DOCSLIB.ORG

Stand by 360822.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stand by 360822.Pdf IN PRAlSE OF HENRY BURR For Henry Burr Reports Help A Plea for Arkie We wish to express our deep appre­ We take this opportunity of ex­ . I think they treat Arkie mean ciation of your excellent service. We pressing our many thanks for your when they make him laugh and not have learned to consider the Smile­ radio broadcast daily and Sundays let him finish his song. Please make A-While staff, the Barn Dance, and giving weather reports and can as­ them let him finish singing, as we the Sunday morning programs as our sure you it has been considerable aid enjoy hearing him. We also like to own and we wait for them with the to our best operations. Sincerely trust hear his brother, Pete, sing with him. keenest anticipation. you will continue with this broadcast. -Steady Listener, Muncie, Ill. I believe we would crown these fine - Roy R. Love, president, Love Con­ programs with the Little Brown struction & Engineering Co., Muske­ Church of the Air as supreme. gon, Mich. While we enjoy Dr. Holland very much, we get a real sermon from the peerless songs of Henry Burr. Imagine Ten-Year Record our happy surprise when we discov­ I've not missed hearing the old ered him one night on the Barn Memorial to Jane Addams Barn Dance for almost 10 years and Dance. We thought it too good to be Dear Mr. Page: You will be pleased mere words can never express how true. No doubt this was his voice to hear that over eight thousand peo­ much I have enjoyed it. Irma through electrical transcription, we ple participated in the August First Belle. Chicago. thought. But no, we were confirmed Peace Parade and Jane Addams in our hope when we heard him talk Memorial. announcements of which to the announcer. We used to have were made over your station. his records, 20 or more years ago, We are indeed grateful to WLS for and we never dreamed we'd hear him the valuable publicity given the en­ terprise, and to you personally for Thanks from Vets in person. My dear George Biggar: This morning my wife and I were your cooperation and helpfulness. brought to tears while he sang "Just Very truly yours, Helen Rueben, Ra­ On behalf of Col. Hugh Scott, the As I Am." Surely no man was ever dio Publicity, August First Peace Pa­ 1.750 patients and the writer, "this is blest with the simplicity, the un-pre­ rade and Jane Addams Memorial, to express our thanks and apprecia­ tense, the richness of such a voice. tion for your kindness in sending out Mr. Burr has hold on the hearts of three groups of entertainers from t . milliops from the babe in the man­ your studio to apepar at our Annual ger, from wayfarer, from the peasant Thank You Homecoming and National Com­ ':: to those who wear the purple. It is always a pleasure to listen to mander's Day on Sunday, August 2, It renews our faith in humanity to Julian Bentley. As a commentator 1936. think of a man such as he who has he is fair, unbiased and non-partisan The entertainment was enjoyed im­ r.ever allowed the plaudits of the race in his presentation of the news. Let mensely by the great crowd assem­ to cause him to lose his head. He has us hear from him often.-W. F. Van bled here, and your kindness in ar­ continued to use his rich voice in ten­ Dusen, Chillicothe, Ill. ranging for same will not soon be der. simple singing of those songs forgotten. that bless the millions of common folks. This is nobility personified; Thanking you again, and with greatness in simplicity; a priceless And Again Thanks kindest personal regards, I beg to re­ gem which money cannot buy. main, very truly yours.-John R. Henry Burr, surely the blessings of Was much pleased with your Mon­ O'Connor, Recreational Director, Vet­ God rest gloriously upon you. We day noon news comments, which I erans' Administration, Hines, Ill. thank you all.-Mr. and Mrs. C. I. hear for the first time today. I like Stratton, Britt. Iowa. your delivery-good clear voice, well balanced diction. fiuent and smooth, with nice brisk tempo free from the STAND BY effect of haste; and the substantial BURRIDGE D. BUTLER, Publisher Copyright, 1936. Prairie Farmer Publishing Co. good sense and variety of your news 1230 Washington Blvd., Chicago Annie's Scared comments are also gratifying. You Indianapolis: 241 N. Pennsylvania You are frightening us about the contrived vivid individuality in your New York City: 250 Park Avenue dark mornings coming in Chicago presentation. That rippling thread of Subscription Price, $1.00 a Year this winter. We in Milwaukee are humor breaking out at appropriate Single Copy, S cents fearful of our dark afternoons. We spots serves to brighten the whole, Issued Every Saturday dread afternoon shopping in stores and your serious remarks jibe well Entered as second-class matter February and on the street by artificial light. with my own sentiments. An excel­ 15, 1935. at the post office at Chicago. Illi­ What we need is more winter sun­ lent feature, comparing favorably nois. under the Act of March 3. 