1940s Videos
newest 100 1940s videos / 1940s widgets / media rss:

Author: expandedbooks Added: Wed, 23 Jul 2008 00:10:16 -0800 Duration: 209An epistolary novel written by a niece and her aunt, THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY tells the story of an unlikely group of people who came to read and discuss books when their island was taken over by the Nazis during World War II.

Author: expandedbooks Added: Wed, 23 Jul 2008 00:10:16 -0800 Duration: 209An epistolary novel written by a niece and her aunt, THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY tells the story of an unlikely group of people who came to read and discuss books when their island was taken over by the Nazis during World War II.

An epistolary novel written by a niece and her aunt, THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY tells the story of an unlikely group of people who came to read and discuss books when their island was taken over by the Nazis during World War II.

The Big Bands of course didn’t just play for dancing. Where today’s rock groups perform (ummm) in huge stadiums, movie theaters served much the same purpose back in the Swing Era. For those of us from the Philadelphia area, one of the locations whose name still resonates is the famous Earle Theatre. It was built as both a concert hall and a movie theater, and during its short existence the Earle was arguably the finest movie “palace” in the city. Interestingly enough its original name was proposed with a backwards spelling – “Elrae” – but by the time it opened in 1924 some level of rationality prevailed and The Earle it was. The interior was opulent even by the standards of those pre-Depression days. There was of course a giant pipe organ that would be played to accompany silent films. Marble was nearly everywhere – even the lowly water fountains were solid marble topped by illuminated glass canopies! What wasn’t marble was decorated with murals and tapestries; it’s been estimated that the secondary draperies alone would cost well over $100,000 each to reproduce today, IF the materials and craftsmanship could be found. The Earle had a perfect location back in those pre-interstate highway days. 11th and Market Streets was then right in the heart of the city’s commercial district, just a couple of blocks away from the Pennsylvania and Reading Railroads as well as two subway lines and any number of streetcar routes. By the late 1930s fans would pour in to hear nearly every national and regional big band. Eventually shows were even scheduled for 9 or 10 in the morning so that everyone would have a chance to hear their favorites, not to mention spending more money! If you could line up a set of advertising posters you’d have a gallery of the greatest of the greats: Benny Goodman, Duke Ellington, Glenn Miller, Cab Calloway, Tommy Dorsey and Frank Sinatra, Jimmie Lunceford, Claude Thornhill – they all appeared time after time. And maybe his band wasn’t as well known nationally, but Philly natives could take special pride whenever Jan Savitt and his Top Hatters blew their unique sounds from the Earle’s stage. If that wasn’t enough star power, when the Earle wasn’t showing movies or hosting a Big Band, you could see acts such as Laurel and Hardy or Earl Carroll’s Vanities! The end of the Swing Era took its toll on the Earle just like it did on so many other venues. Philadelphia was caught in the “urban renewal” wave that called for a remaking of the Market Street corridor. The idea of mixed use was out of favor so fading venues such as the Earle were becoming worth more as sites for concentrations of offices and retail stores. The Earle tried to hold on by featuring vocal groups and rhythm-and-blues acts but it was all over by 1953, barely three decades after the theater opened. The great Ames Brothers at least made sure that the Earle’s last day ended on a high note. The wreckers then moved in, not even sparing that wonderful pipe organ. Jeff Karpinski King of Prussia, Pennsylvania Email Me

Henry Holloway Photos Artie Shaw and Henry (1999) Les Brown and Henry (1999) Neal Hefti and Henry (2003) Sammy Cahn and Henry (1986) Steve Allen and Henry (1999) Big Band Academy Award (2003)to Henry Holloway Eric Kieswetter and Henry (1990's) Henry on the BBC (1999) So, who is Henry Holloway? In a nutshell, Henry is a distinguished broadcaster who has been hosting a popular big band program for three decades -- in South Africa! Here is a photo of Henry and his wife, Marilyn, at their home in Caledon, South Africa, about 60 km from Cape Town. Their home is a lovely, four-star Bread and Breakfast (B&B) called "The Basildon." To get a better idea about their B&B, visit their web site. It is "a clean, well-lighted place," as Ernest Hemingway might have described it. Henry also hosts a remarkable big band program called "Swing Sing and Jazz" that can be heard on FMR, Fine Music Radio, 101.3 FM, a non-profit radio station headquartered in Cape Town. Henry's one-hour show airs every other Saturday and can also be heard worldwide, thanks to Internet radio! I listen to it from 8 AM to 9 AM Pacific (11 AM to Noon Eastern) in Los Angeles. It comes in loud and clear! Click here to listen to FMR now -- or to Henry's show next time it airs and to learn more about Henry. Henry's next show will be on Saturday, July 26th. I urge you to set a reminder, as I do using Yahoo! Calendar, so that you don't miss it. Here's the playlist for Henry's show last Saturday, July 12th: 1. "Are You Jumpin' Jack" - Jack Million Band - Belgium 2. "Give Me the Simple Life" - Werner Loots 3. "I've Got a Crush on You" - Artie Shaw 4. "Holiday for Strings" - Gothenberg Symphony/Miller AAF Band arrangement 5. "Embraceble You "- Janet Sidell - June 1992 - Sydney, Australia 6. "Whistle While You Work (Jangled Nerves) " - Teddy Stouffer - Switzerland 1940's 7. "My Foolish Heart" - Carol Sloane (1988) with Kenny Barron 8. "Scorpio" (1990) - Buck Clayton (Band Leader) 9. "Please Don't Talk About Me When I'm Gone" - Kings of Dixieland with Cliff Jones (1972) 10. "Elmer's Tune" - Jonny Cooper 11. "Cabaret" - Albie Louw 12. "Let's Misbehave" - Lola G. Henry always plays a few songs by artists I don't know, one of the reasons I enjoy his show so much. These are usually European or South African performers. He expands my horizons whenever he is on the air. I bet you, too, will become a regular Henry Holloway listener! Oh, one more thing. Take a look at our sidebar. You'll see Henry is an Honorary Member of The Palomar! He has been since early this year. Here's a song by my friend Polly Podewell called "Radio" that I think Henry will enjoy: George Spink Moderator - The Palomar Los Angeles, California Email Me

