Burns and Allen
Burns and Allen was an American comedy duo consisting of George Burns and his wife, Gracie Allen. They worked together as a successful comedy team that entertained vaudeville, film and television audiences for over forty years; the duo met in 1922 and married in 1926. Burns was the straight man and Allen was a silly, addle-headed woman; the duo starred in a number of movies including Lambchops, The Big Broadcast and two sequels in 1935 and 1936, A Damsel in Distress. Their 30-minute radio show debuted in September 1934 as The Adventures of Gracie, whose title changed to The Burns and Allen Show in 1936. After their radio show's cancellation and Allen reemerged on television with a popular situation comedy, which ran from 1950 to 1958. Burns and Allen's radio show was inducted into the National Radio Hall of Fame in 1994, their TV series received a total of 11 Primetime Emmy Award nominations and produced what TV Guide ranked No. 56 on its 1997 list of the 100 greatest episodes of all time. They were inducted into the Television Hall of Fame in 1988.
Burns and Allen met in 1922 and first performed together at the Hill Street Theatre in Newark, New Jersey, continued in small town vaudeville theaters, married in Cleveland on January 7, 1926, moved up a notch when they signed with the Keith-Albee-Orpheum circuit in 1927. Burns played the straight man. Allen played a silly, addle-headed woman, a role attributed to the "Dumb Dora" stereotype common in early 20th-century vaudeville comedy. Early on, the team had played the opposite roles until they noticed that the audience was laughing at Gracie's straight lines, so they made the change. In years, each attributed their success to the other; the Burns and Allen team was not an overnight sensation. "We were a good man-and-woman act," Burns said, "but we were not headliners or stars or featured attractions. We were on the bill with them. There would be a star or two stars and a featured attraction, we would come—fourth billing in an eight-act show." Their career changed direction. In the early days of talking pictures, the studios eagerly hired actors who knew how to deliver dialogue or songs.
The most prolific of these studios was Warner Bros. whose Vitaphone Varieties shorts captured vaudeville headliners of the 1920s on film. Burns and Allen earned a reputation as a reliable "disappointment act". So it went with their film debut, they were last-minute replacements for another act and ran through their patter-and-song routine in Lambchops. After a restoration, the film was released on DVD in October 2007, on disc three of a three-disc 80th anniversary edition of The Jazz Singer. Paramount Pictures used its East Coast studio to film New York-based vaudeville stars. Eddie Cantor, Fred Allen, Ethel Merman and Smith and Dale were among the top acts seen in Paramount shorts. Burns and Allen joined the Paramount roster in 1930 and made a string of one-reel comedies through 1933 written by Burns and featuring future Hollywood character actors such as Barton MacLane and Chester Clute. In 1932, Paramount produced an all-star musical comedy, The Big Broadcast, featuring the nation's hottest radio personalities.
Burns and Allen were recruited, made such an impression that they continued to make guest appearances in Paramount features through 1937. Most of these used the Big Broadcast formula of an all-star comedy cast. In 1935 the team starred in a pair of low-budget features, Here Comes Cookie and Love in Bloom. At RKO, Fred Astaire succeeded in his efforts to make a musical feature without Ginger Rogers, the studio borrowed Burns and Allen from Paramount for the 1937 film, A Damsel in Distress, their names appeared with Astaire's before the title. Under contract to RKO, the young Joan Fontaine was assigned as Astaire's romantic interest, but when she proved to be an inadequate dance partner Astaire did most of his dancing with Burns and Allen; the trio's inspired comic dance in the film's "Fun House" sequence earned an Academy Award for choreographer Hermes Pan. Burns suggested a dance number that employs whiskbrooms as props, used in vaudeville by a duo called Evans and Evans, he bought the idea and auditioned the routine for Astaire, with Allen and the surviving member of the vaudeville team.
This movie led Metro-Goldwyn-Mayer to cast Allen in its Eleanor Powell musical, Honolulu. This was their last film as a team; when Burns was 79, he had a sudden career revival as an amiable and unusually active comedy elder statesman in the 1975 film The Sunshine Boys, for which he won the Academy Award for Best Supporting Actor. In 1977, his starring role in Oh, God!, along with the former film, permanently secured his career resurgence. At the age of 80, Burns was the oldest Oscar winner in the history of the Academy Awards, a record that would remain until Jessica Tandy won an Oscar for Driving Miss Daisy in 1989. Burns, who became a centenarian in 1996, continued to work until just weeks before his death of cardiac arrest on March 19, 1996, at his home in Beverly Hills. In 1929 Burns and Allen made their debut radio performance broadcast in London on the BBC. In the United States, they had failed at a 1930 NBC audition. After a solo appearance by Gracie on Eddie Cantor's radio show, they were heard together on Rudy Vallee's The Fleischmann's Yeast Hour and on February 15, 1932, they became regulars on The Guy Lombardo Show on CBS.
