Classical

Why Cant He Be You - Loretta Lynn - Sings Patsy Clines Favorites (Cassette, Album)

Jones was dropped from the MCA roster inamidst a huge outcry from his fans from both inside and outside the music industry. He quickly landed a new deal with Asylum and released Cold Hard Truthwhich was both a critical and commercial success, earning gold certification. It is probably best remembered for the controversy that ensued when the CMA invited Jones to perform the song on its awards telecast, but would not allot him enough time to sing the song in its entirety.

George considered this an affront and refused to peform the song. Just prior to the release of his Asylum debut album, he crashed his Lexus utility truck. It took rescue workers two hours to dig him out of the wreckage, and he later spent two weeks in the hospital recovering from his near-fatal injuries. However, it was later revealed that an empty vodka bottle was found in the vehicle. Once again without a record deal, George opted to start his own label, Bandit Records, which has released all of his music since George Jones and Tammy Wynette met in when they were part of the same package show.

Tammy objected and an argument ensued. The couple were having an argument, and when Chapel insulted Tammy, a drunken George took offense. He angrily overturned the dining room table and declared his love for Tammy, who responded in kind. Jones left the house with Tammy and her three children. George and Tammy announced that they had eloped, though they did not actually get married until the following year.

The marriage ended in divorce in Jones acknowledged in his memoirs that his alcohol abuse was largely responsible for the breakdown of the relationship, though he disputed many of the claims that Tammy made in her memoirs. Though his marriage to Tammy lasted only six years, his relationship with Epic Records and Billy Sherrill endured for two decades. Many industry insiders were skeptical that Sherrill — who had a reputation as a control freak in the studio — and Jones would be able to get along.

Jones, and the woman that George credits with rescuing him from drug and alcohol addiction. George Glenn Jones was born in a log cabin in Saratoga, Texas, near Beaumont, on September 12,the youngest of eight children.

The family got its first radio when George was seven years old, and when he was nine, his father bought him a guitar, and his lifelong love affair with country music began. He quickly learned that he could earn money through his music, often getting free bus rides in exchange for entertaining the other passengers.

By age eleven, he was busking in the streets of Beaumont, earning as much as twenty-five dollars a day — and in what was to become a lifelong habit — blowing the money in an arcade as soon as it was earned. When George was 17, he married Dorothy Bonvillion. The union lasted less than a year; they were divorced by the time their daughter Susan was born. In order to make the court-mandated child support payments, George joined the Marine Corps.

He caught the attention of Jack Starnes and H. InJones was invited to join the Grand Ole Opry. Starday was eventually sold to Mercury Records, and George remained with the label until George had remarried in to Shirley Corley. Although the marriage lasted fourteen years and produced two sons, the two were not well suited for each other. Shortly thereafter, George met a young up-and-coming singer named Tammy Wynette.

In she also became the first country artist to grace the cover of Newsweek. Nevertheless, it managed to crack the Top 5. During the early part of the 70s, Loretta severed her ties with the Wilburn Brothers.

As her song publishers, they owned the rights to all of her compositions and Loretta saw very little in financial renumeration. As a result, the music she released in the latter part of the 70s had a more polished, pop influenced sound in comparison to her earlier work.

A film based on the book was released inearning some high-profile mainstream attention for Loretta, and an Academy Award for Sissy Spacek for her portrayal of the country star. Tommy Lee Jones co-starred as Mooney. The s were marred by the beginnings of a career decline and personal tragedy. Her records continued to chart, but she was no longer consistently making the Top 10 with her solo efforts.

She fought with her label, which wanted to push her in a more pop direction. That same year she was inducted into the Country Music Hall of Fame. In her second book, Loretta says that she believes she suffered a nervous breakdown as a result of this tragedy, but she did not receive any medical treatment for it.

She became less focused on her career, and although she continued to tour, she recorded less frequently. Loretta spent most of the s out of the spotlight. She no longer had a record deal and she stopped touring for the most part in order to care for Mooney, whose health had begun to fail.

Though it received virtually no radio airplay, the album reached 6 on the Billboard Top Country Albums chart and earned gold certification. Be connected to the hottest items and auction trends. Includes 31 pages booklet! Includes concert tickets from September 12, in Nashville Indiana. Also includes Johnny Cash signature on photograph! Along with 3 Elvis Presley Picture Discs.