The second filmmaker to use that name (the first one was in the Republic combine of 1935). This was essentially Frank Capra Productions, redressed. Taken from a 1946 film whose title escapes me at this moment. I may not remember until Christmas. Author: meesterfonnyboy Keywords: logo movies liberty films bell ringing frank capra it's wonderful life 1940's Added: July 17, 2008

Author: QIP1 Added: Tue, 15 Jul 2008 14:43:42 -0800 Duration: 51To convey safe driving practices, Live and Let Live, a 1940s movie, illustrates many common sources of accidents in a scaled-down model town. As shown, passing improperly, speeding, drunk driving, and tailgating can cause road traffic accidents. Drunk driving accidents are the worst and the film describes how defensive driving techniques can help to keep everyone safe. While not all scenarios result in bad car accidents, there are still many close calls that are meant to encourage responsible driving and good driving habits. Live and Let Live provides excellent tips for safe driving while not resorting to gory car accident video clips.

San Francisco 1940`s.mp4 Author: 702style Keywords: 702style San Francisco 1940`s gay glbt culture history Added: July 13, 2008

Bill, that's the kind of question that can lead to LONG discussions, or brief battles, in my opinion. So to help answer it in a sane manner, I went to Wikipedia: Here's what this online encyclopedia offers: Stylistic origins: Jazz Cultural origins: 1920s (United States) Typical instruments: saxophones, brass instruments, rhythm section (banjo, piano, bass, tuba or sousaphone, vibes, drums, percussion) Mainstream popularity: 1920s-1950s Derivative forms: jump blues, swing A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. A big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra, and dance band are also used to refer to this type of ensemble. This does not, however, mean that each one of these names is technically correct for naming a 'big band" specifically. In contrast to smaller jazz combos, in which most of the music is improvised, or created spontaneously, music played by big bands is highly "arranged", or prepared in advance and notated on sheet music. The music is traditionally called 'charts'. Improvised solos may be played only when called for by the arranger.Still happy in Tucson! Larry Schnebly Tucson, Arizona Email Me

Rummaging around through some old books, I found one of the first books I ever bought. It was 1944 and the title is the same as I entitled this post: Esquire's Jazz Book Edited by Paul Eduard Miller with an introduction by Arnold Gingrich. Price on the dust jacket, still enclosing the book -- $2.00. A note on the Copyright 1943,1944 page says, "This volume has been manufactured in accordance with the regulations of the War Production Board." The eight chapter headings are: Hot Jazz: Prophet Without Honor How to Listen to Hot Jazz Esquire on Jazz 1934-1944. Collectors: Personalities and Anecdotes Jazz Greats: Musicians and Bands Historical Chart of Jazz Influence Esquire's All-American Band Musician's Bio-Discographies. The first-choice band selected by Esquire's Board of Experts: Louis Armstrong, trumpet and vocal Jack Teagarden, trombone Benny Goodman, clarinet Coleman Hawkins, tenor saxophone Art Tatum, piano Al Casey, guitar Oscar Pettiford, string bass Sidney Catlett, drums Red Norvo, xylophone - Lionel Hampton, vibraphone (tied) Billie Holiday, vocal Artie Shaw (Armed Forces) The second-choice band was: Cootie Williams, trumpet Lawrence Brown, trombone Barney Bigard, clarinet Johnny Hodges, alto saxophone Earl Hines, piano Milton Hinton, string bass - Al Morgan, string bass (tied) Cozy Cole, drums Leo Watson, vocal - Mildred Bailey, vocal (tied_ Willie Smith, Armed Forces Dave Tough, Armed Forces There's a statement which leads me to think this may have been the first All-Star Band selected by Esquire, It says: "The 1944 jazz front had an auspicious beginning with Esquire's All-American Jazz Concert at the Metropolitan on January 18th. The enthusiastic respones to this event, and to the magazine's special jazz issue which appeared at that time, prompted the publication of a dollar pamphlet, now out of print. It brought back a lot of memories.... Still happy in Tucson! Larry Schnebly Tucson, Arizona Email Me

