Will smith, Arriving at Men in Black 3, New York Premiere
Will smith arriving at Men in Black 3 New York Premiere.
I took this video of Will smith, Willow Smith, Jaden Smith, and Alice Eve at Men In Black 3 New York Premiere, May 23 2012 at the ziegfeld theater in manhattan new york city, united states of america. Flee free to link this video on your web page
Marion Harris You May Be Fast But Your Mama's Gonna Slow You Down Brunswick 2513 BIOGRAPHY
Marion Harris sings You May Be Fast But Your Mama's Gonna Slow You Down on Brunswick 2513, recorded on October 19, 1923.
Marion Harris evolved from vaudeville shouter to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
She had three husbands, Robert Williams (the great actor who starred with Harlow in Capra's Platinum Blonde), Rush Hughes (a cousin of Howard Hughes), and Urry.
HER REAL NAME: Mary Ellen Harrison
Born March 1897
Home in 1900: Pigeon, Vanderburgh, Indiana
Father's name: James Harrison
Mother's name: Gertrude Harrison
Billy Murray - My Cousin Caruso 1909 (Miss Innocence Florenz Ziegfeld Jr.)
Billy Murray - My Cousin Caruso 1909 (Victor) 5/13/1909 Camden, New Jersey - Gus Edwards (composer) Edward Madden (lyricist)
From Miss Innocence Broadway Musical -
New York Theatre, (11/30/1908 - 5/01/1909) Produced by Florenz Ziegfeld, Jr.
William Thomas Billy Murray (May 25, 1877 – August 17, 1954) was one of the most popular singers in the United States in the early 20th century. While he received star billing in vaudeville, he was best known for his prolific work in the recording studio, making records for almost every record label of the era.
A Pretty Girl is Like A Melody--John Steel
This audio is part of the Sound For a Future Generation Archive
Presently the website is under construction.
I would like to state that the work on this website falls under the sections on fair use and reproduction by libraries and archives within United States Copyright Law. This website is intended for “teaching, scholarship, and research” (Copyright Law). There is no “direct or indirect commercial advantage” as I am not profiting nor is anyone else (Copyright Law). Record preservation has always been a product of my own money and time. Anyone who figures out how to use a program to make copies of the audio I have presented “may be subject to the copyright law…if it exceeds fair use as provided by section 107” (Copyright Law).
“Copyright Law.” U.S. Copyright Office. Accessed December 16, 2016.
Marion Harris Sweet Mama (Papa's Getting Mad) Columbia A3300 August 31, 1920 ODJB did this, too
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
George Bush Reacts To Taiwan Being Kicked Out Of The United Nations
Former president George Bush Sr. discusses the decision to kick Taiwan out of the UN.
Date aired - October 29, 1971 - George H.W. Bush
For clip licensing opportunities please visit
Dick Cavett has been nominated for eleven Emmy awards (the most recent in 2012 for the HBO special, Mel Brooks and Dick Cavett Together Again), and won three. Spanning five decades, Dick Cavett’s television career has defined excellence in the interview format. He started at ABC in 1968, and also enjoyed success on PBS, USA, and CNBC.
His most recent television successes were the September 2014 PBS special, Dick Cavett’s Watergate, followed April 2015 by Dick Cavett’s Vietnam. He has appeared in movies, tv specials, tv commercials, and several Broadway plays. He starred in an off-Broadway production ofHellman v. McCarthy in 2014 and reprised the role at Theatre 40 in LA February 2015.
Cavett has published four books beginning with Cavett (1974) and Eye on Cavett (1983), co-authored with Christopher Porterfield. His two recent books -- Talk Show: Confrontations, Pointed Commentary, and Off-Screen Secrets (2010) and Brief Encounters: Conversations, Magic moments, and Assorted Hijinks(October 2014) are both collections of his online opinion column, written for The New York Times since 2007. Additionally, he has written for The New Yorker, TV Guide, Vanity Fair, and elsewhere.
