The Register-Guard is a daily newspaper in the western United States, published in Eugene, Oregon. It was formed in a 1930 merger of two Eugene papers, the Eugene Daily Guard and the Morning Register; the paper serves the Eugene-Springfield area, as well as the Oregon Coast, Umpqua River valley, surrounding areas. As of 2016, it has a circulation of around 43,000 Monday through Friday, around 47,000 on Saturday, a little under 50,000 on Sunday; the newspaper is owned by GateHouse Media. From 1927 to 2018, it was owned by the Baker family of Eugene, members of the family served as both editor and publisher for nearly all that time period, it is Oregon's second-largest daily newspaper and, until its 2018 sale to GateHouse, was one of the few medium-sized family newspapers left in the United States. The Guard was launched in Eugene City, Oregon on Saturday, June 1867, by John B. Alexander; the paper began as a weekly organ expressing allegiance to the states' rights-oriented Democratic Party and it joined an existing Republican paper in the field, the Oregon State Journal, published by Harrison R. Kincaid.
Founding publisher Alexander was born about 1830 and came to Oregon from Illinois as a pioneer in 1852. Alexander worked as a farmer, supplementing his income as a surveyor and local justice of the peace before learning the printing trade working for the town's earlier pro-Southern newspapers. Although his own venture as a publisher was short and unprofitable, Alexander unwittingly was the scion of a local newspaper dynasty in Oregon, with two of his sons themselves publishing The Guard, while a grandson, George L. Alexander, would one day edit another Oregon paper, the Lebanon Express. Alexander and his paper vocally supported the old governing class of the former Confederate States of America and were rabid in their opposition to the policies of Reconstruction imposed upon the South by the Northern-based Republican Party; such views were out of step with the majority of Oregonians, with the Republicans coming to dominate Oregon politics during the last quarter of the 19th century. Alexander was forced to liquidate his stake in his money-losing newspaper in 1868.
A short interregnum followed, during which ownership was transferred to J. W. Skaggs. Skaggs continued to push Alexander's Democratic Party/states' rights agenda during his short five weeks at the helm; the poor economics of the weekly paper were unchanged and Skaggs moved to unload his newly acquired white elephant. He cut his losses and avoided the stigma of financial failure for himself and the conservative political movement by giving away the paper outright to two men who worked for him as printers, William Thompson and William Victor. According to Thompson's recollection, Skaggs sweetened the transfer of ownership by tossing in two bundles of paper and two cords of firewood for the new owners; the leading partner in the new ownership pair, William Thompson, had come to Oregon from his native Missouri aboard a wagon train during the 1850s and had worked as a printer's devil for the Democratic Eugene City newspapers the Democratic Register and The Review from the age of 16. His acquisition of The Guard required only that he fulfill a contractual obligation "to run the paper and keep it alive."
This he and Victor managed to do earning Thompson a healthy $1,200 for his work before his sale of the paper to George J. Buys and A. Eltzroth on December 24, 1869. Thompson would subsequently move to Roseburg and there establish a new newspaper, the Roseburg Plaindealer. George J. Buys bought out his business partner Eltzroth in July 1870 and subsequently remained at the publisher's desk for more than seven years, he continued to battle for the Democratic Party, "first and always" in competition with the Republican Oregon State Journal and the short-lived Eugene City Hawk-Eye, which professed allegiance to the shorter-lived Oregon Independent Party, which ran a full slate of candidates for state and local office in the election of 1874. Buys ended his tenure as owner of The Guard in May 1877 when he sold out to the sons of the original publisher, F. R. Alexander and W. R. Alexander, their stint as publishers was nearly as brief as their father's, in November 1878 they sold the paper yet again, this time to the brothers John R. Campbell and Ira Campbell, who would remain owners for 30 years.
In 1890, the Eugene Guard became a daily newspaper. Charles H. Fisher took over the paper in 1907 and published it until 1912 when E. J. Finneran purchased the paper. Finneran bankrupted the newspaper in 1916 due to the purchase of a perfecting press that proved too expensive for such a small newspaper; the University of Oregon's journalism school ran the paper during the receivership under the guidance of Eric W. Allen. In April 1916, Fisher returned along with partner J. E. Shelton. Fisher continued to publish the Capital Journal in Salem until 1921. In 1924, after Fisher died, Paul R. Kelty purchased the Guard and published it with his son, before selling it in 1927; the paper was purchased in 1927 by publisher Alton F. Baker, Sr. whose father had published The Plain Dealer. Three years Baker bought the Morning Register and merged the two papers on November 17, 1930. Reporter William Tugman was recruited from The Plain Dealer to be the managing editor of the new paper. In 1953, Tugman was one of four editors in the country to sign a declaration opposing Senator Joseph McCarthy's questioning of New York Post editor James Wechsler in closed Senate hearings.