A white gorilla-like creature is hiding in the woods, only to be pursued by scientists hoping to discover if this creature is the missing link between mankind and the great apes. Many have said this is the worst jungle movie ever made. Since we don t lie cheat or steal here at RetroVision Media, we have to agree. But even in a lousy flick, you can find some laughs if watch with your favorite mind altering beverages Click here to download the movie The Movie Store for more cool stuff

AKA Drums of Africa, is about an expedition setting out for deepest darkest Africa to find the fabled City of the Dead. Along the way, the group meets Buster Crabbe, as Dr. Robert Hammond, the kick ass, shirtless, jungle fighter. Click here to download then check out our Movie Store

Well, I just wanted to know something, guys. Being a relatively newcomer, I am still collecting the records of different big bands of the 1930's - 1950's. I have been sampling bands like Artie Shaw, Glenn Miller, Duke Ellington, and the like. I have found many records not really considered to be big band, swing, or just good dance music. What I am wondering is what do you guys consider not to be big band but, still, falling into a category of good band music.... I keep searching the internet, and find titles by different groups and vocalists, including Sammy Kaye, Kay Kyser, and Doris Day, just to name a few. Where would you consider bands and vocalists like these to fall?? Thanks for your help. George: Happy Birthday to The Palomar! Bill Cahill St. Petersburg, Florida Email Me

Congratulations, George! Best wishes on the first anniversary of The Palomar. I'm sure I can safely speak for all the members in thanking you for allowing us the privilege to not only experience some of the greatest music of all time, but to interact with one other in sharing that joy along with the memories that music engenders. Memories, both good and not so good, are pretty much all that people my age can look back on and know they will never change. And music, especially our kind of music, like historic events during our lifetime, freeze us in time and provide a window into the past that that shows us where, when, and with whom we were sharing that special moment. For me, growing up in Brooklyn at the end of World War Two opened up a new world of excitement and hope that the war years had arrested, seemingly, forever. My folks were smiling and laughing a lot more than they had been, and my aunts were on cloud nine because God had spared my uncles in the Navy and returned them home safely to our shores. And the music played and played and played. In New York, radio station WNEW, 1130 on the AM dial, featured such legendary radio personalities as Martin Block and his Make Believe Ballroom, later passed onto William B. Williams with the overnight Milk-mans Matinee rounding out the days listening. Every big band, vocal group, and crooner played through out the day and night. My future bride told me she shared her home in Brooklyn, a three-family house, with two other aunt and uncles. Each apartment had big band music from WNEW going all day and night, (a kind of pre-tech stereo). It was as if, she said, someone had dialed every radio in all the apartments to WNEW and snapped off the tuning dial so the station could not be changed. When my Uncle Tony came home from the Navy, he told me he would give me a quarter every time he took my Aunt Gloria into the parlor and I put Glenn Millers "Moonlight Serenade" on the Victrola, turned out the light, and "GOT LOST" If memory serves, I had similar arrangements with some of my other uncles as well. I guess what I'm trying to say is that it is not only the music that influences our memories, but how that music influenced those we loved, who created those memories that we hold so dear. I'm sure, as "Wolf", so eloquently shared with us in his latest post, memories of our loved ones are made that much sweeter when tied to the times, people, and events of the Swing Era and the artists that made it all possible. With thanks to George Spink and all the members of The Palomar, who share the times and music that I would have loved to have been part of.... Best regards, Tom Cicconetti "Brooklyn in the 50's" Lebanon, Pennsylvania Email Me