All 3 French imports. Madonna The Immaculate Collection. I'd like to do some reading, but I'd like to know which seems to be the best biography I see her as the original woman who could do it all and do it all well.

She did things that women just did not do in her time and she did them with spunk, dignity, and did it her way. Love this site. I am sure I will be back many times. I never heard about her till my grandfather gave me her album. Since then I listen to when ever I get a chance. She is an inspiration, now this year I bought her soundtrack Pro Performance"Sing like Patsy", so when I go to another pageant she'll be with when I have to sing. To me I suggest that if you really want a good album.

Purchase any of these they are the best. I really love her and so does all of my family. I just wanted to speak for a moment. Please pray for America. This is a very hard time, but we will be strong. God is in control. Thank you to everyone for all the great things being done. Thank you to all the people involved in every way in the rescue and aid efforts.

Thank you to all those who are praying. Thank you, God for the comfort that only you can give. Be a good world neighbor. Put aside petty things, and unite. Fight evil. Even evil knows it will not win. May God Bless Us All. This is some information for those interested in obtaining a decent Cowboy Copas compilation. It's titled "Copasetic: King and Starday". It's about time that something like this has come along.

I just bought it and it's awesome. Y'all email me and I will do my darndest to get back to ya. Take Care! Please pray for world peace today When multiple people pray, it works. The real Louise Seger has been a friend of mine for more than 15 years now, I'm proud to say. In recent years, her health has been on the decline So I thought it would be nice of all you folks who have enjoyed the show over the years, to send her a "get well" wish, or just to say hello and remind her of how much her story has touched lives over the years I think she sometimes forgets that.

Louise can be contacted via email at: Louiseed LCC. It reminded me of when I heard her on LP, many years ago. Good to hear it again! She was a great person, very down to earth and funny. I love ya, Patsy! I am wondering if her Gospel recordings are currently available. Are there any CDs with her gospel songs on them?

I hope she is smiling and looking down on us all, and appreciate the fact that she still lives on in our hearts and memory and her music is the living legacy that was left for us to enjoy It has been reinstated.

For more info. May she never be forgotten thanks to her exquisite, soulful voice and this great site. There are many imitators but there will never be another Patsy Cline. I never understood why it was allowed to start with, or why it was not donated to the Patsy museum? Just wondering. Take care! She might be on Biography the show, but they're offering to let people vote on who they like best and she's one of the choices. The other choices are good too. God bless. Kaija Bonde, who looks and sounds nearly the same as Patsy - does a tremendous job portraying her.

The performance also brings a full band. Sitting in the audience will be like travelling in a time capsule - back in time - back to the 60's when Patsy was in her prime. I hope you have the opportunity to be there. For tickets callor Thought you may be interested. Her birth name was Virginia Patterson Hensley. After she married Gerald Cline she shortened her middle name to "Patsy" for her stage name. Later she divorced Gerald and married Charlie Dick.

She had two children, Julie and Randy. Patsy's mother, Hilda Hensley, sewed the cowgirl outfits that she always wore.

She got her started in talent shows when she was a young girl and Patsy Why Cant He Be You - Loretta Lynn - Sings Patsy Clines Favorites (Cassette her break to stardom on the Arthur Godfrey Talent Scout Show. In her rise to fame, Patsy demonstrated bold aggressiveness and because of that many people in her hometown didn't much care for her. But in spite of what the hometown people thought or felt, the rest of the world loved and respected her passion and her talent.

Her records soon hit the top of the charts and she was in demand in the entertainment circuits. Patsy loved her fans and she spent much of her time writing letters to them. Often she wrote late into the night from wherever she was and often it was on the hotel stationery that she penned her letters.

She spent hours after her concerts signing autographs and talking. She used to call them on the telephone too; it was not unusual for her to talk to a fan for half an hour or more. She became very close friends with one of her fans and she told her about her premonition that she would die in an accident.

That intuition proved to be true. She survived two automobile accidents then six months before her 32 birthday, she was killed in an airplane crash on her way back to Nashville from doing a benefit in Kansas City. Ironically, the benefit was for the family of a disc jockey who had died in a car accident.

