Samuel Gabriel Sam Costa was a popular singer of the British dance band era and a voice actor on the show Much Binding in the Marsh. He was a jockey for Radio Luxembourg and the BBC. Costa was of Sephardic Jewish-Portuguese ancestry, the son of journalist Gabriel Costa and Annie, he married Esther Comer in 1938, and they were married for over 40 years until he died in 1981. He was the uncle of the radio presenter Andy Jacobs. On Sundays he did both Breakfast Time and Glamorous Nights and he presented Housewives Choice and Midday Spin, transitioning to BBC Radio 2 from 1967, Costa would sign off saying Thank you for the pleasure of your company. While he generally disliked TV work, he did appear on several Juke Box Jury shows, Radio 2 Preservation Society and Radio 2 Timeline Project This Englands Second Book of British Dance Bands. British Dance Bands On Record 2nd Ed. by Brian Rust, internet Archive Search, Sam Costa - archive. org. British Pathé Search, Sam Costa - britishpathe. com
Richard Ewing Dick Powell was an American singer, film producer, film director and studio head. Though he came to stardom as a comedy performer, he showed versatility. He was the first actor to portray the private detective Philip Marlowe on screen, Powell was born in Mountain View, the seat of Stone County in northern Arkansas. The family moved to Little Rock in 1914, where Powell sang in choirs and with local orchestras. Powell attended the former Little Rock College, before he started his entertainment career as a singer with the Royal Peacock Band which toured throughout the Midwest. During this time, he married Mildred Maund, a model, later, he joined the Charlie Davis Orchestra, based in Indianapolis. He recorded a number of records with Davis and on his own, Powell moved to Pittsburgh, where he found great local success as the Master of Ceremonies at the Enright Theater and the Stanley Theater. In April 1930, Warner Bros. bought Brunswick Records, which at that time owned Vocalion, Warner Bros.
was sufficiently impressed by Powells singing and stage presence to offer him a film contract in 1932. He made his debut as a singing bandleader in Blessed Event. Powell desperately wanted to expand his range, but Warner Bros. would not allow him to do so, as a result, he bought his release from Warner Bros. in 1940. They did cast him in A Midsummer Nights Dream, but as Lysander, another youthful romantic character and this was to be Powells only Shakespearean role and one he did not want to play, feeling that he was completely wrong for the part. By 1944, Powell felt he was too old to play romantic leading men anymore and he lost out to Fred MacMurray, another Hollywood nice guy. MacMurrays success, fueled Powells resolve to pursue projects with greater range, Powell starred in the musical program Campana Serenade, which was broadcast on NBC radio and CBS radio. In 1944, Powells career changed dramatically when he was cast in the first of a series of films noir, as private detective Philip Marlowe in Murder, My Sweet, the film was a big hit, and Powell had successfully reinvented himself as a dramatic actor.
He was the first actor to play Marlowe – by name – in motion pictures, Powell was the first actor to play Marlowe on radio, in 1944 and 1945, and on television, in a 1954 episode of Climax. Powell played the slightly less hard-boiled detective Richard Rogue in the radio series Rogues Gallery, in 1945, Dmytryk and Powell reteamed to make the film Cornered, a gripping, post-WWII thriller that helped define the film noir style. He became a tough guy lead appearing in movies such as Johnny OClock. But in 1948, he stepped out of the type when he starred in Pitfall
Hard to Get (1938 film)
Hard to Get is a 1938 American romantic comedy film directed by Ray Enright and starring Dick Powell and Olivia de Havilland. Hard to Get was released by Warner Bros, pictures in the United States on November 5,1938. New York oil magnate Ben Richards and his family are preparing to leave for Newport for their summer vacation and his spoiled willful daughter Margaret refuses to go and storms out of the house, borrowing a car belonging to her fathers valet. On the road she notices the car is low on gas, the attendant, Bill Davis, fills up the tank and requests the $3.50 payment. With no money on her, Margaret tries to charge the amount to her fathers account, instead, he offers to let her work off her debt by making the beds and cleaning the rooms at the auto court motel. Outraged by this suggestion, Margaret attempts to drive off, when a police officer arrives, Margaret is forced to comply with Bills offer, and she spends the next few hours making beds and cleaning rooms. Margaret returns home vowing revenge on Bill for his treatment of her, at first she asks her father—who is on the board of the oil company that owns the station—to have Bill fired.
