Colin Larkin (writer)
Colin Larkin is a British writer and entrepreneur. He founded, was the editor in chief of, the Encyclopedia of Popular Music, described by The Times as "the standard against which all others must be judged". Along with the ten-volume encyclopedia, Larkin wrote the book All Time Top 1000 Albums, edited the Guinness Who's Who Of Jazz, the Guinness Who's Who Of Blues, the Virgin Encyclopedia Of Heavy Rock The compiler of the most extensive database of popular music in Europe and the US, a writer and book designer by trade, Larkin has over 650,000 copies in print to date; as an authority on popular music, Larkin has been interviewed on radio, had a regular slot on BBC GLR for two years in the 1990s. Colin Larkin was born in Dagenham in 1949 in an area of Essex, populated by workers in the car industry. Although the post-war years proved lucrative for the Ford motor company, Larkin was raised in relative poverty in the largest area of council housing in the United Kingdom, in the suburbs that surrounded the Ford plant.
The Becontree estate in Dagenham began as a conglomeration of 27,000 "homes for heroes", had no recognisable town centre. Larkin spent much of his early childhood attending the travelling fair where his father, who worked by day as a plumber for the council, moonlighted on the waltzers to make ends meet, it was in the fairground, against a background of Little Richard on the wind-up 78 rpm turntables, that Larkin acquired his passion for the world of popular music, a taste for exotic pattern and vivid colour, which would re-surface in years in books on Islamic art and architecture, oriental rugs. In the 1960s Larkin attended the South East Essex County Technical High School following which, under his own initiative he obtained an apprenticeship as a commercial artist, enabling him to take a sandwich course at the London College of Printing. There he studied book design, and was influenced by the typeface designer Eric Gill, associated with the arts and crafts movement. Larkin began his working life in commercial art, advertising studios and design groups and for the book publisher Pearson Longmans.
In 1967 he began writing for music magazines. At Longmans he became senior book designer, but he soon tired of working for the publishing house and by 1976 had co-founded his own book publishing company, Scorpion Publishing. From the outset Larkin was intent upon reaching areas of the book reading public that other publishers felt it unnecessary or unprofitable to reach. Scorpion Publishing published art books on Islamic Art, they designed and published John Gorman's trilogy of Labour history, Banner Bright, To Build Jerusalem and Images of Labour. Notable music books at this time included Timeless Flight: The Definitive Story of The Byrds and Bob Dylan's Unreleased Recordings. In the 1980s Larkin, who read music magazines avidly and was acquiring a considerable personal library of singles and albums, began to consider the idea of "an encyclopedia of popular music", his passion for an encyclopedia that would do for Bob Dylan and the Beatles what the Grove Dictionary of Music and Musicians had done for more classical subjects, moreover do it better took over when in 1989 he sold his half of Scorpion Books to fund the project and founded Square One Books.
In 1989 Larkin formed Square One Books to create a multi-volume Encyclopedia of Popular Music, to publish music related books. He published additional music biographies including those on Graham Bond, R. E. M. Eric Clapton, The Byrds and Frank Zappa, a further book on Bob Dylan, Oh No, Not Another Bob Dylan Book. In a pre-internet age, the work required to create an encyclopedia of popular music was considerable. Aided by a team of contributors, a fast-growing library of music magazines and the music itself, an eventual 3000 vinyl singles, 3500 vinyl albums, 4500 music biographies and 38,000 CDs, Larkin began compiling the Encyclopedia. In 1992 the first edition of the Encyclopedia of Popular Music went into print, it was recognised as monumental: Rolling Stone described the work as "musical history in the making", in The Times they called it "a work of frightening completeness". Musician Jools Holland called it "without question the most useful reference work on popular music". In May 2011 Omnibus Press released the Amazon Kindle edition of the Encyclopedia of Popular Music, using the text of the 2007 edition.
Square One developed their own in-house software using 4th Dimension. Over 50 separate titles followed the creation of the Encyclopedia's database, in 1997 Larkin sold Square One Books to American data company Muze. Larkin became full-time editor-in-chief and ran the encyclopedia as a cottage industry, with a team of fewer than ten contributors, who in terms of wordcount were "producing an Agatha Christie novel a month". From September 2008 Larkin ceased all involvement with Muze Inc. or any of its related companies following the closure of the Encyclopedia of Popular Music as a stand-alone product and his subsequent redundancy. On 15 April 2009, it was announced that most of the assets of Muze Inc. were purchased by Macrovision. In 2008, Larkin launched a new website whose original inspiration had come from the All Time Top 1000 Albums called 1000Greatest.com. This would change its name to become the multi-media rating site and iPhone app, btoe.com.. Larkin re-directed the content to Musopedia.com.
