T-86 1959 Heart Foundation with Jack Benny 15 Ex Syn T
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Scribherms I Brought Bark by Request SPENCFR Healthfullv Air Conditioned
had ever heard of Fred's bulldogs Have they been lnnoculated? (In- signing Ginger Rogers. Ginger, 1 A Canines Also Demand and Sport Is Betty Hutton before, questions began to pour deed!) And heaven knows how Is well known, has more details lr Detailed Contracts over the wires to New York, such many more queries of the like. her contracts than any star In town as "Is this a dog act?” (You bet!) When the deal was finally con- from the size of her mlrrori The Studio Cheered as She Broadcast Br the Associated Press. makeup How many dogs In the troupe? cluded the legal department ad- to the dimensions of the type In hei When Kay Kyser starts on a to Director and Cast (Plenty!) Are they Insured? (Yes!) mitted it was more complicated than billings. Apologies picture, veterans around his studio By HAROLD HEFFF.RNAN. RKO. If the deal is set each other Luise will do began asking "What AMUSEMENTS. AMUSEMENTS. AMUSEMENTS. HOLLYWOOD. another "Good Earth" impersona- next?” For anything can and does _ and sounds: tion for on a Sights "China Skies.” .. Warner happen Kyser picture. Latest Even Preston Foster himself Bras, will shortly announce a re- complication Is Kay's whim to sign ! rubbed his eyes a bit over this sud- make of the Colleen Moore silent some vaudeville acts for the new den transformation. Within 15 hit "So Big” for Bette Davis. That opus. Including one act called minutes on the 20th Centurv-Fox makes five pictures on Bette's future “Fred’s Bulldogs.”* lot he went from the role of Roger chart, Paramount has granted When the casting director sent the Terrible Touhy in "Roger Touhy, Veronica Lake a long summer vaca- the contracts down to the legal de- Last of the Gangsters,” to the char- tion to recuperate from the double partment, the fun began. -
PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
The Egyptian, March 30, 1950
Southern Illinois University Carbondale OpenSIUC March 1950 Daily Egyptian 1950 3-30-1950 The gE yptian, March 30, 1950 Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_March1950 Volume 31, Issue 25 Recommended Citation Egyptian Staff, "The gE yptian, March 30, 1950" (1950). March 1950. Paper 1. http://opensiuc.lib.siu.edu/de_March1950/1 This Article is brought to you for free and open access by the Daily Egyptian 1950 at OpenSIUC. It has been accepted for inclusion in March 1950 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SOUTH. ERN ILLINOIS, UNIVERSITY. IUYIII'-".' Group ,To Give ftnrJlln· . Here· Tonighl· ---~---~;Nn~"" Graham GNup wock., , Emlit,ions, As before. adult tickets will be $6, and $3 for studcD~. No Qogle Modem Dance admissions will be wid. Concpt .,,--'-----c---'-------'---''---,--I tickets will be on sale for ORe, ;:"~:::ty;..~.:;,:,~ BOo.rdof'Tr. ustees UpS and there may be even more-as . was the case this year. wbco five Teachers' Salarie. Si "";;';.";:::;:,''::;·outlhat''''. dent aetivilY tickcts-Wbich will Bans Political Groups·. :!:'!..""i::':'!:'-:::":able, and many lOWnSpcoplc.. ,!:and Southern's ·.Boau! of Trustees established a uniform tui- ::'':n-til=ts~ =edtry:;a~ . tion fee of $15.8 term for all undergraduates and graduates enter on a studeD'"s activity card. in the regular March here Monday., Therefore. he said. any penGnS ;'fbe board in its to be in this area next ~pprovcd a new ilI1ary will Pot be enrolled in which boosted teachers' pay. and wish to attend proved reguiatiOIlI governing lihpuld «m~ Dr. -
Purches Collection a to Z List of Principal Artists and Performers
