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My Wonderful World of Slapstick
THE THIS BOOK IS THE PROPERTY OF Georgia State Bo»r* of Education AN. PR,CLAun\;v eSupt of School* 150576 DECATUR -DeKALB LIBRARY REGIONAI SERVICE ROCKDALE COUNTY NEWTON COUNTY Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/mywonderfulworldOObust MY WONDERFUL WORLD OF SLAPSTICK MY WO/VDERFUL WORLD OF SLAPSTICK BUSTER KEATON WITH CHARLES SAMUELS 150576 DOVBLEW& COMPANY, lNC.,<k*D£H C(TYt HlW Yo*K DECATUR - DeKALB LIBRARY REGiOMA! $&KZ ROCKDALE COUNTY NEWTON COUNTY Library of Congress Catalog Card Number 60-5934 Copyright © i960 by Buster Keaton and Charles Samuels All Rights Reserved Printed in the United States of America First Edition J 6>o For Eleanor 1. THE THREE KEATONS 9 2. I BECOME A SOCIAL ISSUE 29 3. THE KEATONS INVADE ENGLAND 49 4. BACK HOME AGAIN IN GOD'S COUNTRY 65 5. ONE WAY TO GET INTO THE MOVIES 85 6. WHEN THE WORLD WAS OURS 107 7. BOFFOS BY MAN AND BEAST 123 8. THE DAY THE LAUGHTER STOPPED 145 9. MARRIAGE AND PROSPERITY SNEAK UP ON ME 163 10. MY $300,000 HOME AND SOME OTHER SEMI-TRIUMPHS 179 11. THE WORST MISTAKE OF MY LIFE 199 12. THE TALKIE REVOLUTION 217 13. THE CHAPTER I HATE TO WRITE 233 14. A PRATFALL CAN BE A BEAUTIFUL THING 249 15. ALL'S WELL THAT ENDS WELL 267 THE THREE KeAtOnS Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lin- coln's as an early American archetype, it was haunting, handsome, almost beautiful." I cant imagine what the great rail splitter's reaction would have been to this, though I sure was pleased. -
Arnold Jacobsen Collection ARS.0122
http://oac.cdlib.org/findaid/ark:/13030/c8zs2tv1 No online items Guide to the Arnold Jacobsen Collection ARS.0122 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2012 The Board of Trustees of Stanford University. All rights reserved. Guide to the Arnold Jacobsen ARS.0122 1 Collection ARS.0122 Descriptive Summary Title: Arnold Jacobsen Collection Dates: 1889-1994 Collection number: ARS.0122 Collection size: 13 boxes: 227 open reel tapes ; multiple folders Repository: Archive of Recorded Sound Abstract: The Arnold Jacobsen Collection consists of open reel tapes of 78-era popular vocal music and accompanying documentation from the collection of record dealer and store owner Arnold Jacobsen. Language of Material: English Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Arnold Jacobsen Collection, ARS-0122. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Source The Arnold Jacobsen Collection was donated to the Stanford Archive of Recorded Sound by Maurice Jacobsen in 2006. Sponsor This finding aid was produced with generous financial support from the National Historical Publications and Records Commission. Scope and Contents The Arnold Jacobsen Collection consists of tapes of 78-era music and speech from the collection of collector, dealer, and record store owner Arnold Jacobsen, as well as correspondence, song lists, and other business records. -
Artie Shaw 1938-1939
Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................ -
Brother, Can You Spare a Dime? American Song During the Great Depression
Brother, Can You Spare a Dime? American Song During The Great Depression American society was much less homogeneous during the Great Depression (1929–1941) than it became after World War II. There were still quite sharply defined classes, divided along economic, geographic, and ethnic lines. There were the literate, largely urban whites of the East, North, and pockets in the rest of the country; there were the rural whites of the South, Midwest, and Southwest, mostly of English, Irish, and Scottish descent; there were the blacks of both urban and rural areas. Each group was affected by the Depression, but in different ways and to different degrees. Each had its own tradition of popular song, and a sampling of these from the thirties can give a vivid picture of how each fared and how it reacted to the almost universal adversity of that decade. The financial boom of the decade following the end of World War I can be seen in retrospect as too speculative, based on credit and on paper assets. It was also decidedly top-heavy: sixty thousand families controlled assets totaling those of the twenty-five million families at the bottom of the economic ladder; seventy-eight percent of America’s families had a yearly income of less than three thousand dollars. The Roaring Twenties roared for only a fraction of Americans; even at the peak of the apparent prosperity of the decade, genuine poverty was a hard fact of life for many millions. Within a year of the overwhelming election victory in 1928 of Herbert E. -
Winter Garden Theater, First Floor Interior
