DOCSLIB.ORG

LENA HORNE: the LADY and HER MUSIC Shed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LENA HORNE: the LADY and HER MUSIC Shed 'a BOSTON SYMPHONY ORCHESTRA SEll xZAWA0o BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Fourth - of-July Special Sunday, 4 July 1982 and Monday, 5 July 1982 2:00 Gates Open 2:00 SLAPHAPPY Comedy and juggling Continuous entertainment on the lawn 2:30-3:30 The WUZ Main House Porch (Chamber Music Hall in case of rain) 3:30-4:30 EMPIRE BRASS QUINTET Theatre - Concert Hall 4:30 - 5:30 BILL CROFUT with Carver Blanchard, guitar Bob Gordon, guitar Main House Porch (Chamber Music Hall in case of rain) 5:30 - 6:30 NEXUS Percussion Ensemble Theatre-Concert Hall 6:30-7:15 BERKSHIRE HIGHLANDERS Lawn 8:30 LENA HORNE: THE LADY AND HER MUSIC Shed Fireworks over the Stockbridge Bowl following the performance. The Boston Symphony Orchestra and James M. Nederlander Michael Frazier Fred Walker in Association with Sherman Sneed and Jack Lawrence present • LENA HORNE s The Lady and Her Music Concept by Lena Horne & Sherman Sneed Musical Conductor Linda Twine Musical Direction by Harold Wheeler Scenery Designed by Costumes Designed by Lighting Designed by David Gropman Stanley Simmons Thomas Skelton Miss Home's Wardrobe by Giorgio Sant'Angelo Production Stage Mangaer Press Representative Miss Horne's Hair Designed by Anne Sullivan Josh Ellis Phyllis Della Production Staged by Arthur Faria Piano by Baldwin Miss Home's appearance by arrangement with Sherman Sneed and Ralph Harris iner Ste LENA! Lena Home: The Lady and Her Music is ian t is the happy result of "the lady's" decision Chr to put off retirement for just a few more years. Two years ago Lena announced her intentions of cutting back on work com- mitments. Her way of saying good-bye to a full-time performance schedule was to do a series of benefit concerts for Delta Sigma Theta, a Black Women's service sorority of which she is an honorary but very active member. Still, while cutting back, Broadway was on her mind. Sherman Sneed, Lena's personal manager, came to New York in 1980 to meet with James M. Nederlander, the producer, theatre owner and impresario. Out of production meetings with Nederlander and his two co-producers, Michael Frazier and Fred Walker, Lena Home: The Lady and Her Music emerged. However, the road to Broadway took a full year of planning, writing, honing and rehearsing. Lena Home: The Lady and Her Music is the brainchild of Lena Home and Sherman Sneed, who created the evening as a musical drama that tells the story of a young Black girl from Brooklyn, New York whose show business career encom- passed the Cotton Club, the Big Band Era, the Hollywood movie years, the Broadway scene and the Sixties' protest era. The words you'll hear in Lena Home: The Lady and Her Music are the inimitable words of Lena herself. The music and lyrics are by some of the great composers and lyricists of the century. As the critics astutely pointed out, Lena Home: The Lady and Her Music is a unique blend of music and theatre. For distinguished contribution to this Broadway season, Lena Home: The Lady and Her Music was honored with a Special Tony Award, the Drama Desk Award, a Special New York Drama Critics' Circle Award (voted unanimously by all of New York's drama critics, a historic first), New York City's highest cultural award, the Handel Medallion, and two Grammy Awards: Best Female Pop Vocalist and Best Original Cast Album. MUSIC CREDITS (Musical numbers in alphabetical order. Program subject to change.) "A Lady Must Live" by Richard Rodgers and Lorenz Hart. Warner Bros. Music. All rights reserved. Used by permission. "As Long As I Live" by Ted Koehler and Harold Arlen. Arko Music Corp. All rights reserved. Used by permission. "But Not For Me" by Ira Gershwin and George Gershwin. Copyright 1930, Warner