1879. shine. Please give us the recipe for with the Nets' top commentators.­ JULIAN T. BENTLEY, Editor more light in winter.- Annie Rich­ Mrs. Olive McIntyre, Mount Morris, August 22, 1936 ards, Milwaukee, Wis. Illinois. VOLUME 2 NUMBER 28 a similar series of programs once a week on the National Farm and Home Hour, over an NBC network, a series which was extremely popular with listeners. and was credited with much progress in the spreading of in­ formation about fires and their pre­ ventIOn . • "Smoky," the Fire Clown, has ap­ peared in schools throughout the country, with his painted face and his funny antics. The boys and girls who have seen him usually start by laughing so hard that they are soon tired enough to sit quietly when •.Smoky" ceases to be a clown and becomes a fireman, giving them sim­ ple and easy suggestions on things they can do around home to prevent fires. But perhaps the most important part of the work of "Smoky" and his associates is the training of firemen, especially those in small communities. There are now some 56,000 firemen over the country studying how to be better firemen. Some are studying by correspondence; some are attend­ ing regular classes; some are attend­ ing short courses held at colleges or universities. Much of this educa- A fireman was killed in fighting this blaze because of inadequate fire apparatus. "MYJOB is helping people to protect their own property against fire." That's the way Harry "Smoky" Rogers describes his job. "Smoky," as he is known to hundreds of thou­ sands of boys and girls over the coun­ try, has covered a good share of North America in the last 15 years, campaigning against the carelessness or thoughtlessness which leads to fires in homes. barns and business houses. Perhaps you've been wondering who would be interested enough and be well enough organized to hire some­ body to travel around teaching fire prevention. The answer is easy: the stock fire insurance companies. "Smoky" Rogers is chief of the fire prevention division of the Western The cast ot Smoky's Fire Stories, I, to r.: AI Boyd, Dan Hosmer, Reggie Actuarial Bureau, which is an organi­ Cross, George Goebel, Delia Anne Ragland, Smoky, Edith LaCrosse (with zation supported and operated by back turned) Eddie Allan, Marjorie Gibson and Merle Housh. stock fire insurance companies. Fif­ teen years ago this organization er insurance organizations to work tional work was started by "Smoky" found "Smoky" in Wichita, Kansas, on various occasions in almost every and his associates, and they are re­ where he was chief of the fire pre­ state of the Union and in Mexico and sponsible for much of the actual vention bureau in the Wichita Fire Canada. teaching. Department. He jumped from a city­ Listeners of WLS hear "Smoky's'" The fireman is taught something of wide job to one which was to cover Fire Stories every Saturday morning hydraUlics, the movement of water, 19 states in the Middle West, teach­ at 9 :30, CST, a dramatic series, built the effect of friction in hose and ing people of all kinds, all sorts of around the Ashville Fire Department. pipes, size of nozzles and similar in­ things about fire prevention-includ­ There are drama, thrills and excite­ formation; he is taught the principles ing such things as public speaking. ment a-plenty, and more than a of chemistry. so he will know what But more about the public speaking touch of youthful romance in this materials may cause fires spontan­ later. radio series. But every episode con­ eously; what substances may develop His work in making you and me tains two or three pointed sugges­ harmful gases when they are hit by conscious of fire hazards has been tions on things that cause fires, and water; he is taught the systematic so outstanding in the Middle West, how to avoid them. handling of fire hose, ladders, reels that he has been "borrowed" by oth- A few years ago "Smoky" directed (Continued on page 151 II Buck Bucked Off EAR JULIAN: On account of plenty of grass hereabouts the D jackrabbits in this vicinity are getting plum bold and vigorous. At the home of Solomon Powder last night the water he had in a pan for his lion-hunting dogs was raided by the hares and all the dogs run under the house in embarrassments.
