recently left the band leaving treasure. It was an October 21, 1946 copy of Downbeat Thornhill without a personal manager or press agent making it Magazine, with the headline, “Claude Thornhill, Band of the difficult for the band to compete for bookings. Year”. The article highly praised the Thornhill band reviewed “After playing some smaller eastern ballrooms and “live” at the Hotel Pennsylvania in New York City. theatres,” Buddy continues, “the appearance at the It saved the highest accolades for the guy singer, Pennsylvania was a big event for the band, and had the Buddy Hughes, saying he had “the freshest, best voice to be attention of show business and band personalities who packed heard with a band”. I asked my friend and Glen Ellyn, Illinois the place for the big night”. “I was introduced by my manager resident, Buddy to reminisce about this night and his time with to Mildred Bailey, Paula Kelly and the Modernaires, Les Brown the CT band, and, as always, he brought the era back to mind (with his arranging pad in hand), singer Buddy Clark and many with his stories as if it were yesterday.
    [Show full text]
  • Great Escape Vol. 1
    THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Vol 1 No. 1 March/April 2007 Quotable Jazzmen: The Bandleaders By Bob Knack© book on Dorsey, “Living in a Great Big Way,” before beginning a set, TD would often look up at his boys Big band era leaders were not only great and say, “Get ready to play big league ball”. showmen and/or businessmen they were outspoken, Although another trombone-playing leader, as well. Let us consider a few of those men who led Glenn Miller, along with Dorsey, enjoyed fronting their the big outfits back in the day, who had something bands, they were both recognized as tough piquant to say about virtually everything. businessmen. “Don’t judge me as a musician,” said Many of the early big bands played strictly for Miller, whose first job as a boy was milking a cow for the dancers…that’s where the money was. Artie just pennies, “All I'm interested in is making money.” Shaw, though, didn’t care for the jitter-buggers. “You Glenn, who knew his audience admonished, “I can dance to a windshield wiper,” groused the haven't a great jazz band, and I don't want one.” clarinetist, “A windshield wiper…gives you a beat and During the war years, Dorsey added a string section all you need is an out-of-tune playing ‘Melancholy to a band that as it grew to forty-six musicians was Baby’ and you’ve got dance music.” However, called “The Big Bertha Band”.
    [Show full text]
  • The Sound of Surprise 46 Pieces on Jazz.Pdf
    cz DO 079 The Sound of Surprise WHITNEY BALLIETT The Sound of Surprise 46 Pieces on Jazz E. P. BUTTON & CO., INC. NEW YORK, 1959 WHITNEY BALLDETT Copyright, , 1959 by Printed in All rights reserved. the U.SA FIRST EDITION No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief excerpts in con- nection with a review written for inclusion in a magazine, newspaper or broadcast. Except for the first two pieces which ap- in peared slightly different form in the Satur- day Review and the principal section of the third in piece, which appeared, again slightly different form, in The Reporter, the material in this book appeared originally in The New Yorker and was copyrighted in 1957, 1958 and 1959 by The New Yorker Magazine, Inc. LIBRARY OF CONGRESS CATALOG CARD NUMBER: 59-5832 T0E.K.B. CONTENTS INTRODUCTION ix Part One: 19541956 PANDEMONIUM PAYS OFF 3 ARTISTRY IN LIMBO 11 THE BIBULOUS AUNT 14 Part Two: 1957 PROGRESS AND PRUDENCE 25 THE DUKE AT PLAY 29 PASTORAL 33 HOT 38 AVAUNT 42 COLOSSUS 45 DJINNI 49 MAMMOTH 54 THE M.J.Q. 59 THE OLDEN DAYS 63 COOTIE 67 HOT NIGHT, LITTLE LIGHT 71 THE THREE LOUIS 74 STRESS AND STRAIN 78 MINGUS BREAKS THROUGH 82, THE RESURGENCE OF RED ALLEN 87 HOT AND COLD 91 Vii Contents Part Three: 1958 EPITAPH 97 MELEE 101 VIC DICKENSON AND THE P.J.Q. 104 MONK 108 THIS WHISKEY IS LOVELY 113 CLOSE, BUT NO CIGAR 118 OUT OF FOCUS 123 CHAMELEON 127 THE M.J.Q.
    [Show full text]
  • Chapter Template
    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
    [Show full text]
  • Messages of American Popular Song to Women During World War II
    “I’m Doin’ It for Defense”: Messages of American Popular Song to Women during World War II A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements of the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2013 by Amy Brooks BM, Bob Jones University, 2008 Committee Chair: bruce d. mcclung, PhD Abstract World War II presented many new opportunities for American women. In this time of need, they were called upon to take an active part in the war effort, whether by means of working in a factory, growing a victory garden, or serving as a volunteer for wartime organizations. Women made great strides forward in areas such as the workforce and the military. The American popular song industry promoted these new roles for women. I have compiled over 150 songs from 1940 to1945 that relate to women’s roles during the World War II era. Of these songs, I have chosen a select number of songs that best demonstrate popular culture’s attitudes and actions towards women during the war. These songs can be divided into five categories: women in the military, women in the workforce, women’s war effort, women’s responsibilities to men in uniform, and women in the immediate post-war period. I have studied the representative songs by considering their lyrics to identify the objectives supported by the popular song industry. I took into consideration the venues in which they were presented and how these performances influenced their reception.
    [Show full text]
  • Collection of Radio Series Scripts, Ca
    http://oac.cdlib.org/findaid/ark:/13030/c8dj5hrq No online items Collection of radio series scripts, ca. 1933-1980, bulk ca. 1940-1959 Processed by Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2014 The Regents of the University of California. All rights reserved. Collection of radio series scripts, PASC 135 1 ca. 1933-1980, bulk ca. 1940-1959 Title: Collection of radio series scripts Collection number: PASC 135 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 16.5 linear ft.(33 boxes) Date (bulk): Bulk, 1935-1964 Date (inclusive): ca. 1933-1980 (bulk ca. 1940-1959 Abstract: Collection consists of American radio series scripts including over 143 titles. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]