Show Stopping V-16 Al Jolson's

Total Page:16

File Type:pdf, Size:1020Kb

Show Stopping V-16 Al Jolson's 1933 Cadillac V-16 Model 452C All Weather Phaeton Photos courtesy of National Automobile Museum (The Harrah Collection), Reno, Nevada Al Jolson’s Show Stopping V-16 Asa Yoelson was lic was dazzled by the very notion of a born in Russia in 16-cylinder powerplant. Despite the 1888, but it wasn’t technological innovations and high qual- long before he ity custom coachwork, Cadillac sales became known to dropped yearly as the Depression dev- the world as Al astated the luxury car market. But this Jolson -- “The did not deter Jolson, as he certainly had World’s Greatest the means. He placed a special order Entertainer”. The for this five-passenger All-Weather son of a rabbi, Phaeton Series 452-C, style 5579, VIN# Jolson first planned to become a cantor 5000056. The car weighs an authorita- but turned to the stage after coming with tive 6110 pounds, and at $8000 it was his family to the United States. Jolson one of Cadillac's most expensive mod- worked in circuses, minstrel shows, els. Only eight of this convertible style vaudeville, and eventually in radio, film were produced in 1933. Al Jolson's car and television. He made over 200 was body number 56, built on March 31, recordings and starred in eleven feature 1933. The build sheet indicates the fol- films. He will forever be remembered for lowing “extras”: folding center armrest in his role in “The Jazz Singer” (1927). rear seat; 9/32” chrome body stripe; tool This was the first major motion picture kit; goddess radiator ornament; and a with sound. Although not politically cor- pair of metal tire covers with mirrors. rect today, Jolson was best known for Styling features introduced on the 1933 performing “Mammy”, “Swanee” and V-16 include four-bar bumpers and hood other popular songs in minstrel black- and fender spears. This stunningly face. Jolson’s tremendous charisma beautiful Cadillac is currently in the care As was the custom for those ordering these fabulous- and unique singing style brought him of the National Automobile Museum ly expensive automobiles, the customer’s name was enormous fame and great personal (The Harrah Collection) in Reno, engraved on a dash plaque. The fender spears were introduced on the 1933 V-16’s. The chrome body wealth. In an era of automobiles with Nevada. The world’s greatest entertain- stripe was an extra, according to the car’s build fours, sixes and straight-eights, the pub- er died in 1950 at the age of 62. sheet..
Recommended publications
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • Broadway and Tin Pan Alley Introductory Essay
    Broadway and Tin Pan Alley Introductory Essay “Way Down Upon the Hudson River: Tin Pan Alley's New York Triumph” Rachel Rubin, Professor of American Studies, University of Massachusetts Broadway in the 1920s was a showcase for the sweeping changes transforming American culture in the early 20th century, including new roles for women, the mixing of social classes in new settings like Prohibition-era speakeasies and creative innovation by African Americans in jazz clubs and music halls. Sons of immigrants from Europe -- including the Gershwins, Irving Berlin, Jerome Kern and Harold Arlen -- made up a large percentage of the new word and music smiths writing for Tin Pan Alley and Broadway’s musical revues. Their syncopated rhythms borrowed from the jazz craze and their lyrics helped create a vibrant, witty new American argot. Tin Pan Alley and Broadway contributed such classic standards as “Alexander’s Ragtime Band” (Berlin), “I Got Rhythm” (Gershwin and Gershwin), “Ol’Man River,” (Kern and Hammerstein), “Stormy Weather” (Arlen and Koehler), “Ain’t Misbehavin’” (Razaf, Waller, Brooks), “Anything Goes” (Porter) and many more. These songs formed the musical backdrop of an era. The production of these songs also became big business. The first major book written about Tin Pan Alley was published in 1930 by Harvard professor Isaac Goldberg, and it was subtitled “A Chronicle of the American Popular Music Racket.” Goldberg’s humorous use of the word “racket” captured something about the origins of the name “Tin Pan Alley” given to the music composed by poorly-paid songwriters banging away in cubicles in downtown New York City on cheap pianos.