The weather was very bad overhead after the Kansas City benefit and Dottie West Patsy's friend asked her to ride back to Nashville in the car with her.

When Dottie expressed concern about the plane and the weather, Patsy replied, "Don't worry about me, hoss, when it's my time to go, it's my time! Thirty-eight years after her death, her popularity continues.

It seems that Patsy's genuine love for her fans continues even now. Not only do those who remember her love her music, but people who weren't yet born when she died love her music and join her fan club. In the US Postal Service commemorated her with a Patsy Cline stamp and - finally - after all these years the people in her home town have begun reconciling.

The town that she claimed as her home, Winchester, VA, is, at last, embracing her memory. In addition to raising funds for a museum and sponsoring a Sing-a-like Patsy Cline Contest, on May 2,her home town will dedicate its annual Apple Blossom Festival to her memory. I have several albums and I know the words to most songs. I wish she had been able to live a longer life and see her children grow up.

You will never regret it, nor will you ever forget it. So come on, you too, Per. Would sure like to meet you and thank you for sharing your post with us.

Sincerely, Anne Armstrong. Our family will all be there and will sure make you welcome. So get crackin' at packin'. I usually get to go to Nashville about once a year or so. When I do, and I get to see the museums and things, it makes me feel connected to her, even though I never knew her. I always have a fun time going. I have some great comedy for you all.

I was backstage at Depeche Mode in ' There were the few fans that were a little 'too much'. While "I" was always taught to be myself. I'm happy to say that he got a big kick out of it. The moral of the story is, it really goes to show that Patsy's music is timeless AND universal, and it can be enjoyed by all. Take care everybody! As a volunteer radio programmer on a community station in Minneapolis www. I also feature Mandy Barnett, who owes a lot of her vocal stylings to the artistry of Patsy!

We play 70 years of traditional country music, western swing, honky-tonk, etc. Much of what we play is out of print and has been carefully archived. Check it out!! We love you, Patsy, and we always will! Just a note Johnny Russell passed away July 3rd. I am sorry I didn't make a post. There is an article and photo here. Thanks for all the prayers and notes that everyone sent to Johnny.

They were all taken to him while he was in the hospital. Once again, you guys are the greatest I think it is sad that anyone would consider selling something of that nature for profit. What is even more disturbing is the fact that there are people who would kill to have such a momento. The way I see it, it is only a painful reminder of how tragically she died. You may recall that his older brother WJ Hollingsworth now deceased was the one who discovered the wreckage that fateful morning in He stated then that he would sell it to me for I was also made aware of several artifacts on display in Pfeiffer's Old Country Store there in Camden.

Whether Mr Hollingsworth is still alive, or who owns the wreckage now, is beyond me Is Patsy's musical legacy not enough that someone would want a piece of what took her life? I must say it's been fascinating reading!

Couple of questions about going's on, what happened to Erica Dawn and her appearance on TV? Has she been able to continue her singing career?

And Julie, how is Johnny Russell faring? Last post on him said he had his legs amputated but wasn't doing well. He is in my prayers. Congrats on becoming a grandma, by the way! My father is a huge Patsy fan, and because of this, so are most of his 7 kids, myself included.

I know! Pun intended! I know it would make his day! I just saw "Sweet Dreams" for the first time the other night, which in turn sent me scurrying for the Internet and finding this site! Thank you, Per, and everyone who has made this site and this forum so very interesting and entertaining! I have been an avid fan of Patsy Cline for many years. When I listen to her recordings I find it very hard to believe she is no longer with us, her voice still brings a tear to my eyes.

As reported earlier, the Hall of Fame has pieces and Loretta Lynn has pieces in her museum near my home. It was exciting to discover that there were so many. We got exactly what we wanted and more than we could have hoped for. Essays cover material from the silent era to the present, in illustrated song slides, musicals, dramatic lms, documentaries, rockumentary, and biopics.

Writers consider the functions of diegetic songs in dramatic lms, nondiegetic scores, uses of and representations of playback technology, and extratextual and intertextual relationships between lm and radio and lm and soundtrack albums. Categories of popular music discussed include country, teenybopper pop, disco, swing, jazz, classical, Bhangra music, French cabaret music, and showtunes; music by composers Henry Mancini and George Gershwin, and by artists Johnny Hartman, Duke Ellington, Louis Armstrong, the Monkees, Bing Crosby, and Loretta Lynn.

