1954 in music
This is a list of notable events in music that took place in the year 1954. 1954 in British music 1954 in Norwegian music 1954 in country music 1954 in jazz January 14 – First documented use of the abbreviated term "Rock'n' Roll" to promote Alan Freed's Rock'n' Roll Jubillee, held at St. Nicholas Arena in New York, New York; the genre term was just called "Rock and Roll" February 1 – Johnny "Guitar" Watson records "Space Guitar" pioneering reverb and feedback techniques on guitar March 12 – Arnold Schoenberg's opera Moses und Aron has its first performance in Hamburg. March 15 – The Chords record "Sh-Boom" for Atlantic Records' Cat subsidiary. March 25 – At the 26th Academy Awards, Frank Sinatra wins the Academy Award for Best Supporting Actor for his role in From Here to Eternity, resuscitating his singing career in the process. At the same ceremony, Bing Crosby is nominated for Best Actor for his role in The Country Girl. April – Fender Stratocaster electric guitar first produced in California.
April 12 – Bill Haley and His Comets record "Rock Around the Clock" in New York City for Decca Records. May 5 – The seventeenth Maggio Musicale Fiorentino opens with a performance of Gaspare Spontini's last opera, Agnese di Hohenstaufen, continues until 20 June, featuring operas by Weber, Adriano Lualdi and Tchaikovsky, as well as the world premiere of Valentino Bucchi's Il contrabasso. May 20 – "Rock Around the Clock" is released as the B-side of "Thirteen Women"; the song is only a moderate success until it is featured in the film Blackboard Jungle the following year. July 5 – Elvis Presley has his first commercial recording session at Sun Studios in Memphis, Tennessee, he sings "That's All Right" and "Blue Moon of Kentucky", released as his first single on July 19 naming the performers as Elvis Presley and Bill. The songs were sung by Arthur Crudup in 1946 and Bill Monroe and the Blue Grass Boys in 1947 respectively. October 16 – Elvis Presley makes his first radio broadcast, on a show in Shreveport, called the Louisiana Hayride.
Fall – A cover version of Big Joe Turner's "Shake and Roll" by Bill Haley and His Comets becomes the first internationally popular rock and roll recording. Record companies deliver 7 inch 45 rpm record singles to radio stations instead of 78s. Lyric Opera of Chicago is founded. Pat Boone begins his recording career at Republic Records. Les Paul commissions Ampex to build the first eight track tape recorder, at his own expense; the Drifters form. The Isley Brothers make their first recordings, featuring only the three eldest brothers, O'Kelly Jr. Rudolph and Ronald; the Newport Jazz Festival is established by George Wein. São Paulo State Symphony Orchestra is founded. Al Haig Trio – Al Haig And I Thought About You – Patti Page Bing: A Musical Autobiography – Bing Crosby Blue Haze – Miles Davis The Chordettes Sing Your Requests – The Chordettes Clap Yo' Hands – The Four Lads Crew Cut Capers – The Crew Cuts Dinah Jams – Dinah Washington Favorite Songs – The Ames Brothers Grand Jacques – Jacques Brel Guy Mitchell Sings – Guy Mitchell Irving Berlin Favorites – Eddie Fisher Irving Berlin's White Christmas – Rosemary Clooney It Must Be True – The Ames Brothers Louis Armstrong and the Mills Brothers – Louis Armstrong & The Mills Brothers Louis Armstrong Plays W.