Purches Collection A to Z List of Principal Artists and Performers Organization of this list: The principal performer is listed surname first in bold type with role/s in (parentheses); after the forward slash / any associated performers, or groups are listed; for groups using a pseudonym the 'real name’ / identity of group is shown in [square brackets] ; the original Cutter number (assigned to most performers who were primarily featured on the recordings) is listed on the far right hand side. A Aaronson, Irving (Bandleader) - A111 Abrams, Irwin (Bandleader) - A161 Adler, Larry (Harmonica) - A236 Adrian, Lou (Orchestra) / Eddy Howard (Vocal) Adrian's Ramblers (Danceband) / Adrian Rollini (Bandleader) Alamo, Tony (Vocal) / Sammy Kaye (Bandleader) Alberts, Al (Vocal) / The Four Aces (Vocal) Alexander, Archie (Bandleader) / George Barclay (Vocal) Les Allen (Vocal) Alexander, Jeff (Chorus, Choir)/ Bing Crosby (Vocal), Frank Sinatra (Vocal) Alfredo (Bandleader) - A391 Allen, Bob (Vocal) / Hai Kemp (Bandleader) Allen, Fred (Vocal)/ Bing Crosby (Vocal) Allen, Gracie (Comedienne)/ George Bums (Comedian) Allen, Henry 'Red' (Bandleader) - A425 Allen, Les (Vocal) - A427 Allen, Rosalie (Vocal) / Elton Brett (Vocal) Allen, Terry (Vocal) / Red Norvo (Bandleader) Alley, Ben (Vocal) All Star Band - A4412 All Star Orchestra - A4415 All Star Stompers - A4418 Alper, Rose (Vocal) / Joe Loss (Bandleader) Alston, Ovie (Vocal) / Claude Hopkins (Bandleader) Ambassador Trio, The (Vocal) / Gus Arnheim (Bandleader) Ambassadors, The (Danceband) - A491 Ambrose (Bandleader) -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
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120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s. -
ARSC Journal These Films
Sound Recording Reviews 213 Judy Garland: The Golden Years at M-G-M - The Harvey Girls, The Pirate, Summer Stock. MGMIUA Home Video. ML104869. 5 laser discs, 2 sides in CAV. 7 hours ofprerecordings on analog track; stereo in part; NTSC. Released in 1995. Thoroughbreds Don't Cry and Listen, Darling. MGMIUA Home Video. ML104569. 2 laser discs. 21 minutes ofprerecordings for Listen, Darling on analog track; NTSC. Released in 1994. The Ultimate Oz. MGM/UA Home Video and Turner. ML103990. Includes The Wizard of Oz, ML104755, 2 laser discs, 4 sides in CAV, THX and No-Noise; and The Wonderful Wizard of Oz: The Making of a Movie Classic, ML104756, 1 laser disc, THX. 4 hours 48 minutes of prerecordings on analog and digital tracks; NTSC. Released in 1993. The Wizard of Oz: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71964. 2 compact discs. Released in 1995. Meet Me In St. Louis: 50th Anniversary Edition. MGMIUA Home Video and Turner. ML104754. 3 laser discs and 1 compact disc of soundtrack (CD: MGM Records 305123). 4 sides in CAV; remixed from original multi-channel recording mas ters into stereo; 52 minutes of prerecordings on analog track; Includes The Making of an American Classic; NTSC. Released in 1994. CD also available separately on Rhino Movie Musicfl'urner Classic Movies R2 71958. Stereo. Released in 1995. Easter Parade: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71960. 1 compact disc. Released in 1995. That's Entertainment/ HI: Deluxe Collector's Edition. MGMIUA Home Video. ML103059. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
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120836bk BobHope 3/10/06 5:09 PM Page 2 1. Put It There Pal 2:23 6. My Favorite Brunette 3:06 12. Blind Date 3:12 16. Nobody 2:06 (Johnny Burke–Jimmy van Heusen) (Jay Livingston–Ray Evans) (Sid Robin) (Bert Williams–Alex Rogers From Road to Utopia From My Favorite Brunette With Margaret Whiting,The Starlighters & From The Seven Little Foys With Bing Crosby;Vic Schoen’s Orchestra With Dorothy Lamour; Billy May’s Orchestra With Veola Vonn; Orchestra conducted by Decca 40000, mx DLA 3686-A Paul Weston’s Orchestra Capitol 1042, mx 6018-1 Joe Lilley Recorded 8 December 1944, Los Angeles Capitol 381, mx 1691-3 Recorded 11 May 1950, Hollywood RCA Victor LPM 3275, mx F2PL 1443 2. Road to Morocco 2:33 Recorded 13 February 1947, Hollywood 13. Home Cookin’ 2:48 Recorded 1955, Hollywood (Johnny Burke–Jimmy van Heusen) 7. Sonny Boy 1:31 (Jay Livingston–Ray Evans) 17. I’m Tired 2:20 From Road to Morocco (Al Jolson–Buddy DeSylva–Lew Brown– From Fancy Pants (William Jerome–Jean Schwartz) With Bing Crosby;Vic Schoen’s Orchestra Ray Henderson) With Margaret Whiting,The Starlighters & From The Seven Little Foys Decca 40000, mx DLA 3687-A With The Andrews Sisters Billy May’s Orchestra Orchestra conducted by Joe Lilley Recorded 8 December 1944, Los Angeles From Radio’s Biggest Show broadcast, Capitol 1042, mx 6011-4 RCA Victor LPM 3275, mx F2PL 1443 3. The Big Broadcast of 1938: Radio 18 June 1946 Recorded 11 May 1950, Hollywood Recorded 1955, Hollywood Preview (Excerpts) introducing 8. -