When Lombardo switched
New York Yankees
The New York Yankees are an American professional baseball team based in the New York City borough of the Bronx. The Yankees compete in Major League Baseball as a member club of the American League East division, they are one of two major league clubs based in New York City, the other being the New York Mets of the National League. In the 1901 season, the club began play in the AL as the Baltimore Orioles. Frank Farrell and Bill Devery purchased the franchise and moved it to New York City, renaming the club the New York Highlanders; the Highlanders were renamed the Yankees in 1913. The team is owned by Yankee Global Enterprises, an LLC controlled by the family of the late George Steinbrenner, who purchased the team in 1973. Brian Cashman is the team's general manager, Aaron Boone is the team's field manager; the team's home games were played at the original Yankee Stadium from 1923 to 1973 and from 1976 to 2008. In 1974 and 1975, the Yankees shared Shea Stadium with the Mets, in addition to the New York Jets, New York Giants.
In 2009, they moved into a new ballpark of the same name after the previous facility was closed and demolished. The team is perennially among the leaders in MLB attendance; as arguably the most successful sports club in the United States, the Yankees have won 40 AL pennants, 27 World Series championships, all of which are MLB records. The Yankees have won more titles than any other franchise in the four major North American sports leagues. Forty-four Yankees players and eleven Yankees managers have been inducted into the National Baseball Hall of Fame, including Babe Ruth, Lou Gehrig, Joe DiMaggio, Mickey Mantle, Yogi Berra, Whitey Ford. In pursuit of winning championships, the franchise has used a large payroll to attract talent during the Steinbrenner era. According to Forbes, the Yankees are the second highest valued sports franchise in the United States and the fifth in the world, with an estimated value of $4 billion; the Yankees have garnered enormous popularity and a dedicated fanbase, as well as widespread enmity from fans of other MLB teams.
The team's rivalry with the Boston Red Sox is one of the most well-known rivalries in U. S. sports. From 1903-2018, the Yankees overall win-loss record is 10275-7781. In 1900, Ban Johnson, the president of a minor league known as the Western League, changed the Western League name to the American League and asked the National League to classify it as a major league. Johnson held that his league would operate in friendly terms with the National league, but the National league ridiculed the plan. Johnson declared official major league status for his league in 1901. Plans to add a team in New York City were blocked by the NL's New York Giants. A team was instead placed in Baltimore, Maryland in 1901. Between 1901 and 1903, many players and coaches on the Orioles roster jumped to the Giants. In January 1903, a "peace conference" was held between the two leagues to settle disputes and try to coexist. At the conference, Johnson requested that an AL team be put in New York, to play alongside the NL's Giants.
It was put to a vote, 15 of the 16 major league owners agreed on it. The Orioles' new owners, Frank J. Farrell and William S. Devery moved the team to New York in 1903; the team's new ballpark, Hilltop Park, was constructed in one of Upper Manhattan's highest points—between 165th and 168th Streets. The team was named the New York Highlanders. Fans believed the name was chosen because of the team's elevated location in Upper Manhattan, or as a nod to team president Joseph Gordon's Scottish-Irish heritage; the team was referred to as the New York Americans. The team was referred to as the "Invaders" in the Evening Journal. New York Press Sports Editor Jim Price coined the unofficial nickname Yankees for the club as early as 1904, because it was easier to fit in headlines; the Highlanders finished second in the AL in 1904, 1906, 1910. In 1904, they lost the deciding game to the Boston Americans, who became the Boston Red Sox; that year, Highlander pitcher Jack Chesbro set the single-season wins record at 41.
