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___THE JOLSn fAMllt Are BOU interested in800d books .......... EACH DISTINGUISHED IN ITS FIELD in Fiction.- Biographg ~ Histof21.-Science-The American Scene here are two reasons why you should belong to the Book Find Club. The first is the Club's consistent record for selecting the outstanding new books. The second is the Club's special membership price of only $1.65 a book, an average saving to members of more than 50 percent on their book purchases. The books featured on this page are representative of the selections the Book Find Club distributes to its members. Whether you prefer novels like THE NAKEDANDTHE DEAD by orman MailerandCRY, THEBELOVE~' COU TRY by Alan Paton; or biographies such as LI COLN'S HER • DO by David Donald; or historical works like THE AGE OF JACKSON by Arthur M. Schlesinger Jr.; or scientific books like FEAR, WAR AD THE BOMB by P. M. S. Blackett, who was recently awarded the obel Prize; or books on the American Scene such as A MASK FOR PRIVI LEGE by Carey McWilliams and THE WAR LORDS OF WASHI GTON by Bruce Catton-Book Find Club selections arc always books worth read· ing and worth keeping for your permanent library. ... at B~ Savin8s 10You! ku can begin your membership in the Bool.. Find Club now with anyone of the distmguished selections pictured on this page. In addition, as a new member. you may choose a FREE enrollment book from among tho~ listed in the coupon below. The publishers' list prices of these selections range from $2.50 to S5.oo, but members pay only the special membership price of $1.65 a book. -
Bellows: the Matusewitch Family Story
CONCERTINA WORLD Magazine of the International Concertina Association since 1952 CW 463 supplement September 2015 Bellows The Matusewitch Family Story Eric Matusewitch CONTENTS 1. Preface 2. Concertina 3. Gregory 4. Boris and Sergei 5. Photos 6. Bibliography 7. Author Biography Photos Cover: Front: Original publicity photo (by Bruno of Hollywood) of concertina virtuoso Boris Matusewitch, New York City, 1948. Front inside: The original early 1950s publicity pamphlet for the music-dance team of Boris Gregory (Matusewitch) and Danny Daniels (first dance partner). CW 463 supplement, Matusewitch, editor Pauline de Snoo, 2015 @ Eric Matusewitch 1 CW 463 supplement, Matusewitch, editor Pauline de Snoo, 2015 @ Eric Matusewitch 2 Preface This is the story of a unique musical family. The Matusewitch name was virtually synonymous with the concertina and accordion, two bellows instruments invented in the first third of the nineteenth century, for eight decades. My grandfather Gregory (1886-1939), the family patriarch, concertized extensively in Russia and Europe before moving the family to the United States in 1923, where he had a relatively brief but lively career. He appeared in major concert halls, the vaudeville circuit, early American radio broadcasts, and Jewish variety and fund-raising events. Boris (1918-1978), the younger of Gregory’s two sons, succeeded him as America’s leading concertinist and teacher of the instrument. Over the course of a rich and varied career, he performed at west coast nightclubs, gave annual concerts at Carnegie Recital Hall, was a featured soloist with orchestras, and teamed up with dancer Rod Strong in an innovative combination of music and dance. -
Frank Sinatra a Centenary Tribute 1915-2015
HOFSTRA CULTURAL CENTER DEPARTMENT OF HISTORY and DEPARTMENT OF MUSIC present '8ff.IX8 A Centenary Tribute 1915-2015 November 10, 11, 12,'18, 19, 22, 2015 featuring Concerts, Master Classes, Roundtables, Special Addresses and Vocal Performances from The Great American Songbook SI NATRA TRI BUTE CO.DI RECTORS David S. Lalama Professor of Music, Hofstra University Stanislao G. Pugliese Professor of History and Oueensboro UNICO Distinguished Professor of ltalian American Studies, Hofstra University A century after his birth, FrankSinatra still looms large in the American imaginatton and in our popular culture. Join