    [Show full text]
  • Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc
    Title Composer Lyricist Arranger Cover artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc. 1921 Wabash Cannon Ball Wm Kindt Wm Kindt NPS Calumet Music Co. 1939 High Bass arranged by Bill Burns Wabash Moon Dave Dreyer Dave Dreyer Irving Berlin Inc. 1931 Wagon Wheels Peter DeRose Billy Hill Shapiro, Bernstein & Co. 1934 Wagon Wheels Peter DeRose Billy Hill Geoffrey O'Hara Shapiro, Bernstein & Co., Inc. 1942 Arranged for male voices (T.T.B.B.) Wah-Hoo! Cliff Friend Cliff Friend hbk Crawford Music Corp. 1936 Wait for Me Mary Charlie Tobias Charlie Tobias Harris Remick Music Corp. 1942 Wait Till the Cows Come Home Ivan Caryll Anne Caldwell Chappell & Company Ltd 1917 Wait Till You Get Them Up In The Air, Boys Albert Von Tilzer Lew Brown EEW Broadway Music Corp. 1919 Waitin' for My Dearie Frederick Loewe Alan Jay Lerner Sam Fox Pub. Co. 1947 Waitin' for the Train to Come In Sunny Skylar Sunny Skylar Martin Block Music 1945 Waiting Harold Orlob Harry L. Cort Shapiro, Bernstein & Co. 1918 Waiting at the Church; or, My Wife Won't Let Me Henry E. Pether Fred W. Leigh Starmer Francis, Day & Hunter 1906 Waiting at the End of the Road Irving Berlin Irving Berlin Irving Berlin Inc. 1929 "Waiting for the Robert E. Lee" Lewis F. Muir L. Wolfe Gilbert F.A. Mills 1912 Waiting for the Robert E. Lee Lewis F. Muir L. Wolfe Gilbert Sigmund Spaeth Alfred Music Company 1939 Waiting in the Lobby of Your Heart Hank Thompson Hank Thompson Brenner Music Inc 1952 Wake The Town and Tell The People Jerry Livingston Sammy Gallop Joy Music Inc 1955 Wake Up, America! Jack Glogau George Graff Jr.
    [Show full text]
  • Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
    JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream.
    [Show full text]
  • Frank's World
    Chris Rojek / Frank Sinatra Final Proof 9.7.2004 10:22pm page 7 one FRANK’S WORLD Frank Sinatra was a World War One baby, born in 1915.1 He became a popular music phenomenon during the Second World War. By his own account, audiences adopted and idol- ized him then not merely as an innovative and accomplished vocalist – his first popular sobriquet was ‘‘the Voice’’ – but also as an appealing symbolic surrogate for American troops fighting abroad. In the late 1940s his career suffered a precipitous de- cline. There were four reasons for this. First, the public perception of Sinatra as a family man devoted to his wife, Nancy, and their children, Nancy, Frank Jr and Tina, was tarnished by his high-octane affair with the film star Ava Gardner. The public face of callow charm and steadfast moral virtue that Sinatra and his publicist George Evans concocted during his elevation to celebrity was damaged by his admitted adultery. Sinatra’s reputation for possessing a violent temper – he punched the gossip columnist Lee Mortimer at Ciro’s night- club2 and took to throwing tantrums and hurling abuse at other reporters when the line of questioning took a turn he disap- proved of – became a public issue at this time. Second, servicemen were understandably resentful of Sina- tra’s celebrity status. They regarded it as having been easily achieved while they fought, and their comrades died, overseas. Some members of the media stirred the pot by insinuating that Sinatra pulled strings to avoid the draft. During the war, like most entertainers, Sinatra made a virtue of his patriotism in his stage act and music/film output.
    [Show full text]
  • Early 20Th Century Music Part 2 Test #10 Name: 1. Rhythm Makes People Want to Ta
    Early 20th Century Music Part 2 Test #10 Name:_______________________________________________ Each question is worth up to 4 points each (70%). The first essay is worth up to 30pts (30%). Your first and last name is 10pts (10%). 1. Rhythm makes people want to tap their feet, get up and dance, or sway back and forth because of what? 2. Ragtime composers started using syncopation in an effort to copy what popular turn-of-the-century American music groups? 3. Ragtime became Jazz because of a relaxing of the rhythm we now call what? 4. What country fused all of the rhythmic elements from Africa, Europe, and Latin America into the form “son”? 5. Composers like Arnold Schoenberg abandoned traditional western music techniques in favor of what? 6. “Appalachian Spring”, commissioned by the famous choreographer and dancer Martha Graham, was written by what great American composer? 7. What American Broadway composer elevated popular music by combining popular music sensibilities with classical music techniques? 8. Which American composer legitimized Jazz as an American art form by combining it with classical music? 9. Ragtime, Blues, Bluegrass, Country music, and Southern Gospel are all examples of what American form of music? 10. Who collected and recorded songs from southwestern Virginia, wrote their own songs, and became “the first family of country music”? 11. What native of Meridian, Mississippi is called the “The Singing Brakeman”, “The Blue Yodeler”, and the “Father of Country Music”? 12. Who was nicknamed, “the Father of Texas Blues” with songs like “Black Snake Moan” and “Easy Rider Blues”? 13. Who was nicknamed, “the Father of Delta Blues” thanks to songs like “Pony Blues” and “Screamin’ and Hollerin’ The Blues”? 14.
