Rodgers and Hart
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A Queer Aes- Thetic Is Suggested in the Nostalgia of Orton’S List of 1930S Singers, Many of Whom Were Sex- Ual Nonconformists
Orton in Deckchair in Tangier. Courtesy: Orton Collection at the University of Leicester, MS237/5/44 © Orton Estate Rebel playwright Joe Orton was part of a ‘cool customer’, Orton shopped for the landscape of the Swinging Sixties. clothes on Carnaby Street, wore ‘hipster Irreverent black comedies that satirised pants’ and looked – in his own words the Establishment, such as Entertaining – ‘way out’. Although he cast himself Mr Sloane (1964), Loot (1965) and as an iconoclast, Emma Parker suggests What the Butler Saw (first performed that Orton’s record collection reveals a in 1969), contributed to a new different side to the ruffian playwright counterculture. Orton’s representation who furiously pitched himself against of same-sex desire on stage, and polite society. The music that Orton candid account of queer life before listened to in private suggests the same decriminalisation in his posthumously queer ear, or homosexual sensibility, that published diaries, also made him a shaped his plays. Yet, stylistically, this gay icon. Part of the zeitgeist, he was music contradicts his cool public persona photographed with Twiggy, smoked and reputation for riotous dissent. marijuana with Paul McCartney and wrote a screenplay for The Beatles. Described by biographer John Lahr as A Q U E E R EAR Joe Orton and Music 44 Music was important to Joe Orton from an early age. His unpublished teenage diary, kept Issue 37 — Spring 2017 sporadically between 1949 and 1951, shows that he saved desperately for records in the face of poverty. He also lovingly designed and constructed a record cabinet out of wood from his gran’s old dresser. -
Inside Facts of Stage and Screen (September 20, 1930)
— STAGE PRICE 10 RADIO \ CENTS SCREEN Only Theatrical Newspaper on the Pacific Coast MUSIC ESTABLISHED 1924 EDITED BY JACK JOSEPHS Entered as Second Class Matter, April 29, 1927, at Post- Published Every Saturday at 800-801 Warner Bros. Down- Vol. XII office, Los Angeles, Calif., under Act of March 3, 1879. Saturday, September 20, 1930 town Building, 401 West Seventh St., Los Angeles, Calif. No. 12 LOCAL PREVIEWS ‘OUT’ MARATHON UNFINISHED DANCES IN FILMS GET BIG SPURT ‘PAN’ HERE Marathon dances, considered Elimination of previews of dead stuff around here and talking pictures in the vicinity which certain officials in the of Hollywood was a decision city have frowned upon, took a of the movie industry this sudden leap with the long dic- week. tance dance which Bill MeikeB Instead, advance public show- john promoted at the Casino in ings of pictures are to be given Balboa Beach. in San Francisco, San Diego, San Bernardino and other Contest endured for of a period points considerably distant from 1226 hours, and wound up in ex- the movie capital. citement and packed houses that, Too many wise ones in the in- notwithstanding the large overhead dustry, and their friends, have been and slow start, made a big profit for attending the local previews, and the promoters. making smart cracks about films, During last few hours of the not yet cut or actually finished. dance, excited spectators threw As' a result, many good pictures $2200 on the floor for the be- have been given the “black-eye” draggled dancers, which was in from these premature swats. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up. -
The Songs of PETE ATKIN&CLIVE JAMES