#thedickcavettshow
Annaliese Arena NAM Miss Rochester NY Shares Message for Her Birth Grandmother at Nationals
Adoption - A Better Way in America: Here is a special video of Miss Rochester Annaliese Arena giving a speech on adoption at National American Miss's National Pageant held in Anaheim, California. She has always been an excellent and fearless public speaker having commanded the attention of audiences even at professional basketball games. At NAM, we remember Joy Soprano saying during a crowning event, We want these ladies to have a voice, and to be heard. Anna did just that when she shared about our prolife ministry and a message to honor her birth grandmother who chose life for her father - Sam Arena - and therefore chose life for her, too. Anna has been on the front lines in sharing a message of life as an important member of our ministry since a young age. Our message has always been and always will be one of peace and love and healing for the thousands suffering in the aftermath of choice that we have helped with our film, and ministry Arise Sweet Sarah. Her mother is post abortive knows first hand the devastation of abortion. Please take 90 seconds to view Anna's video. If you or someone you knows if hurting after abortion, we care and are here to help. Visit arisesweetsarah.com for help and resources. For more information about Annaliese and to invite her to speak or share her gift of ballet and speech about adoption, visit annaliesearena.com. Anna's father's adoption was a closed adoption in Rochester, NY in 1967. He was born April 13, 1967. If you or someone you know has information on his birthmother's whereabouts, please contact us at sandyarena@sandyarena.com. His mother was 20 years old at the time, and her mother died while giving birth to her. She was a secretary and she was beautiful.
Jeremy Renner has fun with screaming Photogs at 'American Hustle' New York premiere
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Jeremy Renner has fun with screaming Photogs at 'American Hustle' New York premiere screening Dec 08, 2013 - Ziegfeld Theater - New York City, NY, United States
Marion Harris Paradise Blues on Victor 18152 November 17, 1916
Marion Harris sings Paradise Blues on Victor 18152, recorded on November 17, 1916.
Spencer Williams is the composer.
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
Marion Harris Hot Lips on Brunswick 2345, recorded 1922 RARE VISUALS Henry Busse
Marion Harris sings Hot Lips on Brunswick 2345,recorded in 1922.
The song is by Henry Busse, Jack Lange, and Lou Davis.
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
Van and Schenck Tackin' 'em Down (1918 DANCE CRAZE) Gus Van & Joe Schenck Columbia A2570
Van and Schenck sing Tackin' 'em Down (lyrics by Bud De Sylva, music by Albert Gumble), recorded on May 3, 1918, issued on Columbia A2570
The duo of baritone Gus Van and tenor Joe Schenck was very popular on stage, and I view them as successors to Collins and Harlan (they were still performing but were stale to listeners--Collins and Harlan are from an earlier generation).
GUS VAN (baritone): They got a new one [dance step] in Honky-tonk town!
JOE SCHENCK (tenor): You mean a blue one called Tackin' 'em Down?
[MORE]
GUS VAN: First you hold your sweetie tight...
JOE SCHENCK: I always do!
GUS VAN: Eagle rock with all your might!
JOE SCHENCK: That's not new!
GUS VAN: And then you stamp your heels in time with the melody
JOE SCHENCK: Ah, that's tackin' 'em down.
The song Tackin' 'Em Down is about a new dance step or craze.
Lyrics are by Bud De Sylva, music by Albert Gumble. The music was published by Remick and Co. of New York City in 1918.
The duo of Van and Schenck (August Von Glahn: 12 August 1887 - 12 March 1968; Joseph Thuma Schenck: 1891 - 28 June 1930) was popular in vaudeville beginning in the early 1910s, in Broadway shows, and on radio. As recording artists, the team enjoyed success from 1917 to 1924.
Van's real name was August Von Glahn. According to his obituary in the March 13, 1968, issue of The New York Times, he was born in Brooklyn's Ridgewood section. An obituary in the Star Journal (March 14, 1968) states that he was raised on a farm near Hillside Avenue and 168th Street in Queens' Jamaica section, which is several miles from Ridgewood. Articles in The Ridgewood Times indicate that Van and Schenck had strong ties to Ridgewood. A fan club met regularly at a house at 70-12 Cypress Hills Street in Ridgewood, Van often providing entertainment.
Van's parents were Charles and Lois (Lotz) Von Glahn, both of whom had been born in Germany. The Twelfth Census of the United States reports that August was born in 1886 but several later documents, including his marriage certificate and death certificate, state 1887. The Twelfth Census identifies him as a printer's errand boy.
Joseph Thuma Schenck was born in the same neighborhood. The future partners attended the same school though, given the age difference, it is unlikely they were close as schoolmates. His name was pronounced Skenk by his contemporaries. Billie Burke, wife of Flo Ziegfeld, pronounced it this way while paying tribute to the tenor on the April 3, 1932, broadcast of Ziegfeld Follies of the Air, a recording of which has survived. Mae West, also from Brooklyn's Ridgewood section, wrote in her autobiography Goodness Had Nothing To Do With It (Prentice-Hall, 1959) that Schenck was her first beau in long pants.
For years Van was a Brooklyn Rapid Transit Company employee. The application for his marriage license cites motorman as his occupation. On August 12, 1909, at Brooklyn's St. Leonard's of Port Maurice Church, he married Margaret Baumgarten, also from Brooklyn. She died in 1949. Van next married a woman known as Vi.