Bros. Music. (New World Music). All rights reserved. Used by permission. "Can't Help Loving Dat Man" by Oscar Hammerstein 2nd and Jerome Kern. T.B. Harms Music. All rights reserved. Used by permission. "Copper Colored Gal of Mine" by B. Davis and J. Fred Coots. Mills Music. All rights reserved. Used by permission. "Deed I Do" by W. Hirsch and Fred Rose. Copyright 1926, renewed 1954. Herald Square Music. All rights reserved. Used by permission. "Fly" by Martin Charnin. Edward H. Morris Co. All rights reserved. Used by permission. "From This Moment On" by Cole Porter. Copyright 1950. "I Got a Name" by Norman Gimbel and Charles Fox. Fox Fanfare. All rights reserved. Used by permission. "I Want to Be Happy" by Vincent Youmans and Irving Caesar. Warner Bros. Music. "If You Believe" by Charlie Smalls. Fox Fanfare. All rights reserved. Used by permission. "I'm Glad There is You" by Paul Madeira and Jimmy Dorsey. Morley Music Co. All rights reserved. Used by permission. "I'm Going to Sit Right Down and Write Myself a Letter" by Fred Ahlert and Joe Young. Fred Ahlert Music Corp. and Rytvock Corp. All rights reserved. Used by permission. "Just One of Those Things" by Cole Porter. Copyright 1935. Harms Music. All rights reserved. Used by permission of Robert H. Montgomery, Trustee. "Lady With a Fan" by Cab Calloway, Jeanne Burns, Al Blackman. American Academy of Music Inc. A Subsidiary of Belwin - Mills. All rights reserved. Used by permission. "Life Goes On" by Paul Williams and Craig Doerge. Copyright 1972. Almo Music Corp. and Fair Star Music, Inc. (ASCAP) All rights reserved. Used by permission. "Love" by Ralph Blane and Hugh Martin. Copyright © 1943, 1945. Renewed 1971, 1977. Leo Feist Inc. All rights reserved. Used by permission. "Push De Button" by E.Y. Harburg and Harold Arlen. Harwin Music. Co. All rights reserved. Used by permission. "Raisin' The Rent" by Ted Koehler and Harold Arlen. Mills Music. All rights reserved. Used by permission. "Stormy Weather" by Ted Koehler and Harold Arlen. Arko Music Corp. All rights reserved. Used by permission. "That's What Miracles Are All About" by Charles Smalls. Shambam Publishing Co. All rights reserved. Used by permission. "The Surrey With the Fringe on Top" by Richard Rodgers and Oscar Hammerstein 2nd. Williamson Music Inc. (Chappell Music Administration) All rights reserved. Used by permission. "Watch What Happens" by Norman Gimbel and Michele Legrande. Vogue Music Inc. All rights reserved. Used by permission. "Where or When," "The Lady Is a Tramp," "Bewitched, Bothered and Bewildered" by Richard Rodgers and Lorenz Hart. Chappel Co. Inc. All rights reserved. Used by permission. "Yesterday, When I Was Young" by Charles Aznavour and Herbert Kretzmer. Hampshire House Publ. Co. All rights reserved. Used by permission. THERE WILL BE ONE TWENTY-MINUTE INTERMISSION. MUSICIANS LENA'S TRIO Grady Tate—Drums Steve Bargonetti—Guitar Benjamin Franklin Brown—Bass and Kenyatte Abdur-Rahman Cecil Bridgewater Glenn Drewes Fred Griffen Dick Griffin Jack Jeffers Larry Nash Jimmy Owens John D. Parran Roger Rosenberg Mort Silver Harold Vick THE COMPANY Clare Bathe Marva Hicks L. Edmond Wesley Lance K. Hardy—Alternate Janet Powell—Alternate LENA HORNE has dazzled audiences in the country. From there it was only a matter throughout the world with her charm, taste, of time before she would become a ranking intelligence and her formidable talent. Her ca- international star playing to SRO audiences in reer began modestly enough at the age of six- world capitals, sharing theatre and nightclub teen as a dancer in the chorus line of Harlem's stages with such artists as Alan King, Count famous Cotton Club, where she was chap- Basie, Billy Eckstein, Danny Thomas, Harry eroned by her mother, a former actress with the Belafonte, Tony Bennett, Vic Damone and Lafayette Players, a black