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| Link | Quote | Stars | Tags | Author |
| acbe8ea | That all these leaders were temperamental and difficult mattered little to the fans who loved them. Goodman was called "an ornery SOB" by more than one sideman. His icy stare, "the Goodman ray," was usually a prelude to termination. Miller was considered cold and distant. His demeanor kept his men at bay and uneasy. Dorsey could be openly combative. Some stories had it that he and his brother Jimmy sometimes settled disputes with fists in t.. | John Dunning | ||
| 4845d0d | And though there were far fewer radio opportunities for black bands than for their white counterparts, it was through remote broadcasts from the Cotton Club that the general public first heard of Duke Ellington and Cab Calloway. Earl Hines had become a radio favorite during a long stand at the Grand Terrace in Chicago in the mid-1930s. And it was on a radio broadcast from the Reno Club in Kansas City that Count (William) Basie was discovere.. | John Dunning | ||
| 5ade0d9 | Then, in 1942, a disastrous strike against the record companies disrupted the industry and upset the delicate balance of business. Though it hit directly at record producers, the real target was radio. James C. Petrillo, president of the American Federation of Musicians, was alarmed at the rapid proliferation of disc jockeys. He objected to the free use of recorded music on the air, charging that jocks had cost musicians their jobs at hundr.. | John Dunning | ||
| e2357be | The end of the war marked the end of the bands. Glenn Miller had been lost over the English Channel in 1944. Artie Shaw had disbanded and regrouped and disbanded again. Though name leaders like Goodman and Basie and Harry James would always find work, the financial base eroded and the labor troubles lingered. When Petrillo called a second strike in 1948, the die was cast. Perhaps, as Barnouw said, the cause was just and the problem serious,.. | John Dunning | ||
| a5c1d25 | Technically, however, it was far from simple: its problems were both technical and tactical, and it was a producer's nightmare. The show would put its listeners right into the fields of battle, using shortwave pickups from far-flung theaters. Signals, almost certainly, would be lost, some would be jammed by the enemy. Remotes would have to be cued in advance, by synchronization. This was live radio: entire sequences might vanish while the s.. | John Dunning | ||
| 3e3a34a | It seemed the whole world loved Gracie: her wacky, innocent way with a quip, her ability to make the most ridiculous comment seem almost logical. She captured the nation's affection in that first season, 1932. By 1933, Burns remembers, she was one of the five most famous women in America. She set the standard for all the crazy females, from Jane Ace to Marie Wilson, that radio would produce. Her humor wasn't strictly malapropian, though at .. | John Dunning | ||
| 2b31eaa | Roosevelt was running for a third term; the Republicans were nominating Wendell Willkie for the futile job of running against him. What about a Gracie-for-President stunt? She would run as a candidate from the Surprise Party. Again she turned up unannounced on rival programs, appearing for a moment with a lamebrained pitch for votes and a bit of screwball political philosophy. Her lines were funny and widely quoted. "The president of today .. | John Dunning | ||
| 4ed701f | It's one thing to know what people want. It's another to CREATE that want in them. To BUILD that desire. | people | Jess Walter | |
| 13019c0 | The Atwater-Kent Hour set the standard for early concert music. Sponsored by a well-known radio manufacturer, Atwater-Kent featured stars of the Metropolitan Opera, backed by a large symphony orchestra. The obstacles to producing such a show in radio's earliest days were political, economic, and personal. Stations were proliferating, and there was no real consensus as to how the airwaves should be used. The idea of commercial radio had many.. | John Dunning | ||
| 8b04360 | Others who found their way to the air via Atwater-Kent were Frances Alda, Josef Hoffman, Louise Homer, and Albert Spalding. Fees to the Met alone ran $25,000 a year. By 1930 Frances Alda was the regular soloist. That year, the first that reliable ratings were compiled, Atwater-Kent had a 31.0, finishing third behind Amos 'n' Andy and The Rudy Vallee Hour. An offshoot of sorts was Atwater-Kent Auditions, the first talent scout show, heard in.. | John Dunning | ||