According to his obituary in the March 13, 1968, edition of The New York Times, Van worked for the trolley company, but his singing ability led him into places where people paid to hear him...[H]e began singing in the back rooms of some saloons on the Brooklyn and New York waterfronts. Mr. Van related that he was having difficulty with his pianist, so he dismissed him... Around 1905 Schenck was hired as Van's accompanist. The obituary states, At first, Mr. Schenck functioned solely as a pianist because his voice was changing. But later, as it settled into a tenor, it blended well with Mr. Van's, and in 1910 they became a vocal team. Page 86 of the October 1927 issue of Talking Machine World reports that the two were presented with a silver loving cup by Brooklyn citizens on the eighteenth anniversary of the first vaudeville engagement of the team, which suggests they performed in vaudeville for the first time in 1909.
In 1912 their composition Teach Me That Beautiful Love was published by Will Rossiter. The cover of sheet music includes a photograph of the two with the caption, Originally introduced by Van and Schenck in vaudeville. Song credit is given to Joe Schenck and Gus Van--that is, the names are reversed.
In 1916 they were asked to substitute for a trained but temperamental chimpanzee scheduled to entertain at a dinner party hosted by Florenz Ziegfeld and Charles B. Dillingham. Van and Schenck evidently did well at the dinner party since they were soon featured in Ziegfeld shows, beginning with The Century Girl.
Invitations to make records followed their appearance in The Century Girl. The first records were made for Emerson in late 1916: It's a Long, Long Time Since I've Been Home (7107) and Hawaiian Sunshine (7198). Their first Victor session was on December 29, 1916.
The True Story Behind Waco: The Inside Story of Branch Davidians & David Koresh (1999)
Waco (/ˈweɪkoʊ/ WAY-koh) is a city which is the county seat of McLennan County, Texas, United States. It is situated along the Brazos River and I-35, halfway between Dallas and Austin. The city had a 2010 population of 124,805, making it the 22nd-most populous city in the state. The US Census 2016 population estimate is 134,432. The Waco Metropolitan Statistical Area consists of McLennan and Falls Counties, which had a 2010 population of 234,906. Falls County was added to the Waco MSA in 2013. The US Census 2016 population estimate for the Waco MSA is 265,207.
Notable people
Jules Bledsoe, stage and screen actor and singer. When the Broadway premiere of Show Boat was delayed in 1927 by Ziegfeld, Paul Robeson became unavailable, so Bledsoe stepped in. He played and sang the role of Joe, introducing Ol' Man River.[67]
James Brown, film and television star, appeared as Lieutenant Ripley Rip Masters in 166 episodes of ABC's The Adventures of Rin Tin Tin (1954–1959) and later as detective Harry McSween on CBS's Dallas.
Shannon Elizabeth, actress of American Pie fame, was born in Houston and grew up in Waco.[68]
Chip and Joanna Gaines, live and host the HGTV series Fixer Upper in Waco.
Peri Gilpin, actress, best known for her television character Roz Doyle on the series Frasier, was born in Waco and raised in Dallas.[69]
Texas Guinan, Hollywood actress from 1917 to 1933. She was active in vaudeville and theater, and was in many movies (often as the gun-toting hero in silent westerns, more than a match for any man). She also had a successful career as a hostess in nightclubs and speakeasies in New York City.[70]
Anne Gwynne, Hollywood actress who starred in a number of films of the 1940s; she was born in Waco.
Thomas Harris, author of The Silence of the Lambs, was a student at Baylor University, and covered the police beat for the Waco Tribune-Herald.[71]
Jennifer Love Hewitt, actress, was born in Waco.[72]
Terrence Malick, director of The Thin Red Line, was raised in Waco. He also directed The Tree of Life, which was set in the town of Waco in the 1950s.[73]
Steve Martin, comedian, actor, author and musician, was born in Arizona; his family moved to Babylonia when he was around six years old.[74]
Kevin Reynolds, director (Robin Hood: Prince of Thieves, The Count of Monte Cristo, Waterworld), born and raised in Waco.[75]
David Crowder Band (1996–2012), a Christian worship band, is from Waco.[76]
Wade Bowen, Texas country artist and former lead singer of Wade Bowen and West 84, was born and raised in Waco.[77]
Pat Green, Country music singer-songwriter, was raised in Waco and his parents still reside there.[78]
Roy Hargrove, a Grammy Award-winning jazz trumpeter, was born and raised in Waco.[79]
Hi-Five, a successful R&B group who had hits in the 1990s including I Like The Way (The Kissing Game), is from Waco.[80]
Kari Jobe, a two-time Dove Award-winning Christian singer-songwriter was born in Waco and was raised in Watauga and Hurst, Texas.[81]
Willie Nelson, country music singer-songwriter, was born in nearby Abbott and attended Baylor University for one year.[82]
Ted Nugent, guitarist, along with his wife Shemane and son Rocco Nugent, live in Waco.[83] He filmed his VH1 show Surviving Nugent on his ranch in nearby China Spring.