Landmarks Preservation Commission January 5, 1988; Designation List 199 LP-1387 WINTER GARDEN THEATER, first floor interior consisting of the inner lobby, the auditorium, the stage; the balcony floor interior consisting of the balcony, the upper part of the auditorium and ceiling; and the fixtures and interior components of these spaces, including but not limited to, wall and ceiling surfaces, doors, stair railings and attached decorative elements; 1634-1646 Broadway, Manhattan; initial structure built c. 1885 and rebuilt 1896; remodeled and partially rebuilt for theater use 1910-11, architect W. Albert Swasey; remodeled 1922-23, architect Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1022, Lot 26. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as an Interior Landmark of the Winter Garden Theater, first floor interior consisting of the outer lobby, the inner lobby, the auditorium, the stage, the staircases leading from the first floor to the ba 1 cony floor and all connecting entrance areas; the ba 1 cony floor interior consisting of the balcony, the upper part of the auditorium and ceiling, the upper part of the stage house; and the fixtures and interior components of these spaces, including but not limited to, wall, ceiling, and floor surfaces, doors, stair railings and attached decorative elements; and the proposed designation of the related Landmark Site (I tern No. 83). The hearing was continued to October 19, 198 2. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witne sses spoke or had statements read into the record in favor of designation. -
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I GUY LOMBARDO LEADS BEN BERNIE IN JAZZ KING VOTING! I The NATIONAL WEEKLY of PROGRAMS and PERSONALITIES Volume 2 Chicago, III., Week of February 5-11, 1933 Number 16 "HELLO EVERYBODY" ~~H ELLO EVERYBODY!!" Recognize these words? You should ••. They're familiar to miHions of dial twisters as Kate Smith's cheery radio greeting over the Columbia network. Now this famous salutation serves as the title for the portly songbird's first starring picture. A sensation in three mediums-stage, recordings and radio-Kate has added a screen triumph to her dazzling career. Critics and others who've seen previews of "Hello Everybody" stamp it as a great box-office attraction. Paramount regards the film as one of its outstanding pictures of the year. RADIO GUIDE regards it as a personal achievement for radio's greatest vocal ist •.. Kate proves she (an act as well as sing. There's a reason-Kate always acts ..• whether it's before a camera or when she frolics with the neighbors' children at the Ted Collins' family home in Long Island. Only twentr-three, Kate's golden voice, coupled witb her friendly charm, has cata· pulted her to dizzy heights. Ne"er before in radio or theatrical history has a person at tained such honors in such a comparatively short time. Her (Continued on Back Page) Page 2 BADIO AND AMUSEMENT GUIDE I News! I JAZZ KING BALLOT I News! I Machine Age Cocktails • Roark Likes It Making the -electric tongue" mix a My ~hoice for America's Jazz King Is When an author himself lauds a staAr. -
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CONNIE BOSWELL LEADS 'IT' GIRL VOTE; I ___________________________________DRAGONETTE (TllrnSECOND; fo Page ThreeJ 'MARGE'----- THIRD- ---'- I The NATIONAL WEEKLY of PROGRAMS and PERSONALITIES Volume 1 Chicago, III:, Week of October 9-15, 1932 Number 51 'Why I Made a Million' -Ben Bern ie HERE were ele\'cn little Ancds. There is only one Ben Bctnie. T You know him-the suave, sophisticated, wise ctaekin' Hud Man. He is paid $9,000 a week. He's probably tbe biggest attraction (with his band) on the air today. He is famous wherever there is a radio set and wherever humans dance. In Kalamazoo and Kam chatka. in the Bronx and in Baluchistan, in Chicago's ultra-ultra cafes. and in Hawaii's hula-hula shacks. they dance to his syncopa tion. roar at his gags, and discuss his passion for horse races and long black cigars. Sure. YOll know him-the Old Maestro! You know Ben Bernie. Do you know Bernard Ancel? They lived-this Ancel tribe-in Bayonne, New Jersey. Papa Ancel was a blacksmith. His father before him had been 3 blacksmith. Papa An'cel was· pious, black-bearded, brawny. Mama Ancel was a raven-haired, dynamic woman. In her veins beat the wild melodies of tbe Hungarian rhapsodies. There were eleven little Ancels, and the birth of each meant that" Papa Ancel's sledge had to (Continued on Puge Fiue) • Meet the Old Maest r o ! And t he bon h .. hind it . 11. Both h i. father a nd gr andfatber were hlad"'lXIith., h ilt Ber nie do ...n ' t . -
Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................ -
18, 1937 WEEK ENDING SEPTEMBER CURTIS MITCHELL L ANNENBERG Editor UBLISHER Smash Features