The rst four essays, grouped together under the heading Popular vs. Serious, each in dierent ways explore the often false distinctions between popular and classical music, low and high culture, commercialism and art.

In Cinema and Popular Song: The Lost Tradition, Rick Altman recovers the lost history of illustrated song slides to suggest the origins of popular song-oriented accompaniment practices of early cinema, practices that carried over into Hollywoods sound era and still operate today. Altmans essay sorts through the dierences and points of overlap between popular and classical lm scores and provides a backdrop for the essays that follow.

Priscilla Barlow complicates our understanding of what counts as popular and oers a key example of classical music being appropriated as popular in the lm LAge dor, a collaborative work by Luis Buuel and Salvador Dali.

Barlow argues that Buuel used the most irreproachably bourgeois music one can imaginefamiliar classical music such as Beethovens Fifth Symphonyto scandalize and shock bourgeois audiences and break down distinctions between high and low culture.

Nonetheless, she claims, Buuel unwittingly reinforced articial hierarchical divisions between upper and lower classes and between serious and popular music. Supercially, Que Sera, Sera seems. Analyzing the tensions between popular, commercial pressures and avant-garde stimulus, Paul Ramaeker assesses the Monkees vehicle Head, jointly created by Bob Rafelson, Bert Schneider, and Jack Nicholson. Exploring the discourse around Heads failure, Ramaeker nds the lm juggling seemingly contradictory impulses.

On the one hand, it aims to capitalize on the success of the prefabricated teenybopper quartet among preteen audiences and, on the other hand, it makes a bid for cultural credibility among mature adults by deconstructing the Monkees image and presenting the group as countercultural gures.

In the next section, labeled Singing Stars, Allison McCracken, Kelley Conway, and Neepa Majumdar analyze the role of the singer in such diverse historical contexts as the early sound period in Hollywood, s France, and recent Bollywood. Taken together, these essays provide a fascinating cross-cultural comparison of how singing has been gendered in dierent historical and national contexts.

In Real Men Dont Sing Ballads: The Radio Crooner in Hollywood,McCracken argues that due to his articial amplication, his female fan-base, and his eeminate voice, the gure of the crooner challenged traditional notions of the integrity of embodied white masculinity. Arguing that the masculinity of the crooner is ultimately, if uneasily, established in Hollywood through the early lms of Bing Crosby, McCracken suggests that the crooner reveals how imbricated popular song, musical lm, and changing conceptions of white masculinity are.

Kelley Conways essay on the chanteuse raliste in s French cinema examines the prevalence and popularity of popular songs and singers in French lm of this era. Looking at a range of lms featuring the singers Frhel and Damia, along with actress Louise Brooks, Conway nds embodied in the chanteuse raliste a rich constellation of meanings associating the popular song mode with changing constructions of femininity and class, while also reecting the lms preoccupation with gendered public spaces.

Neepa Majumdars essay, The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema, challenges conventional notions of stardom through an examination of the unique aural stardom of playback singers in Hindi cinema. In contrast to Hollywoods concealment and vilication of dubbing as an inauthentic modenotably in Singin in the Rain Majumdar describes the use of playback singing in Indian.

The practice is well-nigh monopolized by the amazingly prolic singer Lata Mangeshkar, who dubs virtually all female characters in Hindi lms and whose voice is not concealed but recognized and celebrated, thus becoming the ideal norm of aural femininity across numerous female bodies.

Majumdars analysis of this fascinating gure delineates a new model of stardom, one that allows for split processes of identication between aural and visual stardom and that along the way exposes the myth of authenticity underlying Hollywoods ideology of musical performance.

Shifting attention to popular musics function as a reective and ltering cultural marker of identity, the essays under the heading Music as Ethnic Marker examine how popular music in lm has been used to signify national ethnic identities. Andrew Killicks essay, Music As Ethnic Marker in Film: The Jewish Case, casts new light on the concept of unheard music and argues that illicit anti-Semitic stereotypes are sometimes buried in popular lm music.

Killick argues that a nucleus of musical practices have, over time, come to be associated with Jewishness and, in particular, with the stereotype of the Jewish miser. These musical cues appear repeatedly in musicals from the s and sincluding OliverFiddler on the Roofand Cabaret and, by associating Jewish music with lyrics expressing the desire for money, they reproduce and perpetuate the miser stereotype acoustically.