C. Handy – Louis Armstrong and His All Stars The Man That Got Away – Georgia Gibbs Meet The Mills Brothers – The Mills Brothers Mr. Rhythm – Frankie Laine My Heart's In The Highland – Jo Stafford A Night at Birdland Vol. 1 – The Art Blakey Quintet A Night at Birdland Vol. 2 – The Art Blakey Quintet Old Masters – Bing Crosby RCA Thesaurus – John Serry, Sr. Red Garters – Rosemary Clooney Rock with Bill Haley and the Comets – Bill Haley & His Comets Selections from Irving Berlin's White Christmas – Bing Crosby, Danny Kaye, Trudy Stevens, Peggy Lee Some Fine Old Chestnuts – Bing Crosby Something Cool – June Christy Song Souvenirs – Patti Page Songs for Young Lovers – Frank Sinatra Songs in a Mellow Mood – Ella Fitzgerald Souvenir Album – The Mills Brothers Swing Easy! – Frank Sinatra Till I Waltz Again with You – Teresa Brewer The Tin Angel – Odetta & Larry Toshiko at Mocambo – Toshiko Akiyoshi Toshiko's Piano – Toshiko Akiyoshi Young at Heart – Doris Day & Frank Sinatra The following singles achieved the highest chart positions in the set of charts available for 1954.
These singles reached the top of US Billboard magazine's charts in 1954. "Am I A Toy Or A Treasure" – Kay Starr "Answer Me, My Love" – Nat King Cole "Back Where I Belong" – Frankie Laine and Jo Stafford "Baubles, Bangles & Beads", recorded by Georgia Gibbs Peggy Lee "The Christmas Song" – Nat King Cole "Cross Over The Bridge" – Patti Page "Darling, Je Vous Aime Beaucoup" – Nat King Cole "Down In The Meadow" – Marilyn Monroe "Earth Angel" – The Penguins "Ebb Tide" – Roy Hamilton "Goodnight, Goodnight" – The McGuire Sisters "Hearts Of Stone" – The Fontane Sisters "How Did He Look?" – Georgia Gibbs "I Cried" – Patti Page "I Need You Now" – Eddie Fisher "I Speak To The Stars" – Doris Day "I Took Him From You" – The DeJohn Sisters "If I Give My Heart to You", recorded by Doris Day Denise Lor "If You Love Me" – Kay Starr "In the Chapel in the Moonlight" – Kitty Kallen "In the Beginning" – Frankie Laine "In The Mood" – Glenn Miller "In the Still of the Night" – The Five Satins "In the Wee Small Hours" – Frank Sinatra "Johnny Guitar" – Peggy Lee "Let Me Go, Lover" – Joan Weber "Little Things Mean a Lot" – Kitty Kallen "Make Love to Me" – Jo Stafford "The Man That Got Away" – Georgia Gibbs "The Man Upstairs" – Kay Starr "Melancholy Baby" – Georg
Los Angeles Times
The Los Angeles Times is a daily newspaper, published in Los Angeles, since 1881. It has the fourth-largest circulation among United States newspapers, is the largest U. S. newspaper not headquartered on the East Coast. The paper is known for its coverage of issues salient to the U. S. West Coast, such as immigration trends and natural disasters, it has won more than 40 Pulitzer Prizes for its coverage of other issues. As of June 18, 2018, ownership of the paper is controlled by Patrick Soon-Shiong, the executive editor is Norman Pearlstine. In the nineteenth century, the paper was known for its civic boosterism and opposition to unions, the latter of which led to the bombing of its headquarters in 1910; the paper's profile grew in the 1960s under publisher Otis Chandler, who adopted a more national focus. In recent decades, the paper's readership has declined and it has been beset by a series of ownership changes, staff reductions, other controversies. In January 2018, the paper's staff voted to unionize, in July 2018 the paper moved out of its historic downtown headquarters to a facility near Los Angeles International Airport.
The Times was first published on December 4, 1881, as the Los Angeles Daily Times under the direction of Nathan Cole Jr. and Thomas Gardiner. It was first printed at the Mirror printing plant, owned by Jesse Yarnell and T. J. Caystile. Unable to pay the printing bill and Gardiner turned the paper over to the Mirror Company. In the meantime, S. J. Mathes had joined the firm, it was at his insistence that the Times continued publication. In July 1882, Harrison Gray Otis moved from Santa Barbara to become the paper's editor. Otis made the Times a financial success. Historian Kevin Starr wrote that Otis was a businessman "capable of manipulating the entire apparatus of politics and public opinion for his own enrichment". Otis's editorial policy was based on civic boosterism, extolling the virtues of Los Angeles and promoting its growth. Toward those ends, the paper supported efforts to expand the city's water supply by acquiring the rights to the water supply of the distant Owens Valley; the efforts of the Times to fight local unions led to the October 1, 1910 bombing of its headquarters, killing twenty-one people.