theatrical company. It Willie Tyler and Lester, among many others, was there she first met and worked with such and performing as a guest star on television renowned artists as Duke Ellington, Cab Callo- with Perry Como, Flip Wilson, Judy Garland, way, Count Basie, Ethel Waters and Ivy Ander- Frank Sinatra and The Muppets. No stranger to son. This was a very heady atmosphere for the the Broadway musical stage, Miss Home first young Lena. She later danced with the Noble appeared there in Blackbirds of 1939, scored a Sissle Band. It was Sissle who trained her to be major triumph in Harold Arlen's Jamaica, and a singer. She next sang with Charlie Barnett her dual concert with Tony Bennett was the and then at New York's Cafe Society Down- highlight of the 1974 - 75 season. In 1978, she town where she worked with Teddy Wilson, returned to films in The Wiz as the good witch J.C. Heard and Sid Catlett. The Hollywood "Glinda." Her impressive career as a performer years began with an engagement at The Little aside, Miss Horne is a devout activist for the Troc where an MGM talent scout caught her causes she truly believes in whether it be civil act and arranged a screen test for her, and she rights (she is a lifetime member of the NAACP), found herself under contract to the studio—not Martin Luther King, Jr., voter registration in the an entirely gratifying experience since they south or the Hadassah. She has toured the didn't know what to do with her (up to that time south as a speaker to try to right civil wrongs black film actresses were only cast in 'ervice" and in 1952 gave a series of 30 charity concerts roles). She finally made two fine black musicals in Israel to celebrate the fourth anniversary of Cabin in the Sky and Stormy Weather.
Load more

Recommended publications
  • FY14 Tappin' Study Guide
    Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is .
    [Show full text]
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • Here Are a Number of Recognizable Singers Who Are Noted As Prominent Contributors to the Songbook Genre
    Music Take- Home Packet Inside About the Songbook Song Facts & Lyrics Music & Movement Additional Viewing YouTube playlist https://bit.ly/AllegraSongbookSongs This packet was created by Board-Certified Music Therapist, Allegra Hein (MT-BC) who consults with the Perfect Harmony program. About the Songbook The “Great American Songbook” is the canon of the most important and influential American popular songs and jazz standards from the early 20th century that have stood the test of time in their life and legacy. Often referred to as "American Standards", the songs published during the Golden Age of this genre include those popular and enduring tunes from the 1920s to the 1950s that were created for Broadway theatre, musical theatre, and Hollywood musical film. The times in which much of this music was written were tumultuous ones for a rapidly growing and changing America. The music of the Great American Songbook offered hope of better days during the Great Depression, built morale during two world wars, helped build social bridges within our culture, and whistled beside us during unprecedented economic growth. About the Songbook We defended our country, raised families, and built a nation while singing these songs. There are a number of recognizable singers who are noted as prominent contributors to the Songbook genre. Ella Fitzgerald, Fred Astaire, Rosemary Clooney, Nat King Cole, Sammy Davis Jr., Judy Garland, Billie Holiday, Lena Horne, Al Jolson, Dean Martin, Frank Sinatra, Mel Tormé, Margaret Whiting, and Andy Williams are widely recognized for their performances and recordings which defined the genre. This is by no means an exhaustive list; there are countless others who are widely recognized for their performances of music from the Great American Songbook.