North Castle History Volume 12
Armonk's Log Cabin gained greatest fame in Big Band Era. Vol 111 The North Castle Historical Society 1985 The Jazz World in Armonk North Castle's First Subdivision 1935 - 1942 North Castle's Early Transportation The xrth Castle Fstorical Society Bedford Road, Armonk, New York 10504 PRESIDENT'S MESSAGE Dear Members and Friends, The lifeblood of The North Castle Historical Society is the volunteer. Whatever success we have achieved in membership growth, fundmising, building restoration, educational programs, historical exhibitions, library services and a host of routine maintenance chores is primarily due to dedicated and available volunteers. The record of volunteer accomplishments is impressive and heartwarming. lmpressiue as the record is, thne are still uniimited horirons before us - horizons that can be yeached only with additional volunteer help. Whatever talents you have to offer, whatever time you want to contribute -somewhere in the Society's many endeavors and operations is a place where you can make a meaningful contribution. Come, join us! Make a commitment! If that is more than you are ready for now, how about a short-term trial? We would appreciate hearing from you. For more information, stop by the Tavern any Tuesday morning, or give me a call. Thank you. s7Y/9A Guy H. Papale THEJAZZ WORLD IN ARMONK - 1935-1942 By James D. Hopkins Photo: Collection of Sybil Hussar Big Band jazz flourished in the 19301s and early '40's all over the country. Jazz is of course the original contribution of America to the art of music. It was slow in coming, compounded as it was from the rhythm and blues of black sources, with additions of creole songs, Scotch-Irish folk ballads and country hoe-down. -
BENNY GOLSON NEA Jazz Master (1996)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th. -
17. Big Bands of the 19505
17. Big Bands of the 19505 he big bands were losing their great popularity in Anthony, meanwhile went into the Navy in 1942 for the early 1950s for many reasons, most of them four years. Teconomic. But there were a number ofbig bands After World War II, Anthony returned to Cleveland, still recording and some were still touring. Two of the formed another band, and signed a contract with Capitol most popular were from Greater Cleveland and one, Records. It was during this period, the late 1940s, that launched in 1952, performed not only for a high school there was a revival of Glenn Miller music. Anthony prom in Cleveland, but also with the Cleveland began playing many of the old Miller tunes, including Orchestra. his own arrangement of "Tuxedo Junction." His band was not playing much jazz, but it did swing at times and Ray Anthony became very popular, making dozens of records and Anthony was born playing countless college proms. For his recording Raymond Antonini in dates, Anthony frequently used top studio jazz Bentleyville, musicians including Conrad Gozzo, Georgie Auld, Pennsylvania January Skeets Herfurt, Mel Lewis and Plas Johnson, who later 20, 1922 and moved played Clevelander Henry Mancini's "Pink Panther to Cleveland with Theme" for the movie soundtrack. Anthony's most his parents and five popular record was the theme song of a popular radio brothers when he and television series Dragnet. was very young. His Leading a band through the 1950s, Anthony helped father, who led a extend the big band era. He eventually settled in band in Cleveland, California and in the 1980s was conducting a mail order gave him trumpet service for big band and jazz records.