Nelson Smock Riddle Jr. was an American arranger, composer and orchestrator whose career stretched from the late 1940s to the mid-1980s. His work for Capitol Records kept such vocalists as Frank Sinatra, Ella Fitzgerald, Nat King Cole, Judy Garland, Dean Martin, Peggy Lee, Johnny Mathis, Rosemary Clooney and Keely Smith household names, he found commercial and critical success again in the 1980s with a trio of Platinum albums with Linda Ronstadt. His orchestrations earned an Academy Award and three Grammy Awards. Riddle was born in Oradell, New Jersey, the only child of Marie Albertine Riddle and Nelson Smock Riddle, moved to nearby Ridgewood, where he attended Ridgewood High School, where he was encouraged to pursue his interest in music. Following his father's interest in music, he began taking piano lessons at age eight and trombone lessons at age fourteen. A formative experience was hearing Serge Koussevitsky and the Boston Symphony Orchestra playing Maurice Ravel's Boléro. Riddle said later: "...
I've never forgotten it. It's as if the orchestra leaped from the stage and smacked you in the face..."By his teenage years he had decided to become a professional musician. I wanted to be a jazz trombone player, but I didn't have the coordination." So his inclinations began to turn to writing — composing and arranging. Riddle and his family had a summer house in New Jersey, he enjoyed Rumson so much that he convinced his parents to allow him to attend high school there for his senior year. In Rumson while playing for trumpeter Charlie Briggs' band, the Briggadiers, he met one of the most important influences on his arranging style: Bill Finegan, with whom he began arranging lessons. Despite being only four years older than Riddle, Finegan was more musically sophisticated, within a few years creating not only some of the most popular arrangements from the swing era, such as Glenn Miller's "Little Brown Jug", but great jazz arrangements such as Tommy Dorsey's "Chloe" and "At Sundown" from the mid-1940s.
After his graduation from Rumson High School, he spent his late teens and early 20s playing trombone in and arranging for various local dance bands, culminating in his association with the Charlie Spivak Orchestra. In 1943, Riddle joined the Merchant Marine, serving at Sheepshead Bay, New York for about two years while continuing to work for the Charlie Spivak Orchestra, he studied orchestration under composer Alan Shulman. After his enlistment term ended, Riddle traveled to Chicago to join Tommy Dorsey's orchestra in 1944, where he remained the orchestra's third trombone for eleven months until drafted by the Army in April 1945, shortly before the end of World War II, he was discharged in June 1946, after fifteen months of active duty. He moved shortly thereafter to Hollywood to pursue his career as an arranger and spent the next several years writing arrangements for multiple radio and record projects. In May 1949, Doris Day had a #2 hit, "Again", backed by Riddle. In 1950, Riddle was hired by composer Les Baxter to write arrangements for a recording session with Nat King Cole.
Although one of the songs Riddle had arranged, "Mona Lisa," soon became the biggest selling single of Cole's career, the work was credited to Baxter. However, once Cole learned the identity of the arrangement's creator, he sought out Riddle's work for other sessions, thus began a fruitful partnership that furthered the careers of both men at Capitol. During the same year, Riddle struck up a conversation with Vern Yocum, a big band jazz musician who would transition into music preparation for Frank Sinatra and other entertainers at Capitol Records. A collaboration followed with Vern becoming Riddle's "right hand" as copyist and librarian for the next thirty years. In 1953, Capitol Records executives viewed the up-and-coming Riddle as a prime choice to arrange for the newly arrived Frank Sinatra. Sinatra was reluctant however, preferring instead to remain with Axel Stordahl, his long-time collaborator from his Columbia Records years; when success of the first few Capitol sides with Stordahl proved disappointing, Sinatra relented and Riddle was called in to arrange his first session for Sinatra, held on April 30, 1953.