These illicit meanings, he argues, are not placed by anti-Semitic composers, but, worse, are naturalized to a degree that they enter popular songs without any negative intention on the part of the composer or the audience. Considering the construction of a white southern ethnic identity, Barbara Ching examines uses and representations of country music in American lm in Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film.

Noting that lmmakers assume that country music bears a burden of a particularly American authenticity, Ching reects on the myth of authenticity in country music lms and explores how that myth has been exibly adopted both by conservative and leftist lmmakers: A country soundtrack provides a variant of the national anthem, used to arm the purity of the American way of life or to decry a nation hypocritically mired in provincial materialism. Taking a dierent approach to how popular music comes to signify ethnic identities, in Crossing Musical Boundaries: The Soundtrack for Touch of Evil Jill Leeper examines Henry Mancinis exquisite score for Orson Welless classic Touch of Evil in both its restored and unrestored versions.

Leeper argues that Mancinis use of multiple and hybrid. Zuberi examines the use of popular music to signify the hybridized identities of British Asians in the documentary Im British But. Beyond noting how the lm combines hybrid musical genres, Why Cant He Be You - Loretta Lynn - Sings Patsy Clines Favorites (Cassette concentrates on the specicity of technologies, such as audio mix, in the production of hybridized South Asian subjectivities.

Adam Knee, Krin Gabbard, Arthur Knight, and Jonathan Gill analyze the complex, intertwined meanings of African American Identities, including blackness, authenticity, popularity, and music in American lm.

Knees essay on the black-cast lm Broken Strings suggests that the lms opposition between classical music and swing underpins a larger allegory about African American culture. Writing about the Clint Eastwood lm The Bridges of Madison CountyKrin Gabbard claims that the voice of Johnny Hartman heard on the lms soundtrack is used to authenticate the Eastwood character, Robert Kincaid: His voice endows Clint Eastwoods actions with real masculine authority at the same time that it heightens the lms romanticism.

In creating a star persona representing a powerful and complex white masculinity, Eastwood has consistently hitched his wagon to the musical sounds of African American males. The lms use of Johnny Hartman, then, typies Eastwoods fascination with and borrowings from African American culture. Arthur Knight and Jonathan Gill both discuss the lm adaptation of the Gershwins and DuBose Heywards Porgy and Besswhich is perhaps the best known and most inuential black American musical work ever written by whites.

Knight examines the lms race politics through the lens of the many jazz adaptations of Porgy and Bess that ourished in the wake of the lm. Cultural Criticism shows that several of these records are meant as signifying criticisms of the opera and, especially, its worldwide, mass circulation through the lm. Ironicallyand one of the reasons weve included two essays on this single workthe lm of Porgy and Bess has not been distributed sinceyet it remains available in the revisionary music it spurred, which is still regularly rereleased and widely distributed.

Jonathan Gills Hollywood Has Taken on a New Color: The Yiddish Blackface of Samuel Goldwyns Porgy and Bess uses the long-anticipated and very complex occasion of lming the great American folk opera to analyze colliding ideas of racialized and ethnicized authorship and identity. The rise of the compilation score is, perhaps, one of the most signicant developments in contemporary lm, touching on synergistic practices, the inuence of music video on lm, and a shifting aesthetic from unheard melodies to blaring, prerecorded songs that compete with, as much as complement, lm spectacle.

The two essays in Contemporary Compilations provide overarching views of the history, practice, and function of the compilation score.

Corey Creekmurs essay oers a cross-cultural comparison between the function of music in Hindi cinema and in post-s Hollywood cinema. Against those who view the Why Cant He Be You - Loretta Lynn - Sings Patsy Clines Favorites (Cassette of picturized musical sequences in Bombay cinema as an exception to dominant lmmaking modes, Creekmur suggests that Bombay cinema has, in eect, anticipated current Hollywood practice, with its emphasis on the compilation score and synergistic marketing.

