DOCSLIB.ORG

Cash Box FOUNDED by BILL GERSH

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cash Box FOUNDED by BILL GERSH MARCH 12, 1955 LA1 1.1 hSA MALAGUENA i from #*m Spo^ish ' WiNi KHOALOQA" UUttOIS ><5» t*.« HAMMOND ORC By DON _8AK| V ERNESTO LECUONA VIOLIN SOLO ERNESfCLEO oammei VICEMf 00 .MuuMweCora*™* < WII.M-T in |t|, «*tb ***""* upn,, MALAGUENA from aw W *-* -AMCMXtO*- By 0WESIO LECUONA ^onlent/wiftuj (Qom/icteU A PIANO FOUR HANDS MALAOL'I AljW.Ti . Nobody but “NOBODY” “DOOR OF DREAMS” Two new hit sides! ii NOBODY DOOR or DREAMS” great performance . new ballad tailored great song! to Mr. P.C.’s style! 20/47-6059 RCA Vi CTOR FIRST IN RECORDED MUSIC “New Orthophonic” High Fidelity • HIS MASItftS VOICE** ] — The Cash Box FOUNDED BY BILL GERSH Volume XVI Number 25 March 12, 1955 Publishers BILL GERSH JOE ORLECK The Cash Box Publishing Co., Inc. 26 West 47th Street, New York 36, N. Y. (All Phones: JUdson 6-2640) JOE ORLECK Plan To Attend • CHICAGO OFFICE 32 West Randolph St., Chicago 1, 111. (All Phones: DEarborn 2-0045) BILL GERSH Karyl Long • HOLLYWOOD OFFICE 6272 Sunset Blvd., Hollywood, Cal. (Phone: Hollywood J-1702) CARL TAFT The M 0 A • NASHVILLE OFFICE 804 Church St., Nashville, Tenn. (Phone: NAshville 5-7028) CHARLIE LAMB • BOSTON OFFICE 137 Sutherland Rd., Boston, Mass. (Phone: BEacon 2-7633) GUY LIVINGSTON Convention • LONDON OFFICE 17 Hilltop, London, N.W., England MARCEL STELLMAN • EXECUTIVE STAFF JOE ORLECK, Advertising Director BOB AUSTIN, General Mgr., Music Dept. There’s a man we know in the record music fields strongly enough to attend. SID PARNES, Editor-In-Chief NORMAN ORLECK, Associate Editor business who said to us the other day, MARTY OSTROW, Associate Editor Why? IRA HOWARD, Associate Editor “You know every year about this time, A. MARINO, Office Manager Because here, all at once, and only T. TORTOSA, Circulation I start thinking about the MOA Conven- POPSIE, Staff Photographer at this convention, will you be able to BRUNO DUTKOWSKY, Art Director tion. Each year I weigh the cost against • meet hundreds of the leading juke box what I may possibly gain in return and ADVERTISING RATES on request. All advertising operators in the nation. Only here will closes Friday at 12 Noon preceding week of issue. so far I haven’t once failed to attend Advertisements subject to approval of publishers. you be able to talk to them in large SUBSCRIPTION RATES $15 per year anywhere in the convention. I figure that even if I numbers, find out their needs and the U.S.A. Special listing for jobbers and distributors at word classified advertisement $48 per year includes 40 didn’t do one iota of business I would wants, the kind of records they can each week for an entire year (52 weeks) plus the full charge. Airmail, First Class, year’s subscription free of still more than make up for the cost of market, the types of songs that their as well as Special Delivery subscription rates on re- countries on customers want to play. quest. Subscription rates for all foreign going by what I could learn and observe request. music industp', THE CASH BOX covers the entire and understand about my own business. There is absolutely no other way to ranging from retail record and music stores to disk jockeys, music publishers, recording artists, record But it’s funny that never once has that meet so many operators from all over manufacturers, music composers and arrangers, radio and TV stations, and all others allied to the music been the only result. Every single time, the nation, all convened to discuss their industry throughout the world. business. THE CASH BOX covers the entire coin machine in- in going to the convention, I have come dustry all over the world. Operators, jobbers, distribu- tors, manufacturers