After listening to her story, her father agrees with the way Bill handled the issue, the next day, Margaret returns to the auto court gas station and apologizes to Bill, pretending to have forgiven him. Attracted to the heiress, who now pretends to be her familys maid Maggie, Bill asks her on a date. Margaret knows that when her father sees that Bill used the nickname to pretend he was an old friend, as Margaret planned, Bill is given the runaround by Ben and his business associate Atwater—neither of whom know that Margaret is behind the whole thing. When Ben discovers that his daughter planned the revenge pretending to be his maid, Maggie turns the tables by inducing the real maid to masquerade as Bens daughter. Still believing that Ben wants to him, Bill sneaks into a party given by Atwater where he finally discovers that Margaret, Ben. After telling them all off, Bill storms out of the party, realizing that Bills national auto court plan has great potential and Atwater fight over who will finance the project.
They converge on the construction site where Bill is now working and agree to be partners. Sometime later, Margaret visits Bill at one of the newly built auto courts seeking forgiveness for what shes done, Ben soon arrives with a justice of the peace who is prepared to marry them
Red Norvo was one of jazzs early vibraphonists, known as Mr. Swing. He helped establish the xylophone and vibraphone as jazz instruments and his recordings included Dance of the Octopus, Knockin on Wood, Congo Blues, and Hole in the Wall. Red Norvo was born in Beardstown and his career began in Chicago with a band called The Collegians in 1925. He played with other bands, including an all-marimba band on the vaudeville circuit, and the bands of Paul Whiteman, Benny Goodman, Charlie Barnet. He recorded with Mildred Bailey, Billie Holiday, Dinah Shore and his wife were known as Mr. and Mrs. Swing. He appeared as himself in the film Screaming Mimi and in Oceans 11, in 1933 he recorded two sessions for Brunswick under his own name. The first, Knockin on Wood and Hole in the Wall, pleased Brunswicks recording director Jack Kapp, and Norvo was booked for another session. This time, Kapp was out of town and Norvo went ahead and he played marimba instead of xylophone in the second session, accompanied by Benny Goodman in a rare performance at bass clarinet, Dick McDonough on guitar, and Artie Bernstein on double bass.
Kapp was outraged when he heard the recordings and tore up Norvos contract, this modern record remained in print through the 1930s. Norvo recorded eight modern swing sides for Columbia in 1934–1935, and fifteen sides for Decca, starting in 1936 through 1942, Norvo formed a swing orchestra and recorded for ARC, first on their Brunswick label and Columbia after CBS bought ARC. The recordings featured arrangements by Eddie Sauter, often with Mildred Bailey as vocalist, in June 1945, while a member of the Benny Goodman Sextet, he recorded a session for Comet Records that employed members of Goodmans group, Charlie Parker, and Dizzy Gillespie. About the session Norvo said and Diz were dirty words for musicians of my generation, but jazz had always gone through changes and in 1945 we were in the middle of another one. Bird and Diz were saying new things in an exciting way, I had a free hand, so I gambled. In 1949, while trying to work near home on the West Coast and running into difficulties with large groups, Norvo formed a trio with the novel combination of vibes, guitar.
When the original guitarist and bassist quit, he brought in two previously little-known players, Tal Farlow became one of the most important of the postwar generation of guitarists, in part because the demands of the trio led him to explore changes in tempo and harmony. Farlow left the group in 1953 and guitarist Jimmy Raney took his place, Charles Minguss prominence as a bass player increased through this group, though its reportoire did not reflect the career he would develop as a composer. Mingus left in 1951 and Red Mitchell replaced him, the Norvo and Mingus trio recorded two albums for Savoy Records. In 1959, Norvos group played concerts in Australia with Frank Sinatra and his group made several appearances on The Dinah Shore Chevy Show in the late 1950s and early 60s
Russ Morgan may refer to a member of dance music group K-Klass. Russ Morgan was a big band leader and musical arranger in the United States during the 1930s and 1940s. He was one of the composers of Youre Nobody til Somebody Loves You along with Larry Stock, Morgan was the first to record the song. Born into a Welsh family in Scranton, Morgan was encouraged to express himself musically from the age of seven and his father, a coal-mine foreman, was a former musician who played drums in a local band in his spare time. Morgans mother had been a pianist in a vaudeville act, Morgan began to study piano and went to work in the mines to earn money to help support his family and pay for his lessons. At fourteen, Morgan earned extra money as a pianist in a theater in Scranton and he purchased a trombone and learned to play it. In 1921, he played trombone with a band, the Scranton Sirens. Besides Morgan, several of its members became famous, including Jimmy Dorsey on sax and clarinet, Billy Lustig on violin.