| 0564e8a | There is a tendency today to dismiss vaudeville comedy as unsophisticated and even simplistic. Burns himself often apologized when he quoted verbatim from old routines: "This doesn't sound like much now" was usually the tone. But those fascinated by the history of show business cannot but be entertained. Gracie's singing in the shows of the '30s adds an element totally missing from the later run. In the sitcom years it all changed: the line.. | John Dunning | ||
| 6055552 | Brave Tomorrow was "a story of love and courage," the challenge of the day being the raising of two daughters in wartime by Louise and Hal Lambert. Jean came of age and married: her husband Brad, waiting to get into the war, was shipped from one small-town Army post to another, places like Dustville, Tex. In one sequence, sister Marty ran away to Texas to join Jean and Brad, and Louise came flying, walking, and hitchhiking in pursuit. Louis.. | John Dunning | ||
| 98990ce | For several months McNeill wrote out his scripts by twisting news events into cornball humor. He wore out two jokebooks in the hunt for fresh material. Then the show passed a plateau: about three months into it, the mail picked up. About 100 letters a day were coming in, many with poems, gags, and cheerful American sentiment. It suddenly occurred to McNeill, as he would often recount in later life, that "the folks who listen in could write .. | John Dunning | ||
| d59832d | There was always risk in putting unknown people in front of a live microphone, and one agency man during the sponsored years confessed that "I get twinges in my ulcer everytime I listen to it." But the informality helped build its reputation as "radio's most unrehearsed show." | John Dunning | ||
| bf699c4 | John Duns Scotus, OFM, taught that the opposite of good was not bad but nonbeing itself. The opposite of truth was not falsity but nonbeing itself. And the opposite of unity was not multiplicity but nonbeing itself. All the opposites are all held and contained within pure being, even the finite and the infinite, matter and Spirit, male and female, etc., and this harmony between things is called beauty, which for some is a fourth transcenden.. | Richard Rohr | ||
| a0d0f5c | Juana does not side exactly with either of the two medieval answers to the question of the purpose of the incarnation. She does not, with Anselm, Bonaventure, and Thomas Aquinas, understand the incarnation as primarily remedial, chosen by God to undo the effects of sin by way of redemption. Juana comes closer to John Duns Scotus's idea: the purpose of the incarnation is that humankind should give God the highest possible glory. Yet her view.. | Michelle A. Gonzalez | ||
| 17b99e5 | Gracie Allen wasn't as dumb as she seemed on the air. She proved that in 1939, appearing on the intellectual quiz show Information, Please, and holding her own with the experts. It takes a keen intelligence to play a dumb role that long and well, but Gracie had more than that. From the beginning, she had a singular ability to make audiences love her. "The audience found her, I didn't," said George Burns in a Playboy interview years after he.. | John Dunning | ||
| 1ddc4fe | Burns continued to work, doing a routine with Carol Channing that was short-lived. For a time it seemed that the old sentiment was to be proved true: that Burns without Gracie was a stale act indeed. Then he got a role in a movie, intended for his friend Jack Benny, who became ill and had to decline it. He won an Academy Award as Best Supporting actor in The Sunshine Boys, a 1975 release. His performance in the title role of the 1977 film O.. | John Dunning | ||
| d741567 | Sempre que he pensat en la mort d'aquell home, [...] l'he imaginat com vas dir tu, que se li van trencar totes les cordes de dins. Pero hi ha mil maneres de mirar-s'ho: potser es trenquen les cordes, o potser s'enfonsa el nostre vaixell, o potser som herba, i les arrels son tan interdependents que ningu no es mor mentre encara hi hagi algu viu. El que dic es que, de metafores, en tenim tantes com vulguem. Pero s'ha de vigilar la que es tria.. | John Green | ||
| edfc6f2 | She won an amateur night at Keeney's Theater in Brooklyn, singing When You Know You're Not Forgotten by the Girl You Can't Forget. Her prize was $10, and she gathered $23 in coins from the floor of the stage. She worked for George M. Cohan but was fired when Cohan learned that she couldn't dance. After singing with a road show, she appeared in New York musical revues. A struggling young songwriter, Irving Berlin, gave her a musical piece ca.. | John Dunning | ||