Je Smith approaches the contemporary compilation score from a different angle. His essay, Popular Songs and Comic Allusion in Contemporary Cinema, focuses on Boogie Nights to consider how lmmakers employ ironic musical allusions and especially puns in narrative lms. Smith aligns popular musical puns to more traditional forms of humor in lm, such as verbal jokes and gags, and he highlights the crucial role played by contemporary music supervisors in matching a songs mood and meaning to lm.

Describing a wide range of lms from the s to the present and from Europe and Australia as well as the United States, she analyses what she refers to as the trope of the girl and the phonographcinematic representations of women using record players and other playback technologies. She traces how the gure of the phonograph functions as shorthand for gender stereotypes and shows how lm represents womens use of phonographs as both transgressive and lacking.

We hope that this collection of essays will lead to such. No doubt many readers will be disappointed at not nding specic readings of specic lms and soundtracks here: lms by Martin Scorsese, Quentin Tarantino, and Spike Lee are only the most obvious examples. Apparently new forms of popular lm music, most notably the still rare but very interesting phenomenon of music inspired by the motion picture, still await analysis.

Certainly there is much more that needs to be said about popular music in documentaries, whether discussing lms that focus on music making or the use of music as documentary accompaniment, and there is much work to be done on popular music in such marginal forms as live action shorts, animation in short and feature lengthsand experimental lm. Contributor Je Smiths The Sounds of Commerce has made an impressive and inspiring start on an industrial-aesthetic history of the popular soundtrack, both as soundtrack and semi- autonomous recording, but immense amounts of work remain to be done.

Finally, while we are particularly proud of the international reach of Soundtrack Available, there are popular musics from popular cinemas around the worldHong Kong and China come most immediately to mindthat go, regretfully, unconsidered here.

Among the surest signs of popularity are mobility, translation, and versioning. In that light, our hopes for the usefulness and pleasures of Soundtrack Available will be best conrmed when Soundtrack Still Available or something like it and edited by others arrives to ll some of the absences in this collection. Notes For example, Je Smith also uses Waynes World to situate the aesthetic and commercial aspects of post-s soundtracks.

On early synergy, see Smith, Sounds of Commerce. Grith, Director, ed. Robert Lang New Brunswick, N. New York: W. Gorbman, Unheard Melodies. Rick Altman, ed. Several more recent works by lm scholars on genres and forms that are tributary to the musical help to complicate these tendencies when held adjacent to the work on the musical and, indeed, on the classical score: Henry Jenkins, What Made Pistachio Nuts?

Jonathan Romney and Adrian Wootton, eds. Most writing on lm music has concentrated on the practice in early cinema of underscoring a lm segments narrative or emotive content with light classical music in the European tradition. Historiographically, this approach to lm accompaniment falls short on three separate counts: It neglects the auditory practices of early cinema, thereby failing to recognize cinemas investment in a competing popular song tradition.

It unjustiably limits our notion of the principles operative in musical accompaniment to those characterized by European-inspired light classical music. It oversimplies the complex dialectic between disparate musical traditions that undergirds the history of lm music. Illustrated Songs and Nickelodeon Accompaniment Traditional accounts of silent lm sound have assumed that early lm exhibition borrowed its sound practices directly from the nineteenth-century theater, and thus featured accompaniment like that of the later silent period.

However, a closer look at nickelodeon programs suggests radically dierent conclusions. As facade photographs readily attest, the highlight of many nickelodeon programs was the illustrated song, a live entertainment featuring a popular song illustrated by colorful lantern slides.

Accompanied by the piano, the singer would typically warble two verses and two choruses, then the audience would join in while the chorus-lyrics slide was projected. First invented in the mid-s, illustrated song slides grew rapidly in popu. Sears catalog ad for a song slide outt made up with a special view to the after addition of moving picture eects. With the rise of nickelodeons, illustrated song slides became a standard part of the program.

Since the projectors of the period served double duty for moving pictures and lantern slides, song slides oered a convenient and inexpensive manner to occupy audiences while the lm was changed.

In fact, the enormous popularity of song slides suggests that lms oered respite for the singer between song slides, rather than vice versa. Song slides held their popularity until aroundwhen a second lm projector was installed in most projection booths, allowing lms to alternate with lms rather than with slides. The typical illustrated song slide set included a title slide made from the sheet-music cover, twelve to sixteen live-model slides corresponding to two verses and two choruses, and a chorus-lyrics slide that remained on screen while the audience belted out the chorus, often many times over.