Eugene S. Pulliam of The Indianapolis Star, J. R. Wiggins of The Washington Post, Herbert Brucker of
The Electro-Theremin is an electronic musical instrument developed by trombonist Paul Tanner and amateur inventor Bob Whitsell in the late 1950s to produce a sound to mimic that of the theremin. The instrument features a tone and portamento similar to that of the theremin, but with a different control mechanism, it consisted of a sine wave generator with a knob that controlled the pitch, placed inside a wooden box. The pitch knob was attached to a slider on the outside of the box with some string; the player would move the slider, thus turning the knob to the desired frequency, with the help of markings drawn on the box. The instrument was custom-built at Tanner's request. Tanner appreciated the theremin's sound, but wanted greater control of pitch and attack; the Electro-Theremin uses mechanical controls, a long slide bar for the pitch and a knob to adjust volume. This contrasts with the hand movements in space that formed the original theremin's signal feature; the Electro-Theremin produces a less complex timbre than the original.
This is not due to the nature of the instrument, but due to Dr. Theremin's intentional harmonic generation in the output of the Theremin, which Tanner did not do. Tanner played it for the 1958 LP Music for Heavenly Bodies, the first full-length album featuring the instrument, played it subsequently on several television and movie soundtracks—most notably on George Greeley's theme for the 1960s TV series My Favorite Martian—and on an LP entitled Music from Outer Space. Most famously, Tanner played his Electro-Theremin on three songs by The Beach Boys: "I Just Wasn't Made for These Times", "Good Vibrations", "Wild Honey"; the instrument used in "Good Vibrations" was a Heathkit tube-type audio oscillator coupled to a mechanical action that allowed the player to mark notes along a ruler-type scale where notes could be located and precisely. Tanner's prototype Electro-Theremin appears to have been the only one made. In the late 1960s, Tanner donated or sold the instrument to a hospital to use for audiology work, because he believed that newer keyboard synthesizers made it obsolete.
In 1999, Tom Polk built a replica of the original Electro-Theremin for Brian Wilson's solo tour of that year. Polk called his instrument the Tannerin in honor of the original creator and performer. A musical saw called a singing saw, is the application of a hand saw as a musical instrument; the sound creates an ethereal tone similar to the theremin. The musical saw is classified as a friction idiophone with direct friction under the Hornbostel-Sachs system of musical instrument classification; the Ondes-Martenot, 1928, which uses the principle of heterodyning oscillators, but has a keyboard as well as a slide controller and is touched while playing. Trautonium, a monophonic electronic musical instrument by Friedrich Trautwein, invented in 1929 The Electronde, invented in 1929 by Martin Taubman, has an antenna for pitch control, a handheld switch for articulation and a foot pedal for volume control; the MC-505 by Roland, using the integrated D-Beam-sensor, sounds like a Theremin. The Haken Continuum Fingerboard uses a continuous, flat playing surface along which the player slides his fingers to create the desired pitch and timbre values.
It is described as "a continuous pitch controller that resembles a keyboard, but has no keys." The Persephone, an analogue fingerboard synthesizer with CV and MIDI, inspired by the trautonium. The Persephone allows continuous variation of the frequency range from 1 to 10 octaves; the ribbon is pressure and position sensitive. The Therevox ET series of instruments are modern Electro-Theremins, while the ET-4 is based on the Ondes-Martenot. Audiocubes by Percussa are light-emitting "smart blocks" with four sensors, one on each side; the sensors measure the distance to the hands to control an effect or sound. The Otamatone by the Cube Works company, played by sliding the fingers up and down a stem to control a three-level pitch sound. Paul Tanner Electro-Theremin Page - David S. Miller professional Tannerins, slide theremins, Electro-Theremins - by Tom Polk Homebuilt Musical Instruments - My First Tannerin - by Tom Polk
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Carlsbad is a city in North County, San Diego County, United States. The city is 87 miles south of Los Angeles and 35 miles north of downtown San Diego and is part of the San Diego-Carlsbad, CA Metropolitan Statistical Area. Referred to as "The Village by the Sea" by locals, Carlsbad is a tourist destination; the city's estimated 2014 population was 112,299. Among the nation's top 20 wealthiest communities, Carlsbad is the 5th richest city in the state of California with a median household income close to US$105,000. Carlsbad's history began with the Luiseño people. Nearly every reliable fresh water creek had at least one native village, including one called Palamai; the site is located just south of today's Agua Hedionda Lagoon. The first European land exploration of Alta California, the Spanish Portolà expedition of 1769, met native villagers while camped on Buena Vista Creek. During the Mexican period, in 1842, the southern portion of Carlsbad was granted as Rancho Agua Hedionda to Juan María Marrón.