and suppliers of automatic music, away with some business deal which has And it is rare that a music man at- vending, service and amusement machines are covered. THE CASH BOX coverage extends to finance firms, netted me many times the cost of my tending the convention doesn’t come loan factors, banks, and financial organizations, other with institutions, expressly interested in the financing of coin going.” away something substantial machines of all kinds. either in the way of new knowledge or " THE CASH BOX PRICE LISTS” (a combination of This man was able to articulate what The Cash Box’ former 'Confidential Price Lists’ and The understanding, or in the more concrete Cash Box’ former ‘C. M. I. [ Coin Machines Industry he felt about the annual meetings. Blue Book’) are the one and only officially recognized MOA way of a song, record, idea or what- price quotation guide for all new and used machines in But there are many many others in the have-you. the United States and all over the world where Ameri- " can made machines are used. The Cash Box Price Lists" business they don’t stop are an exclusive and copyrighted feature of The Cash who, though Current plans indicate that this year’s Box. "The Cash Box Price Lists” are recognized officially to figure it out in the same way, still by cities and states throughout the country as the “official meeting will be the largest ever. Exhibi- price book of the coin machines industry.” "The Cash think in those terms. And obviously tion booths are going fast as well as Box Price Lists” are officially used in the settlement of eatates, for buying, selling or trading of all types of more and more are thinking that way hotel space in Chicago. coin operated equipment and are also officially recog- nized for taxation purposes. "The Cash Box Price Lists" for each year the attendance of the is are used by finance firms, factors, loan companies, We urge everyone who thinking bankers, and all other financial institutions to guide conventions grows larger. about attending to come to an affirma- them in the making of loans to members of the coin MOA machines industry. "The Cash Box Price Lists” have tive decision quickly. And for those been legally recognized in courts in the United States, This year it will take place at the Canada, and many foreign countries. Entire business who have already decided to go, make transactions and legal cases are based upon the quo- Morrison Hotel in Chicago March 28, your hotel reservations NOW. tations appearing in "The Cash Box Price Lists.” Copyright under the International Copyright Conven- 29 and 30. tion. All rights reserved by the Pan American Copy- Remember the convention is only a right Convention. Copyright 1955 by The Cash Box couple of weeks off. Plan to go. Publishing Co., Inc. We can’t urge those in the record and The Cash Box, Music Page 4 March 12, 1955 » Just GREAT * » THE DINNING SISTERS * * singing * * "M A M A" * (He Treats Your Daughter Mean) * b/w * "GOOFUS" *• * Essex #388 j&Qp RECORDS a . WW-14 SOUTH H* STRICT V PHKAOEIRHIA O, PENNA. wr The Peterson/Fitzgerald Concert IIIOUN 1 UH at the Royal Albert Hall, was the Manufactured and Distributed by Faldo Record Company talk of the town, and although the Albert Hall is anything but intimate, the two star performers brought everyone into their confidence by It's A Smash Hit! letting the polish and warmth of their respective styles become a part of each and everyone filling this vast CODE auditorium. There is no doubt that AB—Abbott CK—Checker DT—Dootone GR Groove NG Norgran SO Sound almost British — — — “TWEEDLEE DEE" every jazz pianist was AL—Aladdin CM—Combo DU—Duke IM—Imperial PA—Parrot SP—Specialty there watching Oscar Peterson display AP—Apollo CO—Columbia EP—Epic JD—Jay