He is editor-in-chief of Musopedia Ltd.. From 2013 to 2017 he was the main contributor of music biographies and album reviews for Quantone Music, an in depth music data company. In 2018 he was commissioned by BMG
A ballroom or ballhall is a large room inside a building, the primary purpose of, holding large formal parties called balls. Traditionally, most balls were held in private residences. In other large houses, a large room such as the main drawing room, long gallery, or hall may double as a ballroom, but a good ballroom should have the right type of flooring, such as hardwood flooring or stone flooring. In times the term ballroom has been used to describe nightclubs where punters dance, the Top Rank Suites in the United Kingdom for example were often referred to as ballrooms; the phrase "having a ball" has grown to encompass many events where person are having fun, not just dancing. Ballrooms are quite large, may have ceilings higher than other rooms in the same building; the large amount of space for dancing, as well as the formal tone of events have given rise to ballroom dancing. The largest balls are now nearly always held in public buildings, many hotels have a ballroom, they are designed large to help the sound of orchestras carry well throughout the whole room.
A special case is the annual Vienna Opera Ball, just for one night, the auditorium of the Vienna State Opera is turned into a large ballroom. On the eve of the event, the rows of seats are removed from the stalls, a new floor, level with the stage, is built. Sometimes ballrooms have stages in the front of the room where the host or a special guest can speak; that stage can be used for instrumentalists and musical performers. These lists should only include ballrooms with permanent wood floors; the size of the floor should only include the largest contiguous area without obstructions. The web sites and materials about some places add up multiple spaces and balconies, floors. However, this list ranks ballrooms based on the size of one single open space with a hardwood floor. Aragon Ballroom Ballroom an album of Irish music by De Dannan Robert Meyer,"Millennium Maple - Glorious, Legendary, Treasured Ballroom Dance Floors", Amateur Dancers, Jan/Feb 2000, Issue#123. Geronimo Trevino. Dance Halls and Last Calls: A History of Texas Country Music.
Lanham, MD: Republic of Texas Press 2002. ISBN 1-55622-927-5. Copyright Texas Dance Hall Preservation Inc. List of ballrooms at the National Ballroom & Entertainment Association
Macmillan Publishers Ltd is an international publishing company owned by Holtzbrinck Publishing Group. It operates in more than thirty others. Macmillan was founded in 1843 by Daniel and Alexander Macmillan, two brothers from the Isle of Arran, Scotland. Daniel was the business brain, while Alexander laid the literary foundations, publishing such notable authors as Charles Kingsley, Thomas Hughes, Francis Turner Palgrave, Christina Rossetti, Matthew Arnold and Lewis Carroll. Alfred Tennyson joined the list in 1884, Thomas Hardy in 1886 and Rudyard Kipling in 1890. Other major writers published by Macmillan included W. B. Yeats, Rabindranath Tagore, Nirad C. Chaudhuri, Seán O'Casey, John Maynard Keynes, Charles Morgan, Hugh Walpole, Margaret Mitchell, C. P. Snow, Rumer Godden and Ram Sharan Sharma. Beyond literature, the company created such enduring titles as Nature, the Grove Dictionary of Music and Musicians and Sir Robert Harry Inglis Palgrave's Dictionary of Political Economy. George Edward Brett opened the first Macmillan office in the United States in 1869 and Macmillan sold its U.
S. operations to the Brett family, George Platt Brett, Sr. and George Platt Brett, Jr. in 1896, resulting in the creation of an American company, Macmillan Publishing called the Macmillan Company. With the split of the American company from its parent company in England, George Brett, Jr. and Harold Macmillan remained close personal friends. Macmillan Publishers re-entered the American market in 1954 under the name St. Martin's Press. Macmillan of Canada was founded in 1905. After retiring from politics in 1964, former Prime Minister of the United Kingdom Harold Macmillan became chairman of the company, serving until his death in December 1986, he had been with the family firm as a junior partner from 1920 to 1940, from 1945 to 1951 while he was in the opposition in Parliament. Holtzbrinck Publishing Group purchased the company in 1999. Pearson acquired the Macmillan name in America in 1998, following its purchase of the Simon & Schuster educational and professional group. Holtzbrinck purchased it from them in 2001.