EDSS 1029 PA BOTBS booklet 6/1/09 17:38 Page 2 EDSS 1029 The Songs Of PETE ATKIN&CLIVE JAMES 28 1 EDSS 1029 PA BOTBS booklet 6/1/09 17:38 Page 4 Beware Of The Beautiful Arranged by Pete Atkin Project co-ordination – Val Jennings Strings arranged by Nick Harrison CD package – Jools at Mac Concept Stranger Produced by Don Paul CD mastering – Alchemy Engineered by Tom Allom Ephemera courtesy of the collections of Fontana 6309 011, 1970. Re-issued on RCA Recorded at Regent Sound A, Tottenham Pete Atkin and Clive James SF 8387 in 1973 in a re-designed sleeve with CD front cover main photo and strapline photo – “Touch Has A Memory” replaced by “Be Street, London W1, on 31st March and 1st & 2nd April 1970 Sophie Baker Careful When They Offer You The Moon”, and Huge thanks – Pete Atkin, Clive James, Simon Mixed between 2 pm and 6 pm with “Sunrise” as the second song. Platz, Steve Birkill, Ronen Guha on 2nd April 1970 and Caroline Cook “Be Careful When They Offer You The Moon” and “A Man Who’s Been Around” For everything (and we mean everything) relating to were recorded at Tin Pan Alley Studio, Pete Atkin’s works, visit www.peteatkin.com, but Denmark Street on 11th August 1970 make sure you’ve got plenty of time to spend! Then of course, you’ll want to visit Credits – British Rail, Arthur Guinness, www.clivejames.com William Hazlitt, John Keats, Meade Lux Lewis, Garcia Lorca, Odham’s Junior Pete Atkin’s albums on the Encyclopaedia, Auguste Renoir, William Edsel label: Shakespeare and Duke Ellington (there never was another). -
RCA Victor LJM 3000 10 Inch Jazz Series
RCA Discography Part 34 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LJM 3000 10 Inch Jazz Series The LJM releases were dedicated to jazz recordings. LJM 3000 – Brad Gowans and His New York Nine – Brad Gowans [1954] Poor Butterfield/I'm Coming Virginia/Jazz Me Blues/Stompin' At The Savoy/Singin' The Blues/Clari-Jama/Carolina In The Morning/Jada LJM 3001 – Progressive Piano – Various Artists [1954] Cover by Andy Warhol. Out of Nowhere - Art Tatum/Erroll’s Blues - Erroll Garner/Get Happy - Andre Previn/Just Judy - Lennie Tristano/Oop’s My Lady - Beryl Booker/Plus one song by Ellis Larkins, Eddie Heywood, and Mary Lou Williams LJM 3002 – Mundell Lowe Quintet - Mundell Lowe [1954] Spring Will Be A Little Late This Year/Pantomime/Prelude To A Kiss/There Goes Rusty!/How Long Has This Been Going On/Darn That Dream/Spring Is Here/Street Of Dreams/Takin' The Blues For A Walk LJM 3003 – Jazz on the Campus – Max Kaminsky [1954] Jazz On The Campus/I Wish I Could Shimmy Like My Sister Kate/Shim-Me-Sha-Wabble/Whiffenpoof Song/If I Had My Way/Ugly Chile/Satanic Blues/Carey Me Back To Old Kaminsky RCA Victor LJM 1000 12 Inch Jazz Series LJM 1000 – Hot Mallets – Lionel Hampton [4/54] Stompology/I'm On My Way From You/Ring Dem Bells/Confessin' (That I Love You)/Shufflin' At The Hollywood/Memories Of You/Hot Mallets/I Surrender, Dear/Rhythm, Rhythm/I Can't Get Started/I Just Couldn't Take It, Baby/After You've Gone LJM 1001 – Barbara Carroll Trio – Barbara Carroll Trio [1954] I Want A Little Girl/What's The Use -
Notations Spring 2011
The ASCAP Foundation Making music grow since 1975 www.ascapfoundation.org Notations Spring 2011 Tony Bennett & Susan Benedetto Honored at ASCAP Foundation Awards The ASCAP Foundation held its 15th Annual Awards Ceremony at the Allen Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, in New York City on December 8, 2010. Hosted by ASCAP Foundation President, Paul Williams, the event honored vocal legend Tony Bennett and his wife, Susan Benedetto, with The ASCAP Foundation Champion Award in recognition of their unique and significant efforts in arts education. ASCAP Foundation Champion Award recipients Susan Benedetto (l) & Tony Bennett with Mary Rodgers (2nd from left), Mary Ellin A wide variety of ASCAP Foundation Scholarship Barrett (2nd from right), and ASCAP Foundation President Paul and Award recipients were also honored at the Williams (r). event, which included special performances by some of the honorees. For more details and photos of the event, please see our website. Bart Howard provides a Musical Gift The ASCAP Foundation is pleased to announce that composer, lyricist, pianist and ASCAP member Bart Howard (1915-2004) named The ASCAP Foundation as a major beneficiary of all royalties and copyrights from his musical compositions. In line with this generous bequest, The ASCAP Foundation has established programs designed to ensure the preservation of Bart Howard’s name and legacy. These efforts include: Songwriters: The Next Generation, presented by The ASCAP Foundation and made possible by the Bart Howard Estate which showcases the work of emerging songwriters and composers who perform on the Kennedy Center’s Millennium Stage. The ASCAP Foundation Bart Howard Songwriting Scholarship at Berklee College recog- nizes talent, professionalism, musical ability and career potential in songwriting. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
'Gilding the Guild:' Art Theatre, the Broadway Revue, and Cultural
KEL/ )!hh&,-Ç.(Afl]dd][lDaeal]\*()+ Klm\a]kafEmka[YdL`]Ylj] Ngdme]/FmeZ]j) *()+Afl]dd][lDl\9jla[d]&=f_dak`dYf_mY_]&\ga2)(&)+0.'kel&/&)&,-W) E9Q9;9FLM QYd]K[`ggdg^<jYeY Ë?ad\af_l`]?mad\Ì29jll`]Ylj]$ l`]:jgY\oYqj]nm]Yf\ [mdlmjYdhYjg\qafL`]?Yjja[c ?Ya]la]k )1*-Ç)1+(! 9:KLJ9;L C=QOGJ<K The legendary Garrick Gaieties revues of the mid-1920s are credited with launch- Broadway revue ing the Broadway careers of Richard Rodgers and Lorenz Hart, with developing the Rodgers and Hart style of the ‘sophisticated revue’ and with establishing Rodgers’ collaboration with Theatre Guild the Theatre Guild, which later produced Oklahoma! (1943) and Carousel (1945). art theatre Beyond these more familiar innovations, The Garrick Gaieties invites closer parody scrutiny for the series’ complex relationship with the Little Theatre and art theatre intertextuality movements of the 1920s, as represented by the Theatre Guild. Through cultural parody satirizing both the Theatre Guild and Broadway commercialism, the creators of The Garrick Gaieties of 1925, 1926 and 1930 not only used the revue form to destabilize cultural hierarchies and address tensions concerning art and commerce, but to bridge the distinct traditions of the Broadway musical and art theatre during the culturally dynamic years of the 1920s. The Garrick Gaieties revues of the mid-1920s are legendary for launching the Broadway careers of Richard Rodgers and Lorenz Hart. Bringing Rodgers and Hart ‘their first major recognition’ as a songwriting partnership (Hischak 2007: 92), these witty revues produced the team’s first nationally popular hits: ,- SMT_7.1_Cantu_45-60.indd 45 5/11/13 9:23:51 PM EYqY;Yflm the urban and bucolic odes ‘Manhattan’ and ‘Mountain Greenery’, respec- tively. -
Ella Fitzgerald Collection
Ella Fitzgerald Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 December Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010023 LC Online Catalog record: http://lccn.loc.gov/2006568227 Processed by the Music Division of the Library of Congress Collection Summary Title: Ella Fitzgerald Collection Span Dates: 1956-1992 Bulk Dates: (bulk 1960-1985) Call No.: ML31.F58 Creator: Fitzgerald, Ella Extent: 23,500 items ; 285 containers ; 176 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Ella Fitzgerald (1917-1996) was a popular and highly-respected American jazz and pop vocalist and recording artist. The Ella Fitzgerald Collection chiefly consists of musical arrangements made for her by more than fifty arrangers and orchestrators. Arrangers whose works are found in this collection include: Buddy Bregman, Benny Carter, Frank DeVol, Russ Garcia, Billy May, Marty Paich, Nelson Riddle, and Gerald Wilson. The arrangements consist of a combination of full scores and parts, and are often accompanied by piano-conductor short scores, reduced scores, lead sheets and lyric sheets. Music is found in the form of manuscripts, printed music, photocopies, and ozalids, often in multiple or different versions. In addition, the collection contains repertoire and program lists and other miscellaneous material, including a minimal amount of correspondence and photographs. Note: To find locations of arrangements within this finding aid, consult the Songs Index and Arrangers Index under Index Terms.