us as we celebrate his lMth binhday and his extraordinary life and career. TUESDAY NOVEMBER 1O 7 p.m THE SINATRA FUTURE Select vocal students from Hofstra University perform works from The Great American Songbook. Accompanist: David Lalama, Professor of Music, Hofstra University A CONVERSATION WITH GAY TALESE AND PETE HAMILL SINATRA AS AMERICAN ICON Gay Talese, Writet The New York fimes (1956-1965); Founder of "The New Journalism"; Author, Frank Sinatra Has a Cold and Other Essays (Penguin Books), Unto the Sons (Random House) and AWriterb Life (Knopf) Pete Hamill, Distinguished Writer in Residence, New York University; Recipient, 2014 Eugene O'Neill Lifetime Achievement Award; Author, Why Sinatra Matters (Little, Brown and Company) Moderator: Stanislao Pugliese, Professor of History and Oueensboro UNICO Distinguished Professor of ltalian American Studies, Hofstra University; Editor, Frank Sinatra: History, ldentity and ltalian American Culture (Palgrave Macmillan) The Helene Fortunoff Theater, Monroe Lecture Center, California Avenue, South Campus \ l- \ --l \ I I l The Hoboken Four at a Major Bowes Amateur Hour radio broadcast, 1935 From the Collection of the Hoboken Historical Museum WEDNESDAY NOVEMBER 11 5 p.m. -
The History of CBS New York Television Studios: 1937-1965
1 The History of CBS New York Television Studios: 1937-1965 By Bobby Ellerbee and Eyes of a Generation.com Preface and Acknowledgements This is the first known chronological listing that details the CBS television studios in New York City. Included in this exclusive presentation by and for Eyes of a Generation, are the outside performance theaters and their conversion dates to CBS Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the efforts at CBS to pioneer the new medium. This story is told to the best of our abilities, as a great deal of the information on these facilities is now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me, as this is an ongoing project. (First Revision: August 6, 2018). Eyes of a Generation would like to offer a huge thanks to the many past and present CBS people that helped, but most especially to television historian and author David Schwartz (GSN), and Gady Reinhold (CBS 1966 to present), for their first-hand knowledge, photos and help. Among the distinguished CBS veterans providing background information are Dr. Joe Flaherty, George Sunga, Dave Dorsett, Allan Brown, Locke Wallace, Rick Scheckman, Jim Hergenrather, Craig Wilson and Bruce Martin. -
A Naturalist in Show Business
A NATURALIST IN SHOW BUSINESS or I Helped Kill Vaudeville by Sam Hinton Manuscript of April, 2001 Sam Hinton - 9420 La Jolla Shores Dr. - La Jolla, CA 92037 - (858) 453-0679 - Email: [email protected] Sam Hinton - 9420 La Jolla Shores Dr. - La Jolla, CA 92037 - (858) 453-0679 - Email: [email protected] A Naturalist in Show Business PROLOGUE In the two academic years 1934-1936, I was a student at Texas A & M College (now Texas A & M University), and music was an important hobby alongside of zoology, my major field of study. It was at A & M that I realized that the songs I most loved were called “folk songs” and that there was an extensive literature about them. I decided forthwith that the rest of my ;life would be devoted to these two activities--natural history and folk music. The singing got a boost when one of my fellow students, Rollins Colquitt, lent me his old guitar for the summer of 1935, with the understanding that over the summer I was to learn to play it, and teach him how the following school year.. Part of the deal worked out fine: I developed a very moderate proficiency on that useful instrument—but “Fish” Colquitt didn’t come back to A & M while I was there, and I kept that old guitar until it came to pieces several years later. With it, I performed whenever I could, and my first formal folk music concert came in the Spring of 1936, when Prof. J. Frank Dobie invited me to the University of Texas in Austin, to sing East Texas songs for the Texas Folklore Society. -