In the 1880s a former sailor named. He began offering his water at the train station and soon the whistle-stop became known as Frazier's Station. A test done on a second fresh-water well discovered the water to be chemically similar to that found in some of the most renowned spas in the world, the town was named after the famed spa in the Bohemian town of Karlsbad. To take advantage of the find, the Carlsbad Land and Mineral Water Company was formed by a German-born merchant from the Midwest named Gerhard Schutte together with Samuel Church Smith, D. D. Wadsworth and Henry Nelson; the naming of the town followed soon after, along with a major marketing campaign to attract visitors. The area experienced a period of growth, with businesses sprouting up in the 1880s. Agricultural development of citrus fruits and olives soon changed the landscape. By the end of 1887, land prices fell throughout San Diego County. However, the community survived on the back of its fertile agricultural lands; the site of John Frazier's original well can still be found at Alt Karlsbad, a replica of a German Hanseatic house, located on Carlsbad Boulevard.
In 1952, Carlsbad was incorporated to avoid annexation by Oceanside. The single-runway Palomar Airport opened in 1959 after County of San Diego officials decided to replace the Del Mar Airport; the airport was annexed to the City of Carlsbad in 1978 and renamed McClellan-Palomar Airport in 1982 after a local civic leader, Gerald McClellan. The first modern skateboard park, Carlsbad Skatepark, was built in March 1976, it was located on the grounds of Carlsbad Raceway and was designed and built by inventors Jack Graham and John O'Malley. The site of the original Carlsbad Skatepark and Carlsbad Raceway was demolished in 2005 and is now an Industrial Park. However, two skateparks have since been developed. In March 1999, Legoland California Resort, LLC was opened, it was the first Legoland theme park outside of Europe and is operated by Merlin Entertainments. Merlin Entertainments owns 70 percent of the shares, the remaining 30 percent is owned by the LEGO group and Kirkbi A/S. Carlsbad is home to the nation's largest desalination plant.
Construction of the US$1 billion Carlsbad Desalination Plant at the Encina Power Plant was completed in December 2015. According to the United States Census Bureau, the city has a total area of 39.1 square miles of which 37.7 square miles are land and 1.4 square miles are water, the majority of, contained within three lagoons and one lake. The northern area of the city is part of a tri-city area consisting of northern Carlsbad, southern Oceanside and western Vista; the ocean-side cliffs fronting wide white-sand beaches and mild climate attract vacationers year-round. Carlsbad has a semi-arid Mediterranean climate and averages 263 sunny days per year. Winters are mild with periodic rain. Frost sometimes occurs in inland valleys in December and January. Summer is rain free, but sometimes overcast and cool with fog off the Pacific. While most days have mild and pleasant temperatures, hot dry Santa Ana winds bring high temperatures on a few days each year in the fall. Carlsbad has Coaster and Amtrak rail service at its two stations, Carlsbad Village station and Carlsbad Poinsettia station.
North County Transit District provides public transportation services in Carlsbad. They operate bus service under SPRINTER light rail service. Interstate 5 and California State Route 78 either border the city of Carlsbad. McClellan–Palomar Airport is located about seven miles southeast of downtown Carlsbad, allows general aviation and limited commercial service to the city. For city planning and growth management purposes, Carlsbad is divided into four distinct quadrants; the northwest quadrant of Carlsbad includes the downtown "Village," the Barrio, "Old Carlsbad." It was the first part of Carlsbad to be settled. Homes bungalows to elegant mansions on the hill overlooking the ocean, it is home to Hosp Grove Park, a grove of trees untouched by development and now designated by the city for recreational use, in addition to the Buena Vista and Agua Hedionda Lagoons. It is located west of north of Palomar Airport Road. "The Barrio" area is near downtown Carlsbad bordered by Carlsbad Village Drive to the north, Tamarack Avenue to the south, Interstate 5 to the east and the railroad tracks to the west.