When I was growing up in the southern Appalachian mountains of Tennessee during the late forties and the early fifties, my mother was one of the hippest swingers of the time (not the same as “swingers” of today!). She could really bop to Benny Goodman and was as good as they came when it came to dancing to swing. Mom also liked country music because that was the music she grew up with. My dad was a dyed-in-the-wool country and western music lover. When he wasn’t driving a coal truck delivering coal to the TVA (Tennessee Valley Authority) or running moonshine to Atlanta or Augusta, Georgia, he spent his time working part-time at the local radio station playing the latest country music hits of the time. Now don’t let me mislead you here. Radio stations in rural Tennessee during that period would let just about anyone with the nerve get on the radio and be a DJ. What he loved about that job was getting to meet those that were out on the road promoting their own songs by delivering their own records to the radio stations personally and asking the DJ on the air to play their records. One of his proudest moments was when Hank Williams came to his little station and asked my dad to play his music. He still has a picture of Hank and him in front of that little radio station holding Hank's new hit record with their arms over each others shoulders. Dad was a pretty good guitar player and singer in his own right at the time and spent many weekends at the local Juke Joints playing and singing with his little four-piece band. But I think his most favorite music, that of which mom liked the most, was playing the music of his all time favorite Bob Wills. That was the “Swing” that my dad enjoyed. James Robert (Bob) Wills was born in Kosse, Texas in 1905 and was considered to be the father of what we all know as “Country Swing”. Bob’s father and grandfather taught young Bob to play the fiddle and the mandolin at a very young age. Bob spent much of his youth picking cotton and listening to cotton picker’s songs. During the 1920’s, "Jim Rob," as he was called at the time, became a barber as his trade, married, and moved first to Roy, New Mexico then to Turkey, Texas ( can you imagine living in a place called Turkey?). Soon Jim Bob grew restless and moved to Fort Worth to pursue a career in music. It was while performing in a medicine show in Fort Worth that he learned comic timing and some of the famous "patter" he later delivered on his records. Wills made his professional debut as a blackface singer along the lines of Al Jolson who was also a big hit during this time. Bob was a big fan of Bessie Smith and once rode 50 miles on horseback just to see her perform live. Wills formed The Wills Fiddle Band in 1930 when Milton Brown joined his group as lead vocalist. Brown brought a sense of innovation and experimentation to the band. He became the “Light Crust Doughboys” sponsored by the makers of Light Crust Flour. Bob was despised by his superiors at the flour company because they considered his music as "hillbilly music." Wills and his best friend, Tommy Duncan, his then lead singer, left the Doughboys in 1933 after Wills had missed one show too many due to his sporadic drinking, which finely lead to his death in 1975. Bob Wills continued throughout the years adding to his band the music of the times and of the south where he played. I could go on with page after page about the music and the man. However, you can read up on the life of Bob Wills at Wikipedia and other internet sites about his life. My dad, now in his early 80’s, lives in Denver with his wife, Rosemary, whose brother was a songwriter in Nashville. He wrote a couple of songs for Buck Owens during the 1960’s. They still talk about Buck when he was rising to fame in Phoenix and the many friends that they knew over the years in country music like Chet Adkins and Ernest Tubb. Dad and Rosemary were friends with other country music greats like Merle Haggard and Wayland Jennings who they also met in the 1960’s in Phoenix through Buck. When I was growing up my old man often had his friends over to play their music, drink and sing their songs. To me then, they were just a bunch of country singers trying to make it big in the country music business. I didn’t think much about it at the time, but as the years have passed by, I’ve looked back at the time they spent out on the patio and wish I had paid more attention to who they all were. The one thing they all seemed to say back then, was that the greatest of them all, when it came to showmanship was the king himself, Bob Wills. How I wish we could have known him! I want to thank my dad for those few great memories, and for the love of country music that he instilled in me. I also want to wish him and all fathers, a belated happy Fathers Day! Thanks, dad. Spencer "Wolf" Smartt Dallas, Texas Email Me From the 1974 album Fathers and Sons featuring songs by both Bob Wills and His Texas Playboys and Asleep at the Wheel:

Next time you visit our big band web site, Tuxedo Junction, please visit our Amazon aStores. You'll find great selections and low prices on big band CD's, DVD's, VHS videos, and books. You'll also find many other items Amazon offers -- and at very competitive prices. Here is the main link to our Amazon Stores: http://www.tuxjunction.net/amazon-store.htm You'll find four Amazon aStores on Tuxedo Junction: Amazon.com (US) - http://www.tuxjunction.net/amazon-store-1.htm Amazon.ca (CA) - http://www.tuxjunction.net/amazon-store-2.htm Amazon.co.uk (UK) - http://www.tuxjunction.net/amazon-store-3.htm Amazon.de (DE) - http://www.tuxjunction.net/amazon-store-4.htm Feel free to order from any Amazon aStore you wish. Keep in mind you might incur higher shipping charges if you order from one outside your own country; but that is often the best way, and sometimes the only way, to find rare big band CD's, DVD's, VHS tapes, and books. You'll also notice ads to Amazon.com throughout Tuxedo Junction and in the sidebar on The Palomar. Thank you for visiting and shopping at our Amazon aStores. We rely on your purchases to keep Tuxedo Junction and The Palomar online. Cordially, George Spink Los Angeles Moderator - The Palomar Email Me