At this time there was no formal World Series agreement wherein the AL and NL winners would play each other. The original Polo Grounds burned down in 1911 and the Highlanders shared Hilltop Park with the Giants during a two-month renovation period. From 1913 to 1922, the Highlanders shared the Polo Grounds with the Giants. While playing at the Polo Grounds, the name "Highlanders" fell into disuse among the press. In 1913 the team became known as the New York Yankees. By the middle of the decade, Yankees owners Farrell and Devery had become estranged and in need of money. At the start of 1915, they sold the team to Colonel Jacob Ruppert, a brewer, Captain Tillinghast L'Hommedieu Huston, a contractor-engineer. All the games of the 1921 and 1922 World Series were played in the Polo Grounds, when the Yankees squared off against their intracity rivals, the Giants. In the years around 1920, the Yankees, the Red Sox, the Chicago White Sox had a détente; the trades between the three ballclubs antagonized Ban Johnson and garnered the teams the nickname "The Insurrectos".
This détente paid off well for the Yankees. Most new players who contributed to the team's success came from the Red Sox, whose owner, Harry Frazee, was trading them for large sums of money to finance his theatrical productions. Pitcher-turned-outfielder Babe Ruth was the most talented of all the acquisition
Musical theatre is a form of theatrical performance that combines songs, spoken dialogue and dance. The story and emotional content of a musical – humor, love, anger – are communicated through the words, music and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue and other elements. Since the early 20th century, musical theatre stage works have been called musicals. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America; these were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan at the turn of the 20th century.
The Princess Theatre musicals and other smart shows like Of Thee I Sing were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat and Oklahoma!. Some of the most famous musicals through the decades that followed include West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, The Producers and Hamilton. Musicals are performed around the world, they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller venues, such as fringe theatre, Off-Broadway, Off-Off-Broadway, regional theatre, or community theatre productions, or on tour. Musicals are presented by amateur and school groups in churches and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Australasia and Latin America.
Since the 20th century, the "book musical" has been defined as a musical play where songs and dances are integrated into a well-made story with serious dramatic goals, able to evoke genuine emotions other than laughter. The three main components of a book musical are its music and book; the book or script of a musical refers to the story, character development and dramatic structure, including the spoken dialogue and stage directions, but it can refer to the dialogue and lyrics together, which are sometimes referred to as the libretto. The music and lyrics together form the score of a musical and include songs, incidental music and musical scenes, which are "theatrical sequence set to music combining song with spoken dialogue." The interpretation of a musical is the responsibility of its creative team, which includes a director, a musical director a choreographer and sometimes an orchestrator. A musical's production is creatively characterized by technical aspects, such as set design, stage properties and sound.
The creative team and interpretations change from the original production to succeeding productions. Some production elements, may be retained from the original production. There is no fixed length for a musical. While it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are presented in two acts, with one short intermission, the first act is longer than the second; the first act introduces nearly all of the characters and most of the music and ends with the introduction of a dramatic conflict or plot complication while the second act may introduce a few new songs but contains reprises of important musical themes and resolves the conflict or complication. A book musical is built around four to six main theme tunes that are reprised in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is interspersed between musical numbers, although "sung dialogue" or recitative may be used in so-called "sung-through" musicals such as Jesus Christ Superstar, Les Misérables and Hamilton.
Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades. Moments of greatest dramatic intensity in a book musical are performed in song. Proverbially, "when the emotion becomes too strong for speech, you sing. In a book musical, a song is ideally crafted to suit the character and their situation within the story; as The New York Times critic Ben Brantley described the ideal of song in theatre when reviewing the 2008 revival of Gypsy: "There is no separation at all between song and character, what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be." Many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is less time to develop drama in a musical than in a straight play of equivalent length, since a musical devotes more time to music than to dialogue. Within the compressed nature of a musical, the writers must develop the plot; the ma
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Oh, My Dear!
Oh, My Dear! was a Broadway musical comedy in two acts with book and lyrics by Guy Bolton and P. G. Wodehouse, music by Louis A. Hirsch; the play was produced by William Elliott and F. Ray Comstock and opened under the direction of Robert Milton and Edward Royce at the Princess Theatre on West 39th Street in New York City on November 27, 1918. Oh, My Dear! had a run of 189 performances, with the final curtain falling on May 10, 1919. Music Trades, December 5, 1918: Like its musical comedy predecessors at the Princess Theatre, "Oh, My Dear!" is tastefully costumed, daintily mounted, calculated to appeal to a large percentage of the public which made the previous O-perettas so popular. The basis of its comedy, aside from an occasional well-turned phrase, is the familiar theory that there is nothing so funny as a married man, unless it be two of them, it was to preserve domestic peace that the proprietor of a health resort was obliged to introduce the impeccable Joseph Santley as a young man with a Broadway reputation—not altogether a new situation— and it was to sustain that falsehood that a number of others had to be evolved.