Load more

Recommended publications
  • National Historic Landmark Nomination Ryman Auditorium
    NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-9 USDI/NPS NRHP Registration Form (Rev. 8-S OMBNo. 1024-0018 RYMAN AUDITORIUM Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Ryman Auditorium Other Name/Site Number: Union Gospel Tabernacle 2. LOCATION Street & Number: 116 Fifth Avenue North Not for publication:__ City/Town: Nashville Vicinity:__ State: TN County: Davidson Code: 037 Zip Code: 37219 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): X Public-Local: _ District: __ Public-State: _ Site: __ Public-Federal: Structure: __ Object: __ Number of Resources within Property Contributing Noncontributing 1 ___ buildings ___ sites ___ structures ___ objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of related multiple property listing: NPS Form 10-9 USDI/NPS NRHP Registration Form (Rev. 8-S OMBNo. 1024-0018 RYMAN AUDITORIUM Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria.
    [Show full text]
  • Stand by 360912.Pdf
    SOME TIMEL Y CRITICISM Timely Comments but we have had the pleasure of like­ We'll Try It wise enjoying your good messages Do you suppose you could get that Dear Mr. Page: I was indeed very while on our way or returning from much interested in the comments you Florida. To say that your whole serv­ Stand By camera busy and get some made on August 24 over the radio ice is first-class in every respect is pictures of those newly-married cou­ concerning the housing of the Junior expressing it very mildly indeed. More ples such as the Racherbaumers, But­ Department at the Illinois State Fair. power to you !-D. A. Stoker, Chicago. trams and Blacks, and others who The Junior Department has grown may have marched to the altar before tremendously during the past five this card reaches you? You have no years and the general manager has idea how much we'd like to see them, recognized the problem of a suitable so please hurry on and print some if place to house the livestock for this Roy an Actor you can.-Ruth Raether, Lake Forest, Ill. department. This year, of course, Dear Marjorie Gibson: Only a few conditions were unusually bad due to lines from a Fanfare friend to let you ( Attention, you newlyweds: Let the two storms which visited the fair know that the interview you had last this letter be your notice that Stand grounds on Sa turday evening and Saturday with Roy Anderson was one By readers demand some bride and again on Wednesday evening.
    [Show full text]
  • A General History of the Burr Family, 1902
    historyAoftheBurrfamily general Todd BurrCharles A GENERAL HISTORY OF THE BURR FAMILY WITH A GENEALOGICAL RECORD FROM 1193 TO 1902 BY CHARLES BURR TODD AUTHOB OF "LIFE AND LETTERS OF JOBL BARLOW," " STORY OF THB CITY OF NEW YORK," "STORY OF WASHINGTON,'' ETC. "tyc mis deserves to be remembered by posterity, vebo treasures up and preserves tbe bistort of bis ancestors."— Edmund Burkb. FOURTH EDITION PRINTED FOR THE AUTHOR BY <f(jt Jtnuhtrboclur $«88 NEW YORK 1902 COPYRIGHT, 1878 BY CHARLES BURR TODD COPYRIGHT, 190a »Y CHARLES BURR TODD JUN 19 1941 89. / - CONTENTS Preface . ...... Preface to the Fourth Edition The Name . ...... Introduction ...... The Burres of England ..... The Author's Researches in England . PART I HISTORICAL AND BIOGRAPHICAL Jehue Burr ....... Jehue Burr, Jr. ...... Major John Burr ...... Judge Peter Burr ...... Col. John Burr ...... Col. Andrew Burr ...... Rev. Aaron Burr ...... Thaddeus Burr ...... Col. Aaron Burr ...... Theodosia Burr Alston ..... PART II GENEALOGY Fairfield Branch . ..... The Gould Family ...... Hartford Branch ...... Dorchester Branch ..... New Jersey Branch ..... Appendices ....... Index ........ iii PART I. HISTORICAL AND BIOGRAPHICAL PREFACE. HERE are people in our time who treat the inquiries of the genealogist with indifference, and even with contempt. His researches seem to them a waste of time and energy. Interest in ancestors, love of family and kindred, those subtle questions of race, origin, even of life itself, which they involve, are quite beyond their com prehension. They live only in the present, care nothing for the past and little for the future; for " he who cares not whence he cometh, cares not whither he goeth." When such persons are approached with questions of ancestry, they retire to their stronghold of apathy; and the querist learns, without diffi culty, that whether their ancestors were vile or illustrious, virtuous or vicious, or whether, indeed, they ever had any, is to them a matter of supreme indifference.