Vol. 6. No. 48 IN THIS ISSUE A D I O 18, 1937 WEEK ENDING SEPTEMBER CURTIS MITCHELL L ANNENBERG Editor UBLISHER Smash Features It Can Only Happen Here Civic broadcast of the week! by KEN W. PURDY 3 Star Is Born Attend the Lux Premiere! by HAROLD R. HIGGINS 5 Happy Listening Have You Been Radio Robbed? Advice to radio buyers by WILLIAM GAVIN 10 ACTS of God, we should have claims itself "Headquarters for Radio warned our readers, are beyond Facts." And all the time we had thought Personalities the control of editors. We refer our Mr. Fairfax was the headquarters. Harry von Zell specifically to the broadcast of CBS boasts it has the answers to practi- He Knew What He Wanted the Louis -Farr fight for the world cham- cally everything, even such questions as: by MARY WATKINS REEVES 4 on Clark Dennis pionship which we listed for a Thursday How many programs have been We applaud him! 19 and which a rainstorm postponed to a the air 600 times or more? Paul Whiteman Whiteman rides again! 24 Monday, and to Shaw's "Methuselah" How do the listening habits of coLege "Buck" which we listed for a triumphal network students compare with those of the aver- production on a Monday and which has age audience? News and Views been postponed until goodness knows What percent of the homes in Aus- into a Stories of the Week's when. After working ourselves tralia have radio sets? Big Broadcasts 8 lather, beating our breasts and telling all Showdown How much did the audience spend to Hollywood and sundry that these were broadcasts by EVANS PLUMMER 12 listen in 1936? Airialto Lowdown worth whole minutes of your precious by WILSON BROWN 13 Our Mr. -
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J U L Y Grf!la Garbo I.as sia",'" "onp 10 I,i"cf!s! 11 nd it "8 "I' '0 "fllI 10 sel I... r ri"h'• • Can Vou Solve This MOVIE MIX-UP? HERE'S real fun Mlx·Up today- at the MOVIE MIX'UP, a nearest S. H. Kress fascinating new kind Store or Newsstand. of jig.saw puzzle! It's only lO¢. If you're a movie If you can't get the fan, you'll love it. If MOVIE Mlx·Up you you're a jig.saw fan. want at your Kress you'll get a big kick store or newsstand. out of it. If you're fill out tt:e coupon and Dell PulJli 8 hi n~ Co., Inc. send it with 1O¢ in 100 Fifth Ave., ~ ew York City, N. Y. both (and who isn't?). Please send me the MOI'I K :\1I C't· UI' whi ch 1 hav e cherked below. I am en you'll get a double stamps or coin (l5¢ dosing 10¢ in slamps or ('oin for each one desired (IS¢ apie<:e for C D Tladian ~~ break! in Canada. coin only) coin only), for each MovlE MIX. o NORMA SHEAltER Try it tonight! And o GARY COOPER Up desired. o GRETA GARBO see how long it takes o CLAItK GAI\LE you to put your star Prinl N AME here .•.. ••. •• . .. ......•.. _. together. Get a MOVIE MOVIE MIX-UP.' STREET A onKESS • • •••••••••• .. ••••••••• • CITl' •• • ••• .••••••••••• ••• STATI': , • • •••• • • RADIO STARS THESCOTT~: RADIO delivers such Clear. Consisfent Year 'Round WOR ION ~1lTmI1. -
ABSTRACT “Where East Texas Dances”: the Cooper Club Of
ABSTRACT “Where East Texas Dances”: The Cooper Club of Henderson, Rusk County, and Popular Dance Bands, 1932-1942 Michelle Linsey Holland, M.A. Mentor: Thomas L. Charlton, Ph.D. A historical study of the Cooper Club in Henderson, Texas, which was open from 1932 to 1942, uncovers an exciting period in both American and East Texas history. Nationally, dance orchestras embarked on tours of the United States, playing one-night stands in small towns. Locally, the nightclub existed during the great East Texas oil boom. Under the management of owner Hugh Cooper, the Cooper Club became a staple for music lovers in East Texas who appreciated its elegant atmosphere and high caliber of entertainment. Local, regional, and national dance bands played one-night stands and brought to the oil field the latest in popular sweet music, swing, and jazz. The Cooper Club has significance and is deserving of scholarly research, for it shines light on the social and cultural history of Henderson, Texas, from 1932 to 1942, as well as the excitement of famous orchestras coming to a small town. "Where East Texas Dances": The Cooper Club of Henderson, Rusk County, and Popular Dance Bands, 1932-1942 Michelle Linsey Holland, A.A., B.A. A Thesis Approved by the American Studies Program Douglas R. Ferdon, Ph.D., Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Thomas L. Charlton, Ph.D., Chairperson Jean Ann Boyd, Ph.D. Douglas R. Ferdon, Ph.D. -
Synchronized Sound Cinema in Montreai 1926-1 93 1 Joanne
That's Not What 1 Heard: Synchronized Sound Cinema in Montreai 1926-1 93 1 JoAnne Stober A Thesis in The Dement of Communication Studies Resented in mal Fulfillment of the Requirements for the Degree of Master of Arts at Conwrdia University Montreai, Quebec, Canada 8 JoAnne Stober, 200 1 National library Bibliiothèque nationale 1*1 &Ma du Canada Acquisitions and Acquisitions et Bibliographii Services services bibliographiques The author has granteci a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Liirary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distniute or seil reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfih, de reproduction sur papier ou sur format électronique. The author retains ownershtp of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT That's Not What 1 Heard: Synchronized Sound Cinema in Montreal 1926-193 1 JoAnne Stober This thesis recognizes the introduction of synchronized sound cinema as a point of departure into a sîudy of the cultural and social dimensions of moviegoing. This research focuses on Montreal between 1926 and 193 1 where the tbt Canadian demonstrations and exhibitions of synchronized sound cinema took place.