It was settled by Latinos in the early 20th century. It is the site of the
University of California, Los Angeles
The University of California, Los Angeles is a public research university in Los Angeles. It became the Southern Branch of the University of California in 1919, making it the third-oldest undergraduate campus of the 10-campus University of California system, it offers 337 graduate degree programs in a wide range of disciplines. UCLA enrolls about 31,000 undergraduate and 13,000 graduate students and had 119,000 applicants for Fall 2016, including transfer applicants, making the school the most applied-to of any American university; the university is organized into six undergraduate colleges, seven professional schools, four professional health science schools. The undergraduate colleges are the College of Science; as of 2017, 24 Nobel laureates, three Fields Medalists, five Turing Award winners, two Chief Scientists of the U. S. Air Force have been affiliated with UCLA as researchers, or alumni. Among the current faculty members, 55 have been elected to the National Academy of Sciences, 28 to the National Academy of Engineering, 39 to the Institute of Medicine, 124 to the American Academy of Arts and Sciences.
The university was elected to the Association of American Universities in 1974. UCLA is considered one of the country's Public Ivies, meaning that it is a public university thought to provide a quality of education comparable with that of the Ivy League. In 2018, US News & World Report named UCLA the best public university in the United States. UCLA student-athletes compete as the Bruins in the Pac-12 Conference; the Bruins have won 126 national championships, including 116 NCAA team championships, more than any other university except Stanford, who has won 117. UCLA student-athletes and staff won 251 Olympic medals: 126 gold, 65 silver, 60 bronze. UCLA student-athletes competed in every Olympics since 1920 with one exception and won a gold medal in every Olympics the U. S. participated in since 1932. In March 1881, the California State Legislature authorized the creation of a southern branch of the California State Normal School in downtown Los Angeles to train teachers for the growing population of Southern California.
The Los Angeles branch of the California State Normal School opened on August 29, 1882, on what is now the site of the Central Library of the Los Angeles Public Library system. The facility included an elementary school where teachers-in-training could practice their technique with children; that elementary school is related to the present day UCLA Lab School. In 1887, the branch campus became independent and changed its name to Los Angeles State Normal School. In 1914, the school moved to a new campus on Vermont Avenue in East Hollywood. In 1917, UC Regent Edward Augustus Dickson, the only regent representing the Southland at the time, Ernest Carroll Moore, Director of the Normal School, began to lobby the State Legislature to enable the school to become the second University of California campus, after UC Berkeley, they met resistance from UC Berkeley alumni, Northern California members of the state legislature, Benjamin Ide Wheeler, President of the University of California from 1899 to 1919, who were all vigorously opposed to the idea of a southern campus.
However, David Prescott Barrows, the new President of the University of California, did not share Wheeler's objections. On May 23, 1919, the Southern Californians' efforts were rewarded when Governor William D. Stephens signed Assembly Bill 626 into law, which transformed the Los Angeles Normal School into the Southern Branch of the University of California; the same legislation added the College of Letters and Science. The Southern Branch campus opened on September 15 of that year, offering two-year undergraduate programs to 250 Letters and Science students and 1,250 students in the Teachers College, under Moore's continued direction. Under University of California President William Wallace Campbell, enrollment at the Southern Branch expanded so that by the mid-1920s the institution was outgrowing the 25 acre Vermont Avenue location; the Regents searched for a new location and announced their selection of the so-called "Beverly Site"—just west of Beverly Hills—on March 21, 1925 edging out the panoramic hills of the still-empty Palos Verdes Peninsula.