Two union leaders and Joseph McNamara, were charged. The American Federation of Labor hired noted trial attorney Clarence Darrow to represent the brothers, who pleaded guilty. Otis fastened a bronze eagle on top of a high frieze of the new Times headquarters building designed by Gordon Kaufmann, proclaiming anew the credo written by his wife, Eliza: "Stand Fast, Stand Firm, Stand Sure, Stand True." Upon Otis's death in 1917, his son-in-law, Harry Chandler, took control as publisher of the Times. Harry Chandler was succeeded in 1944 by his son, Norman Chandler, who ran the paper during the rapid growth of post-war Los Angeles. Norman's wife, Dorothy Buffum Chandler, became active in civic affairs and led the effort to build the Los Angeles Music Center, whose main concert hall was named the Dorothy Chandler Pavilion in her honor. Family members are buried at the Hollywood Forever Cemetery near Paramount Studios; the site includes a memorial to the Times Building bombing victims. The fourth generation of family publishers, Otis Chandler, held that position from 1960 to 1980.
Otis Chandler sought legitimacy and recognition for his family's paper forgotten in the power centers of the Northeastern United States due to its geographic and cultural distance. He sought to remake the paper in the model of the nation's most respected newspapers, notably The New York Times and The Washington Post. Believing that the newsroom was "the heartbeat of the business", Otis Chandler increased the size and pay of the reporting staff and expanded its national and international reporting. In 1962, the paper joined with The Washington Post to form the Los Angeles Times–Washington Post News Service to syndicate articles from both papers for other news organizations, he toned down the unyielding conservatism that had characterized the paper over the years, adopting a much more centrist editorial stance. During the 1960s, the paper won four Pulitzer Prizes, more than its previous nine decades combined. Writing in 2013 about the pattern of newspaper ownership by founding families, Times reporter Michael Hiltzik said that: The first generations bought or founded their local paper for profits and social and political influence.
Their children enjoyed both profits and influence, but as the families grew larger, the generations found that only one or two branches got the power, everyone else got a share of the money. The coupon-clipping branches realized that they could make more money investing in something other than newspapers. Under their pressure the companies split apart, or disappeared. That's the pattern followed over more than a century by the Los Angeles Times under the Chandler family; the paper's early history and subsequent transformation was chronicled in an unauthorized history Thinking Big, was one of four organizations profiled by David Halberstam in The Powers That Be. It has been the whole or partial subject of nearly thirty dissertations in communications or social science in the past four decades; the Los Angeles Times began a decline with Los Angeles itself with the decline in military production at the end of the Cold War. It faced hiring freezes in 1991-1992. Another major decision at the same time was to cut the range of circulation.
They cut circulation in California's Central Valley, Nevada and the San Diego ed
Copacabana (1947 film)
Copacabana is a 1947 American musical comedy film directed by Alfred E. Green starring Carmen Miranda and Groucho Marx; the film is a showcase for Miranda, who performs several numbers in her usual style, including a high-energy rendition of "Tico-Tico". Groucho, as Lionel, her fiance and agent sings a musical number, "Go West, Young Man", wearing his traditional greasepaint brows and baggy suit; this was Groucho's first significant film appearance minus Harpo and Chico. Anne, at the urging of Andy, sings a song called "Stranger Things Have Happened", admitting her unrequited love for her employer, Steve. Lionel Q. Devereaux and his alluring girlfriend, Brazilian singer Carmen Navarro, have been engaged for ten years, they are unsuccessful nightclub performers, due to Lionel's total lack of talent. They stay at an upscale hotel in New York. One day they get a twenty-four-hour notice to pay their bill, but needless to say they lack the funds to oblige, they hurriedly try to convince the big shot producer Steve Hunt to give Carmen a job at the Club Copacabana, with the help of the convinced, gullible singer Andy Russell, posing as an agent, they achieve their goal to get her an audition.