McGraw-Hill continues to market its pre-kindergarten through elementary school titles under its Macmillan/McGraw-Hill brand. The US operations of Holtzbrinck Publishing changed its name to Macmillan in October 2017, its audio publishing imprint changed its name from Audio Renaissance to Macmillan Audio, while its distribution arm was renamed from Von Holtzbrinck Publishers Services to Macmillan Publishers Services. With Pan Macmillan's purchase of Kingfisher, a British children's publisher, Roaring Brook Press publisher Simon Boughton would take oversee Kingfisher's US business in October 2007. By some estimates, as of 2009 e-books account for three to five per cent of total book sales, are the fastest growing segment of the market. According to The New York Times and other major publishers "fear that massive discounting by retailers including Amazon, Barnes & Noble and Sony could devalue what consumers are willing to pay for books." In response, the publisher introduced a new boilerplate contract for its authors that established a royalty of 20 per cent of net proceeds on e-book sales, a rate five per cent lower than most other major publishers.
Following the announcement of the Apple iPad on 27 January 2010—a product that comes with access to the iBookstore—Macmillan gave Amazon.com two options: continue to sell e-books based on a price of the retailer's choice, with the e-book edition released several months after the hardcover edition is released, or switch to the agency model introduced to the industry by Apple, in which both are released and the price is set by the publisher. In the latter case, Amazon.com would receive a 30 per cent commission. Amazon responded by pulling all Macmillan books, both physical, from their website. On 31 January 2010, Amazon chose the agency model preferred by Macmillan. In April 2012, the United States Department of Justice filed United States v. Apple Inc. naming Apple and four other major publishers as defendants. The suit alleged that they conspired to fix prices for e-books, weaken Amazon.com's position in the market, in violation of antitrust law. In December 2013, a federal judge approved a settlement of the antitrust claims, in which Macmillan and the other publishers paid into a fund that provided credits to customers who had overpaid for books due to the price-fixing.
In 2010, Macmillan Education submitted to an investigation on grounds of fraudulent practices. The Macmillan division admitted to bribery in an attempt to secure a contract for an education project in southern Sudan; as a direct result of the investigation, sanctions were applied by the World Bank Group, namely a 6-year debarment declaring the company ineligible to be awarded Bank-financed contracts. In December 2011, Bedford and Worth Publishing Group, Macmillan's higher education group, changed its name to Macmillan Higher Education while retaining the Bedford and Worth name for its k–12 educational unit; that month, Brian Napack resigned as Macmillan president while staying on for transitional purposes. In May 2015, London-based Macmillan Science and Education merged with Berlin-based Springer Science+Business Media to form Springer Nature, jointly controlled by Holtzbrinck Publishing Group and BC Partners. US publishing divis
Edward Safranski was an American jazz double bassist who worked with Stan Kenton. He worked with Charlie Barnet and Benny Goodman. From 1946 to 1953 he won the Down Beat Readers' Poll for bassist. A native of Pittsburgh, Safranski took violin lessons as a child. In high school he began playing double bass, his career began in 1941 with Hal McIntyre. Safranki played bass and wrote arrangements for McIntryre until 1945, he worked with Miff Mole, Stan Kenton, Charlie Barnet. After moving to New York City, he was hired by NBC. During the 1950s he played with Marian McPartland. In the 1960s he taught workshops as the representative of a bass company. At the end of his career he played in bands there. With Tony Bennett The Beat of My Heart With Joe Bushkin After Hours with Joe Bushkin With Don Elliott and Rusty Dedrick Counterpoint for Six Valves With Stan Getz The Complete Roost Recordings With Dizzy Gillespie The Complete RCA Victor Recordings With Stan Kenton Stan Kenton's Milestones Stan Kenton Classics Artistry in Rhythm Encores A Presentation of Progressive Jazz City of Glass The Kenton Era With Johnnie Ray Johnnie Ray With Johnny Smith Moonlight in Vermont Johnny Smith Quintet Featuring Stan Getz With Cootie Williams Cootie Williams in Hi-Fi With Sarah Vaughan Sarah Vaughan in Hi-Fi Eddie Safranski -Pittsburgh Music History
Alton Glenn Miller was an American big-band trombonist, arranger and bandleader in the swing era. He was the best-selling recording artist from leading one of the best-known big bands. Miller's recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", " Kalamazoo", "American Patrol", "Tuxedo Junction", "Elmer's Tune", "Little Brown Jug". In just four years Glenn Miller scored 16 number-one records and 69 top ten hits—more than Elvis Presley and the Beatles did in their careers. While he was traveling to entertain U. S. troops in France during World War II, Miller's aircraft disappeared in bad weather over the English Channel. The son of Mattie Lou and Lewis Elmer Miller, Glenn Miller was born in Iowa, he attended grade school in North Platte in western Nebraska. In 1915, his family moved to Missouri. Around this time, he had made enough money from milking cows to buy his first trombone and played in the town orchestra.