Dee PD— Polydor TA—Tampa #114 great talent. As for Ella, she is still AT—Atlantic CR—Coral ES—Essex JU—Jubilee PE—Peacock TF—Tiffany BE— Bell CT—Cat FA— Favorite Kl—King PO—Potter Tl—Tieo unsurpassed as a song stylist and BR—Brunswick CW—Crown FB—Fabor LO—London PR—Prestige TR—Trend well BT deserves the crown placed on her —Bethlehem DA—Dana FE—Federal ME—Mercury RA—Rainbow UN—United CA Capitol DE Decca RE Regent Valley I DOROTHY COLLINS j head as a token of admiration from a — — MG—MGM — VA— CD Cadence DL DeLuxe FI— Fiesta MJ Major RM—Rama VI—RCA Victor wildly enthusiastic audience. truly — — — A CH—Chess DO—Dot 4 Star—Four Star MO—Modern SA—Savoy WA—Wateo memorable evening only made possible by two such fine artists. Leonard Pos. Last AUDIVOX RECORDS Bernstein flew over from Italy for the Week i 140 West 57th St., New York, N. Y. ! opening of his show “Wonderful MELODY OF LOVE I i Town” which stars Pat Kirkwood. It BILLY VAUGHN FOUR ACES DAVID CARROLL received rave notices from some very — — CA-3018 (F-3018)—F. Sinatra 8< KI-1429 (45-1429)—Ink Spots hard-boiled critics. Dickie Valen- Ray Anthony ME-70521 (70521x45)—David Carroll tine has just made the long-playing CO-40417 (4-40417)—Sammy Kaye MG-11908 (K-11908)—F. MacCormack o disk of his entire stage act. Having CR-61334 (9-61334)—McGuire Sisters VI-20-5975 (47-5975)—Tony Martin & I O DE-29395 (9-29395)—Four Aces Dinah Shore heard the test pressings, would say DO-15247 (45-15247)—Billy Vaughn VI-20-5973 (47-5973)—Leo Diamond “PLEASE DON’T its a winner. And to add to Dickie’s fantastic rise to the top, he is to be the star attraction for two weeks com- SINCERELY mencing April 11th at the London McGuire sisters GO SO SOON” Palladium where he once was a call MG-11917 (K-l 1917) Billy Fields boy.
Load more

Recommended publications
  • 1950S Playlist
    1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA
    [Show full text]
  • La Famiglia Canterina
    Anita Camarella & Davide Facchini Duo la famiglia canterina Honored with the "LadyLake Indie Music Awards" Best Album 2013 U.S.A. Anita Camarella and Davide Facchini new album “La famiglia canterina” collects some of the greatest hits from the repertoire of Swing Italian. Draw a line of continuity in their music- historical research of early modern Italian music and is thought of as a natural evolution of their first recording, “Quei motivetti che ci piaccion tanto” (2002). This CD is full of swing, songs, quotes, curiosities, guitars, special guests. Each arrangement draws liberally from the many experiences, expertise and varied musical influences of the two artists. Just within this CD has been possible to gather after 60 years, two Italian guitarists as legendary who have experienced first hand this music: Franco Cerri (1926), a famous jazz guitarist and Raf Montrasio (1929), legendary guitarist of the legendary Renato Carosone sextet in the 50s, by which Anita Camarella and Davide Facchini have been collaborating for several years. “La famiglia canterina” (1941) is a song that carries with it many stories... It’s a tribute to the radio, whose first broadcasts reached Italy in 1924; its lyrics mention some of the most famous Italian singers, musicians and orchestras from the '30s and '40s - among them Ernesto Bonino and the Trio Lescano, original performers of this song - and hint at other songs of that era. All this is told through the story of a singing family in which the mother, father and their little daughter are racing to sing their favorite songs. For over 10 years Anita Camarella and Davide Facchini carry and tell around the world this wonderful music, a ‘fresco’ of Italian history that fascinates all generations, thanks to a show devoted to this repertoire, its performers and musicians.