| 8d0d9f7 | and go look and see the book was missing from that back room. | John Dunning | ||
| c17d682 | This even became a running gag for nightclub comics: the question "What does Ozzie Nelson do for a living?" was prime trivia. For the record, he was a bandleader; because most of the action of Ozzie and Harriet was set on weekends when the boys were out of school, his occupation was never a factor. But the notion persisted as the times changed--here was a family from Neverland, far away from Real Life. Along with Father Knows Best and Leave.. | John Dunning | ||
| 37ebf27 | Comus. The Star that bids the Shepherd fold, Now the top of Heav'n doth hold, And the gilded Car of Day, [ 95 ] His glowing Axle doth allay In the steep Atlantick stream, And the slope Sun his upward beam Shoots against the dusky Pole, Pacing toward the other gole [ 100 ] Of his Chamber in the East. Mean while welcom Joy, and Feast, Midnight shout, and revelry, Tipsie dance and Jollity. Braid your Locks with rosie Twine [ 105 ] Dropping od.. | John Milton | ||
| cc6141e | Donald Shepherd and Robert F. Slatzer wrote a tough biography, The Hollow Man, which depicted Crosby as a cold, calculating dictator who abandoned his first family to start a new one, who turned his back on his wife Dixie Lee as she lay dying of cancer in 1952, who left a cruel will for his second wife, Kathryn, manipulating his money from the grave. The book was condemned by Crosby's most ardent fans as a hatchet job, but the charges linge.. | John Dunning | ||
| 876f60c | This was not an isolated incident. Crosby in private was easygoing but distant. He was easy to write for, seldom fussing or making major changes in the script. But if he got his back up, there was little room in his makeup for compromise. "He has no friends," his brother Bob told jazz historian Leonard Feather years later. He was seen by some as cold, even ruthless in business matters. He could pass through town without bothering to call a .. | John Dunning | ||
| a9de40e | Wildroot Cream Oil. | John Dunning | ||
| ddc8852 | A pesar de que nada debe ni puede ser tomado a la ligera cuando pides permiso para vivir en un pais que no es el tuyo, pues estas siempre en una posicion vulnerable, y mas aun tratandose de Estados Unidos, es inevitable ignorar el tono casi enternecedor de las preocupaciones del cuestionario de la Green Card y sus visiones de las grandes amenazas del futuro: libertinaje, comunismo, flaqueza moral. El cuestionario tiene la inocencia de lo re.. | Valeria Luiselli | ||
| 4213664 | An Atheopagan Prayer by Mark Green Praise to the wide spinning world Unfolding each of all the destined tales compressed In the moment of your catastrophic birth Wide to the fluid expanse, blowing outward Kindling in stars and galaxies, in bright pools Of Christmas-colored gas; cohering in marbles hot And cold, ringed, round, gray and red and gold and dun And blue Pure blue, the eye of a child, spinning in a veil of air, Warm island, .. | atheopagan non-theistic paganism prayer | John Halstead | |
| e7838c6 | Burns and Allen household names--Gracie's search for her "lost brother." Whose idea was it? In The Big Broadcast, Frank Buxton and Bill Owen credit Bob Taplinger, head of publicity at CBS. Carroll thought the idea originated with Burns. In one of his books, Burns said it came out of the agency, whose executives wanted to publicize the show's new 9:30 timeslot. All that mattered was this: it was the most sensational thing of its time. It was.. | John Dunning | ||
| c21ff13 | You can always spot the real thing, that affection; why does it always come from the wrong person? | Jess Walter | ||
| fe202bd | The Century was a high-speed luxury train, used by the rich and famous traveling between Chicago and New York. Sportscaster Bob Elson set up a microphone in Chicago's LaSalle Street Station and tried to intercept well-knowns for spontaneous interviews. Among the celebrities who appeared were Rita Hayworth and Eleanor Roosevelt, but architect Frank Lloyd Wright brushed briskly past. When Elson said he loved Wright's work, Wright replied, "In.. | John Dunning | ||
| 0cba3d0 | Contestants were selected from the studio audience. By answering an initial question, a contestant won three darts, which he threw at the "Dr. Pepper dartboard." The board was ten feet high and contained circles with values ranging from $2 to $16. Three darts in the $16 circle netted a contestant the top preliminary prize, $48. If a contestant missed his question, he was given the chance to win his darts anyway, through a variety of forfeit.. | John Dunning | ||