There are still some 80+ year olds out there who get a warm glow in their hearts and a smile on their face when they hear Glenn Miller’s Moonlight Serenade or any one of many other tunes from the big band era of the 1930's and early 1940's. At 84, I am one of them. My interest in the big bands began in 1940 as a student at Orlando High School, Orlando, Florida. We danced to radio broadcasts at our girls’ homes, or, if the gals bought the records, we danced to Chattanooga Choo Choo by Glenn Miller, Boogie Woogie by Tommy Dorsey, I Had the Craziest Dream by Harry James, and oh, so many more. Today, the big bands are all but gone. Oh, the band names (i.e. “Sammy Kaye Orchestra, with Roger Tharpe directing”), are still playing, but somehow it’s different, with some tunes we don’t know. Other names we remember that are still playing: Glenn Miller Orchestra, Larry O’Brien, Musical Director; Count Basie Orchestra, with Bill Hughes fronting the band; Les Brown, Jr., leading the Les Brown Orchestra, and Tommy Dorsey Orchestra, led by Buddy Morrow. Also keeping the big band sound alive today are the so-called “Territory” or “area” bands like the Sentimental Journey Orchestra in Atlanta, the Vintage Years Orchestra in the Winston Salem area of North Carolina, the Deltonans in Deltona, Florida and the newly-formed NC Revelers in Raleigh, North Carolina led by trombonist Henry Mason, formerly the leader of the SJO in Atlanta. Here’s Mason’s summary of the still-lingering desire of the senior folks (and even the younger crowd) for what is NOT jazz, but the music of the big bands: ”I always enjoy watching young people hearing a big band for the first time. They have no idea of the excitement until they stand in front of 17 players, listening and dancing to the music of the big band era. I consider big band music an important part or our heritage and I will do what I can to see that it gets played.” Jack Fortes DeLand, Florida Email Me Moderator's Note: As you mentioned, Jack, there are many fine big bands working today, both in the United States and elsewhere. One of the finest is The Jack Million Band based in The Netherlands. Earlier this month, they were a big hit at the annual Glenn Miller Festival in Clarinda, Iowa. Here's a Glenn Miller song by The Jack Million Band that I think you'll especially like, Jack. It's called, Are You Jumpin', Jack? And here's a new video featuring Jan Eberle with The Jack Million Band performing a song made famous by Jan's father, Ray Eberle, with Glenn Miller and his Orchestra. George Spink Moderator - The Palomar Los Angeles, California Email Me

George Shearing The Palomar will turn one year old on Tuesday, July 1st. Thanks to our active members who have published so many posts and comments during the past 12 months, The Palomar has indeed become what I had hoped it would -- an interactive, member-driven big band broadcast blog. Sure, not all of the music on The Palomar is from big band broadcasts, but so much of it is. If you scroll down to "Da Footer," as former Chicago Mayor Richard J. Daley might have called it, at the bottom of the page, you will find an incredible selection of big band broadcasts and big band playlists -- enough to entertain big band fans for weeks on end. To celebrate our first anniversary, I hope our members will each publish a post or two about the big bands, the Swing Era, and perhaps how The Palomar enhances their own enjoyment of this great music. I want to thank each of you for making The Palomar everything I had hoped it would be and quite a bit more. Some of you included videos in your posts. I was familiar with You Tube and other online video web sites, but thanks to these Palomar members, I became far more aware of all of the great big band and jazz videos online today. When I revamped my big band web site, Tuxedo Junction, in April and May of this years, I followed their example and added plenty of videos. I also added many articles by Palomar members, because I want to share your love of big bands with my web site visitors -- and there are many. Tuxedo Junction has been online since October 2000. It has drawn hundreds of thousands of visitors from more than 55 nations. It is not the most popular big band web site, but it consistently ranks in the Top 50, often in the Top 20, and sometimes in the Top 10. I remember one day in 2002 when the number of daily visitors to Tuxedo Junction skyrocketed from about 500 to more than 10,000! The reason: National Public Radio's "Morning Edition" did a segment mentioning the 25th anniversary of "New York, New York" and included a link to my article reviewing the film when it came out in 1977. Tuxedo Junction had so many hits that day that the web hosting company I used back then dropped me as a customer like a hot potato! To mark our first anniversary, I'm going to deviate from big band music to feature a video starring one of my all-time favorite musicians, George Shearing. Born in 1919, George came of age in England during the big band era. He once told me that he patterned his Quintet on the Glenn Miller reed sound. I came across this video only a few weeks ago while I was rebuilding Tuxedo Junction. George is featured with the Boston Pops conducted by John Williams. They perform "Look at That Face," a beautiful song by Anthony Newley and Leslie Bricusse for their musical, "The Roar of the Grease Paint, The Smell of the Crowd" (1964). This arrangement was scored by Robert Farnon for George Shearing and The Boston Pops. Here are two more beautiful vocal versions of "Look at That Face" that I know you will enjoy: Look at That Face - Joy Bellis Album: Coming Alive Look at That Face - Greta Matassa Album: Favorites from a Long Walk I want to thank our members for their contributions to The Palomar and to all of our visitors who enjoy and appreciate our efforts. George Spink Moderator - The Palomar Los Angeles, California Email Me

Caitlin Heaney (playing radio star Ann Collier), singing "Have Yourself A Merry Little Christmas" from the musical 1940's Radio Hour. VISTA Productions 2007. Music courtesy of VISTA Jazz Band. Caitlin Heaney is a singer, actor, and musician from the St. Paul/Minneapolis area. She participates in theatre locally and regionally and sings regularly on both an amateur and professional basis. Please leave a comment if you enjoyed the video! Author: CaitlinHeaneyMusic Keywords: Caitlin Heaney 1940's Radio Hour Merry Little Christmas amazing singer teenager Minnesota musician actor musical theatre Added: June 24, 2008