    [Show full text]
  • Ernesto Bonino Nel 94° Anniversario Della Nascita
    Archivio del sito http://www.trio-lescano.it/ Omaggio a Ernesto Bonino nel 94° anniversario della nascita 16 Gennaio 2016 Contributi inseriti in ordine di arrivo 2 Paolo Piccardo Bonino nacque nel posto sbagliato. Mi sento di fare questa affermazione perché è evidente che un cantante con il suo stile che nasce in Italia nel 1922 non può fare a meno di trovarsi una carriera – potenzialmente a livello di un Sinatra – irrimediabilmente sbarrata da un regime nemico dell’innovazione in genere, e di quella musicale in particolare. Durante il fascismo, comincia a maturare la “canzone all’italiana”, carat-terizzata da un’esecuzione e una struttura formale a metà strada fra la “romanza” e la “ballata” di tradizione folklorica. Tale stile influenzerà a lungo la nostra tradizione canora e i suoi divi: da Oscar Carboni a Claudio Villa, da Giorgio Consolini a Luciano Tajoli, fino ai più recenti Al Bano e Andrea Bocelli. Ciò che prevale, nel suddetto genere musicale, è un sentimentalismo melodrammatico, tipico della canzone italo-napoletana di fine Ottocento e primo Novecento, le cui origini risalgono alle feste di Piedigrotta. La grande fortuna che tale canzone conosce «durante il Ventennio fascista si deve al fatto che, pur in assenza di un genere specifico del regime, esso tende a promuovere quelle opere che esaltano i buoni sentimenti e la laboriosità degli italiani. Si pensi al successo di canzoni strappalacrime come Mamma di Bixio-Cherubini o Balocchi e profumi di E. A. Mario, portata al successo da Luciano Tajoli» (dal saggio di Roberto Leombroni Gli anni del fascismo e della radio , 2011).
    [Show full text]
  • Ernesto Bonino
    http://www.trio-lescano.it/ Biografie dei cantanti che hanno collaborato col Trio Lescano di Alessandro Rigacci Sono vietati l’uso e la riproduzione di testi e immagini presenti in questo documento senza un’esplicita autorizzazione dell’Autore Ernesto Bonino Vero nome: Ernesto Pietro Bonino Torino, 16 Gennaio 1922 - Milano, 29 Aprile 2008 Ultimo di cinque figli, rimase orfano di padre in tenera età per cui, finite le scuole elementari, fu costretto a impiegarsi nel negozio di primizie materno per provvedere al sostentamento della famiglia. Parallelamente, un po’ per vocazione e un po’ per necessità, iniziò a cantare nei locali della sua città. Nel 1940 si arruolò volontario nei Battaglioni G.I.L., partecipando alla Marcia della Giovinezza e dilettandosi ad esibirsi negli spettacoli allestiti per le Forze Armate. Le cronache dell’epoca riportarono che era eccelso sia nel canto che nelle imitazioni di Totò, dei De Rege e di Caterinetta Lescano. Fu durante una di queste rappresentazioni, allestita per l’occasione al Carignano di Torino in favore delle famiglie dei richiamati, che venne notato dal M° Carlo Alberto Prato. Dopo avergli impartito alcune lezioni di canto, il grande talent scout torinese gli fece fare un’audizione e lo spinse poi a debuttare, il 5 gennaio 1941, durante un Concerto Cora dove, accompagnato dall’orchestra Semprini, intonò Tango argentino . Passato nella formazione di Pippo Barzizza e successivamente in quella di Carlo Zeme, in breve tempo divenne uno degli interpreti più apprezzati ed amati dal grande pubblico, cogliendo una serie di successi con motivi come Se fossi milionario (1941), La Paloma (1941, con il Duo Fiorenza), Macariolita (1941), La famiglia canterina (1941, con il Trio Lescano), Vieni sul mar (1941, assieme a Lina Termini), Non passa più (1942), A zonzo (1942), Violette nei capelli (1942, con Dea Garbaccio), Maria Gilberta (1942), Musica maestro (1942), Genovesina (1942, accompagnato dal Trio Aurora) e Il giovanotto matto (1943, prima composizione di un giovanissimo Lelio Luttazzi).
    [Show full text]
  • Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
    "KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords.
