His compositions include popular music songs such as I Should Care, Day by Day, and Shrimp Boats. He wrote pieces, including Crescent City Suite and religious music, authoring several hymns. Born Paul Wetstein in Springfield, Weston had a keen interest in music from an early age and he was educated at Springfield High School, attended Dartmouth College and Columbia University. At Dartmouth he formed his own band and toured with the college band and he joined Columbias dance band, The Blue Lions, but was temporarily unable to perform following a rail accident, and he did some arrangements while he recovered. Weston sold his first musical arrangements to Joe Haymes in 1934, after Haymes requested more material, Westons music was heard by Rudy Vallee, who offered him work on his radio show. Weston met Tommy Dorsey through Haymes and in 1936 became a member of Dorseys orchestra, Weston persuaded Dorsey to hire The Pied Pipers after hearing them in 1938, and the group toured with the bandleader.
After leaving Dorsey in 1940, Weston worked with Dinah Shore, in California he met Johnny Mercer, who invited him to write for his new label, Capitol Records. Weston became music director at Capitol, where he worked with Jo Stafford, Stafford moved with him to Columbia Records in 1950, and the couple were married in 1952. Weston worked extensively in television from the 1950s to the 1970s and he helped start the Grammy Awards, which were first presented in 1959. He was honored with a Grammy Trustees Award in 1971 and spent three years as director of Disney on Parade. Weston and Stafford developed a routine in which they assumed the guise of a bad lounge act named Jonathan. Their first album was released in 1957, in 1960, their album Jonathan and Darlene Edwards in Paris won the Grammy Award for Best Comedy Album. Westons work in music is honored with a star on the Hollywood Walk of Fame, Weston was born Paul Wetstein in Springfield, Massachusetts, to Paul Wetstein, a teacher, and Anna Annie Grady.
The family moved to Pittsfield when Weston was two, and he spent his years in the town. His parents were interested in music, and when Paul Sr taught at a private girls school, he was allowed to bring the schools gramophone home over the Christmas holidays. Weston remembered hearing Whispering Hope on it as a child, at age eight, he started piano lessons. He was a major at Dartmouth College in New Hampshire. During his college days, Weston had his own called the Green Serenaders
Paris in Spring
Paris in Spring is a 1935 black and white musical comedy film directed by Lewis Milestone for Paramount Pictures. It is based on a play by Dwight Taylor, with a play by Samuel Hoffenstein. Afraid of marriage, Simone breaks off her long engagement with her fiancé Paul de Lille. Paul heads to the top of The Eiffel Tower with thoughts of suicide, in another part of Paris and afraid of marriage, Mignon breaks it off from her young lover. Despairing, Mignon climbs to the top of the The Eiffel Tower intending to leap to her death, there she meets Paul and the two compare stories. After discussion, Paul dissuades her from leaping and the two conspire to make their respective partners jealous by pretending to have an affair with each other, lupinos role in Paris in Spring has been described as dull, something which she agreed with. The film was first released in US theaters on 28 May 1935, the film was sold to MCA/Universal in 1958 for television distribution. Paris in Spring at Allmovie Paris in Spring at the Internet Movie Database Film Poster
Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin.
Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music.
Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
After appearing with the Metropolitan Opera beginning in 1918, appearing opposite Enrico Caruso, she acted on Broadway, creating the title role in Rose-Marie. In 1930, she emigrated to England, where she gained additional fame and she was well known for her film roles, including The 3 Worlds of Gulliver in 1960. Ellis was born May Belle Elsas in New York City in 1897, to a German father Herman Elsas, in the run, she played Lauretta in the third opera of the triptych, Gianni Schicchi. She appeared in the premiere of Loiseau bleu by Albert Wolff, singing Mytyl, while in the Metropolitan company she sang Giannetta in Lelisir damore to Enrico Carusos Nemorino and Fyodor in Boris Godunov to Feodor Chaliapins Boris. She gained additional notice by creating the role in Rudolf Frimls light musical operetta Rose-Marie in 1924 and played in The Taming of the Shrew. In 1929 she acted the role of Becky Sharp in the Players Club production of Vanity Fair. She played Leah in The Neighborhood Playhouses 1925 adaptation of S.
Anskys The Dybbuk, in 1930 Ellis settled in London, having emigrated to England with her third husband, Basil Sydney, whom she had married in 1929. She appeared in a version of Glamorous Night in 1937. For most of the Second World War, Ellis abandoned the theatre, performing work in hospitals. Returning to the stage after the war, Ellis was successful in Noël Cowards 1947 melodrama, Point Valaine, playing a hotel keeper in a sordid, in 1948 she gave one of her most praised performances as the embittered Millie Crocker-Harris in Terence Rattigans The Browning Version. In 1952 she played Volumnia in Coriolanus with Anthony Quayle for the nine-month Stratford season, in 1954 Ellis was cast as Mrs. Erlynne in Cowards musical After the Ball, but her singing voice had deteriorated drastically, and much of her music had to be cut. Coward blamed her performance for the failure of the show. She appeared in the 1960 movie The 3 Worlds of Gulliver and made her last stage appearance in 1970 and she appeared in 1993 in the television series Sherlock Holmes and again in 1994, playing Mary Maberley.