Beverly Miriam Silverman, Born in Brooklyn in 1929, Made
Beverly Miriam Silverman, born in Brooklyn in 1929, made her pbblic debut at the age of 3 in a contest proclaiming her "Miss Beautiful Baby of 1932 She sang "The Wedding of Jack and Jill" and, as she said, won the award for.talent as well A as body. The name "Bubbles", a s she is known to close friends and associates, was a result of her having been, born with an enormous bubble of spit in her mouth and her brothers christened her Bubbles from then on. Her mother had an intense love of music and her daughter grew up listening to her mother's collection of old Madame Galli-Curci records and before she was 7 had memorized all 22 arias on the recordings and could sing them in phonetic Italian. Every Saturday morning Bubbles went to a school where she was given dancing and singing lessons and the school had a weekly Saturday morning show on WOR - "Uncle Bob's Rainbow Hour". There she did her big aria - '"The Wedding of Jack and Jill". One Saturday morning on the air Uncle Bob asked her how she was. She replied that she didn;t feel too g, she thought she had the mumps. This cleared the studio out - every male ran for the doors- and as soon as she finished her song she was hustled out. At age 7 she became Beverly Sills because an optomistic friend of the family thought that some day it would look better on a marque than Belle Silverman. And it marked the beginning of her introduction to Estelle Liebling who was called "Coach cf the World's Greatest Voices". -
Tbcproductlist Radiotv IV
CONTENTS Teresa’s Singles Section I Teresa’s Collections Section II Other & Multi-Artist Products featuring Teresa Brewer Section III Radio, TV & Movie Appearances by Teresa Brewer Section IV Sheet Music of Teresa Brewer Songs Section V Reprinted from the Teresa Brewer Center, http://www.teresafans.org 6/7/2019 Section IV CONTENTS Radio, TV & Movie Appearances by Teresa Brewer Page Radio Shows (by Date) IV-2 TV & Video (by Date) IV-4 Motion Picture IV-11 Reprinted from the Teresa Brewer Center, http://www.teresafans.org 6/7/2019 Page IV-1 Teresa Brewer Product List – Section IV / Radio Appearances by Teresa (by date) Radio Appearances by Teresa Brewer: (BY DATE) • Major Bowes’ Amateur Hour (1938) • Let's Go to Town - The National Guard Shows (1953) Original performance: Nov 1938 (1953; Radio) [D1790] The format for the Original Amateur Hour on TV was • Armed Forces Radio (1958) taken directly from radio days' Major Bowes' (1958; Radio LP CH-150 / SSL-11334 ) [D0295] Amateur Hour. Major Bowes presided over a weekly parade of mimics, kazoo players and one- • Army Entertainment Program (1958) man bands with genial good humor. A year and a (1958; Radio LP) [D0301] half after the Major's death, the show was transferred from radio to television, with Ted Mack • Army Bandstand as its host. Listeners -- and viewers when the show (1960; Radio Program #131 ) [D0300] switched to television -- voted for their favorites by telephone or postcard, with the finalists being • Here's To Veterans - "Widow's Pensions" awarded with scholarships. On an evening in Nov (1960; Radio Program #739 ) [D1270] 1938, little Teresa Brewer appeared on Major Bowes' radio show. -
Amateur Hour Collection [Finding Aid]. Library of Congress. [PDF Rendered
Amateur Hour 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 March Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu004002 LC Online Catalog record: http://lccn.loc.gov/2010563506 Processed by the Music Division of the Library of Congress Collection Summary Title: Amateur Hour Collection Span Dates: 1934-1948 Call No.: ML31.A4 Creator: Bowes, Edward, Major, 1874-1946 Size: circa 8500 items ; 20 boxes ; 9 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Primarily over 7000 applications from contestants who appeared on the Major Bowes' Original Amateur Hour radio program between 1934 and 1948. A small percentage of the administrative papers dating from the late 1940s and 