In 1922, Morgan decided to go to New York, three years later, at the age of twenty-one, he did arrangements for both John Philip Sousa and Victor Herbert. He joined Paul Spechts orchestra and toured throughout Europe with the orchestra, colleagues of Morgan in Spechts orchestra included Arthur Schutt, Don Lindley, Chauncey Morehouse, Orville Knapp, Paul Whiteman, Charlie Spivak and Artie Shaw. On his return from Europe, Jean Goldkette invited Morgan to Detroit to organize, some members of the all-star Goldkette orchestra were his old associates. The band included Tommy and Jimmy Dorsey, Chauncey Morehouse, Joe Venuti, Eddie Lang, Bix Beiderbecke, Morgans first records were made for OKeh in mid 1930 exclusively for their short lived Parlophone PNY and Odeon ONY series, usually under the name Russell Brown and his Orchestra. For a short time in 1934, Morgan arranged for Fletcher Hendersons Orchestra, in 1935, he played trombone with the Original Dixieland Jazz Band when they recorded four sides for Vocalion.
On September 12,1935, playing piano and Joe Venuti on violin cut two sides for Brunswick, “Red Velvet” and “Black Satin. ”Most of the songs were written by Morgan and Venuti. Morgans biggest success came when he was offered the position of Musical Director for Detroit Radio Station WXYZ and his show, Music in the Morgan Manner, became one of the most popular radio shows. At one time during his run, he was directing nine commercial programs. While in Detroit, he did arranging for the Detroit 102 piece Symphony Orchestra demonstrating his musical experience. In the early 1930s, Morgan was in an accident that almost ended his career
Bobby Darin was an American singer, multi-instrumentalist, and actor of film and television. He performed in a range of genres, including jazz, rock n roll, swing. He started as a songwriter for Connie Francis, and recorded his own first million-seller Splish Splash in 1958 and this was followed by Dream Lover, Mack the Knife, and Beyond the Sea, which brought him world fame. In 1962 he won a Golden Globe Award for his first film Come September, co-starring his first wife, during the 1960s he became more politically active and worked on Robert F. Kennedys Democratic presidential campaign. He was present on the night of June 4/5,1968 and that same year he discovered that he had been brought up by his grandmother, not his mother, and that the girl he had thought to be his sister was actually his mother. These events deeply affected Darin and sent him into a period of seclusion. Although he made a successful comeback - in television - his health was beginning to fail, as he had always expected and this knowledge of his vulnerability had always spurred him on to exploit his musical talent while still young.
He died at age 37, following an operation in Los Angeles. Born Walden Robert Cassotto in the East Harlem neighborhood of New York City, Bobby Darin was reared by his maternal grandmother, Darins birth mother, Vanina Juliette Nina Cassotto, became pregnant with him in the summer of 1935 when she was 17. Presumably because of the nature of out-of-wedlock pregnancies in that era, Nina. Darins maternal grandfather, Saverio Antonio Big Sam Curly Cassotto, was of Italian descent and his maternal grandmother, Vivian Fern Walden, who called herself Polly, was of English ancestry and a vaudeville singer. From his birth, Darin always believed Nina to be his older sister, but in 1968, when he was 32, Nina told Darin the truth, reportedly devastating him. By the time he was a teenager, Darin could play several instruments, including piano, drums and he added harmonica and xylophone. Darin moved to the Bronx early in his life and graduated from the prestigious Bronx High School of Science, in years he attributed his arrogance to his experiences at the high school, where he was surrounded by brighter students who would tease him.