After the athletic teams entered the Pacific Coast conference in 1926, the Southern Branch student council adopted the nickname "Bruins", a name offered by the student council at UC Berkeley. In 1927, the Regents renamed the Southern Branch the University of California at Los Angeles. In the same year, the state broke ground in Westwood on land sold for $1 million, less than one-third its value, by real estate developers Edwin and Harold Janss, for whom the Janss Steps are named; the campus in Westwood opened to students in 1929. The original four buildings were the College Library, Royce Hall, the Physics-Biology Building, the Chemistry Building, arrayed around a quadrangular courtyard on the 400 acre campus; the first undergraduate classes on the new campus were held in 1929 with 5,500 students. After lobbying by alumni, faculty and community leaders, UCLA was permitted to award the master's degree in 1933, the doctorate in 1936, against continued resistance from UC Berkeley. A timeline of the history can be found on its website, as well
Glenn Miller Orchestra
Glenn Miller and His Orchestra was an American swing dance band formed by Glenn Miller in 1938. Arranged around a clarinet and tenor saxophone playing melody, three other saxophones playing harmony, the band became the most popular and commercially successful dance orchestra of the Swing era and one of the greatest singles charting acts of the 20th century. Miller began professionally recording in New York City as a sideman in the Hot jazz era of the late 1920s. With the arrival of virtuoso trombonists Jack Teagarden and Tommy Dorsey, Miller focused more on developing his arrangement skills. Writing for contemporaries and future stars such as Artie Shaw, Benny Goodman, Miller gained prowess as an arranger by working in a variety of settings. Miller improved his arranging and writing skills by studying under music theorist Joseph Schillinger. In February 1937, Miller started an orchestra that made records for Decca. With this group, Miller used an arrangement he wrote for British bandleader Ray Noble's American band in an attempt to form a clarinet-reed sound.
This style developed over time, became known as the Glenn Miller sound. Frustrated with his agency over playing inconsistent bookings and lacking broad radio exposure, Miller gave the band notice in December 1937. Less than three months he was looking for members and forming a new band. Miller began a partnership with Eli Oberstein, which led directly to a contract with Victor subsidiary Bluebird Records. Gaining notoriety at such engagements as the Paradise Restaurant and Frank Dailey–owned Meadowbrook and their corresponding nationwide broadcasts, Miller struck enormous popularity playing the Glen Island Casino in the summer of 1939. From late 1939 to mid-1942, Miller was the number-one band in the country, with few true rivals. Only Harry James' band began to equal Miller's in popularity as he winded down his career in the wake of the Second World War; the AFM strike prevented Miller from making any new recordings in the last two months of his band's existence, they formally disbanded at the end of September 1942.
Miller's short-term chart successes have been duplicated and his group's unprecedented dominance of early Your Hit Parade and Billboard singles charts, resulting in 16 number-one singles and 69 Top Ten hits, foreshadowed future record-breaking chart acts such as Elvis Presley and The Beatles. By March 1938, Glenn was planning to form a new group; the newly reformed band featured several longtime associates of Miller. From his first orchestra, Miller invited back Hal McIntyre, hired Paul Tanner, Wilbur Schwartz, Ray Eberle, his old friend Chummy MacGregor. Miller's perseverance, business expertise, combined with a penchant for showmanship and musical taste, provided the faith for financiers Mike Nidorf and Cy Shribman. Miller used the'clarinet-lead' sound as the foundation for his new band, this caught the attention of students at Northeastern campuses, they opened on April 1938, at Raymor Ballroom in Boston. When the band reached New York, they were billed below Freddie Fisher and His Schnickelfritzers, a dance band comedy routine.
From Vincent Lopez's group came Marion Hutton, who added enthusiasm and energy in her performances. On September 7, 1938, the band made their first recordings, "My Reverie", "King Porter Stomp" and "By the Waters of Minnetonka", in two parts. Keeping up radio dates, Miller was only booked for 1 more session the rest of the year. In March 1939, the Glenn Miller Orchestra was given its big break, when they were chosen to play the summer season at the prestigious Glen Island Casino located on the north shore of Long Island Sound in New Rochelle, New York. Frank Dailey, manager of The Meadowbrook Ballroom in Cedar Grove, New Jersey booked the band for a four-week stay in March and April, before Glen Island; the band was well-received and within days Dailey picked up a three-week extension offer. During this time, Bluebird recording dates became more common and Glenn added drummer Maurice Purtill and trumpeter Dale "Mickey" McMickle to stabilize personnel. Opening at Glen Island on May 17, 1939, the casino's radio broadcast antenna ensured the Miller band was heard around the country.
In late August, the end of their summer season, they had nationwide attention. George T. Simon and one-time drummer for Miller, spoke of the Glen Island broadcasts: Glen Island was the prestige place for people who listened to bands on radio; the band's first semi hit, "Little Brown Jug", came out. That helped, and the clarinet lead in Glenn's arrangements was such a romantic sound! It caught the public fancy during this exposure. Miller began ending his broadcasts from Glen Island with his "Something Old, Something New" medleys, but the most important thing for Glenn's success was that he recorded "In the Mood" while he was at the casino. That made him the Michael Jackson of his day. Capitalizing on newfound popularity, Miller decided to add a trombone and a trumpet, giving the band a fuller sound. On April 4, 1939, Miller and his orchestra recorded "Moonlight Serenade". Considered one of the top songs of the swing era, Miller's best composition, it soon became the theme song to start and end all of his radio performances.