    [Show full text]
  • Items Highlighted in Yellow Need to Be Updated Or Edited. DRAFT RAY
    Items highlighted in yellow need to be updated or edited. DRAFT RAY AVERY COLLECTION 86-009 1860-1888. ca. 1920-1986. [Bulk: ca. 1920-1975] 10.5 linear feet including 3 volumes and 17 audio discs The Center for Popular Music, Middle Tennessee State University, Murfreesboro, TN May 1989 Ellen Garrison Updated 2007 and 2011 Lucinda Cockrell Ray Avery Collection 86-009 2 Table of Contents Ray Avery Collection 86-009 [Check page numbers after editing – these are incorrect.] Creator, Type of Material, Physical Description, Dates, Abstract (Descriptive Summary)……………………………………………………............................................. 3 Provenance and Acquisition Information, Subject/Index Terms, Agency History/Biographical Sketch………………………………................................... 3 Scope and Content……………………………………………………................................. 4 Series Description I. Black History Subject Files .................................................................................... 5 II. "Jazz Scrapbook" ................................................................................................... 5 III. New Orleans ......................................................................................................... 5 IV. Subject Files ......................................................................................................... 6 V. Record Covers ....................................................................................................... 6 VI. Record Company Announcements ......................................................................
    [Show full text]
  • Porter Wagoners Tent
    Nov. 15, 1992---- The Grand Ole Opry is the country's longest-running live music and variety radio program. It's fitting that one of country music's longest-running live wires will represent the Opry when it is inducted into the Radio Hall of Fame on Sunday at the Museum of Broadcast Communications in Chicago. Country singer Porter Wagoner will make a rare stop in Chicago to accept the honors from special guests the Oak Ridge Boys, along with new inductees Don Ameche, "Top 40 Countdown" poobah Casey Kasem, Detroit morning personality J.P. McCarthy and ABC broadcast legend Leonard Goldenson. The program will be broadcast live on WGN-AM and be beamed back to Nashville on WSM-AM, where the Grand Ole Opry was born on Nov. 28, 1925, as "The WSM Barn Dance." Wagoner is from a different era of country music. He first appeared at the Opry in 1957, when he sang his hit "Satisfied Mind" at the old Ryman Auditorium in downtown Nashville. Country music was characterized by a spunky self-reliance, found in the topical breadth of its songs as well as the colorful showmanship of its singers. Few were as colorful as Porter Wagoner: He was one of the first country artists to exploit the broadcast industry. As early as 1951, he appeared on radio with "The Ozark Jubilee," broadcast from KWTO-AM in Springfield, Mo. While at KWTO, Wagoner met Radio Hall of Famer Paul Harvey, who will host Sunday's ceremony. And from 1960 to 1980, Wagoner reached a television audience of up to 45 million with his syndicated "Porter Wagoner Show." One of Wagoner's key sponsors was the Chattanooga Medicine Co., a pharmaceutical outfit that sold Soltice heat rubs, hygenic supplies and Black Draught laxative, promoted as "the fastest-moving product in the South." The permanently pompadoured Wagoner introduced the rhinestone Nudie suit.
    [Show full text]
  • “I Want to Be a Cowboy's Sweetheart”—Patsy Montana (1935)
    “I Want to Be a Cowboy’s Sweetheart”—Patsy Montana (1935) Added to the National Registry: 2011 Essay by Cary O’Dell Patsy Montana Early label Modern country music is usually considered to have three queens, each easily identifiable by just one name: Loretta, Tammy and Dolly. But as impressive as this trinity is, one has to wonder where that leaves some other notable musical ladies of the open plains such as Patsy Cline, Kitty Wells, and Emmylou Harris. Similarly, certainly, the great Patsy Montana is no pretender to any throne. Too often dismissed as a “one hit wonder,” due to her most famous tune, the self-penned “I Want to Be a Cowboy’s Sweetheart,” Patsy Montana actually contributed numerous songs to the country and western lexicon: “My Song of the West,” “Back on Montana Plains,” “Rodeo Sweetheart,” “When the Flowers of Montana Were Blooming,” “I Love My Daddy Too,” “That Silver-Haired Daddy of Mine,” and “I Want to Be a Cowboy's Dream,” among others. But it is her “Cowboy’s Sweetheart” for which she’s most renowned. It is believed to be country music’s first million-selling single by a female artist. A product of Hot Springs, Arkansas, the only girl of 11 children, Patsy Montana (nee Ruby Rebecca Blevins; b. 1912) started singing early and often. She also early on mastered the violin, organ and guitar. Near college age, she left Arkansas for California where enrolled in the University of the West (later renamed UCLA). Quickly though, her musical gifts began to pay dividends—she won an area talent contest and it quickly lead to regular radio appearances singing as part of an ad-hoc girl trio, the Montana Cowgirls.