He played cornet and mandolin, but he switched to trombone by 1916. In 1918 the Miller family moved again, this time to Fort Morgan, where he went to high school. In the fall of 1919 he joined the high-school football team, which won the Northern Colorado American Football Conference in 1920, he was named Best Left End in Colorado. During his senior year he became interested in "dance band music", he was so taken. By the time he graduated from high school in 1921 he had decided to become a professional musician. In 1923 Miller entered the University of Colorado in Boulder, he spent most of his time away from school, attending auditions and playing any gigs he could get, including with Boyd Senter's band in Denver. After failing three out of five classes, he dropped out of school to pursue a career in music, he studied the Schillinger System with Joseph Schillinger, under whose tutelage he composed what became his signature theme, "Moonlight Serenade". In 1926 Miller toured with several groups, landing a good spot in Ben Pollack's group in Los Angeles.
He played for Victor Young, which allowed him to be mentored by other professional musicians. In the beginning he was the main trombone soloist of the band, but when Jack Teagarden joined Pollack's band in 1928, Miller found that his solos were cut drastically. He realized that his future was in composing, he had a songbook published in Chicago in 1928 entitled Glenn Miller's 125 Jazz Breaks for Trombone by the Melrose Brothers. During his time with Pollack, he wrote several arrangements, he wrote his first composition, "Room 1411", with Benny Goodman, Brunswick Records released it as a 78 under the name "Benny Goodman's Boys". In 1928, when the band arrived in New York City, he sent for and married his college sweetheart, Helen Burger, he was a member of Red Nichols's orchestra in 1930, because of Nichols, he played in the pit bands of two Broadway shows, Strike Up the Band and Girl Crazy. The band included Gene Krupa. During the late 1920s and early 1930s Miller worked as a freelance trombonist in several bands.
On a March 21, 1928 Victor Records session he played alongside Tommy Dorsey, Benny Goodman, Joe Venuti in the All-Star Orchestra directed by Nat Shilkret. He arranged and played trombone on several significant Dorsey Brothers sessions for OKeh Records, including "The Spell of the Blues", "Let's Do It", "My Kinda Love", all with Bing Crosby on vocals. On November 14, 1929, vocalist Red McKenzie hired Miller to play on two records: "Hello, Lola" and "If I Could Be With You One Hour Tonight". Beside Miller were saxophonist Coleman Hawkins, clarinetist Pee Wee Russell, guitarist Eddie Condon, drummer Gene Krupa. In the early-to-mid-1930s, Miller worked as a trombonist and composer for The Dorsey Brothers, first when they were a Brunswick studio group and when they formed an ill-fated orchestra. Miller composed the songs "Annie's Cousin Fanny", "Dese Dem Dose", "Harlem Chapel Chimes", "Tomorrow's Another Day" for the Dorsey Brothers Band in 1934 and 1935. In 1935, he assembled an American orchestra for British bandleader Ray Noble, developing the arrangement of lead clarinet over four saxophones that became a characteristic of his big band.
Members of the Noble band included Claude Thornhill, Bud Freeman, Charlie Spivak. Miller made his first movie appearance in The Big Broadcast of 1936 as a member of the Ray Noble Orchestra performing "Why Stars Come Out at Night"; the film included performances by Dorothy Dandridge and the Nicholas Brothers, who would appear with Miller again in two movies for Twentieth Century Fox in 1941 and 1942. In 1937, Miller formed his first band. After failing to distinguish itself from the many bands of the time, it broke up after its last show at the Ritz Ballroom in Bridgeport, Connecticut on January 2, 1938. Benny Goodman said in 1976: In late 1937, before his band became popular, we were both playing in Dallas. Glenn came to see me, he asked, "What do you do? How do you make it?" I said, "Glenn. You just stay with it." Discouraged, Miller returned to New York. He realized that he needed to develop a unique sound, decided to make the clarinet play a melodic line with a tenor saxophone holding the same note, while three other saxophones harmonized within a single octave.