Author: OldTimeMedia Added: Thu, 12 Jun 2008 00:46:14 -0800 Duration: 388Popeye 1940: Poopdeck Pappy Popeye's pappy, age 99, wants to go out at night; Popeye wants him to sleep. Popeye tries leg irons, but Pappy manages to put them on Popeye and sneak out to a sleazy bar. Pappy dances with other men's girlfriends, bumps into everyone, and throws his dancing partner into the band. Soon, the whole bar is lining up to get a piece of Pappy just as Popeye arrives. It takes a little help from some spinach, but Popeye gets everything sorted out, and he escorts Pappy back to the ship, where he hogties him into his hammock. To no avail; as soon as the light's out, Popeye discovers Pappy's snuck off again and tied a net around Popeye's bed.

Author: OldTimeMedia Added: Tue, 10 Jun 2008 10:16:18 -0800 Duration: 476Superman: TheBulleteers 1942. OK, fights bullet shaped rocket cars this time. How kewl!

Author: OldTimeMedia Added: Sat, 07 Jun 2008 09:54:50 -0800 Duration: 525While seeking to have fun, no one wants to be Caspers friend.While feeling down,Caspar makes friends with a little fox that is eventually hunted in a fox hunt. He is, The Friendly Ghost

Author: OldTimeMedia Added: Sat, 07 Jun 2008 09:54:50 -0800 Duration: 456Everybodys wise guy rabbit is at it again. Did you know, in this episode, The "Fresh Hare" episode was banned from television for almost 30 years because it was considered too racey for the time!!! Bugs Bunny is wanted "dead or alive" by the Mounted Police, led by Elmer Fudd. He'll be awfully wascally.

by Doug Clark Manhattan and I've Got a Crush on You by Lee Wiley with Bobby Hackett (trumpet) and Joe Bushkin (piano). It is no exaggeration to claim that New York, Manhattan in particular, was the center for big band music in the twenties, thirties, and into the forties. It was the dream of most bandleaders to someday secure a job in Manhattan for that usually meant national radio exposure and a degree of success in the music world. Tribute to New York City (1931) - Fred Rich Orchestra with Smith Ballew Out of the five boroughs in New York City, Manhattan was the unquestioned leader in music. Brooklyn had its Roseland Ballroom, Hotel Bossert (where Freddy Martin began his climb to fame) Half-Moon Hotel, and a couple of other venues. Queens, Richmond Hill, and the Bronx had little to compare with Manhattan. Manhattan was the center of tourism. Pennsylvania Station and Grand Central Station brought myriads into mid-Manhattan. Broadway and adjacent streets provided hotels, most of which offered not only sleeping accommodations but also the cream of entertainment, particularly of the dance bands. There were also night clubs or cabarets (reputedly owned by the mob), as well as restaurants and dance palaces. All of this was easily available by walking from the railroad stations, bus depots, trolley stops, and BMT and IRT subway systems. Theaters abounded. Times Square was the center of it all. Manhattan Traffic in the 1930's Dozens of hotels catered to the local and tourist trade, which ranged from the elite (Waldorf –Astoria) to the Dixie Hotel on 42nd Street that catered to those arriving by Greyhound Bus. Many had dance floors and featured dance orchestras. Some were nationally known while others were obscure and disappeared after a few years. The stay of these bands was limited, often by choice of the musicians. After radio exposure they were known in remote rural areas and small towns, where hundreds of dance halls provided one- night stands. They were often lucrative. Bands were able to sell records to the crowds and meet their adoring fans in person. Of course there were exceptions to this. Vincent Lopez and George Hall had runs at the Taft that were measured in years, not months. Hotel Roosevelt with Guy Lombardo and his Royal Canadians offering “The Sweetest Music this Side of Heaven” was an institution. When swing became popular, they tried to change style, but fans would have nothing of it. They quickly returned to their original format. An interesting example of the limited tenures of bands is seen in the Terrace Room of the Hotel New Yorker. In a four-year period from autumn of 1931 to the winter of 1935, their bandstand featured the following: Coon-Sanders, Johnny Hamp, Don Bestor, Jack Pettis, Tom Gerun, George Olsen, Ozzie Nelson, Barney Rapp, Abe Lyman, Ben Pollack, Joe Reichman, Clyde Lucas, and Ted Fiorito. Don Bestot had three engagements during this period and Ozzie Nelson had two. The hotels with bands included the Lexington, Taft, Astor, Commodore, Essex House, Pennsylvania, Paramount, New Yorker, Roosevelt, Plaza, and the Pierre. There were many others as well. Meet Me Down at Coney Island (1930) Several restaurants in mid-Manhattan featured bands and other entertainment. Best known was the Hollywood Restaurant. Others included the French Casino, Manhattan Music Hall, Paradise, and Yeongs. North on Broadway was the Roseland Ballroom. Central Park held the famous Central Park Casino, where Eddy Duchin played to a sophisticated group of dancers. In Harlem, with its predominately black population, there was the famous Cotton Club, where Duke Ellington and Cab Calloway achieved fame. Connie’s Inn showcased Don Redman. The Savoy Ballroom featured Chick Webb and his young vocalist Ella Fitzgerald. These clubs drew large crowds. Over the years, such greats as Isham Jones, Tommy Dorsey, Benny Goodman. Jimmy Dorsey, Gene Krupa, Bob Crosby, Ray Noble, Woody Herman, and Glenn Miller. These bands and a host of others provided what big band fans consider the best music ever written. Yes, indeed! Manhattan meant music! Time on My Hands by Lee Wiley (1931) It has been 70 years since I strolled along Broadway. Were I to return it would still have some familiar sights. Times Square and the Times building would be there, Broadway and 42nd Street would be there, probably some of the movie theaters would remain. But one thing certain: Manhattan no longer means music by the big bands. The sounds of Miller, Dorsey, and Goodman have long since disappeared. How thankful we should be to the recording industry that the sounds of this era still live on.... Doug Clark Spring Hill, Florida Email Me