When the producer asks Lionel and Russell whom else they represent, they invent out of thin air a veiled mysterious beauty from Paris and call her Fifi. They persuade Carmen to play the part of Fifi; the producer hires both ladies for the job, but Fifi is the new big sensation who gets mentioned in the press. Steve is attracted to the girls, to protect Carmen from the producer, Lionel tells him that he is engaged to be married to Carmen. Steve turns to Fifi and asks her out instead. Desperate to solve the troublesome situation, Lionel asks Andy to play Fifi and go on a date with the producer, veiled as usual. Another complication to add to the plot is that Anne, Steve's secretary, is in love with the producer, not keen on him going on a date with Fifi. Andy tries to fix up Anne, to save both himself and Carmen from discovery, he gets Anne to sing her feelings towards Steve, in an attempt to make him more attracted to and aware of her. The plan doesn't work. A Hollywood movie producer, Anatole Murphy, takes an interest in Fifi, makes a generous offer to Steve, to take over Lionel's contract for the sum of $100,000, which he refuses.
At the same time an agent named Liggett persuades Lionel to sell Fifi's contract to him for the lesser sum of $5,000. Murphy in turn pays $100,000 to Liggett, but Liggett becomes suspicious, since he sees how the veiled Fifi get into a taxi, Carmen comes out of it. Anne reveals to Carmen that the mysterious Fifi has made it impossible for her to get Steve's attention. To help Anne out and Carmen stage a fight between Carmen and Fifi in Carmen's dressing room; the fight ends with Fifi disappearing. Lionel reports back to Steve that Fifi has been found dead in the river, but he expresses his feeling of joy over "killing" her; the conversation is overheard, he is blamed and arrested for Fifi's murder. Lionel tries to explain to the police during the investigation. In the meantime, Steve confesses to Anne that he only expressed an interest in Fifi because of his business, that he is in love with Anne. Carmen enters the scene, dressed as Fifi, but removes her veil in front of everybody, showing that Carmen and Fifi are one and the same.
The film producer Murphy offers to sign a contract with Carmen, to use her as an actor in his productions, wants to buy the story for a film. Lionel becomes involved in the following film productions, gets credit for everything, from casting to storyline; the picture opens with a song about the Club Copacabana. The film's title was taken from Monte Proser's famous New York nightclub, the Copacabana, located at 10 East 60th St. According to a news in The Hollywood Reporter, independent producer Jack H. Skirball was set to make the picture, with assistance from Proser. At that same time, George Raft was announced as the film's possible lead; this was the first film. It is the first film in which Groucho appeared in his own mustache, rather than a greasepaint one; this was Carmen Miranda's first film after leaving Twentieth Century-Fox, the studio to which she had been under contract since 1940. The film includes cameo appearances by Broadway writers Abel Green, Louie Sobol, Earl Wilson. At the time of the production, Groucho Marx was married to Kay Gorcey, who had a small role in this film.
The Hollywood Reporter news add Chester Clute, Richard Elliott, Frank Scannell, Pierre Andre and Andrew Tombes to the cast, but their participation in the completed film has not been confirmed. Pierre Andre was signed to perform a specialty dance number with Dee Turnell, according to The Hollywood Reporter. In mid-Feb 1947, The Hollywood Reporter reported that producer Sam Coslow was considering reshooting scenes in which Miranda appears in a blonde wig, because of mail from Brazilian fans stating that they prefer her as a brunette; the reshot scenes were to be inserted in South American release prints only, according to the item. As reported in Los Angeles Times on 14 July 1953, Murray P. Koch sued Coslow and George Frank for $80,000, money he claimed to have advanced Beacon to aid in the making of this film. Along with Walter Batchelor and David Hersh, both of whom were dead by the time the suit was filed and Coslow held a controlling interest in Beacon, deemed insolvent; the disposition of this lawsuit is not known.