The first product of the Riddle-Sinatra partnership, "I've Got the World on a String", became a runaway hit and is credited with relaunching the singer's slumping career. Riddle's personal favorite was a Sinatra ballad album, one of his most successful recordings, Only the Lonely. For the next decade, Riddle continued to arrange for Sinatra and Cole, in addition to such Capitol artists as Kate Smith, Judy Garland, Dean Martin, Keely Smith, Sue Raney, Ed Townsend, he found time to release his own instrumental discs of 45 rpm and albums on the Capitol label. For example, Riddle's most successful tune was "Lisbon Antigua", released in November 1955 and reached and remained at the #1 position for four weeks in 1956. Riddle's most notable LP discs were Hey... Let Yourself Go and C'mon... Get Happy, both of which peaked at a respectable number twenty on the Billboard charts. While at Capitol, Riddle continued his successful career arranging music for film, most notably with MGM's Conrad Salinger on the first onscreen duet between Bing Crosby and Sinatra in High Society, the 1957 film version of Pal Joey directed by George Sidney for Columbia Pictures.
In 1969, he arranged and conducted the music for the film Paint Your Wagon, which starred a trio of non-singers, Lee Marvin, Clint Eastwood, Jean Seberg. In 1957, Riddle and his orchestra were feature
Isham Edgar Jones was an American bandleader, saxophonist and songwriter. Jones was born in Coalton, United States, to a musical and mining family, grew up in Saginaw, where he started his first band. In 1911 one of Jones's earliest compositions "On the Alamo" was published by Tell Taylor Inc. In 1915 Jones moved to Illinois, he performed at the Green Mill Gardens began playing at Fred Mann's Rainbo Gardens. Chicago remained his home until 1932, he toured England with his orchestra in 1925. In 1917, he composed the tune "We're In The Army Now" when the United States entered World War I; the same tune has been popular well again during World War II and it is played by the US Army Band. The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s, his first 26 sides, made at Rainbo Gardens, were credited to "Isham Jones' Rainbo Orchestra". By the end of 1920, the name was "Isham Jones' Orchestra", he led one of the most popular dance bands in the 1930s. His first successful recording, "Wabash Blues" written by Dave Ringle and Fred Meinken, was recorded in 1921 by "Isham Jones and his Orchestra".
This million-seller stayed for twelve weeks in the U. S. charts, six at No. 1. It was awarded a gold disc by the RIAA. Noted musicians who played in Jones's band included Louis Panico, Benny Goodman, Woody Herman, Walt Yoder, Roy Bargy. Reed virtuoso Al Gallodoro appeared with Jones in 1933, taking part in a record date October 3. From the start, his Brunswick records were popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization. From 1929 to 1932, his Brunswick recordings became more sophisticated with offbeat arrangements by Gordon Jenkins and others. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual humorous tone to his voice, his other vocalists included Frank Sylvano, Billy Scott, Arthur Jarrett. In 1932, he added another of the band's violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Jones's group which included "Sweet Georgia Brown".
Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style. In August 1932, Jones signed with Victor, these records are considered among the best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio, they recorded "experimental" songs for RCA Victor in which Jones began to fuse jazz and early swing music. They recorded "Where?" and "What Would Happen to Me If Something Happened to You." His Victor releases had an symphonic sound with a strong use of tuba. During his Victor period, he recorded two long playing "Program Transcription" records as part of Victor's unsuccessful 33 1/3 RPM series, he stayed with Victor until July 1934. Jones's recordings during this period rivaled Paul Whiteman, Waring's Pennsylvanians, Leo Reisman and other dance orchestras as examples of the most popular dance music of the era.
Jones' Decca recordings are unfavorably compared to his Victor recordings, due to Decca's recording techniques, Decca's insisting that Jones re-record many of his Victor recordings, the apparent smaller size of his orchestra. After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Jones started a new band in 1937–38 and recorded a handful of sessions under the ARC labels: Melotone and Banner. In the 1940s, Jones resided on his poultry farm in Colorado, which he left for short tours with pickup bands, he resided in Los Angeles. He moved to Hollywood, Florida in 1955, died there of cancer in 1956, his great-nephew is the now-deceased jazz drummer Rusty Jones. Isham Jones' compositions: "We're In The Army Now" 1917 - Lyrics by Tell Taylor & Ole Olsen "You Gave Me Your Heart" Brunswick 2350-A "The Sneak!" Brunswick 2350-B "Dog on the Piano" Brunswick 2646-A "Mahsi" Brunswick 2646-B "Meet Me in Bubble Land" 1919 "On the Alamo" recorded 1922 "Swingin' Down the Lane" 1923 "I'll See You in My Dreams" 1924 "The One I Love" 1924 "It Had to Be You" 1924 "Spain" 1924 "Song of the Blues" "Not a Cloud in the Sky" 1929 "What's the Use?"