    [Show full text]
  • Down Beat’S 18Th Bly Be Extended Until at Least Jan
    inatra Grabs Two '54 Poll Spots lampton Roars Kenton, Fitzgerald, Brown n Europe Again Brubeck Repeat Winners I New York—The current Lionel Chicago- -This was the year of Sinatra. In addition to the Hampton European tour, which be­ other laurels he picked up in 1954, Frank has swept to re­ an Oct. 30 in Germany, will prob- sounding wins in two of the categories in Down Beat’s 18th bly be extended until at least Jan. annual readers popularity poll. Not only did he capture the “I J because of Hampton’s shatter- favorite singer crown, a title he hg success. relinquished in 1947, but he also | “The Hampton band and show,” was named the top pop iecords tiorts broker Joe Glaser, “are ro­ personality of the year. ving ovations wherever they ap- Both were decisive wins for The East Vs. West lear. and are deing even greater Voice, who hat followed up his jsiness, if possible, than when Academy Award-winning perform­ hey were in Europe last y ear. The ance in From Here to Eternity And Never The ini can’t wait to see Hampton, with a string of hit records and nd seats are sold out in advance albums, a lauded straight drama­ ! their play dates in almost every tic role m the film Suddenly, and | ise. Twain Shall Meet t an upcoming appearance with i “In Amsterdam, the fam broke Doris Day in Young at Heart. New York—The inevitable geo­ (to the hall foi the second show Two more personalities grabbed graphical war has begun! After all I id about 2,000 people, so they double victories in this year’s poll.
    [Show full text]
  • Zibaldone Lescaniano
    Archivio del sito http://www.trio-lescano.it/ Zibaldone lescaniano A cura di Lele Del Gatto (al secolo Lele Brunini) Riflessioni mie e di vari altri Autori in margine ad alcune incisioni meno note del Trio Lescano postate recentemente su YouTube (in ordine alfabetico) Presentazioni - Commenti Ultimo aggiornamento: 3 Settembre 2015 2 I n d i c e Al Rosen Bar La Pensione Do Re Mi All’imbrunire La ragazza del giornale Annabella bella bella La sardina innamorata Appuntamento con la luna Lacrime al vento Autunno Lasciati andare Ballata sulla neve Lupo di mare Balliamo il passo Lambeth Mani di velluto Bambina innamorata Nel bazar di Zanzibar Bimba mia non mi resistere Non sai tu Bionda in viola Non si fa l’amore quando piove Bob Taylor Nord Espresso Canto di pastorello Nostalgia d’amore Canzone d’Haway Nostalgia di baci Carillon d’amore Omia Tamara Casetta sperduta Oggi si sposa mia sorella Che cosa importa a te? Oh, che felicità Chiaro di luna Orchidee sotto la luna Ci credo e non ci credo Ospitalità hawaiana Col treno delle tre Perché mentire al cuore? Come rose Piccolo sentiero Corri somarello (Micaela) Povera Titina Cuori sotto la pioggia Quando canta il cucù Danza con me Quando canto penso a te Disillusione Restiamo vicini È tanto facile amarti Restiamo vicini E tu! Ritmo nel cuor El relicario Ronda di primavera Festa sull’aia Rosita Fiore del Tigrai Se quel sorriso Giovanotti Se vuoi baciar Rosetta Gira gira Sei troppo piccola Girotondo dell’amore Serenità Guarany guaranà! Siboney Ha gli occhi neri neri neri Signorina ticchetì Haway Sogno
    [Show full text]
  • Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950S-1980S)
    Differentia: Review of Italian Thought Number 2 Spring Article 15 1988 Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950s-1980s) Paolo Prato Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Prato, Paolo (1988) "Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950s-1980s)," Differentia: Review of Italian Thought: Vol. 2 , Article 15. Available at: https://commons.library.stonybrook.edu/differentia/vol2/iss1/15 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. Tradition, Exoticism and Cosmopolitism in Italian Popular Music ( 1950s-1980s) Paolo Prato INTRODUCTION Richard Wolfe's ProfessionalFake Book (Columbia Pictures Pub­ lications, 1983), a compilation of over 1000 songs for the club pianist-Broadway's best, contemporary hits, folk songs, movie greats, classical themes, etc.-includes nine Italian pieces. There are Neapolitan evergreens (0 sole mio, Come Back to Sorrento and Malafemmena), one a love song (Santa Lucia), another a Sicilian folk song (Eh cumpari), another an opera highlight (La donna e mobile) and three "modern" songs (Volare, Ciao ciao bambina, Cara mia) from the 1950s. The list makes up an average package of what many people outside Italy consider to be Italian popular music. The songs are part of that "knowledge at hand" (Alfred Schutz) DIFFERENT/A 2 (Spring 1988) DIFFERENT/A 196 which is necessary to cope with what is strange within everyday life routines.