According to The Hollywood Repor
Julius Henry "Groucho" Marx was an American comedian, stage, film and television star. A master of quick wit, he is considered one of America's greatest comedians, he made 13 feature films with his siblings the Marx Brothers. He had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life, his distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, cigar, a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most recognizable and ubiquitous novelty disguises, known as Groucho glasses: a one-piece mask consisting of horn-rimmed glasses, a large plastic nose, bushy eyebrows and mustache. Julius Marx was born on October 1890, in Manhattan, New York. Marx stated that he was born in a room above a butcher's shop on East 78th Street, "Between Lexington & 3rd", as he told Dick Cavett in a 1969 television interview; the Marx children grew up on East 93rd Street off Lexington Avenue in a neighborhood now known as Carnegie Hill on the Upper East Side of the borough of Manhattan.
The turn-of-the-century building that his brother Harpo in his memoir Harpo Speaks called "the first real home they knew", was populated with European immigrants artisans. Just across the street were the oldest brownstones in the area, owned by people such as the well-connected Loew Brothers and William Orth; the Marx family lived there "for about 14 years", Groucho told Cavett. Marx's family was Jewish. Groucho's mother was Miene "Minnie" Schoenberg, whose family came from Dornum in northern Germany when she was 16 years old, his father was Simon "Sam" Marx, who changed his name from Marrix, was called "Frenchie" by his sons throughout his life, because he and his family came from Alsace in France. Minnie's brother was Al Schoenberg, who shortened his name to Al Shean when he went into show business as half of Gallagher and Shean, a noted vaudeville act of the early 20th century. According to Groucho, when Shean visited, he would throw the local waifs a few coins so that when he knocked at the door he would be surrounded by adoring fans.
Marx and his brothers respected his opinions and asked him on several occasions to write some material for them. Minnie Marx did not have an entertainment industry career but had intense ambition for her sons to go on the stage like their uncle. While pushing her eldest son Leonard in piano lessons, she found that Julius had a pleasant soprano voice and the ability to remain on key. Julius's early career goal was to become a doctor, but the family's need for income forced him out of school at the age of twelve. By that time, young Julius had become a voracious reader fond of Horatio Alger. Marx would continue to overcome his lack of formal education by becoming well-read. After a few stabs at entry-level office work and jobs suitable for adolescents, Julius took to the stage as a boy singer with the Gene Leroy Trio, debuting at the Ramona Theatre in Grand Rapids, MI, on July 16, 1905. Marx reputedly claimed that he was "hopelessly average" as a vaudevillian, but this was typical Marx, wisecracking in his true form.
By 1909, Minnie Marx had assembled her sons into an undistinguished vaudeville singing group billed as "The Four Nightingales". The brothers Julius and Arthur and another boy singer, Lou Levy, traveled the U. S. vaudeville circuits to little fanfare. After exhausting their prospects in the East, the family moved to La Grange, Illinois, to play the Midwest. After a dispiriting performance in Nacogdoches, Julius and Arthur began cracking jokes onstage for their own amusement. Much to their surprise, the audience liked them better as comedians than as singers, they modified the then-popular Gus Edwards comedy skit "School Days" and renamed it "Fun In Hi Skule". The Marx Brothers would perform variations on this routine for the next seven years. For a time in vaudeville, all the brothers performed using ethnic accents. Leonard, the oldest, developed the Italian accent he used as Chico Marx to convince some roving bullies that he was Italian, not Jewish. Arthur, the next oldest, donned a curly red wig and became "Patsy Brannigan", a stereotypical Irish character.