1950s, as well as materials relating to the Mexican version of the program, La hora internacional del aficionado, are also included. Filed with the contestant applications are letters of introduction, reference letters, and other documents sent by prospective contestants. Applications from conventional performers such as musicians, dancers, singers, and impersonators are the most numerous, but also included are applications from novelty acts such as a human piccolo, a group of hand- standing singers, and a group who played harmonicas with fire extinguishers. Of particular interest are applications from various performers, now well-known, including Teresa Brewer, Stubby Kaye, Robert Merrill, Beverly Sills, and Frank Sinatra. Photographs from the 1940s and 1950s provide a visual record of the show, while correspondence to and from program staff members recount some of the program's business transactions. -
American Music and Popular Culture
Professor David Marans, St. Thomas University, Miami, Florida, USA Off Campus Email: Mozart119 at-sign aol one dot com AMERICAN MUSIC AND POPULAR CULTURE From William McKinley to Harry Truman Year 1900: 60% rural, 40% poverty, 2% electricity, 5% telephones, 5% high school graduates, 5% women working Year 1949: 60% urban, 25% poverty, 95% electricity, 70% telephones, 35% high school graduates, 25% women working SONGS “show”/(artist) LIFE & TIMES 1900-1919 1900–1919 “CONEY ISLAND” FUN PARK OPENS ON BROOKLYN SHORE A BIRD IN A GILDED CAGE AUTOMOBILE GOES NEW YORK TO CALIFORNIA IN 22 DAYS!! ANCHORS AWAY NEW INVENTIONS–“FLASH LIGHT” AND “PAPER CLIP” SCHOOL DAYS “SEARS CATALOGUE”–MAILS ANYTHING ANYWHERE ROSIE, YOU ARE MY POSIE CHILDREN LOVE NEW NABISCO “ANIMAL CRACKERS” BILL BAILEY “SPINDLETOP” GUSHER IGNITING TEXAS OIL FRENZY IN THE GOOD OLD SUMMER TIME CHRISTMAS TREES DECKED WITH ELECTRIC LIGHTS I LOVE YOU TRULY PRES. MCKINLEY KILLED--TEDDY ROOSEVELT SWORN MY HERO NOW “SCHOLASTIC APTITUDE TEST” FOR COLLEGE SWEET ADELINE “ZIEGFELD FOLLIES”–STAGING A PEOPLE’S DREAMS IN MY MERRY OLDSMOBILE $1 “BROWNIE” BY KODAK: EVERYBODY’S CAMERA MY GAL SAL WOMEN IN NYC ARRESTED FOR SMOKING IN PUBLIC ON WISCONSIN NATION’S FIRST CINEMA HOUSE IN PITTSBURGH THE ENTERTAINER (Joplin) CARRIE NATION AXING SALOONS IN MIDWEST CHINATOWN, MY CHINATOWN “WALGREENS”– DRUG STORE+SODA FOUNT+LUNCH COUNTER CUDDLE UP A LITTLE CLOSER MAJOR SUBWAY TRAIN BENEATH BROADWAY SHINE ON HARVEST MOON GILLETTE SAFETY BLADE RAZOR SHAVES SMOOTH TAKE ME OUT TO THE BALL GAME ICE CREAM CONE & ICE TEA DEBUT AT ST. LOUIS FAIR I WONDER WHO’S KISSING HER NOW ELLIS ISLAND GREETING 8,000 IMMIGRANTS PER DAY AH, SWEET MYSTERY OF LIFE NOW SERVE YOURSELF STORES AT WOOLWORTH 5¢ & 10¢ THERE’S A LONG, LONG TRAIL NEON GAS LIGHT SIGNS ON STREETS AND BUILDINGS I’M FALLING IN LOVE WITH SOMEONE “MUTT AND JEFF”-- FIRST COMIC STRIP IN NEWSPAPERS LET ME CALL YOU SWEETHEART MODEL-T FORD AUTOS ROLL OFF “ASSEMBLY LINES” MEET ME IN ST. -
Idolizing and Monetizing the Public: the Production of Celebrities and Fans, Representatives and Citizens in Reality TV
International Journal of Communication 3 (2009), 277-300 1932-8036/20090277 Idolizing and Monetizing the Public: The Production of Celebrities and Fans, Representatives and Citizens in Reality TV YNGVAR KJUS Lillehammer University College Reality TV has inspired ongoing scholarly analysis of how formerly passive audience members are turned into active participants or even empowered citizens, but the actual encounters between media producers and media participants have been little explored. This article presents a detailed, critical study of the new interfaces to public visibility, combining an historical perspective with the in-depth study of production practices. Beginning with the several participatory forms of reality TV already established in the earliest days of broadcasting, I trace how audience members have long been recruited according to either a celebrity model or a citizen model of participation. I then demonstrate how these models