1930 "Feeling That Way" 1930 "You're Just a Dream Come True" 1931 "I Wouldn't Change You For The World" 1931 "Let That Be a Lesson to You" 1932 "I Can't Believe It's True" 1932 "One Little Word Led to Another" 1932 "The Wooden Soldier and the China Doll" 1932 "I'll Never Have to Dream Again" 1932 "Pretending You Care" 1932 "There's Nothing Left to Do But Say Goodbye" 1932 "Why Can't This Night Go On Forever?" 1932 "You've Got Me Crying Again" 1933 "Honestly" 1933 "Old Lace" 1933 "Something Seems to Tell Me" 1933 "You're We
New York City
The City of New York called either New York City or New York, is the most populous city in the United States. With an estimated 2017 population of 8,622,698 distributed over a land area of about 302.6 square miles, New York is the most densely populated major city in the United States. Located at the southern tip of the state of New York, the city is the center of the New York metropolitan area, the largest metropolitan area in the world by urban landmass and one of the world's most populous megacities, with an estimated 20,320,876 people in its 2017 Metropolitan Statistical Area and 23,876,155 residents in its Combined Statistical Area. A global power city, New York City has been described as the cultural and media capital of the world, exerts a significant impact upon commerce, research, education, tourism, art and sports; the city's fast pace has inspired the term New York minute. Home to the headquarters of the United Nations, New York is an important center for international diplomacy.
Situated on one of the world's largest natural harbors, New York City consists of five boroughs, each of, a separate county of the State of New York. The five boroughs – Brooklyn, Manhattan, The Bronx, Staten Island – were consolidated into a single city in 1898; the city and its metropolitan area constitute the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. New York City is home to more than 3.2 million residents born outside the United States, the largest foreign-born population of any city in the world. In 2017, the New York metropolitan area produced a gross metropolitan product of US$1.73 trillion. If greater New York City were a sovereign state, it would have the 12th highest GDP in the world. New York is home to the highest number of billionaires of any city in the world. New York City traces its origins to a trading post founded by colonists from the Dutch Republic in 1624 on Lower Manhattan.
The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, the Duke of York. New York served as the capital of the United States from 1785 until 1790, it has been the country's largest city since 1790. The Statue of Liberty greeted millions of immigrants as they came to the U. S. by ship in the late 19th and early 20th centuries and is an international symbol of the U. S. and its ideals of liberty and peace. In the 21st century, New York has emerged as a global node of creativity and entrepreneurship, social tolerance, environmental sustainability, as a symbol of freedom and cultural diversity. Many districts and landmarks in New York City are well known, with the city having three of the world's ten most visited tourist attractions in 2013 and receiving a record 62.8 million tourists in 2017. Several sources have ranked New York the most photographed city in the world. Times Square, iconic as the world's "heart" and its "Crossroads", is the brightly illuminated hub of the Broadway Theater District, one of the world's busiest pedestrian intersections, a major center of the world's entertainment industry.
The names of many of the city's landmarks and parks are known around the world. Manhattan's real estate market is among the most expensive in the world. New York is home to the largest ethnic Chinese population outside of Asia, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is the largest single-operator rapid transit system worldwide, with 472 rail stations. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, Rockefeller University, which have been ranked among the top universities in the world. Anchored by Wall Street in the Financial District of Lower Manhattan, New York has been called both the most economically powerful city and the leading financial center of the world, the city is home to the world's two largest stock exchanges by total market capitalization, the New York Stock Exchange and NASDAQ. In 1664, the city was named in honor of the Duke of York.