Ellis published her memoirs in 1982 under the title Those Dancing Years, a further autobiography Moments of Truth followed in 1986. She became a centenarian in 1998 and died in London on January 30,2003 and she had the distinction of being the last surviving star to perform in a Puccini opera and the last star to perform opposite Caruso
Jo Elizabeth Stafford was an American traditional pop music singer and occasional actress, whose career spanned five decades from the late 1930s to the early 1980s. Her 1952 song You Belong to Me topped the charts in the United States and United Kingdom, born in Coalinga, Stafford made her first musical appearance at age twelve. While still at school she joined her two older sisters to form a vocal trio named The Stafford Sisters, who found moderate success on radio. In 1938, while the sisters were part of the cast of Twentieth Century Foxs production of Alexanders Ragtime Band, Stafford met the members of The Pied Pipers. Bandleader Tommy Dorsey hired them in 1939 to perform vocals for his orchestra. In addition to her recordings with the Pied Pipers, Stafford featured in performances for Dorsey. After leaving the group in 1944, she recorded a series of pop standards for Capitol Records, many of her recordings were backed by the orchestra of Paul Weston. She performed duets with Gordon MacRae and Frankie Laine and her work with the United Service Organizations giving concerts for soldiers during World War II earned her the nickname G. I.
Jo. S. and in 1961 in the U. K. Stafford married twice, first in 1937 to musician John Huddleston, in 1952 to Paul Weston, with whom she had two children. She and Weston developed a routine in which they assumed the identity of an incompetent lounge act named Jonathan and Darlene Edwards. The act proved popular at parties and among the public when the couple released an album as the Edwardses in 1957. In 1961, the album Jonathan and Darlene Edwards in Paris won Stafford her only Grammy Award for Best Comedy Album, Stafford largely retired as a performer in the mid-1960s, but continued in the music business. She had a resurgence in popularity in the late 1970s when she recorded a cover of the Bee Gees hit. In the 1990s, she began re-releasing some of her material through Corinthian Records and she died in 2008 in Century City, Los Angeles, and is interred with Weston at Holy Cross Cemetery, Culver City. Her work in radio and music is recognized by three stars on the Hollywood Walk of Fame, Jo Elizabeth Stafford was born in Coalinga, California, in 1917, to Grover Cleveland Stafford and Anna Stafford —a second cousin of World War I hero Sergeant Alvin York.
She was the third of four children, both her parents enjoyed singing and sharing music with their family. Staffords father hoped for success in the California oil fields when he moved his family from Gainesboro and her mother was an accomplished banjo player and singing many of the folk songs which influenced Staffords career. Anna insisted that her children should take lessons, but Jo was the only one among her sisters who took a keen interest in it
Jonathan and Darlene Edwards in Paris
Jonathan and Darlene Edwards in Paris is a 1960 comedy album recorded by American singer Jo Stafford and her husband and bandleader Paul Weston. In character as Jonathan and Darlene Edwards, the pair put their own interpretation on popular songs including I Love Paris and Paris in the Spring, a joint winner of the 1961 Grammy Award for Best Comedy Album, the album garnered Stafford her only major award for her singing. His audience responded positively, and continued to ask for more even after the convention was over. Throughout the 1950s, Stafford and Weston developed the act to entertain guests at parties, the couple would pretend to be a bad lounge act. Stafford would sing off-key in a high pitched voice, while Weston would play a piano off key. Westons pseudonym, the name of the Calvinist preacher, was chosen by George Avakian, an executive for Columbia Records, the more thought Weston gave to the request, the more unsure he was that he could fill an entire album as Jonathan Edwards alone.
He enlisted Stafford, who became Jonathans wife, the 1957 album was followed by an album of pop standards on which the pair put their own interpretation on popular songs. It proved to be a commercial and critical success, becoming the first commercially successful parody album. The Westons brought the Edwardses to television in 1958 for a Jack Benny Shower of Stars and Darlene Edwards in Paris was recorded in 1960, and won an award for that years Grammy Awards for Best Comedy Album. The album tied with Bob Newharts Spoken Word Comedy because the Grammys took the decision to issue two comedy awards for 1960. The 1961 award for Best Comedy Album was the only Grammy Stafford ever won and this track listing is sourced from Corinthian Records