    [Show full text]
  • Swanee”—Al Jolson (1920) Added to the National Registry: 2004 Essay by Cary O’Dell
    “Swanee”—Al Jolson (1920) Added to the National Registry: 2004 Essay by Cary O’Dell Al Jolson Original label Thanks to tributes, covers, excerpts and parodies, there are few people of any age that don’t know the chorus to “Swanee”: Swanee, How I love ya, how I love ya,… My dear old swanee…. Irving Caesar and George Gerswhin wrote it; Al Jolson made it immortal. “Swanee’s” success and endurance can be ascribed to many things, not the least of which is its cross-sectional appeal. It has the upbeat feel of a show tune (as which it began), the pride-of- place enthusiasm of a patriotic anthem, and the sing-along-ability of a campfire favorite. Along with becoming one of the songs most identified with the legendary Jolson, “Swanee” would also prove to be the prolific Gerswhin’s most successful song ever. As a recording, it sold over two-million copies and, as sheet music, one million copies. Its success allowed Gershwin to concentrate almost exclusively on his work in the theatre while solidifying Jolson’s position as one of America’s most revered entertainers. The birth of the song “Swanee” is well noted. Gerswhin and Caesar wrote it—allegedly as a response to Stephen Foster’s “Old Folk Home”--while on the upper deck of a double decker bus while traveling from the offices of the T.B. Harmes Publishing Company to Gerswhin’s apartment. As Caesar would remark later, “In those days, you wrote a song and then you tried to place it.” The first place “Swanee” was placed was in New Wayburn’s “Demi-Tasse Revue” which opened at New York’s Capitol Theater on October 24, 1919.
    [Show full text]
  • Download Song in PDF Format
    Alexanders Ragtime Band song lyrics Top songs from early music charts 1930-1950 downloaded from www.traditionalmusic.co.uk Alexander's Ragtime Band - words and music by Irving Berlin - as recorded by Bing Crosby and Al Jolson in 1947 Come on and hear, come on and hear Alexander's Ragtime Band Come on and hear, come on and hear 'bout the best band in the land They can play a bugle call like you never heared before So natural that you wanna go to war That's just the bestest band what am, oh Honey Lamb Come on along, come on along, let me take you by the hand Up to the man, up to the man who's the leader of the band And if you care to hear the Swanee River played in ragtime Come on and hear (come on and hear), come on and hear (come on and hear) Alexander's Ragtime Band! Come on and hear (come on and hear), come on and hear (come on and hear) Alexander's Ragtime Band Come on and hear (well here I come), come on and hear (I'm standin' right here) It's the best band in the land They can play a bugle call like you never heared before (whistle) That's just the bestest band what am, oh Honey Lamb Come on along (come on along), come on along (come on along) Let me take you by the hand (here's my lilywhites) Up to the man (the mighty man), I'm talkin' 'bout the man Mmm, the leader of the band And if you care to hear that Swanee River played in ragtime Come on and hear (come on and hear), come on and hear (come on and hear) Alexander's Ragtime Band Alexander's Ragtime Band! From the music archive at www.traditionalmusic.co.uk.