James's older brother, King Charles II, had appointed the Duke proprietor of the former territory of New Netherland, including the city of New Amsterdam, which England had seized from the Dutch. During the Wisconsinan glaciation, 75,000 to 11,000 years ago, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth; the erosive forward movement of the ice contributed to the separation of what is now Long Island and Staten Island. That action left bedrock at a shallow depth, providing a solid foundation for most of Manhattan's skyscrapers. In the precolonial era, the area of present-day New York City was inhabited by Algonquian Native Americans, including the Lenape, whose homeland, known as Lenapehoking, included Staten Island; the first documented visit into New York Harbor by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown. He named it Nouvelle Angoulême. A Spanish expedition led by captain Estêvão Gomes, a Portuguese sailing for Emperor Charles V, arrived in New York Harbor in January 1525 and charted the mouth of the Hudson River, which he named Río de San Antonio.
The Padrón Rea
Harold Arlen was an American composer of popular music who composed over 500 songs, a number of which have become known worldwide. In addition to composing the songs for the 1939 film The Wizard of Oz, including the classic "Over the Rainbow", Arlen is a regarded contributor to the Great American Songbook. "Over the Rainbow" was voted the 20th century's No. 1 song by the Recording Industry Association of America and the National Endowment for the Arts. Arlen was born in New York, United States, the child of a cantor, his twin brother died the next day. He learned to play the piano as a youth, formed a band as a young man, he achieved some local success as a pianist and singer before moving to New York City in his early twenties, where he worked as an accompanist in vaudeville and changed his name to Harold Arlen. Between 1926 and about 1934, Arlen appeared as a band vocalist on records by The Buffalodians, Red Nichols, Joe Venuti, Leo Reisman, Eddie Duchin singing his own compositions. In 1929, Arlen composed his first well-known song: "Get Happy".
Throughout the early and mid-1930s, Arlen and Koehler wrote shows for the Cotton Club, a popular Harlem night club, as well as for Broadway musicals and Hollywood films. Arlen and Koehler's partnership resulted in a number of hit songs, including the familiar standards "Let's Fall in Love" and "Stormy Weather". Arlen continued to perform as a pianist and vocalist with some success, most notably on records with Leo Reisman's society dance orchestra. Arlen's compositions have always been popular with jazz musicians because of his facility at incorporating a blues feeling into the idiom of the American popular song. In the mid-1930s, Arlen married, spent increasing time in California, writing for movie musicals, it was at this time that he began working with lyricist E. Y. "Yip" Harburg. In 1938, the team was hired by Metro-Goldwyn-Mayer to compose songs for The Wizard of Oz, the most famous of, "Over the Rainbow", for which they won the Academy Award for Best Music, Original Song, they wrote "Down with Love", "Lydia the Tattooed Lady", for Groucho Marx in At the Circus in 1939, "Happiness is a Thing Called Joe", for Ethel Waters in the 1943 movie Cabin in the Sky.
Arlen was a longtime friend and onetime roommate of actor Ray Bolger, who starred in The Wizard of Oz. In the 1940s, he teamed up with lyricist Johnny Mercer, continued to write hit songs like "Blues in the Night", "Out of this World", "That Old Black Magic", "Ac-Cent-Tchu-Ate the Positive", "Any Place I Hang My Hat Is Home", "Come Rain or Come Shine" and "One for My Baby". Arlen composed two defining tunes which bookend Judy Garland's musical persona: as a yearning, innocent girl in "Over the Rainbow" and a world-weary, "chic chanteuse" with "The Man That Got Away", the last written for the 1954 version of the film A Star Is Born. Arlen died of cancer at his Manhattan apartment at the age of eighty-one. 1905 Arlen born in Buffalo, New York 1920 He formed his first professional band, Hyman Arluck's Snappy Trio. 1921 Against his parents' wishes. 1923 With his new band – The Southbound Shufflers, performed on the Crystal Beach lake boat "Canadiana" during the summer of 1923. 1924 Performed at Lake Shore Manor during the summer of 1924.