And so grew the plot, embellished from time to time with such musical-comedy observations as "Husbands are like dollar watches— you're darned lucky to get them guaranteed for one year." Green Book Magazine, January 1919: During twenty-five years of theatergoing one learns that there are two kinds of musical comedies—the "low-brow" sort, those in which the girls aren't seen for ten minutes after the curtain rises. The exclamatory school presented at the Princess runs to cleverness rather than to comeliness, but the cleverest of librettists, lyric-writers and composers grow weary and a trifle stale, so it happens that "Oh, My Dear!" Lacks some of the freshness and sparkle of "Oh, Boy!" and "Oh, Lady! Lady!!" Guy Bolton's book is rather more frankly than usual of the scrap variety. Hirsch's music, though pleasant to take, has a somewhat familiar flavor; the story concerns the stock mild-and middle - aged married man who hasn't kicked over the traces since he sneaked off "to a Burton Holmes Travelogue in 1916," and who gets himself into the stock complications by inducing someone to pass himself off as someone he isn't.
The wife of the someone he isn't turns up, we come to the stock situation in which a man and a woman who have been but casually acquainted are assigned to occupy the same chamber. This tangle is unraveled by a company including Frederic Graham, Roy Atwell, Joseph Allen, Ivy Sawyer, Joseph Santley, Georgia Caine and Juliette Day. "I Wonder Whether," "Our City of Dreams" and "You Never Know" are the best of the song numbers. In comparison, "Oh, My Dear!" Suffers chiefly by being set beside its predecessors at the Princess—it is announced as "the sixth annual New York Princess Theater musical comedy production." Musical Director: Max Hirschfeld Additional Music: Jean Schwartz Songs: Jerome Kern, Benjamin Hapgood Burt and Roy Atwell Scenic Design: Robert Milton Costume Design: Harry Collins Men's clothes: Designed by Croydon, Ltd Joseph Allen: Bagshott Roy Atwell: Broadway Willie Burbank Dorothy Bailey: Miss Beekman Helen Barnes: Georgie Van Alstyne Marjorie Bentley: Grace Spelvin Georgia Caine: Mrs. Rockett Clara Carroll: Miss Lennox Gene Carroll: Miss Schuyler Frances Chase: Miss Stuyvesant Helen Clarke: Babe Miriam Collins: Pickles Francis X. Conlan: Joe Plummer Juliette Day: Jennie Wren Evelyn Dorn: Hazel Sven Erick: Neal Clarke Robert Gebhardt: Harry Coppins Patricia Gordon: Miss Barclay Frederic Graham: Dr. Rockett Dorothy La Rue: Miss Bryant Alfa Lanee: Miss Audobon Victor Le Roy: Willie Love Rene Manning: Miss Franklin Florence McGuire: Nan Hatton Victoria Miles: Miss Rhinelander Bessie More: Miss Cortlandt Joseph Santley: Bruce Allenby Ivy Sawyer: Hilda Rockett Jennifer Sinclair: Miss Greeley Jacques Stone: Frank Lynn Media related to Oh, My Dear! at Wikimedia Commons
Gus Edwards was an American songwriter and vaudevillian. He organised his own theatre companies and was a music publisher. Edwards was born Gustave Schmelowsky in Inowrazlaw, German Empire, his family moved to the United States on 29 July 1891 ending up in the Williamsburg neighborhood of Brooklyn. During the day, he worked in the family cigar store, in the evenings, he wandered looking for any sort of show business job, he found work as a singer at various lodge halls, on ferry boat lounges, in saloons, between bouts at the athletic clubs. There is a story that in the early 1890s Edwards met up with famed prizefighter John L. Sullivan, by working in vaudeville, so impressed with the youngster that he decided to employ him in his act; as a young boy, Edwards worked as a song plugger at Koster and Bial's, at Tony Pastor's theatre, at the Bowery Theatre. In those old vaudeville days, song publishers would hire a young boy to sit in the theatre, after a vaudeville star had sung one of the publisher's songs, the youngster would stand up in the audience, pretending to be overcome by the song, break out in an "extemporaneous" solo of the same tune.