Initially distributed gratis by music publishers as a form of publicity, slide sets were eventually sold or rented for modest sums. Produced by small, undercapital.

Simpson, DeWitt C. Wheeler, or Scott and Van Altena, song slides featured many actors and actresses who would become familiar silent lm gures Francis X. Sung on the vaudeville stage by big-name song illustrators like Ada Jones and Meyer Cohen, or teams like Maxwell and Simpson, song slides would later give their rst chances to the likes of George Jessel and Al Jolson.

In nickelodeons, however, the singer would often be the owners wife, daughter, or niece. There are many reasons why illustrated song slides have been neglected. Considered as a dierent medium, song slides have been ignored by lm archives and lm scholarship, and are almost never shown as part of a lm program.

Conversely, the few heroic collectors who have preserved song slidespeople like John W. Ripley and Margaret and Nancy Berghare not lm scholars and thus tend to show song slides within a lantern-slide context rather than in conjunction with lms. Our ignorance of illustrated song slides and their relationship to lm exhibition has seriously compromised our ability to make sense of the nickelodeon period.

The active presence of illustrated song slides in nickelodeon programs suggests many dierent avenues of research. What eect did the illustrated song preference for ballads and other narrative forms have on lms mid-aughts turn toward narrative? Was the contemporary songwriter Charles K. Harris right to claim that song slide scenarios provided the basic model for the moving picture play scenario?

The early teens have been seen as a watershed, with the spread of large purpose-built theaters, the installation of a second projector, and the rise of feature lms, but what of the active repression of a cinema of attractions through industry criticism of song-slide-spawned audience participation? These and other basic questions are raised by the intermediality of nickelodeon programs.

When considered from the standpoint of sound practice, illustrated songs suggest a totally dierent set of issues. Close inspection of the. As Film Index insists, it is to be questioned whether a picture of a bird on its nest truly illustrates a line to the eect that the hero will return when the birdies nest again, but usually the slide gets a hand, the women murmur Aint it sweet and the slide maker makes some more of the same sort because he is in business to ll a demand, not to furnish an art education with each set of slides.

A deaf man could make song slides, since only the lyrics count. Scott had been deaf since the age of four. A closer look at prewar sound practices suggests that early accompaniment may have been directly inuenced by illustrated songs, lms audiovisual partner in the nickelodeon business.

Repeatedly, we nd producers recommending popular songs to accompany their lms. One particularly adept house pianist, arms Martin, kept the house in laughter with his selections in accompaniment to pictures of a irtation. He made the Lothario say: Theres something about you dear that appeals to me; my wifes gone to the countrywont Album) come over to my house?

Youre just my style. I like you. Howd you like to spoon with me? The fellows wife broke in upon the irtation, then left him in a rage. The piano sympathized. Far from simply recycling nineteenth-century melodrama music and preguring the accompaniment style typically applied to silent features, nickelodeons depended heavily on popular song.

The Structure of Popular Songs and Classical Music For decades, scholars have neglected illustrated songs and the nickelodeons popular song aesthetic. In order to revive that tradition, and to understand its continuing role throughout the history of cinema, we must rst highlight the dierences separating popular songs from the music used for late silent lms and through-composed sound lms.

For simplicitys sake, I will adopt Royal S. Browns use of the term classical, in quotation marks, to designate the various types of music included in the latter category. The category of classical music, without the quotation marks, would include art song and opera; my classical category, with quotation marks, does not include those forms, since they are not regularly used in lm music.

Film music critics typically stress the Wagnerian tendency of classical lm music to employ repeated leitmotifs and themes in connection with specic characters or situations. For the purposes of a comparison with popular song, it is essential to recognize the fundamental muteness, indeterminacy, inconspicuousness, and expansibility of classical music, along with the eects that these characteristics have on listeners.

Though classical pieces sometimes have titles, they achieve audiovisual matching by generalized parallelism between the emotive connotations of particular musical textures and the content of specic image sequences, rather than through verbal content.

Whereas the title and lyrics of a popular song usually overdetermine meaning, the signication of classical music is far more dependent on the images and situations to which it is linked.