Even though The Palomar is a blog about the Big Bands, the Swing Era is so completely and inextricably linked with World War 2 and those who fought for their freedom that I felt that for this D-Day anniversary it would be appropriate to write about my own connections to that time. Ever since I was a child I knew that my parents had named me for a cousin who had died during the Normandy invasion. John had been born at almost the same time as my father. In Philadelphia’s close-knit Polish community they gravitated towards each other, forming a bond in some ways closer than to their own siblings. When war came my father had a temporary deferment as a doctor-in-training, but my cousin received a lieutenant's commission with the 35th Army Division. His platoon was part of the secondary wave whose mission was to capture inland territory following the D-Day landings. By mid-July the 35th had made it to the outskirts of the strategic and heavily-defended city of St-Lô. Two days before the city was liberated a Nazi sniper hit my cousin, killing him instantly. For six decades that was all we knew. The Army was unable to provide any further information about John’s fate, not even where he was buried. My father built a career, retired, and passed away without ever knowing what happened. Eventually my mother remained the only immediate family member with a direct connection. She started to learn Internet search techniques at the great age of 80 and by 2004 was able to piece together more of John’s story. In circumstances that sound like a scene from a TV movie, we were both relieved and frustrated to find out that his grave had been moved to the main American cemetery at Colleville-sur-Mer in the 1950s. John had lain there for decades, forever with the men of his command, but no administrator had connected the records that would have let us know. We put aside the sadness and made plans for a visit to honor John’s memory as well as to handle that other military necessity, long-incomplete paperwork. A few weeks later we were in Paris, rented a little Peugeot sedan, and headed west towards Normandy. Our first contact with the remnants of war happened as I pointed the car over a small hill towards the town of Arromanches, roughly on the border between Juno and Gold Beaches: there was La Manche, “The Sleeve”, as the English Channel is called in French. The coastline was dotted with what appeared to be angular beached whales. I drove closer and parked so we could get a better look. The “whales” turned out to be giant pontoons and bulkheads that once formed immense floating harbors where the Allies unloaded millions of tons of equipment and hundreds of thousands of soldiers. Each was at least the size of a railroad freight car – it was almost impossible to imagine what it took to assemble these and so many more as each harbor stretched so far out into the water. The cemetery at Colleville-sur-Mer was almost the exact opposite. Choose an adjective - quiet, beautiful, solemn, reverential – it’s all of those and so much more. Row upon row of crosses and stars, nearly ten thousand in all, stretch almost up to the beach. Each is perfectly aligned in military formation facing the United States. Like my cousin, many of the officers lie with the soldiers of their units. The dates on the markers say that so many of the fallen were just boys, 18, 19, 20 years old. But history says they were men. We later visited several other battle sites. St-Lô of course could not be skipped. We traced some of the route taken by the 35th as it advanced on the city, although we were not able to find out exactly where John had fallen. The city itself is in a strange way a monument to the immensity and enormity of war because its destruction was so complete. Portions of just two pre-war buildings survive: the cathedral lost one of its two spires but remains open to the public, while the front wall of the jail stands as a monument to the French partisans who were murdered there by the Nazis. We also spent a day at Omaha Beach where we saw the cliffs of Pointe-du-Hoc. It’s still mind-boggling to read how Rudder’s Rangers climbed over 100 meters straight up and secured the beachhead while under constant Nazi fire. Much of the beach still shows scars from Allied bombardment that took out many heavily fortified Nazi bunkers. I climbed into one of the bunkers and tried to imagine what the Wehrmacht soldiers might have been thinking as the bombs fell. Did any of them hold to some twisted version of the same patriotism that motivated the Yanks and Tommies, one that let them somehow rationalize the perversions of Nazism in support of their country? How many realized that theirs was a lost cause? Did they feel despair or relief that the obscenity of the Thousand-Year Reich was ending after barely more than a decade? I left with two memories that for me zero in on why we can’t let that time fade into citations in history books. First, after I wrote my own thoughts in the Remembrance Book of St-Lô’s cathedral I read through some of the other messages. It gradually struck me that every single German visitor had left a name and address but there was nothing in their message areas. Maybe that was the answer to my question about those Wehrmacht soldiers, that there is no answer. The second incident happened while I was walking alone at Colleville-sur-Mer. Two small children ran up to me, playing in circles. I said “Bonjour”; a couple of minutes later their parents arrived. They were probably in their late 20s and lived nearby. We chatted for a while; I explained why I was here and they recommended a number of museums and other locations that were worth a visit. Then the mother said something that froze me: “So many graves, such a loss. And for what?” My jaw tightened and I responded, “What language are we speaking?” “Why, French, of course.” I then said “Yes, we’re speaking French because we want to, and not German because we’re forced to.” She looked down and said nothing. All I can hope is that at least one young family will have that thought to connect them to the sacrifices that allow those of us in the 21st century to be free Americans and Europeans. God bless you John, and the Bobs and Richards, the Nathans and Georges, the Lesters and Steves, and Glenn and every other soldier who made those sacrifices for us.Going Home -- Major Glenn Miller's AAF/AEF Band Jeff Karpinksi King of Prussia, Pennsylvania Email Me