1924 Wrote his first song, collaborating with friend Hyman Cheiffetz to write "My Gal, My Pal". Copyrighting the song as "My Gal, Won't You Please Come Back to Me?" and listed lyrics by Cheiffetz and music by Harold Arluck. 1925 Makes his way to New York City with The Buffalodians, with Arlen playing piano. 1926 Had first published song, collaborating with Dick George to compose "Minor Gaff" under the name Harold Arluck. 1928 Chaim Arluck renames himself a name that combined his parents' surnames. 1929 Landed a singing and acting role as Cokey Joe in the musical The Great Day. 1929 Composed his first well known song – "Get Happy" – under the name Harold Arlen. 1929 Signed a yearlong song writing contract with the George and Arthur Piantadosi firm. 1930–1934 Wrote music for the Cotton Club. 1933 At a party, along with partner Ted Koehler, wrote the major hit song "Stormy Weather" 1933 Billboard heralded Shakespeare as the most prolific playwright in history, Arlen as the most prolific composer. 1934 Wrote "Ill Wind" with lyrics by Ted Koehler for their last show at the Cotton Club Parade, in 1934, sung by Adelaide Hall 1935 Went back to California after being signed by Samuel Goldwyn to write songs for the film Strike Me Pink.
1937 Composed the score for the Broadway musical Hooray for What!. Married 22-year-old Anya Taranda, a celebrated Powers Agency model and former Earl Carroll and Busby Berkeley showgirl and one of the Original "Breck Girls". 1938 Hired by Metro-Goldwyn-Mayer to compose songs for The Wizard of Oz. 1938 While driving along Sunset Boulevard in Hollywood and stopping in front of Schwab's Drug Store, seeing a rainbow appear over Hollywood, came up with the song "Over the Rainbow". 1941 Wrote "Blues in the Night" 1942 Along with Johnny Mercer, he wrote one of his most famous songs, "That Old Black Magic". 1943 Wrote "My Shining Hour" 1944 While driving with songwriter partner Johnny Mercer came up with the song "Accentuate the Positive". 1945 In a single evening's work in October with Johnny Mercer came up with the song "Come Rain or Come Shine". 1949 Collaborated with Ralph Blane
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
Love Me Tender (song)
"Love Me Tender" is a 1956 song recorded by Elvis Presley and published by Elvis Presley Music from the 20th Century Fox film of the same name. The words and music are credited to Ken Darby under the pseudonym "Vera Matson", the name of his wife, Elvis Presley; the RCA Victor recording by Elvis Presley was no. 1 on both the Billboard and Cashbox charts in 1956. The song was adapted from a sentimental Civil War ballad; the song is featured in many other films such as FM, Touched By Love, This is Elvis, Porky's Revenge, Wild at Heart, Die Hard 2, Honeymoon in Vegas, Gaudi Afternoon, Machine Gun Molly, The Princess Diaries 2: Royal Engagement, William Eggleston in the Real World, California Dreamin', Love in Space, Devil's Due, Just Before I Go, 90 Minutes in Heaven. The 1956 song "Love Me Tender" puts new words to a new musical adaptation of the Civil War song "Aura Lee," published in 1861. "Aura Lee" had music by words by W. W. Fosdick, it became popular with college glee clubs and barbershop quartets.
It was sung at the U. S. Military Academy at West Point, New York; the principal writer of the lyrics was Ken Darby, who adapted Poulton's Civil War tune, in the public domain. The song was published by Elvis Presley Music. and credited to Presley and Darby's wife Vera Matson. Presley received co-songwriting credit due to his Hill & Range publishing deal which demanded songwriters concede 50 percent of the credit of their song if they wanted Presley to record it, he would change arrangements and lyrics to the point that the original song was recognizable. Ken Darby described Elvis Presley's role in the creation of the song: "He adjusted the music and the lyrics to his own particular presentation. Elvis has the most terrific ear of anyone I have met, he does not read music. All I had to do was play the song for him once, he made it his own! He has perfect judgment of, he exercised that judgment when he chose'Love Me Tender' as his theme song."Elvis Presley performed "Love Me Tender" on The Ed Sullivan Show on September 9, 1956, shortly before the single's release and about a month before the movie, Love Me Tender was released.