    [Show full text]
  • Linda Twine, a Native of Muskogee, OK, Graduated from Oklahoma City University in 1966, with a Bachelor of Arts Degree in Music
    Linda Twine, a native of Muskogee, OK, graduated from Oklahoma City University in 1966, with a bachelor of arts degree in music. There, she studied piano with the esteemed Dr. Clarence Burg and Professor Nancy Apgar. After graduating from OCU, Twine studied at the Manhattan School of Music in New York, where she earned a master’s degree, and made New York her home. She began her musical career in New York, teaching music in public school by day and accompanying classical and jazz artists at night. At one of these engagements, she was asked if she would like to substitute for the keyboardist of the Tony Award winning Broadway hit, “The Wiz.” Her positive response began a long career in Broadway musicals from keyboard substitute to assistant conductor of Broadway orchestras. In 1981, Twine transitioned to conductor when Lena Horne asked her to conduct her one-woman hit, “Lena Horne: The Lady and Her Music.” This garnered Twine the respect of her peers and as a much sought-after Broadway musical conductor. In addition to “The Wiz” and “Lena Horne,” Twine’s Broadway credits include, “Ain’t Misbehavin’,” “Big River” (the score composed by Oklahoman Roger Miller), “Jelly’s Last Jam,” “Frog and Toad,” “Caroline or Change,” “Purlie,” and the current “The Color Purple,” starring Fantasia. Not only a distinguished conductor, Twine is also a composer and arranger. She composed “Changed My Name,” a cantata inspired by slave women Sojourner Truth and Harriet Tubman, and written for two actresses, four soloists, and a chorus. Her popular spiritual arrangements are published by Hinshaw.
    [Show full text]
  • Ny Society Bettepdf
    ISSUE06-DOCUMENT02 3/8/70 17:35 Page 10 by Edward Callaghan & John Wegorzewski The Divine Miss M, Bette Midler proved once again she can wow a ro o m whether at the Continental Baths or Philharmonic Hall. In the suitably rose – bedecked b a l l room of the Waldorf A s t o r i a , Midler displayed her characteristic deadpan humor calling herself “The Queen of Compost” and “the lady who took the trash off the streets and put it on the stage where it belongs”. The occasion was the Lenox Hill Hospital Autumn Gala , “Bravo”. John McEnroe, Katherine T. McEnroe, Bette Midler, John McEnroe and Patty Smyth McEnroe For over a century, the gala has long been regarded as one of the season’s most glamorous events, and this year was no exception. With the help of a dynamic committee chaired by: Ellen and, James S Marcus, Erika and Peter Aron, Gladys and Stuart Orsher, MD, Dianne and Paul Guenther, Marlene Hess and James D. Zirin, the glitter- ing affair drew the largest crowd in the events history. In recognition of her work for Adopt a Highway and the New York Restoration Project, the Lenox Hill Hospital Board of Trustees awarded Bette the hospital’s presti- gious “Medal of Distinction” for her tireless work in clean- ing up New York’s highways and restoring thousands of acres of parkland, Matt Lauer – attending with wife Annnette Roque - presented the specially designed Matt & Annette Lauer James Marcus, Bette Midler and Gladys George Tiffany medallion to Bette in front of an enthusiastic audience of over 1,400.
    [Show full text]
  • Natalie Douglas Is a Nightlife, Two-Time Backstage Bistro & Ten-Time MAC (Manhattan Association of Cabarets and Clubs) Award Winner and Recipient of the Donald F
    Called, “a true force of nature,” and "in a league of her own," by Clive Davis of The Times (UK) in his TWO five-star reviews, Natalie Douglas is a Nightlife, two-time Backstage Bistro & ten-time MAC (Manhattan Association of Cabarets and Clubs) Award Winner and recipient of the Donald F. Smith & Margaret Whiting Awards from the Mabel Mercer Foundation. Natalie’s portrait also hangs on the legendary Birdland Jazz Club Wall of Fame. Her performances have brought crowds to their feet across the U.S. (Carnegie Hall, Birdland, Café Carlyle, Herbst Theatre, Thalian Hall and Jazz at Lincoln Center’s Appel Room) and the world (The UK, Germany, Italy, Montenegro, Greece, Corsica, Turkey, Monaco, Argentina and Mexico) with many different concerts featuring tributes to Nina Simone, Lena Horne, Nat King Cole, Sammy Davis, Jr., Stevie Nicks & Stevie Wonder, Dame Shirley Bassey, Barbra Streisand and Dolly Parton as well as shows about Cafe Society, the music of the 70’s and 80’s, songs of various civil rights movements and gospel influenced jazz and blues. Natalie's much anticipated third album, "Human Heart," released at Birdland in March 2016 and her first two CDs, "To Nina...Live At Birdland" and "Not That Different," are available on iTunes, Amazon.com, Spotify, GooglePlay and on this site via PayPal. She also appears on Fine and Dandy for PS Classics and Broadway By The Year: 1940 on Bayview Records. She is a great favorite of broadcasters and her music is often featured on NPR and Sirius XM Radio & BBCLondon Radio. As an actor, she has appeared in 18 editions of "The Atrainplays," (a 24-hour birth to performance event) at the Neighborhood Playhouse, The Peter Sharp Theatre and New World Stages and off-Broadway in "The People vs.