George T. Simon discovered. Miller hired Schwartz, but instead had him play lead clarinet. According to Simon, "Willie's tone and way of playing provided a fullness and richness so distinctive that none of the
The Blue Network was the on-air name of the now defunct American radio network, which ran from 1927 to 1945. Beginning as one of the two radio networks owned by the National Broadcasting Company, the independent Blue Network was born of a divestiture in 1942, arising from anti-trust litigation, is the direct predecessor of the American Broadcasting Company —organized 1943–1945 as a separate independent radio network and TV broadcaster; the Blue Network dates to 1923, when the Radio Corporation of America acquired WJZ Newark from Westinghouse and moved it to New York City in May of that year. When RCA commenced operations of WRC, Washington on August 1, 1923, the root of a network was born, though it did not operate under the name by which it would become known. Radio historian Elizabeth McLeod states that it would not be until 1924 that the "Radio Group" formally began network operations; the core stations of the "Radio Group" were RCA's stations WJZ and WRC. RCA's principal rival prior to 1926 was the radio broadcasting department of the American Telephone & Telegraph Company.
AT&T, starting in 1921, had been using this department as a test-bed for equipment being designed and manufactured by its Western Electric subsidiary. The RCA stations operated at a significant disadvantage to their rival chain; the WJZ network sought to compete toe-to-toe with the AT&T network, built around WEAF. For example, both stations sent announcer teams to cover the 1924 Democratic National Convention, held in Madison Square Garden in New York City. Promotional material produced in 1943 claimed certain "firsts" in broadcasting by WJZ, such as the first educational music program in April 1922, the first World Series broadcasts in 1922, the first complete opera broadcast, The Flying Dutchman, from the Manhattan Opera House. RCA were to receive a break in 1926, when AT&T made a corporate decision to exit the broadcasting business and focus on its telecommunications business; the first step by AT&T was to create the Broadcasting Company of America on May 15, 1926, to hold its broadcasting assets, which included WEAF and WCAP in Washington.
As reported in the press, this move was due to the growth in the radio broadcasting activities of AT&T and the special issues related thereto, though it would appear that subsequent activities in disposing of the assets of BCA may have played a role in the decision. AT&T did in fact subsequently sell WEAF to RCA for $1 million in July 1926, a price that newspaper reports indicated was a substantial premium over what other stations were commanding in the marketplace, represented a recognition of the status of WEAF in broadcasting, as well as its access to AT&T's lines. Indeed, the negotiations for the sale may have taken place shortly after the creation of BCA, as Folder 129 in the NBC History Files at the Library of Congress contains a contract of sale for WEAF dated July 1, 1926; the Oakland Tribune stated that 4/5ths of the purchase price of WEAF could be attributed to good-will and the line access. On July 28, 1926, the Washington Post reported in a front-page story that RCA had acquired WCAP.
The Oakland Tribune reported the same day that WCAP had departed the field, WRC would be operating on the frequency that they had shared, 640 AM. As part of the reorganization of the broadcasting assets in the wake of the acquisitions, on September 13, 1926, the formation of the National Broadcasting Company was announced via newspaper advertisements, on November 15, 1926 NBC's first broadcast was made; this first broadcast on November 15, 1926 marked NBC's de facto formation of the NBC Red Network from the WEAF network assets, using WEAF as the "key station". RCA merged its former radio operations into NBC, on January 1, 1927, WJZ became the "key station" of the Blue Network when its network switch operations began; the Decatur Review for Sunday, December 12, 1926 reported the following in an article describing a broadcast to be sponsored by the Victor Talking Machine Company and aired the following New Year's Day, January 1, 1927, a description of this first Blue Network broadcast—note that it makes it clear that January 1, 1927 marked the debut of the Blue Network: "TWO BIG NETWORKS: The network to be used for the first concert will consist of a combination of chains of stations affiliated with WEAF and WJZ, New York.
It is announced that this opening Victor program inaugurates a new chain system to be operated by the National Broadcasting Company, with WJZ as the "key" station. This new chain, which will be known as the "blue" network, will allow simultaneous broadcasting from WJZ through WBZ, Springfield and Boston, KDKA, KYW, Chicago. For broadcasting of the first program, the "blue" network will be joined with the "red" network, as the WEAF chain is designated, as well as other stations in various cities. Following the New Year's night program, the concerts will be given bi-monthly, through the "blue" network" Allegedly, the color design