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Scribherms I Brought Bark by Request SPENCFR Healthfullv Air Conditioned
had ever heard of Fred's bulldogs Have they been lnnoculated? (In- signing Ginger Rogers. Ginger, 1 A Canines Also Demand and Sport Is Betty Hutton before, questions began to pour deed!) And heaven knows how Is well known, has more details lr Detailed Contracts over the wires to New York, such many more queries of the like. her contracts than any star In town as "Is this a dog act?” (You bet!) When the deal was finally con- from the size of her mlrrori The Studio Cheered as She Broadcast Br the Associated Press. makeup How many dogs In the troupe? cluded the legal department ad- to the dimensions of the type In hei When Kay Kyser starts on a to Director and Cast (Plenty!) Are they Insured? (Yes!) mitted it was more complicated than billings. Apologies picture, veterans around his studio By HAROLD HEFFF.RNAN. RKO. If the deal is set each other Luise will do began asking "What AMUSEMENTS. AMUSEMENTS. AMUSEMENTS. HOLLYWOOD. another "Good Earth" impersona- next?” For anything can and does _ and sounds: tion for on a Sights "China Skies.” .. Warner happen Kyser picture. Latest Even Preston Foster himself Bras, will shortly announce a re- complication Is Kay's whim to sign ! rubbed his eyes a bit over this sud- make of the Colleen Moore silent some vaudeville acts for the new den transformation. Within 15 hit "So Big” for Bette Davis. That opus. Including one act called minutes on the 20th Centurv-Fox makes five pictures on Bette's future “Fred’s Bulldogs.”* lot he went from the role of Roger chart, Paramount has granted When the casting director sent the Terrible Touhy in "Roger Touhy, Veronica Lake a long summer vaca- the contracts down to the legal de- Last of the Gangsters,” to the char- tion to recuperate from the double partment, the fun began. -
Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
August 6, 1948
" .~ emple Beth-Et Broad .& Glenham St s·, P~Otid~nc~, R~ I. ,THE JEWISH. I-IERALD VOL. xxxm. NO. 22 . FRIDAY, AUGUST 6, -1948 PROVIDENCE, R. I. 7 CENTS THE COPY Eddie . Cantor To Laullch GJC Drive . I Senate Gro11p Blocks Drive lo Admif Initial Gifts Meeting Jewish DPs, Polish Pogrom Victims Sept. 1 al Ledgemont Eddie Cantor, one of America's , WASHINGTON- A drive by migx:ation Subcommittee has best-known and best-loved cele seven prominent Republican sena- .taken no notice of · it although brit ies and entertainers; o n c e tors to open the \ way for immi- general amendments to the immi again will appear in a leading gration to the U.- S. A. of victims gration Jaws are now under study. role--this time as the guest of of the anti-Jewish violence in In view of the probable shortness honor at the General Jewish Com Poland after the war is bogging of the present special session, each mittee's Initial Gifts Dinner at the down in the Immigration sub- day that is lost makes it more and Ledgemont Country Club, Wed ·committee headed by Sen. Chap- more likely that the measure will nesday evening, Sept. 1. man Revercomb (R., W. Va.). die. The dramatic news that the al The bill woulq change the ter- Virtually Dead most-legendary Cantor had ac mination date of those eligible to More ambitious efforts to amend cepted the local GJC's invitation· come in under the Displaced Per- the act Ii '> as to bring in 400,000 to highlight the official opening sons Act from December, 194_5, to immigrants instead· of the 200,000 oi this year's drive, iri behalf of April, 1947. -
Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
Royal Umd 0117E 18974.Pdf (465.4Kb)
ABSTRACT Title of Dissertation: SELECTED WORKS OF COMPOSERS ASSOCIATED WITH HOWARD UNIVERSITY Guericke Christopher Royal, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Chris Gekker School of Music Throughout its over 100 year history, Howard University has produced and attracted many talented composers of many musical genres. Limiting this project to any one genre or focus would have lessened the overall impact of the music they created and the inspiration that has been a lauded part of the institution. The project will demonstrate the various harmonic, melodic, rhythmic and emotional contributions of the selected composers through interpretation of their music on the trumpet. Composers have been connected to the university in three general ways: as students, alumni and faculty; as commissioned artists; and through the performance of their works by notable performers associated with Howard. The pieces selected for this project exemplify a wide range of musical expressions and compositional techniques, and hopefully have been presented in a way that allows the emotional impact of each piece to resonate in a unique fashion. The selected works tended to fall into the categories of A. Trumpet and Brass Works B. Spirituals/ Meditational/ Religious Works C. Popular and Jazz Pieces D. Organ or other Instrumental Works E. Works of Historical Reference or Significance In some cases, certain pieces may be categorized across multiple categories (e.g. an organ piece based on religious material). As this was also a recording project, great care was taken during the recording process to capture as much emotional content as possible through stereo microphone techniques and the use of high quality equipment. -