    [Show full text]
  • Inventory of American Sheet Music (1844-1949)
    University of Dubuque / Charles C. Myers Library INVENTORY OF AMERICAN SHEET MUSIC (1844 – 1949) May 17, 2004 Introduction The Charles C. Myers Library at the University of Dubuque has a collection of 573 pieces of American sheet music (of which 17 are incomplete) housed in Special Collections and stored in acid free folders and boxes. The collection is organized in three categories: African American Music, Military Songs, and Popular Songs. There is also a bound volume of sheet music and a set of The Etude Music Magazine (32 items from 1932-1945). The African American music, consisting of 28 pieces, includes a number of selections from black minstrel shows such as “Richards and Pringle’s Famous Georgia Minstrels Songster and Musical Album” and “Lovin’ Sam (The Sheik of Alabami)”. There are also pieces of Dixieland and plantation music including “The Cotton Field Dance” and “Massa’s in the Cold Ground”. There are a few pieces of Jazz music and one Negro lullaby. The group of Military Songs contains 148 pieces of music, particularly songs from World War I and World War II. Different branches of the military are represented with such pieces as “The Army Air Corps”, “Bell Bottom Trousers”, and “G. I. Jive”. A few of the delightful titles in the Military Songs group include, “Belgium Dry Your Tears”, “Don’t Forget the Salvation Army (My Doughnut Girl)”, “General Pershing Will Cross the Rhine (Just Like Washington Crossed the Delaware)”, and “Hello Central! Give Me No Man’s Land”. There are also well known titles including “I’ll Be Home For Christmas (If Only In my Dreams)”.
    [Show full text]
  • Give Me the Banjo: Lesson Plan
    Give Me the Banjo: Lesson Plan Created by: Dan McDowell, Educational Consultant Shaun Clarke, Project Manager Marc Fields, Producer/Director VIII. Pete Seeger & The Weavers / Blacklisting “Give Me the Banjo” - broadcast clip: 1:46:21 - 1:49:03 Between 1950 and 1952, Pete Seeger and his bandmates in The Weavers sold over four million records with their interpretations of folk songs like “Goodnight Irene,” “Tzena, Tzena” and “Kisses Sweeter than Wine.” It should have been a triumphant time for them. While The Weavers’ commercial success sparked mainstream interest in folk music, their political causes and past associations drew the attention of the House Un-American Activities Committee. The FBI’s campaign to blacklist The Weavers caused their tours and recording deals to be cancelled. Charges of sedition and contempt of Congress dogged Seeger for the rest of the decade. Nevertheless, he found new audiences in schools, camps and colleges. For years after the blacklist, the networks banned him from television, including some of the same shows that his music had inspired. But he managed to get his own public access show, and with his tireless appearances at folk festivals, civil rights demonstrations and in print, Seeger passed along his passion for rural folk music from all over the world to a new generation of musicians and fans. Discussion Questions 1. What was going on in the United State in the 1950’s during the time that Seeger and the Weavers were identified as communists? 2. How did Seeger react to the blacklisting attempts by the FBI? 3. Compare the words on Woody Guthrie’s Guitar, “This machine kills fascists” with the words on Seeger’s Banjo, “This machine surrounds hate and forces it to surrender.” What do these statements say about the two folk artists? Lesson Overview: During the late 1940’s and early 1950’s, Joseph McCarthy led a series of investigations that targeted Hollywood actors and directors.