    [Show full text]
  • History of Barbershop
    HISTORY OF BARBERSHOP By David Krause and David Wright Definition of barbershop harmony. Read: Definition of Barbershop Harmony, from the Forward of the Contest and Judging Handbook. The Purpose Of This Course. We will attempt to trace the roots and the evolution of barbershop harmony from well before its actual beginnings up to the present. We will try to answer these questions: What were the tides of history which spawned the birth of the barbershop quartet, and what environment allowed this style of music to flourish? What were its musical forerunners? What are its defining characteristics? What other types of music were fostered contemporaneously, and how did they influence the growth of quartet singing? Which styles are similar, and how are they similar? How did the term "barbershop" arise? How long did the historical era of the barbershop quartet last? What other kinds of music sprang forth from it? Why did the style eventually need preservation? How was SPEBSQSA formed, and how did it become a national movement? What other organizations have joined the cause? How have they coped with the task of preservation? Are current day efforts still on course in preserving the style? How has the style changed since the Society was formed? We will spend the next few hours contemplating and attempting to answer these questions. Overtones. As barbershoppers, we are very conscious of the "ringing" effect which complements our singing. We consider it our reward for singing well- defined pitches in tune. The fact that a tone produced by a voice or an instrument is accompanied by a whole series of pitches in addition to the fundamental one which our ear most easily detects has been known for centuries.
    [Show full text]
  • Art Makosinski's HB Collection
    Art Makosinski Henry Burr Collection as of April 18, 1998 LABEL ISSUE ARTIST TITLE COMPOSER COND. ACT 20751 HB Little Town in the Ould County Down Pascoe-Carlo-Sanders A ACT 20751 HB When You and I Were Young, Maggie G.Johnson-J.Butterfield A APX 4447 HB Down the Trail to Home Sweet Home Ernest R.Ball B APX 4447 AC-HB Let the Rest of the World Go By Ernest R.Ball B ARC 31268 HB Sing Me to Sleep - B ART 3001 PQ Silver Threads Among the Gold Eben B ART 3001 PQ When You and I Were Young, Maggie G.Johnson-J.Butterfield B BEL P44B ST Shades of Night Gilbert-Friedland-Frankl C BEL S-06-A PQ Carry Me Back to Old Virginny James Bland B BRU 4045 HB Memories of France Dubin-Robinson B BRU 4045 HB Out of the Dawn (theme song from film "Warming Walter Donaldson B CAM S240 HB Beautifull Isle of Somewhere J.B.Pounds-J.S.Fearis B CAM S240 HB Mother Machree J.Kiern Brennan-Ernest B COL 60 HB(T) The Holy City (Jerusalem) - C COL 3483 HB-CQ I'm Praying for You Ira D. Sankey D COL 3499 HB Love Me and the World is Mine Ernest R.Ball B COL 3603 HB Won't You Come Over to My House Harry Williams-Egbert C COL 3750 CQ Black Jim Wade B COL 3752 CQ When the Roll is Called Up Yonder James M. Black B COL A235 HB Ninety and Nine E.C.Clephane-Ira C COL A236 HB Where is My Wondering Boy Tonight Rev.Robert Lowery C COL A239 HB Saviour, Lead Me Lest I Stray Frank W.
    [Show full text]
  • SODBUSTERS Howard Black- Reggie Cross-Rusty Gill Eight Years Ago, Howard Black Went Accepted
    THE HOOSIER SODBUSTERS Howard Black- Reggie Cross-Rusty Gill Eight years ago, Howard Black went accepted. Christened the "Hoosier Sod - Reggie Cross, a true harmonica vir- to town, literally. He needed some busters," this new duo made their tuoso, has one of the largest collections chicken wire for his farm; so he went radio debut playing the same number of mouth harps in the world. His 500 to the general store to get it. As he that had brought them together, "St. instruments are valued at over $1000, waited for the salesman to measure Louis Blues." vary in price from 50c to $300 and in off the wire, Howard wandered about size from one inch to over four feet. the store. Another young man wan- Today, the Hoosier Sodbusters, as a The giant $300 harmonica is four feet dered in to buy a harmonica. He looked trio, is one of the favorite acts on nine inches long and about four inches over the store's somewhat limited as- WLS and appear regularly on the WLS wide. When using it, both Howard and sortment and finally selected one for Barn Dance. The Sodbusters have had Reggie play on the same instrument. a tryout. He swung into "St. Louis several lucky third members of their It weighs over 16 pounds, and takes Blues." trio, with the third moving on up the both them A third young man was fooling of to handle it. around inexpertly with a guitar and ladder of success as a soloist. tried to accompany the harmonica. It was built by Reggie's uncle and is reported to be the largest in the Howard Black walked over and said: The present third part of the act, Reggie his harmonica "Let me try that guitar." Howard's Rusty Gill, has already found great fav- world.