After that, RCA received more than a million advance orders, making it a gold record before it was released. The studio, 20th Century Fox wanted to call the movie The Reno Brothers but instead re-titled it Love Me Tender to capitalize on the song's popularity. Movie producer David Weisbart would not allow Presley's regular band to play on the soundtrack. Instead, The Ken Darby Trio provided the musical backing with Red Robinson on drums, Charles Prescott on bass, Vita Mumolo on guitar, Jon Dodson on background vocals, with Presley providing only lead vocals; the single debuted at #2 on the "Best Sellers in Stores" pop singles chart, the first time a single made its first appearance at the #2 position. The song hit #1 on the Billboard charts the week ending November 3, 1956, remaining in the position for 5 weeks and reached no. 11 on the charts in the UK. "Love Me Tender" reached number three for three weeks on the R&B chart. This version was ranked #437 on Rolling Stone's list of the 500 Greatest Songs of All Time.
In 1968, Presley recorded a 52-second track entitled "Violet" for the soundtrack of the film The Trouble with Girls. Unreleased until after Presley's death, the song was Presley's second adaptation of "Aura Lee". Although Presley never re-recorded "Love Me Tender" in a studio setting, two live recordings of the song were released on the albums: NBC-TV Special and Elvis: As Recorded at Madison Square Garden, with additional performances from concert and television appearances being released after Presley's death; the song was performed in the Golden Globe-winning concert film Elvis on Tour. As seen in that film, in other filmed and recorded accounts, Presley performed only a portion of the song's lyrics live, instead using the song as a device to interact with female members of the audience. "Love Me Tender" was included in the four song Extended Play album Love Me Tender of the songs from the film. The reprise of the song was not included on the EP. Love Me Tender - 2:41 - Recorded Aug 24, 1956 Love Me Tender - 1:08 - Recorded Oct 01, 1956 Love Me Tender - 2:42 - Recorded Aug 24, 1956The 1997 compact disc reissue with bonus tracks of the Jailhouse Rock EP contains these three versions.
Richard Chamberlain reached no. 21 on the Billboard Pop singles chart with his version when it was released as a single in 1962 on MGM, no. 15 in the UK, no. 31 in Canada. Percy Sledge had a Top 40 hit with a cover version in 1967, going to no. 40 on the US Billboard Pop chart, no. 35 on the R&B chart, no. 35 on the Canadian chart. B. B. King recorded the song on his 1982 MCA album Love Me Tender. Albert King on his 1970 album King, Does the King's Things. Nat King Cole performed it on his 1950s TV show. Cliff Richard performed it on TV as part of the Danish 2000 Contest and recorded it on his Wanted album. Stuart Sutcliffe performed the song during The Beatles's concerts in Germany. A recording was released in 2011, but the authenticity is debated. Chuck Jackson on his 1966 Wand album Dedicated to the King!! Johnny Hallyd
Hollywood is a neighborhood in the central region of Los Angeles, notable as the home of the U. S. film industry, including several of its historic studios. Its name has come to be a shorthand reference for the people associated with it. Hollywood was incorporated as a municipality in 1903, it was consolidated with the city of Los Angeles in 1910 and soon thereafter, a prominent film industry emerged becoming the most recognizable film industry in the world. In 1853, one adobe hut stood in Nopalera, named for the Mexican Nopal cactus indigenous to the area. By 1870, an agricultural community flourished; the area was known as the Cahuenga Valley, after the pass in the Santa Monica Mountains to the north. According to the diary of H. J. Whitley known as the "Father of Hollywood", on his honeymoon in 1886 he stood at the top of the hill looking out over the valley. Along came a Chinese man in a wagon carrying wood; the man bowed. The Chinese man was asked what he was doing and replied, "I holly-wood," meaning'hauling wood.'