His discomfort when speaking on stage led to his uncle Al Shean's suggestion that he stop speaking altogether and play the role in mime. Julius Marx's character from "Fun In Hi Skule" was an ethnic German, so Julius played him with a German accent. After the sinking of the RMS Lusitania in 1915, public anti-German sentiment was widespread, Marx's German character was booed, so he dropped the accent and developed the fast-talking wise-guy character that became his trademark; the Marx Brothers became the biggest comedic stars of the Palace Theatre in New York, which billed itself as the "Valhalla of Vaudeville". Brother Chico's deal-making skills resulted in three hit plays on Broadway. No other comedy routine had so infected the Broadway circuit. All of this stage work predated their Hollywood career. By the time the Marxes made their first movie, they were major stars with honed skills. Groucho Marx started his career in vaudeville in 1905 when he joined up with an act called The Leroy Trio, he was asked to join the group as a singer, along with fellow vaudeville actor Johnny Morris, by a man named Robin Leroy.
Through this act, Groucho got his first taste of life as a vaudeville performer. In 1909, Groucho and his brothers had become a gro
Mario Lanza was an American tenor of Italian ancestry, an actor and Hollywood film star of the late 1940s and the 1950s. Lanza began studying to be a professional singer at the age of 16. After appearing at the Hollywood Bowl in 1947, Lanza signed a seven-year film contract with Louis B. Mayer, the head of Metro-Goldwyn-Mayer, who saw his performance and was impressed by his singing. Prior to that, the adult Lanza had sung only two performances of an opera; the following year, however, he sang the role of Pinkerton in Puccini's Madame Butterfly in New Orleans. His film début for MGM was in That Midnight Kiss with Ethel Barrymore. A year in The Toast of New Orleans, his featured popular song "Be My Love" became his first million-selling hit. In 1951, he played the role of tenor Enrico Caruso, his idol, in the biopic The Great Caruso, which produced another million-seller with "The Loveliest Night of the Year"; the Great Caruso was the top-grossing film that year. The title song of his next film, Because You're Mine, was his final million-selling hit song.
The song went on to receive an Academy Award nomination for Best Original Song. After recording the soundtrack for his next film, The Student Prince, he embarked upon a protracted battle with studio head Dore Schary arising from artistic differences with director Curtis Bernhardt, was dismissed by MGM. Lanza was known to be "rebellious and ambitious." During most of his film career, he suffered from addictions to overeating and alcohol which had a serious effect on his health and his relationships with directors and other cast members. Hollywood columnist Hedda Hopper writes that "his smile, as big as his voice, was matched with the habits of a tiger cub, impossible to housebreak." She adds that he was the "last of the great romantic performers". He made three more films before dying of an apparent pulmonary embolism at the age of 38. At the time of his death in 1959 he was still "the most famous tenor in the world". Author Eleonora Kimmel concludes that Lanza "blazed like a meteor whose light lasts a brief moment in time".
Born Alfredo Arnold Cocozza in Philadelphia, Pennsylvania, he was exposed to classical singing at an early age by his Abruzzese-Molisan Italian parents. His mother, Maria Lanza, was from Tocco da Casauria, a town in the province of Pescara in the region of Abruzzo, his father, Antonio Cocozza, was from Filignano, a town in the province of Isernia in the region of Molise. By age 16, his vocal talent had become apparent. Starting out in local operatic productions in Philadelphia for the YMCA Opera Company while still in his teens, he came to the attention of longtime principal Boston Symphony conductor Serge Koussevitzky. In 1942, Koussevitzky provided young Cocozza with a full student scholarship to the Berkshire Music Center at Tanglewood, Massachusetts. Koussevitzky would tell him, "Yours is a voice such as is heard once in a hundred years." He made his opera debut, as Fenton in Otto Nicolai's The Merry Wives of Windsor, at the Berkshire Music Festival in Tanglewood on August 7, 1942, after a period of study with conductors Boris Goldovsky and Leonard Bernstein.