Domingo Ortiz, percussionist for the band Widespread Panic, grew up in Waco.[84]
Bill Payne, keyboardist for the rock band Little Feat, was born and raised in the Waco area.[85]
Billy Joe Shaver, Country songwriter (Honky Tonk Heroes) and singer (Old Chunk of Coal), lives in Waco.[86]
Ashlee Simpson, pop music singer, was born in Waco and raised in Dallas.[87]
Jessica Simpson, pop music singer, was born in Abilene and raised in Waco and Dallas.[citation needed]
Strange Fruit Project, an underground hip hop trio, is from Waco.[88]
Hank Thompson, was born in Waco and is a Country music singer who was inducted into the Country Music Hall of Fame and Nashville Songwriters Hall of Fame.[89]
Mercy Dee Walton was born in Waco.[90]
Holly Tucker was born in Waco.
2018 American Red Cross Local Hero Award: Emmanuel Mensah presented by Wells Fargo
On Wednesday, October 10, 2018, the American Red Cross in Greater New York hosted its 2018 American Red Cross Gala: Heroes Among Us at the Ziegfeld Ballroom.
The highlight of the night was posthumously presenting the American Red Cross Local Hero Award to Army Pfc. Emmanuel Mensah. In December 2018, Pfc. Mensah was visiting his family in the Bronx, NY, when a fire broke out. As the blaze raged out of control, Pfc. Mensah ran in and out of the apartment building to lead several neighbors to safety. Pfc. Mensah was honored for his heroic actions and service.
#RedCrossGala2018 #RedCross #EmmanuelMensah
Marion Harris Sweet Mama (Papa's Getting Mad) Columbia A3300 August 31, 1920 ODJB did this, too
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
Gustav Stresemann in Germany. HD Stock Footage
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Gustav Stresemann in Germany.
Gustav Stresemann in Germany. Stresemann talks with Germans. Stresemann holds paper in his hand. Germans in the background. Location: Germany. Date: 1932.
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Marion Harris sings Jazz Baby RARE VISUALS
Marion Harris sings Jazz Baby.
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
Theater Talk: Ethan Mordden on Kurt Weill and Lotte Lenya
Author Ethan Mordden discusses his latest book Love Song: The Lives of Kurt Weill and Lotte Lenya, which chronicles the story of composer Kurt Weill, his wife, legendary actress Lotte Lenya, and the turbulent times that surrounded them. The pair began in Berlin where, along with Bertolt Brecht, they helped to revolutionize German musical theater. They fled to the United States during the rise of Hitler, where they both achieved artistic recognition, as well as commercial success.
Taped: 10-05-12
Theater Talk is a series devoted to the world of the stage. It began on New York television in 1993 and is co-hosted by Michael Riedel (Broadway columnist for the New York Post) and series producer Susan Haskins.
The program is one of the few independent productions on PBS and now airs weekly on Thirteen/WNET in New York and WGBH in Boston. Now, CUNY TV offers New York City viewers additional opportunities to catch each week's show. (Of course, Theater Talk is no stranger to CUNY TV, since the show is taped here each week before its first airing on Thirteen/WNET.)
The series is produced by Theater Talk Productions, a not-for-profit corporation and is funded by contributions from private foundations and individuals, as well as The New York State Council on the Arts.
Watch more Theater Talk at cuny.tv/show/theatertalk
Marion Harris Little White Lies (Walter Donaldson song) Brunswick 4873 (1930)
Marion Harris sings Little White Lies on Brunswick 4873.
Little White Lies, written by Walter Donaldson, was published in 1930.
The moon was all aglow
But heaven was in your eyes
The night that you told me
Those little white lies
The stars all seemed to know
You didn't mean all those sighs
The night that you told me
Those little white lies
I try, but there's no forgetting
When evenin' appears
I sigh but there's no regretting
In spite of my tears
Who wouldn't believe those lips
Who wouldn't believe those eyes
The night that you told me
Those little white lies
I try, but there's no forgetting
When evenin' appears
I sigh but there's no regretting
In spite of my tears
The Devil was in your heart
But Heaven was in your eyes
The night that you told me
Those little white lies
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Marion Harris I'm Gonna Make Hay While the Sun Shines on Victor 18143 (1916)
Recorded August 31, 1916
Between making her first acoustic disc in 1916 and her first electrical disc in 1927, Marion Harris evolved from vaudeville shouter, in the tradition of Sophie Tucker and Nora Bayes, to crooner.