| 26ecd15 | CAB CALLOWAY, a showman who popularized the ballad Minnie the Moocher and took for his trademark the catchphrase "Heigh-de-ho." | John Dunning | ||
| d14d6d6 | There appears to be a fifth way, that of eminence. According to this I argue that it is incompatible with the idea of a most perfect being that anything should excel it in perfection (from the corollary to the fourth conclusion of the third chapter) . Now there is nothing incompatible about a finite thing being excelled in perfection; therefore, etc. The minor is proved from this, that to be infinite is not incompatible with being; but the .. | infinite infinity metaphysics ontology philosophy theology | John Duns Scotus | |
| 41779b8 | CRIME CLUB, murder-mystery anthology, based on and featuring some of the stories in the Doubleday Crime Club novel imprint. | John Dunning | ||
| 3116307 | Sample opening: "Yes, this is the Crime Club... I'm the librarian. Silent Witness? Yes, we have that Crime Club story for you. Come right over." Then the "reader" (listener) would arrive, and the "librarian" would put him in "the easy chair by the window." The book was opened, and the story began. An earlier series, The Eno Crime Club, was also composed in part from Crime Club novels." | John Dunning | ||
| d879fb8 | A young American was almost hit by a piece of enemy shrapnel, then found his father's name cut into the metal--his father, a mechanic at Boeing Aircraft, had cut his name on the engine of his 1929 automobile but had no idea how the scrap fell into the hands of the "Japs" and nearly killed the son." | John Dunning | ||
| 79dafa6 | It was decaffeinated jazz he sent to WJZ via Western Union lines from the Hotel Pennsylvania. A distant echo of New Orleans, yet it spoke to listeners." The '20s style was lively, rich with saxophone and violin and well-sprinkled with novelty tunes. Lopez was instantly identified by his theme, Nola, given a dexterous workout on the Lopez keyboard. Whiteman had Gershwin: his Rhapsody in Blue concert at Aeolian Hall on Feb. 12, 1924, establis.. | John Dunning | ||
| 0d66f96 | For NBC's grand opening on Nov. 15, 1926, the network was able to pull in the bands of George Olsen, Vincent Lopez, Ben Bernie, B. A. Rolfe, and Fred Waring from various locations. All were then nationally known. Bernie had been on the air intermittently in 1923. He was actually a "front man," a showman whose success was rooted more in personal charm than musicianship. His trademarks were the glib tongue, the cigar, and the nonsense phrase,.. | John Dunning | ||
| 58805c0 | There was one endless plot at the core of Backstage Wife: sweet Mary Noble stood in the wings as scores of Broadway glamor girls took dead aim at her sometimes fickle man. With Stella Dallas and Helen Trent, Mary was one of the most tortured creatures of the afternoon. The word "suffer" does no justice to Mary's life with Larry Noble. Mary endured. She faced the most startling array of hussies, jezebels, and schemers ever devised in a subge.. | John Dunning | ||
| 593b99b | THE BILLIE BURKE SHOW, situation comedy. | John Dunning | ||
| a8b3b99 | Best known as Glinda, the good witch in The Wizard of Oz (and as the wife of Ziegfeld), Billie Burke had a rosy, upbeat series promoting herself as "that bright morning star." She portrayed a woman of uncertain age who would go out of her way to aid a bum in distress or help neighborhood kids get a playground. She constantly mixed metaphors, as in "Let sleeping dogs gather no moss," and was well placed on Saturday mornings." | John Dunning | ||
| 8ba0566 | Each episode began and ended in trouble," wrote Erik Barnouw. "Sunny stretches were in the middle. A Friday ending was expected to be especially gripping, to hold interest over the weekend. A serial was not conceived in terms of beginning or end; such terms had no meaning. It ended when sponsorship ended." | John Dunning | ||
| 5eca226 | Frank Hummert was a Chicago copywriter in the '20s. In 1930 he met Anne Ashenhurst, a former newspaperwoman who became his assistant and, five years later, his wife. The Hummerts had a formula that was surefire: appeal to the lowest common denominator, make it clear, grab the heartstrings, and reap the rewards. With writer Robert Hardy Andrews they created The Stolen Husband, one of radio's earliest soaps. Hummert went on to do the most not.. | John Dunning |