By this term I do not mean simply that classical music is unheard, as Claudia Gorbman says of narrative lm music. Gorbmans point relates to the way classical music is deployed in the cinema, whereas I am referring to a fundamental dif. Language is processed dierently from instrumental music even when only a reminiscence of that language remains, as with an instrumental version of a popular song ; classical music is thus by its very nature inconspicuous, even before being inconspicuously applied to Hollywood lms.

In terms of its dierence from popular song, classical musics expansibility looms large. Variable phrase length and delayed closure contribute heavily to this feature. Classical musics expansion methods include development by variation, modulation, minor or modal treatment, and change of instrumentation, register, or volume. To delay closure, classical music employs deceptive cadences, where a harmonic structure extends the piece rather than closing it o through the expected authentic cadence.

The multilayered nature of classical music oers multiple opportunities for extension, any separate layer potentially justifying continuation, even when the others have reached closure. Though classical music depends on the same drive toward tonic resolution as does popular song, its lack of repetitive and predictable closure diuses rather than unies audience reaction.

Because it operates on multiple levels, classical music rarely oers a separable hummable melody, and never provides singable lyrics, thus encouraging quiet and attentive listening rather than active participation.

As such, classical music involves audiences mentally more than bodily, inviting them to internalize rather than externalize their reactions. The convention of silent listening to concert music, established well prior to classical musics debut in lm exhibition, provides strong cultural reinforcement for this tendency. In contrast, popular song depends on language, and is predictable, singable, rememberable, and physically involving in ways that classical music usually is Album).

Consequently, she never got much of a commercial push from her label. A decent two disc set of this outstanding singer should be easy to compile. Being related to a famous country entertainer can be a mixed blessing. Although the family ties can open doors for the aspiring singer, they can also serve to set unrealistic expectations. Just ask Roy Acuff Jr. John Carter Cash has avoided the problem entirely by working behind the scenes.

Jazz guitarist Lenny Breau, son of country stars Hal Lone Pine and Betty Cody, might have fit into this category had he not died young. True superstar success for those with famous kinfolk is indeed rare. As the daughter of one of the best-known songwriters around, and living in Nashville, Tillis was exposed to the elite of the country music industry even before her father had achieved recording star status.

The results of an automobile accident at age 16 derailed her career for a while as several years of reconstructive facial surgery were needed to restore her appearance.

Since her only real interest was music, she eventually dropped out of college to pursue her own musical career. After tiring of the San Francisco scene, she returned to Nashville and found work as a demo singer. She signed with Warner Brothers. Unreleased were early versions of several of her later hits, which were released after she achieved success.

Her visibility was greatly improved when she started making regular appearances on shows aired on the late lamented Nashville Network, especially on Nashville Nowa nightly variety show hosted by Ralph Emery. By she had signed with Arista Records, where her career took off. For part of this period until she was married to fellow songwriter Bob DiPiero. The Arista years saw Tillis emerge as a steady and reliable hit-maker as the following list demonstrates:.

Homeward Looking Angel reached platinum status. InArista released her first actually only Greatest Hits album. This collection also went platinum.

Co-Dependent - Le Flange Du Mal - Le Flange Du Mal (CDr), I Want You To Love Me - Muddy Waters - Sail On (Vinyl, LP), Restoration - The National Philharmonic Orchestra* - Close Encounters Of The Third Kind And Other Gr, No.5 In D Major - Alexander Scriabin* - Scriabin: The Complete Works (CD), Old Henry The Oak - Cocos Lovers - Johannes (CD, Album), Anything Thats Rock & Roll - Tom Petty And The Heartbreakers - Absolutely Live (Vinyl, LP), Amália Rodrigues - Amália no Olympia (Vinyl, LP), Bullethead - Van Halen - A Different Kind Of Truth (CD, Album), The Only Star In Heaven - Frankie Goes To Hollywood - Welcome To The Pleasuredome (CD, Album), Untitled - Various - Deutsch Polnische Freundschaft (German Polish Friendship Compilation) (CDr), Csardas - Laura* & Anton* - Reverie (CD, Album), The Witch Burns… - Nehëmah - Light Of A Dead Star (CD, Album), Gyermekágyi Torna, Michele Rosewoman - Quintessence (Vinyl, LP, Album), Tervehdys, Maan Asukit - Ahkerat Simpanssit - Tervehdys, Maan Asukit (Vinyl, LP, Album)