    [Show full text]
  • Development of the Country Music Radio Format
    Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/developmentofcouOOstoc THE DEVELOPMENT OF THE COUNTRY MUSIC RADIO FORMAT by RICHARD PRICE STOCKDELL B.S., Northwest Missouri State University, 1973 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Radio and Television Department of Journalism and Mass Communication KANSAS STATE UNIVERSITY Manhattan,;tan, Kansas 1979 Approved by: Major Professor 31 TABLE OF CONTENTS Chapter One . INTRODUCTION 1 A Search of the Literature and the Contribution of this Thesis 2 Methodology » 5 Two . EARLY COUNTRY MUSIC ON RADIO 10 Barn Dances 12 National Barn Dance 13 The Grand Ole Opry 16 The WWVA Jamboree 19 Renf ro Valley Barn Dance 21 Other Barn Dances 22 Refinement of the Music and the Medium 25 Country Music on Records 25 Music Licensing 27 Country Music on Radio 28 Population Migration 29 Country Radio and the War 29 The Disc Jockey 31 Radio Formats Rather Than Programs 32 Three. THE BIRTH OF A FORMAT 34 Why Country Music? 35 Country Disc Jockeys Unite 37 The All-Country Radio Station Ifl David Pinkston and KDAV 47 The Day Country Music Nearly Died 50 Programming the Early Country Stations 55 The Country Music Association 59 ii iii Four. THE ACCEPTANCE AND SUCCESS OF THE FORMAT 63 Refinement of the Format 63 The Marriage of Country and Top /*0 66 Adoption of the Modern Country Format 71 Explosion of the Format „ 76 Advertiser Resistance 78 Bucking the Resistance 81 Audience Loyalty 86 The Final Step 87 Five.
    [Show full text]
  • The-Grand-Ole-Opry-K
    céCountry Music Library INTRODUCING COUNTRY MUSIC THE CARTER FAMILY COMEDIANS OF COUNTRY MUSIC THE GRAND OLE OPRY HANK WILLIAMS JIMMIE RODGERS LORETTA LYNN THE NEW BREED WESTERN STARS OF COUNTRY MUSIC MORE NEW BREED STARS DOLLY PARTON COUNTRY MUSIC IS HERE TO STAY. Its roots are in the past, but today this honest, fun-loving, and often moving form of music has earned its place in the world of modern musical entertainment. The Country IVIusic Library takes a look at some of the varied aspects of country music—its greatest hits and top stars. its rich past and promising future. Prepared under the supervision of Robert K. Krishef. former editor and publisher of Country & Western News-Scene, the series provides a fasci- nating introduction to the world of country music. "A kind of junior encyclopedia of country music.... Offers straightforward accounts of the entertainers' lives without fictionalization or adulation (and) gives a ground level familiarity with important names, places. and events..., for new fans of a longstanding, ever more popular art form that's t - gaining historical stature." —Booklist .n o z 1405-2 d4Country Music Library ROBERT K. KRISHEF Lerner Publications Company a Minneapolis ACKNOWLEDGMENTS: The illustrations are reproduced through the courtesy of: pp. 4. 6, 19, 20, 22, 24, 27, 34, 37. 46, 66, Country Music Association Library and Media Center: p. 8, WSB Radio; pp. 11, 32, 51, 54, 56, 58, 61, Opryland Public Relations: pp. 12, 60, Department of Tourist Development, State of Tennessee: P. 17. Les Leverett; p. 29, National Life and Accident Insurance Company; p.
    [Show full text]
  • Dissertation Introduction
    Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project.
    [Show full text]