This was when Cocozza adopted the stage name Mario Lanza, for its similarity to his mother’s maiden name, Maria Lanza. His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having "few equals among tenors of the day in terms of quality and power". Herbert Graf subsequently wrote in Opera News, "A real find of the season was Mario Lanza He would have no difficulty one day being asked to join the Metropolitan Opera." Lanza sang Nicolai's Fenton twice at Tanglewood, in addition to appearing there in a one-off presentation of Act III of Puccini's La bohème with the noted Mexican soprano Irma González, baritone James Pease and mezzo-soprano Laura Castellano. Music critic Jay C. Rosenfeld wrote in The New York Times of August 9, 1942, "Irma González as Mimì and Mario Lanza as Rodolfo were conspicuous by the beauty of their voices and the vividness of their characterizations." In an interview shortly before her own death in 2008, González recalled that Lanza was "very correct, with a powerful and beautiful voice".
His budding operatic career was interrupted by World War II, when he was assigned to Special Services in the U. S. Army Air Corps, he appeared in the wartime shows On the Winged Victory. He appeared in the film version of the latter, he resumed his singing career with a concert in Atlantic City with the NBC Symphony Orchestra in September 1945 under Peter Herman Adler, subsequently his mentor. The following month, he replaced tenor Jan Peerce on the live CBS radio program Great Moments in Music on which he made six appearances in four months, singing extracts from various operas and other works, he studied with Enrico Rosati for fifteen months, embarked on an 86-concert tour of the United States and Mexico between July 1947 and May 1948 with bass George London and soprano Frances Yeend. Reviewing his second appearance at Chicago's Grant Park in July 1947 in the Chicago Sunday Tribune, Claudia Cassidy praised Lanza's "superbly natural tenor" and observed that "though a multitude of fine points evade him, he possesses the things impossible to learn.
He knows the accent that makes a lyric line reach its audience, he knows why opera is music drama."In April 1948, Lanza sang two performances as Pinkerton in Puccini's Madama Butterfly for the New Orleans Opera Association conducted by Walter Herbert w
Will Mastin Trio
The Will Mastin Trio was a troupe of dancers and singers formed by Will Mastin, Sammy Davis Sr. and Sammy Davis Jr. The original members were Sammy Davis Sr. Howard M. Colbert Jr. and Will Mastin, although Sammy Davis Jr. would join them on stage when he was a little boy. Howard M. Colbert Jr. was the tap-dance teacher of Sammy Davis Jr.. Colbert left the Trio in December 1941 to join the United States Army when the United States declared war on Germany during World War II. Sammy Davis Jr. was 16 years old at this time and became part of the main vaudeville act, replacing Colbert. They performed from the 1920s through the 1960s; the trio stopped performing when Sammy Davis Jr. was called to serve in the Army in 1943, but resumed their activity after the end of the War in Portland, Oregon. When Sammy Davis Jr.'s solo career was successful, during the 1950s and 1960s, he still performed with his father and uncle as the Will Mastin Trio giving them billing on his shows and singles. Among their credited appearances are the movie Sweet and Low of 1947 and the musical Mr. Wonderful, staged on Broadway from 1956 to 1957.
Bonds of deep affection tied the three men together. They are buried in the same cemetery, next to one another, in the Davis family tomb; the Will Mastin Trio together forever Will Mastin Trio c. 1935 Sammy Davis Sr. Sammy Davis Jr. and Will Mastin
The Ed Sullivan Show
The Ed Sullivan Show was an American television variety show that ran on CBS from June 20, 1948, to June 6, 1971, was hosted by New York entertainment columnist Ed Sullivan. It was replaced in September 1971 by the CBS Sunday Night Movie. In 2002, The Ed Sullivan Show was ranked #15 on TV Guide's 50 Greatest TV Shows of All Time. In 2013, the series finished No. 31 in TV Guide Magazine's 60 Best Series of All Time. From 1948 until its cancellation in 1971, the show ran on CBS every Sunday night from 8–9 p.m. E. T. and is one of the few entertainment shows to have run in the same weekly time slot on the same network for more than two decades. Every type of entertainment appeared on the show; the format was the same as vaudeville and, although vaudeville had undergone a slow demise for a generation, Sullivan presented many ex-vaudevillians on his show. Co-created and produced by Marlo Lewis, the show was first titled Toast of the Town, but was referred to as The Ed Sullivan Show for years before September 25, 1955, when that became its official name.