    [Show full text]
  • Women in Rockabilly Music: Lavern Baker and Janis Martin Stephanie P
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2012 Sweet Nothings: Women in Rockabilly Music: LaVern Baker and Janis Martin Stephanie P. Lewin-Lane University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the African American Studies Commons, Music Commons, and the Women's Studies Commons Recommended Citation Lewin-Lane, Stephanie P., "Sweet Nothings: Women in Rockabilly Music: LaVern Baker and Janis Martin" (2012). Theses and Dissertations. 11. https://dc.uwm.edu/etd/11 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. SWEET NOTHINGS: WOMEN IN ROCKABILLY MUSIC LAVERN BAKER AND JANIS MARTIN by Stephanie Lewin-Lane A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin—Milwaukee August 2012 ABSTRACT SWEET NOTHINGS: WOMEN IN ROCKABILLY MUSIC LAVERN BAKER AND JANIS MARTIN by Stephanie Lewin-Lane The University of Wisconsin-Milwaukee, 2012 Under the Supervision of Dr. Gillian Rodger Rockabilly music is an exciting and vibrant style of early Rock and Roll that originated in the 1950s. With its aggressive beat and anti-establishment connotations, rockabilly is considered a widely male-dominated genre, a point supported by the majority of scholarship and literature on the subject. However, a review of available contemporary recordings, television shows, advertisements and interviews show that women were an integral part of the history of rockabilly music.
    [Show full text]
  • Carl Perkins Little Richard the Drifters
    Jerry Lee Lewis Lee Jerry CRR019 rock ‘n’ roll legend roll ‘n’ rock Buddy Holly Buddy CRR017 rock ‘n’ roll legend roll ‘n’ rock Bill Haley & His Comets His & Haley Bill CRR005 rock ‘n’ roll legends roll ‘n’ rock CRR019 Chuck Berry Chuck CRR027 rock ‘n’ roll legend roll ‘n’ rock and many more many and Maybe, Baby Maybe, and many more many and CRR017 Oh, Boy! Oh, Break Up Break Everyday High School Confidential School High CRR005 Peggy Sue Peggy Breathless That’ll Be The Day The Be That’ll Great Balls Of Fire Of Balls Great featuring Whole Lotta Shakin’ Goin’ On Goin’ Shakin’ Lotta Whole CRR027 featuring and many more many and Jerry Lee Lewis Jerry Lee Man Handsome Brown-Eyed legend School Day School rock ‘n’ roll ‘n’ rock Roll Over Beethoven Over Roll Buddy HollyBuddy Maybellene Lewis Music Roll & Rock featuring legends rock ‘n’ roll ‘n’ rock Comets legend Jerry Lee Jerry Chuck Berry Bill Haley & His Comets & Haley Bill rock ‘n’ roll ‘n’ rock legend rock ‘n’ roll ‘n’ rock Buddy Holly Buddy Berry and his and and many more many and Haley Bill Burn That Candle That Burn rock ‘n’ roll legend Shake, Rattle And Roll And Rattle Shake, Jerry Lee Lewis Lee Jerry CRR019 Chuck See You Later, Alligator Later, You See rock ‘n’ roll legend roll ‘n’ rock Rock Around The Clock The Around Rock rock ‘n’ roll legend featuring Buddy Holly Buddy CRR017 rock ‘n’ roll legend roll ‘n’ rock rock ‘n’ roll legends Bill Haley & His Comets His & Haley Bill CRR005 rock ‘n’ roll legends roll ‘n’ rock C R R 0 1 9 rock ‘n’ roll legend Chuck Berry Chuck Jerry Lee www.southmiamiplaza.nl CRR027 rock ‘n’ roll legend roll ‘n’ rock Lewis 1.