    [Show full text]
  • Musical Movie Memories Discussion Guide for 1940S Music Run DVD Film Segments on a TV Or Projection TV System to an Assembled Group
    DiMusicalscussion Guide forMovi 1920s-30se MusicMemories Run film segments one at a time on a TV or projection system. Pause on the 4 questions at the end of each so the viewers can respond and share their memories woken by the film. This Discussion Guide suggests additional questions to aid the session leader. All films in this special program are filled with music, singers and bands from the late 1920s through the 1930s. Music has proven helpful in bringing smiles and distant memories even to seniors with alzheimers. Unlike regular volumes of Movie Memories with their vast variety, there may not be that much to discuss with some of the films. You can tell by reactions whether the viewers enjoy the films. Standard questions which can be applied to each segment are: Did you like the song? Do you like jazz and swing bands? Do you remember ___________? Would you like to watch the film again? What is your favorite song from this era? Do you want to see more Bing Crosby musicals? Etc. Do not hesitate to ask these simple questions again and again! Disc #1 Al Jolson Trailers We just watched coming attractions for 3 Al Jolson films: Wonder Bar (1934), Go Into Your Dance (1935) and The Singing Kid (1936). These “trailers” showed the highlights of three of Al’s films from the mid-1930s. Have you ever see the first sound film -- The Jazz Singer -- with Al Jolson on TV? Do the trailers make you want to see the complete movies? Who are your favorite singers, stars or dancers from 1930s Hollywood musicals? Glorifying the American Girl This 1929 musical comedy was produced by Florenz Ziegfeld and highlights Ziegfeld’s current star, dancer Mary Eaton.
    [Show full text]
  • Newsletter 2008-03
    Northwest Vintage Car & Motorcycle Museum Message Inside this issue: Volume 6 issue 4 Museum Headlights 2 October–December 2008 Quarterly newsletter Oregon Garden Car Show 3 Thanks to Paver Stone 4 Purchasers How to Purchase a Paver Stone 4 Deadline for the next newsletter is: Board Minutes 5 December 10th Spokesman 6 Please submit articles for future newsletters to: Volunteer of the Quarter 6 [email protected]. From the Toy Box 8 Al & Sue Lake-Newsletter Editors Museum Activities Steam Up Car Show Working Together For Your Enjoyment Meetings by Ed Weber Member/Board meetings. Antique Powerland and the Northwest and passengers used Powerland’s The third Wednesday of each Vintage Car & Motorcycle Museum generous offer and the Museum’s month at 6:30 pm at the joined together during the annual Show Field to park and show their Service Station. The next th “Steamup” to provide a clean, dust- vehicles. Eighteen car manufactur- meetings are October 15 , th free place to park vintage vehicles ers and 3 motorcycle manufacturers November 19 ., and th while attending the show. For all vehi- were represented: December 17 . cles that entered the area prior to Cars: Ford, Willys, Buick, Brush, Education Committee 10:00 am and were willing to stay Holsman, Chevrolet, MG, Volks- meetings. The next meeting is parked until 3:00 pm, Powerland pro- wagen, Dodge, Cord, Studebaker, at the Service Station on vided 2 free passes! th REO, Oldsmobile, Edsel, Packard, November 7 at 6:30 pm. Because of traffic congestion during Saab, Plymouth, and GMC. Coming Events the daily parade, vintage vehicles Motorcycles: Triumph, Honda, and October 4 32nd Oregon were requested to stay in the show Harley Davidson.
    [Show full text]
  • Illustrated Sheet Music of American Popular Songs from World War I to the 1940S
    Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) Fall 2006 You're the Top: Illustrated Sheet Music of American Popular Songs from World War I to the 1940s Peter J. Knapp Trinity College, [email protected] Anne H. Knapp Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Illustration Commons, and the Music Commons Recommended Citation Knapp, Peter J. and Knapp, Anne H., "You're the Top: Illustrated Sheet Music of American Popular Songs from World War I to the 1940s" (2006). Watkinson Publications. 11. https://digitalrepository.trincoll.edu/exhibitions/11 Illustrated Sheet Music of American Popular Songs from World War I to the 1940s uring the 19th century, publishers of American popular songs began Dproducing illustrated covers for sheet music. Featuring intricate designs and thematic images, the covers enhanced eye appeal and attracted interest. The music was arranged primarily for piano and included lyrics. From about World War I on, many covers included photographs of composers or performing artists, a trend that continued well into the 20th century. The covers helped promote sales of music and contributed to the popularity of individual songs, many of which were composed for Broadway shows and later also for motion picture musicals. Popularity was also heightened, especially during the 1930s and 1940s, by the performance of songs at live concerts and as dance music by orchestras such as those of Duke Ellington, Glenn Miller, Tommy Dorsey, and Benny Goodman. In addition, songs were heard on radio broadcasts, phonograph records, and in films.
    [Show full text]
  • American Popular Music
    American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................
    [Show full text]