In the show's June 20, 1948 debut, Dean Martin and Jerry Lewis performed along with singer Monica Lewis and Broadway composers Richard Rodgers and Oscar Hammerstein II previewing the score to their then-new show South Pacific, which opened on Broadway in 1949. From 1948 through 1962, the program's primary sponsor was the Lincoln-Mercury Division of the Ford Motor Company; the Ed Sullivan Show was broadcast via live television from CBS-TV studio 51, the Maxine Elliott Theatre, at Broadway and 39th St. before moving to its permanent home at CBS-TV Studio 50 in New York City, renamed the Ed Sullivan Theater on the occasion of the program's 20th anniversary in June 1968. The last original Sullivan show telecast was on March 28, 1971, with guests Melanie, Joanna Simon, Danny Davis and the Nashville Brass and Sandler and Young. Repeats were scheduled through June 6, 1971. Along with the new talent Sullivan booked each week, he had recurring characters appear many times a season, such as his "Little Italian Mouse" puppet sidekick Topo Gigio, who debuted December 9, 1962, ventriloquist Señor Wences debuted December 31, 1950.
While most of the episodes aired live from New York City, the show aired live on occasion from other nations, such as the United Kingdom and Japan. For many years, Ed Sullivan was a national event each Sunday evening, was the first exposure for foreign performers to the American public. On the occasion of the show's tenth anniversary telecast, Sullivan commented on how the show had changed during a June 1958 interview syndicated by the Newspaper Enterprise Association: The chief difference is one of pace. In those days, we had maybe six acts. Now we have 11 or 12; each of our acts would do a leisurely ten minutes or so. Now they do three minutes, and in those early days I talked too much. Watching these kines I cringe. I look up at me talking away and I say "You fool! Keep quiet!" But I just keep on talking. I've learned; the show enjoyed phenomenal popularity in early 1960s. As had occurred with the annual telecasts of The Wizard of Oz in the 1960s and'70s, the family ritual of gathering around the television set to watch Ed Sullivan became a U.
S. cultural universal. He was regarded as a kingmaker, performers considered an appearance on his program as a guarantee of stardom, although this sometimes did not turn out to be the case; the show's iconic status is illustrated by the song "Hymn for a Sunday Evening" from the 1960 musical Bye Bye Birdie. In the song, a family of viewers expresses their regard for the program in worshipful tones. In September 1965, CBS started televising the program in compatible color, as all three major networks began to switch to 100 percent color prime time schedules. CBS had once backed its own color system, developed by Peter Goldmark, resisted using RCA's compatible process until 1954. At that time, it built its first New York City color TV studio, Studio 72, in a former RKO movie theater at 2248 Broadway. One Ed Sullivan Show was broadcast on August 22, 1954, from the new studio, but it was used for one-time-only specials such as Rodgers and Hammerstein's March 31, 1957 Cinderella. CBS Studio 72 was replaced by an apartment house.
CBS Studio 50 was "colorized" in 1965. The 1965–66 season premiere starred the Beatles in an episode airing on September 12, the last episode to air in black and white; this occurred because the episode was taped at the Beatles' convenience on August 14, the eve of their Shea Stadium performance and a two-week tour of North America before the program was ready for color transmission. In the late 1960s, Sullivan remarked, he realized that to keep viewers, the best and brightest in entertainment had to be seen, or else the viewers were going to keep on changing the channel. Along with declining viewership, Ed Sullivan attracted a higher median age for the average viewer as the seasons went on; these two factors were the reason the show was canceled by CBS as part of a mass cancellation of advertiser-averse progr