Miller's most popular track "In the Mood" was recorded August 1, 1939. Famous for its opening and bass riffs as well as its "dueling" saxophone solos between Tex Beneke and Al Klink, the song hit number one on the Billboard charts, staying for a total of 30 weeks. Joe Garland compiled the song from riffs he'd heard in other songs, is credited on the label. Elements of "In the Mood" can be found in earlier jazz recordings, such as Jimmy O'Bryant's "Clarinet Getaway", Wingy Manone's "Tar Pa
Marion Hutton was an American singer and actress. She is best remembered for her singing with the Glenn Miller Orchestra from 1938–1942, she was the sister of singer Betty Hutton. Born as Marion Thornburg in Fort Smith, she was the elder sister of actress Betty Hutton, they were raised in Michigan. The sisters' father abandoned the family, their mother worked a variety of jobs to support the family until she became a successful bootlegger. Both sisters sang with the Vincent Lopez Orchestra. Hutton was discovered by Glenn Miller and was invited to join the Glenn Miller Orchestra in 1938. "I was only seventeen and so Glenn and Helen became my legal guardians. He was like a father because I never had a father I remembered." Miller wanted Hutton to appear as an all-American girl, so on her first few performances, he introduced her as "Sissy Jones." The pseudonym was not used beyond those first performances. Hutton was not allowed to sing in the nightclubs due to the fact. Miller and his wife Helen signed papers to declare themselves foster parents to serve as Hutton's chaperone in the nightclubs which allowed her access in these venues.
Marion Hutton considered herself more an entertainer than a singer. Hutton remained an important part of the Miller band, she remained with Miller on and off, until the orchestra disbanded in 1942. Jeanine Basinger, a film historian and professor at Wesleyan University in Middletown, refers to Hutton in her chapter on Marion's younger sister and singer Betty Hutton in the 2007 book The Star Machine. Basinger asserts. Marion Hutton had a small role in the film Orchestra Wives, in which the Glenn Miller Orchestra starred. After Miller joined the Army in 1942, she went with fellow Miller performers Tex Beneke and the Modernaires on a theater tour; the next important event in her entertainment career was a role in In Society with Abbott and Costello in 1944. Marion Hutton appeared with the Desi Arnaz orchestra in October 1947 at the Radio City Theatre in Minneapolis; as the 1940s wound down, so did Marion's career. Her last film role was in 1949. Hutton was married three times, she married publicist and television producer Jack Philbin in 1940.
She and Philbin had two sons and Phillip. Her next marriage, to writer Jack Douglas, produced Peter. Peter Hemming is a noted photojournalist, her last and longest marriage was in 1954 to Vic Schoen, an arranger for the Andrews Sisters and Bing Crosby, among other artists in the 1940s. The couple remained married until her death in 1987. Looking back on her first marriage, in 1974 she told George T. Simon, "hat I wanted most of all was to be a wife and mother. I had no drive for a career."In 1965 according to the New York Times, Marion Hutton sought treatment for various addictions. Hutton went back to school in her late fifties, she found work at a local hospital. During the 1960s and 70s, Hutton and Schoen lived in Laguna Beach but moved due to increasing financial problems. In 1981, Hutton and Schoen moved from Irvine, California to Kirkland and founded Residence XII, a drug addiction center to help alcoholics and addicts, she was the executive director. Schoen and Hutton performed many fund raisers for this addiction center.
Hutton and Schoen had both struggled with alcoholism and in the 1970s both were able to quit drinking and joined AA. They attended meetings until the late 1980s and helped many struggling alcoholics by recounting their anecdotes and life lessons they had learned throughout the years. Schoen arranged music for Glenn Miller Remembered, a PBS production video taped in Seattle, 1984, starring Tex Beneke and Marion Hutton. Marion Hutton died of cancer on January 10, 1987 in Kirkland, Washington. 1942 "That's Sabotage" with Glenn Miller and his Orchestra, Victor Marion Hutton on IMDb Marion Hutton at Find a Grave