    [Show full text]
  • Stormy Weather: Lena Horne, Dorothy Dandridge and the Cultural Politics of Stardom
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1999 Stormy Weather: Lena Horne, Dorothy Dandridge and the Cultural Politics of Stardom Amy L. Howard College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, Film and Media Studies Commons, History Commons, Music Commons, and the Women's Studies Commons Recommended Citation Howard, Amy L., "Stormy Weather: Lena Horne, Dorothy Dandridge and the Cultural Politics of Stardom" (1999). Dissertations, Theses, and Masters Projects. Paper 1539626198. https://dx.doi.org/doi:10.21220/s2-04ve-6q26 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. STORMY WEATHER: LENA HORNE, DOROTHY DANDRIDGE AND THE CULTURAL POLITICS OF STARDOM A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master o f Arts by Amanda L. Howard 1999 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Amanda L. Howard Approved, April 1999 History ----- Kimberly L. Phillips History TABLE OF CONTENTS Page ACKNOWLEDGMENTS iv ABSTRACT v ILLUSTRATIONS 45 WORKS CONSULTED 49 iii ACKNOWLEDGMENTS I would like to thank Professor Arthur Knight for his guidance, patience, and careful criticism.
    [Show full text]
  • Lena Horne Live Welcome to a Deep Dive I'm Reggie. in This Episode, We
    Lena Horne Live Welcome to a deep dive I'm Reggie. In this episode, we're going to take a deep dive into two live recordings by Lena Horne one recorded at the Sands Hotel in Las Vegas, the other at the Waldorf Astoria in New York. Two live recordings by one of the greatest live performers of her generation. I think you’ll wanna add these to your collection. Be sure to stick around for the end of the episode because there might even be a giveaway. Thanks for joining me for Lena Horne Live. When I was younger I had this dopey idea that the female jazz vocalist world was neatly divided into two camps, either you loved Sarah Vaughan or Ella Fitzgerald, you couldn’t love both. This didn’t exist for male vocalists because for me there was only one and that is Johnny Hartman. A dopey idea I know. Over the years my appreciation for Vaughan and Fitzgerald has grown but if I were faced with one of those desert-island disk situations I would choose recordings by Sarah Vaughan hands down. A part of my devotion to Vaughan can be contributed to the fact that I got to see Sarah Vaughan work live many times and those performances linger and heighten my listening pleasure right until today. Is that true for you as well? Has the experience of hearing or seeing musicians or music live enhanced your listening pleasure afterward? One of the things Lena Horne’s contemporaries would say is her recorded work is great but you’ve got to see her in person.
    [Show full text]
  • Tommy Dorsey 1 9
    Glenn Miller Archives TOMMY DORSEY 1 9 3 5 Prepared by: DENNIS M. SPRAGG Chronology Part 1 - Chapter 1 Updated February 5, 2021 “I’ll Never Say Never Again” “The Brothers” Jimmy and Tommy Dorsey The Dorsey Brothers’ Orchestra opened at the Glen Island Casino, New Rochelle, New York on May 15, 1935. Many celebrities attended the successful opening night and the band was in top form. All signs pointed to a successful summer season and further sales of more records. In addition, the Glen Island Casino was wired for numerous nationwide radio broadcasts. However, an undercurrent of tension existed between the brothers. May 30, 1935, during the Decoration Day holiday weekend (now known as Memorial Day), the situation came to a head. As Tommy led the band into the tune “I’ll Never Say “Never Again” Again”, the vocal trio of Roc Hillman, Skeets Herfurt and Don Matteson were approaching the microphone. They remembered hearing Jimmy say something like “Hey, Mac, that’s a little fast, isn’t it?” Tommy reportedly replied, “You want to take over? It’s all yours” and he walked off the bandstand before the audience at the Glen Island Casino. By late July Tommy reluctantly returned to finish the engagement with Jimmy and the band at the urging of Tommy Rockwell and a threat by Michael DeZutter, owner of the Glen Island Casino, to nullify the Dorsey Brothers’ Orchestra contract for the remainder of the engagement. Cork O’Keefe unsuccessfully tried to reconcile the brothers. Tommy refused to work with his brother and the Dorsey Brothers’ Orchestra became Jimmy Dorsey and his Orchestra.
    [Show full text]