    [Show full text]
  • The Blues / R&B Time-Line
    Page 1 (of 4) THE BLUES / R&B TIME-LINE Page 2 (of 4) THE BLUES / R&B TIME-LINE THE BLUES / R&B TIME-LINE created by Claus Röhnisch with some of the most important, and some special extra selected, recordings. – data selected with inspiration from http://www.rhythm-and-blues.info/ (The Great R&B Files) and ”Blues Music History Timeline” website by Schmoop, ”The History of Rhythm and Blues” website by Nick Duckett, ”The History of the Blues” by Francis Davis (1995), ”The Sound of the City” by Charlie Gillett (1984/1996), the Blues Foundation’s ”Blues Hall of Fame”, ”The History of Rock and Roll” website (timeline) by D.K. Peneny, Big Al Pavlow’s ”The R&B Book” (1983), Joel Whitburn’s ”Hot R&B Songs 1942-2010” (2010), plus ”Jazz – the Golden Era” and ”The Golden Age of the Blues” by Havers and Evans (2009). (records listed appr. chronological in year of issue) – imaged Dinah Washington (”Queen of the Blues”) __________________________________________________________________________________________________ 1619 1923 First slaves to American colony in Virginia. The ”import” Bessie Smith ”Down-Hearted Blues” and Ma Rainey ”Bo-Weavil business ends in January 1808 Blues”. Ralph Peer produces his first regional country field recordings in Atlanta, Georgia 1830 First public minstrel show, soon gaining popularity, later with 1924 the ”Jump Jim Crow” song, and the Al Jolson peak in 1927 in George Gershwin’s ”Rhapsody In Blue”. The first male folk the first sound film ”The Jazz Singer” blues records, featuring singers Papa Charlie Jackson and Daddy Stovepipe, are issued 1866 Formation of Fisk Jubilee Singers 1925 Electrical recording technology introduced.
    [Show full text]
  • Transcript Dead Ladies Show Podcast Episode 25 Lavern Baker
    Transcript Dead Ladies Show Podcast Episode 25 LaVern Baker (Dead Ladies Show Music - ‘Little Lily Swing’ by Tri-Tachyon) SUSAN STONE: Welcome to the Dead Ladies Show Podcast. I'm Susan Stone. The Dead Ladies Show celebrates women who achieved impressive things against all odds while they were alive. The show was recorded in front of a delightful audience in Berlin and beyond. And here on the podcast, we bring you a special sampling from these events. Dead Ladies Show co-founder Florian Duijsens is here with me today. Hey there. FLORIAN DUIJSENS: Hi, Susan. So glad to be here! SUSAN STONE: Welcome to Episode 25! We made, it we made it! And this is also kicking off our third season — three is the magic number — with this episode. And we have a story told by our dear co-founder, other co-founder, Katy Derbyshire. FLORIAN DUIJSENS: Yes! Katy, as you might know, is a translator. As you might not know, she's a very avid and skilled blues dancer. Since very recently last week, I want to say, she's the publisher of a brand new imprint called V&Q books, which publishes remarkable writing from Germany into English. SUSAN STONE: That last fact is new and fantastic. But I want to talk a little bit about the other part — about the blues dancing. And the reason why is this talk is what I call a command performance. Because I commanded her to redo it for us! Because Katy told the story at our second-ever live show back in 2015.
    [Show full text]