H. J. Whitley decided to name his new town Hollywood. "Holly" would represent England and "wood" would represent his Scottish heritage. Whitley had started over 100 towns across the western United States. Whitley arranged to buy the 480 acres E. C. Hurd ranch, they shook hands on the deal. Whitley shared his plans for the new town with General Harrison Gray Otis, publisher of the Los Angeles Times, Ivar Weid, a prominent businessman in the area. Daeida Wilcox learned of the name Hollywood from Ivar Weid, her neighbor in Holly Canyon and a prominent investor and friend of Whitley's, she recommended the same name to Harvey. H. Wilcox, who had purchased 120 acres on February 1, 1887, it wasn't until August 1887 Wilcox decided to use that name and filed with the Los Angeles County Recorder's office on a deed and parcel map of the property. The early real-estate boom busted at the end of that year. By 1900, the region had a post office, newspaper and two markets. Los Angeles, with a population of 102,479 lay 10 miles east through the vineyards, barley fields, citrus groves.
A single-track streetcar line ran down the middle of Prospect Avenue from it, but service was infrequent and the trip took two hours. The old citrus fruit-packing house was converted into a livery stable, improving transportation for the inhabitants of Hollywood; the Hollywood Hotel was opened in 1902 by H. J. Whitley, a president of the Los Pacific Boulevard and Development Company. Having acquired the Hurd ranch and subdivided it, Whitley built the hotel to attract land buyers. Flanking the west side of Highland Avenue, the structure fronted on Prospect Avenue, still a dusty, unpaved road, was graded and graveled; the hotel was to become internationally known and was the center of the civic and social life and home of the stars for many years. Whitley's company sold one of the early residential areas, the Ocean View Tract. Whitley did much to promote the area, he paid thousands of dollars for electric lighting, including bringing electricity and building a bank, as well as a road into the Cahuenga Pass.
The lighting ran for several blocks down Prospect Avenue. Whitley's land was centered on Highland Avenue, his 1918 development, Whitley Heights, was named for him. Hollywood was incorporated as a municipality on November 14, 1903, by a vote of 88 for and 77 against. On January 30, 1904, the voters in Hollywood decided, by a vote of 113 to 96, for the banishment of liquor in the city, except when it was being sold for medicinal purposes. Neither hotels nor restaurants were allowed to serve liquor before or after meals. In 1910, the city voted for merger with Los Angeles in order to secure an adequate water supply and to gain access to the L. A. sewer system. With annexation, the name of Prospect Avenue changed to Hollywood Boulevard and all the street numbers were changed. By 1912, major motion-picture companies had set up production in Los Angeles. In the early 1900s, most motion picture patents were held by Thomas Edison's Motion Picture Patents Company in New Jersey, filmmakers were sued to stop their productions.
To escape this, filmmakers began moving out west to Los Angeles, where attempts to enforce Edison's patents were easier to evade. The weather was ideal and there was quick access to various settings. Los Angeles became the capital of the film industry in the United States; the mountains and low land prices made Hollywood a good place to establish film studios. Director D. W. Griffith was the first to make a motion picture in Hollywood, his 17-minute short film In Old California was filmed for the Biograph Company. Although Hollywood banned movie theaters—of which it had none—before annexation that year, Los Angeles had no such restriction; the first film by a Hollywood studio, Nestor Motion Picture Company, was shot on October 26, 1911. The H. J. Whitley home was used as its set, the unnamed movie was filmed in the middle of their groves at the corner of Whitley Avenue and Hollywood Boulevard; the first studio in Hollywood, the Nestor Company, was established by the New Jersey–based Centaur Company in a roadhouse at 6121 Sunset Boulevard, in October 1911.
Four major film companies – Paramount, Warner Bros. RKO, Columbia – had studios in Hollywood, as did several minor companies and rental studios. In the 1920s, Hollywood was the fifth-largest industry in the nation. By the 1930s, Hollywood studios became vertically integrated, as production and exhibition was controlled by these companies, enabling Hollywood to produce 600 films per year. H