She began by recording mostly comic songs, blues, and Tin Pan Alley songs about blues as well as about the new music known as jass. Towards the mid-1920s she made records that indicated a greater versatility and by the late 1920s her voice was different from earlier years, with Harris singing in the more intimate manner of torch singers such as Ruth Etting and Helen Morgan. Her late recordings suggest Harris had more vocal training than these singers.
She was born Mary Ellen Harrison in 1896, at least according to obituaries, which may be inaccurate since they were only based on press releases approved at some point by Harris herself. The month and day are unknown. Even the year is open to question since no researcher has located a birth certificate.
She may have wanted her background to remain obscure since a century ago many Americans looked down upon stage performers. Women were stigmatized if they worked in vaudeville. Harris may have been one of the many performers from middle-class backgrounds who were evasive or deceptive about their roots to avoid embarrassing family members.
Newspaper obituaries state that she was born in the small town of Henderson, Kentucky, but no documents relating to a Mary Ellen Harrison exist in Henderson County, Kentucky.
Columbia's September 1920 supplement states, Marion Harris is a Kentucky girl and a descendant of Benjamin Harrison. The reference may be to the Harrison who signed the Declaration of Independence though most readers would infer that the Harrison here was the 23rd President of the United States.
Her first recording, I Ain't Got Nobody Much, was made on August 9, 1916, and issued on Victor 18133 in October.
An example of her early association with jazz is her mid-1917 recording of Gene Buck and Dave Stamper's When I Hear That Jazz Band Play from Ziegfeld's Midnight Frolic.
Variety on November 22, 1918, confirms that Harris was only beginning to gain recognition: Marion Harris, comparatively new to New York vaudeville, may be said to have stopped the show. Tall, very blonde, her locks dressed in an original fashion, she is an animated picture of youthful vivacity.
Harris moved from Victor to the Columbia Graphophone Company in early 1920, making her Columbia debut with Left All Alone Again Blues (A2939).
Elaborate, full-page advertisements in Talking Machine World publicized that she was exclusive to Columbia. The company's advertisement department provided dealers with Harris posters, window streamers, hearing room hangers, and cardboard cutouts. Columbia instructed its dealers to declare in shops that August 28 to September 3, 1920, was Marion Harris Week
Many of her Columbia discs sold well.
Harris remained with Columbia for two years, shifting to the Brunswick-Balke-Collender Company in August 1922. She may have made this change because Columbia was financially troubled at this time, in contrast to Brunswick's steady growth as a record manufacturer.
She recorded for Brunswick regularly from August 1922 to April 1925. Many of her early Brunswicks feature the type of songs she had recorded for Victor and Columbia, and even some late Brunswick discs, such as her jazzy 1924 Charleston Charlie, share much with her 1916 My Syncopated Man.
Her last acoustically cut Brunswick number shares little with the earlier comic and blues work, instead foreshadowing the crooning style that would be fashionable in the late 1920s.
Just as Brunswick shifted to the electrical recording process, she took a hiatus from her recording career, with stage work and especially family taking precedence.
By the late 1930s she had evidently retired from show business. She married a London theatrical agent named Leonard Urry.
Old friends contacted Harris at the Hotel Le Marquis during the week she was there, including vaudevillian Rose Perfect and former Ziegfeld queen Peggy Hopkins Joyce. On Sunday, April 23, 1944, Harris spoke on the telephone with Joyce to make dinner plans for the following week. The New York Daily Mail states, Then, apparently, she fell asleep while smoking a cigaret. The time was around 6:00 p.m. Variety on April 26, 1944, reports, According to police, the singer had gone to bed with a lighted cigaret that ignited the mattress. Not disclosed whether she died of burns or suffocation.
Marion Harris I'm Gonna Make Hay While the Sun Shines on Victor 18143 (1916)
Great Lives Worth Reliving with Mo Rocca
Mo Rocca, correspondent for CBS Sunday Morning and frequent panelist on NPR’s Wait, Wait…Don’t Tell Me!, discusses his new book, Mobituaries: Great Lives Worth Reliving, featuring remarkable lives of leaders, innovators, and artists worthy of greater attention. Rick Berke, co-founder and executive editor of STAT and former longtime reporter and editor at The New York Times, moderates.