are combined in the production of American Idol to support both its preparation and its presentation of participants, and how new media (online and mobile) are mobilized to both reinforce and capitalize upon this participation. Questioning the popular and scholarly hype surrounding the audience’s “power” in reality TV, I conclude that the television industry is actually strengthening its grip on people in order to reduce costs and risks while increasing revenues in a time of uncertain financial prospects. Key words: Audience participation, Media production, Reality game shows, New media Reality TV is widely seen to be a major proponent of change in the television industry (Murray & Ouellette, 2004; Keane & Moran, 2008), especially in terms of transforming one-way media into two-way communications (Roscoe, 2001; Jones, 2004; Andrejevic, 2008). -
The History of CBS New York Television Studios: 1937-1965
1 The History of CBS New York Television Studios: 1937-1965 By Bobby Ellerbee and Eyes of a Generation.com Preface and Acknowledgements This is the first known chronological listing that details the CBS television studios in New York City. Included in this exclusive presentation by and for Eyes of a Generation, are the outside performance theaters and their conversion dates to CBS Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the efforts at CBS to pioneer the new medium. This story is told to the best of our abilities, as a great deal of the information on these facilities are now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me, as this is an ongoing project. Eyes of a Generation would like to offer a huge thanks to the many past and present CBS people that helped, but most especially to television historian and author David Schwartz (GSN), and Gady Reinhold (CBS 1966 to present), for their first-hand knowledge, photos and help. Among the distinguished CBS veterans providing background information are Dr. Joe Flaherty, George Sunga, Dave Dorsett, Allan Brown, Locke Wallace, Rick Scheckman, Jim Hergenrather, Craig Wilson and Bruce Martin. This presentation is presented as a public service by the world’s ultimate destination for television’s living history…The Eyes of a Generation. -
How Wide Is Broadway? : the Theatre Guild’S Radio and Television Productions in Post-World-War-Ii America
ABSTRACT Title of Dissertation: HOW WIDE IS BROADWAY? : THE THEATRE GUILD’S RADIO AND TELEVISION PRODUCTIONS IN POST-WORLD-WAR-II AMERICA Richard Kenneth Tharp, Doctor of Philosophy, 2010 Dissertation Directed by: Professor Heather S. Nathans Department of Theatre In the fall of 1947, the Theatre Guild, arguably the theatrical producing organization that had defined the American theatre aesthetic since its inception in 1918, splashed confidently and unhesitatingly into the barely-charted waters of the nascent medium of live television. The attempt seemed destined for success since the Guild had been producing a successful radio program for two years and was paired with NBC, the most successful of the early television networks. However, fourteen months later the Guild retired from television. It had failed in its ambitious plan to bring the sights, sounds of Broadway to every living room from coast to coast. I argue that the principal reason for its failure was artistic rather than commercial and that by 1948 the Guild’s various broadcasting ventures illustrate that the Theatre Guild, which had once defined itself as farsighted and experimental had in reality become nearsighted and stodgy. This dissertation explores the background of the Theatre Guild before it entered broadcasting, during the time it was developing its position as Broadway’s leading exponent of artistic plays and experimental theatre. It continues the story through the Guild’s production of The Theatre Guild on the Air, a weekly series of hour-long adaptations of stage plays that it began producing in 1945, and on to the Guild’s abortive first attempt at live television from 1947-1948.