He enrolled at Hunter College and soon gravitated to the drama department, after only two semesters, he dropped out to pursue an acting career. Darins career took off with a partnership, formed in 1955 with Don Kirshner. They wrote jingles and songs, beginning with Bubblegum Pop, in 1956 his agent negotiated a contract with Decca Records. The songs recorded at Decca had very little success, a member of the Brill Building gang of struggling songwriters, Darin was introduced to singer Connie Francis, for whom he helped write several songs
A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are skilled performers, either as singers, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued.
This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance.
In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
Bluebird Records is a blues and jazz record label known for its low-cost releases in the 1930s and 1940s. Founded by RCA Victor during the Great Depression, Bluebird concentrated on producing and selling music inexpensively and it created what came to be known as the Bluebird sound, which influenced rhythm and blues and early rock and roll. The label was begun in 1932 as a division of RCA Victor by Eli Oberstein, Bluebird competed with other budget labels at the time. Records were made quickly and cheaply, the Bluebird sound came from the session band that was used on many recordings to save money. The band included such as Big Bill Broonzy, Roosevelt Sykes, Washboard Sam. Many blues musicians were brought to Bluebird by Lester Melrose, a talent scout, in these years, Bluebird became the home of Chicago blues. Bluebird recorded and reissued jazz and big band music and its roster included Ted Weems, Rudy Vallée, Joe Haymes, Artie Shaw, Glenn Miller, Shep Fields, and Earl Hines. During the World War II years, Victor reissued albums by Duke Ellington, Jelly Roll Morton, bluebirds roster for country music included the Monroe Brothers, the Delmore Brothers, Bradley Kincaid.
It reissued many titles by Jimmie Rodgers and the Carter Family, after World War II, Bluebird was retired and its previously released titles were reissued on the standard RCA Victor label. In the 1950s RCA Victor revived Bluebird for certain jazz releases and reissues, childrens records, in the mid-1970s it was again reactivated by RCA for a series of 2-LP sets of big band and jazz reissues produced by Frank Driggs. RCA Victors entry into the market was the 35c Timely Tunes. 40 issues appeared from April to July 1931 before the label was deleted, the first Bluebird records appeared in July 1932 along with identically numbered Electradisk records, test-marketed at selected Woolworths stores in New York City. These 8 discs may have sold for as little as 10c, Bluebird records bore a black-on-medium blue label, Electradisks a blue-on-orange label. Electradisks in the 2500 block were dance-band sides recorded on two days in June 1932, the few records in that block that have been seen resemble Crowns, leading to speculation that all were recorded at Crown.
The 2500 series may have been for only in New York City. In May 1933 RCA Victor restarted Bluebird as a 35c general-interest budget record, numbered B-5000 and up, most 1800-series material was immediately reissued on the Buff label, afterwards it ran concurrently with the Electradisk series. Another short-lived concurrent label was Sunrise, which may have made for a store chain. Few discs, and essentially no information, survive and Electradisk were discontinued early in 1934, leaving Bluebird as RCAs only budget priced label
International Standard Book Number
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay.
The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces.
Separating the parts of a 10-digit ISBN is done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
Harry Lillis Bing Crosby, Jr. was an American singer and actor. The first multimedia star, from 1931 to 1954 Crosby was a leader in sales, radio ratings. His early career coincided with technical recording innovations such as the microphone and this allowed him to develop a laid-back, intimate singing style that influenced many of the popular male singers who followed him, including Perry Como, Frank Sinatra, Dick Haymes, and Dean Martin. Also in 1948, the Music Digest estimated that Crosby recordings filled more than half of the 80,000 weekly hours allocated to recorded radio music, in 1963, Crosby received the first Grammy Global Achievement Award. He is one of only 33 people to have three stars on the Hollywood Walk of Fame, in the categories of motion pictures, Crosby influenced the development of the postwar recording industry. He became the first performer to pre-record his radio shows and master his commercial recordings onto magnetic tape. In addition to his work with early tape recording, he helped to finance the development of videotape, bought television stations, bred racehorses, Crosby died at the age of 74 on October 14,1977, from a sudden heart attack in Alcobendas, Spain.