Original Dixieland Jazz Band & "Nick" Larocca of New Orleans, Creator
Jack "Papa" Laine (Sicilian native George Vitale), Leader of his famous Reliance Brass Military Marching Band of New Orleans. Nick LaRocca was a regular member from 1910 to 1916. Original Dixieland Jazz Band & "Nick" LaRocca of New Orleans, Creator of Jazz Original Dixieland Jazz Band Members Victor release of "Livery Stable Blues" 1917. Victor release of "Dixie Jass Band One-Step" 1917. Original Dixieland Jazz Band - A 1918 promotional postcard showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas 1917 Nick LaRocca Bust Courtesy Nick LaRocca Cultural Arts Center in Salaparuta, Sicily Dominic James "Nick" LaRocca Jimmy LaRocca 1889-1961 Continuing the Tradition In 1917, under the leadership of Nick LaRocca, the Original Dixieland Jazz Band (ODJB) made the first jazz recording. This first and many to follow were instant sensational “Hits” that were inspirational and influential beyond imagination. The success of the ODJB recordings was immense and musicians worldwide changed instrumentation to emulate the sound and style they made famous. From 1917 to 1938 they recorded fifty-two 78’s that are still sold today on various CD compilations. (Click on the photo below for a printable 8 X 10.) On February 8, 2006 the Original Dixieland Jazz Band was inducted into the Grammy Hall of Fame for their 1917 recording of the “Darktown Strutter’s Ball.” The ODJB is back in full swing under the direction of the original leader’s son, Jimmy LaRocca, on trumpet and vocals, with a fine ensemble of New Orleans musicians. -
PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
ELLINGTON '2000 - by Roger Boyes
TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world. -
Guide to the Martin Williams Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files. -
Devil Tune Song List- Final
That Devilin' Tune: A Jazz History, 1900-1951 Volume 1 CD 1 1. Standard Quartette Who Broke The Lock 1895/1896 2. Voss’ 1st Regiment Band Aunt Dinah’s Supper Party Late 1890s 3. Len Spencer Clime De Golden Fence Late 1890s 4. Metropolitan Orchestra Coon Town Capers 1897-1899 5. Sousa Band Whistlin’ Rufus 1899 6. Len Spencer You’ve Been a Good Old Wagon 1900 or 1901 7. Williams and Walker My Little Zulu Babe Nov. 10 1901 8. Arthur Collins Bill Bailey ca. May, 1902 9. Len Spencer On Emancipation Day late 1902 10. Hager’s Orchestra Rooster Dance 1904 11. Vess Ossman Buffalo Rag 1905 12. Prince’s Orchestra St. Louis Tickle Aug., 1905 13. Pryor’s Band St. Louis Rag 1906 14. Orquestra Typicas La Patti Negra 1906 15. Sir Herbert Clarke Bride of the Waves Dec. 21, 1907 16. May Irwin When You Ain’t Got No Money You Needn’t Come Around May 21, 1907 17. Arthur Collins Parson Jones’ Three Reasons ca. 1909 18. Stella Mayhew/Billie Taylor That Beautiful Rag July 5, 1910 19. Sophie Tucker That Lovin’ Rag Jan. 5, 1910 20. Stella Mayhew That Devilin’ Tune Apr. 24, 1911 21. Collins and Harlan Alexander’s Ragtime Band 1911 22. Sophie Tucker Some of These Days Feb. 24, 1911 23. Grupo Bahianainho El Cavito ca. 1911 24. Grupo Bahianainho Bambino ca. 1911 25. Grupo Bahianainho Destimido ca. 1911 26. Prince’s Orchestra Red Pepper Rag May, 1911 27. Gene Greene King of the Bungaloos Feb. 17, 1911 CD 2 1. -
Joseph Byrd Musical Papers PASC-M.0064
http://oac.cdlib.org/findaid/ark:/13030/tf687007kg No online items Finding Aid for the Joseph Byrd Musical Papers PASC-M.0064 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 October 13. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Joseph Byrd PASC-M.0064 1 Musical Papers PASC-M.0064 Contributing Institution: UCLA Library Special Collections Title: Joseph Byrd musical papers Identifier/Call Number: PASC-M.0064 Physical Description: 10.4 Linear Feet(26 boxes) Date (inclusive): 1960-1980 Abstract: Collection consists predominantly of holographs of Joseph Byrd's concert pieces, "happening" pieces, film and television music, and arrangements, with some works by other composers, papers and memorabilia. Also contains some audiotapes and videotapes. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the file level. All requests to access processed digital materials must be made in advance using the request button located on this page. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.