In this way, the young Edwards would sit in a balcony seat, stand and repeat a song that vaudeville stars such as Maggie Cline, Lottie Gilson or Emma Carus had just sung. In 1896, Edwards was just 17 years old and appearing at Johnny Palmer's Gaiety Saloon in Brooklyn, when James Hyde, a vaudeville agent, saw him performing, he booked a tour for four other boys as The Newsboys Quintet act. In 1898, while performing in this act, Edwards wrote his first song, to a lyric by Tom Daly, "All I Want is My Black Baby Back". Edwards could not write music at that time, so he hired Charles Previn to write down the notes. May Irwin sang the song in her act, helped to popularize it. While entertaining soldiers at Camp Black, during the Spanish–American War, Edwards met lyricist Will Cobb, they formed "Words and Music", a partnership that lasted for many years, he was a vaudeville singer, had his own vaudeville company. He discovered Walter Winchell, Elsie Janis, George Jessel, Eddie Cantor, Groucho Marx, Phil Silvers, Lila Lee, Georgie Price, Eleanor Powell, Ray Bolger, Sally Rand, Jack Pearl, the Lane Sisters, Ina Ray Hutton.
He wrote the Broadway stage scores for "When We Were Forty-One", "Hip Hip Hooray", "The Merry-Go-Round", "School Days", "Ziegfeld Follies of 1910", "Sunbonnet Sue", "Show Window". He founded the Gus Edwards Music Hall in New York, his own publishing company produced special subjects for films, returned to vaudeville between 1930 and 1937 retiring in 1939, his chief musical collaborators included Edward Madden, Will Cobb, Robert B. Smith, his other popular-song compositions include "Meet Me Under the Wisteria", "By the Light of the Silvery Moon", "I Can't Tell You Why I Love You but I Do", "Goodbye, Little Girl, Goodbye", "I Just Can't Make My Eyes Behave", "I'll Be With You When the Roses Bloom Again", "He's My Pal", "Way Down Yonder in the Cornfield", "In Zanzibar", "If a Girl Like You Loved a Boy Like Me", "Jimmy Valentine", "If I Were a Millionaire", "Laddie Boy" and "In My Merry Oldsmobile". Some other songs include "America Never Took Water and America Never Will", "Au Revoir", "Good Bye and Luck Be with You Laddie Boy", "He Long and Lean and Lanky", "Keep on A-Going", "Mothers of Men" and "My Rainbow Ribbon Girl".
In the 1930s, Edwards had a weekly program, School Days of the Air, on KFWB in Los Angeles, California. Edwards was the brother of Leo Edwards, the uncle of Joan Edwards and Jack Edwards. Bing Crosby played Edwards in a fictionalized version of his life in the 1939 film The Star Maker, directed by Roy Del Ruth. Edwards himself made few screen appearances, the most notable being The Hollywood Revue of 1929, in which he performs as part of a vaudeville act, he wrote all the music for The Hollywood Revue of 1929, as credited in the closing credits of the production, with the exception of "Singin' in the Rain" with lyrics by Arthur Freed and music by Nacio Herb Brown. He performs a specialty number: "Lon Chaney's Gonna Get You If You Don't Watch Out". Edwards was a founding member of ASCAP in 1914 and was inducted into the Songwriters Hall of Fame in 1970. Note: All shows are musicals unless otherwise stated. Hodge, Podge & Co. - featured songwriter The Wizard of Oz interpolated songs with Will D. Cobb "Rosalie" "I Love Only One Girl in the Wide, Wide World" "The Tale of a Cassowary" "Johnnie I'll Take You" "I'll Never Love Another Love Like I Love You" The Medal and the Maid - featured composer for "In Zanzibar" When We Were Forty-one - composer Breaking Into Society - co-composer and co-lyricist His Honor the Mayor - contributing composer and lyricist Revived again in 1906, twice in 1907 The Blue Moon - featured composer for " Time to Marry" A Parisian Model - featured co-songwriter for "I Can't Make My Eyes Behave" Revived in 1908 Ziegfeld Follies of 1907 - revue - featured composer for "That's What the Rose Said to Me" and "On the Grand Old Sands" The Hired Girl's Millions - featured songwriter for "Where the River Shannon Flows" Hip!
Hip! Hooray! of 1907 - composer The-Merry-Go-Round - composer School Days - composer, co-lyricist, producer Miss Innocence - featured composer and lyricist for "What Kind of a Wife to Choose" Ziegfeld Follies of 1909 - revue - featured composer for "My Cousin Caruso" from Miss Innocence and "
Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community; the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon and attendance information, its mission was to be an interactive, user-friendly, searchable database for League members, journalists and Broadway fans. The League added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.
It is managed by Karen Hauser, Michael Abourizk, Mark Smith of the Broadway League. Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website