Crosby was born on May 2,1903 in Tacoma, Washington, in 1906, Crosbys family moved to Spokane, and in 1913, Crosbys father built a house at 508 E. Sharp Avenue. The house now sits on the campus of Crosbys alma mater Gonzaga University and he was the fourth of seven children, brothers Larry, Everett and Bob, and two sisters and Mary Rose. His parents were Harry Lowe Crosby, Sr. a bookkeeper, Crosbys mother was a second generation Irish-American. In 1910, seven-year-old Harry Crosby Jr. was forever renamed, the Sunday edition of the Spokesman-Review published a feature called The Bingville Bugle. Written by humorist Newton Newkirk, The Bingville Bugle was a parody of a hillbilly newsletter filled with gossipy tidbits, minstrel quips, creative spelling, and mock ads. A neighbor, 15-year-old Valentine Hobart, shared Crosbys enthusiasm for The Bugle, and noting Crosbys laugh, took a liking to him, the last vowel was dropped and the nickname stuck. Crosby described Jolsons delivery as electric, Crosby graduated from Gonzaga High School in 1920 and enrolled at Gonzaga University.
He attended Gonzaga for three years, but did not earn a bachelors degree, as a freshman, he played on the universitys baseball team. The university granted him a doctorate in 1937. In 1923, Crosby was invited to join a new band composed of school students a few years younger than himself. Al Rinker, Miles Rinker, James Heaton, Claire Pritchard and Robert Pritchard, along with drummer Crosby, formed the Musicaladers, the group performed on Spokane radio station KHQ, but disbanded after two years
Merrie Melodies is an American animated series of comedy short films produced by Warner Bros. between 1931 and 1969, during the golden age of American animation. As with its parent series, Looney Tunes, Merrie Melodies featured some of the most famous cartoon characters ever created, including Bugs Bunny, Daffy Duck, Porky Pig and Elmer Fudd. Merrie Melodies was originally produced by Harman-Ising Pictures from 1931 to 1933, Schlesinger sold his studio to Warner Bros. in 1944, and the newly renamed Warner Bros. Merrie Melodies was outsourced to DePatie-Freleng Enterprises and Format Films from 1964 to 1967, cartoons resumed production for the series final two years. Three of the Merrie Melodies films won the Academy Award for Best Animated Short Film, in 2013, TV Guide ranked the Warner Bros. Cartoons the third Greatest Cartoon of All Time, producer Leon Schlesinger had already produced one cartoon in the Looney Tunes series, based on music, and its success prompted him to try to sell a sister series to Warner Bros.
His selling point was that the new cartoons would feature music from the soundtracks of Warner Bros. films and would serve as advertisements for Warner Bros. recordings. The studio agreed, and Schlesinger dubbed the series Merrie Melodies, walt Disney Productions had already scored with their Silly Symphonies. Since cartoon production usually began with a soundtrack, animating a piece of music made it easier to plot elements. The origins of the Merrie Melodies series begin with the failure of an action series of musical shorts called Spooney Melodies. These shorts were basically a type of music video that included segments with a popular artist singing along with appropriate background sequences. Warner Bros. wanted to promote this music because they had acquired the ownership of Brunswick Records along with four music publishers for US $28 million. Because of the success of their Looney Tunes series, Warner Bros. decided to develop a new series of animated shorts called Merrie Melodies. Hugh Harman and Rudolf Ising led the development and it was meant to be a series of musical cartoons that featured hit songs of the day, especially those owned by Warner Bros. and featured in their musical films.
In 1931, many of the featured the orchestra of Abe Lyman. The first cartoon of the new Merrie Melodies series was Lady, Ising attempted to introduce several characters in his Merrie Melodies films, such as Piggy and Goopy Geer. Eventually however, the series continued without any recurring characters, the shorts proved to be enormously popular with the public. In 1932, a Merrie Melodies cartoon, entitled Its Got Me Again. was nominated for the first Academy Award to be given for animation, when Harman and Ising left Warner Bros. in 1933, they took with them all rights to the characters they had created