American Patrol by Glenn Miller Omaha Beach Utah Beach Map Showing D-Day Invasion On the Beach at Normandy Approximately 10,000 American and Allied troops died on D-Day Cherbourg Another Beachhead 16th Infantry St. Pierre (June 1944) St. Pierre Today Never forget what American and Allied soldiers accomplished on D-Day, June 6, 1944. George Spink Los Angeles Email Me Songs of World War Two Playlist

Hi, Guys, I've gotten back after a number of false starts. My computer crashed, and, I had to change my internet carrier. In the near future, I am going to do a project that right now I am going to keep mum on. Hopefully, I'll have it in the Palomar by the end of the month. Thanks for your help in getting me back in, George. I am going to also do an update on how I am doing with my new collection of 78's I picked up free of charge, and, some simple care ideas.... That will be coming soon, George. Well, more later, Guys! Bill Cahill St. Petersburg, Florida Email Me Web Site

When talking about the Swing Era, I've found it all too easy to concentrate on the obvious personalities - the leaders, the singers, the prominent sidemen - while forgetting that so much of what we remember as the "sound" of a band was due to the men (and a few women) who worked behind the scenes to score so many of those timeless hits. Would Benny Goodman have launched the Swing Era without Fletcher Henderson's charts? Could Duke Ellington's band have become an American icon without Billy Strayhorn? So, I thought I'd try to remedy my oversight by writing an occasional blog about a few of the arrangers behind the bands' successes. Because two of my favorite leaders are Artie Shaw and Glenn Miller an obvious start would be to look at the career of Jerry Gray, who contributed so much to both bands. (And mea culpa, I confess to plagiarizing myself by borrowing heavily from a Wikipedia entry I wrote a year or so back...) Jerry Gray was born Generoso Graziano on July 3, 1915 in East Boston, Massachusetts. His father Albert Graziano was a music teacher who began training his son on the violin at age 7. As a teenager he studied with Emanuel Ondricek and was soloist with the Boston Junior Symphony. By age 18 he had already formed his own jazz band and was performing in Boston-area clubs. In 1936 Gray joined Artie Shaw, then calling himself Art Shaw, and his "New Music" orchestra as first violinist. He studied arranging under Shaw and became a staff arranger a year later. During the next two years he penned some of the band's most popular arrangements, including Carioca, Softly, As in a Morning Sunrise, Any Old Time, and the classic Begin the Beguine. Many of his up-tempo arrangements show early evidence of the style that would eventually become his trademark: the melody is broken into two- to four-measure phrases, usually carried by the brass sections, that are repeated with increasing intensity until the song's climax. In November of 1939 Artie Shaw suddenly broke up his band and moved to Mexico. The next day Glenn Miller called Gray and offered him a job arranging for his band. It was initially a difficult move because Shaw had usually allowed his arrangers great musical latitude, while Miller's own background as an arranger plus his more commercial orientation often led him to second-guess his staff. Jerry gradually found himself more in line with Miller's less-mercurial personality and was allowed more of the freedom that he appreciated. As he later told author George T. Simon, "To me, Glenn's band didn't swing like Artie's. ... But after I made up my mind to accept things as they were, things started to click. ... He was a businessman who appreciated music. ... I may have been happier musically with Artie, but I was happier personally with Glenn." Jerry's time with the Glenn Miller Orchestra produced many of the most recognizable and memorable recordings of the era. He arranged Elmer's Tune, Moonlight Cocktail, and Chattanooga Choo-Choo among many others, while his compositions included Sun Valley Jump, The Man in the Moon, Caribbean Clipper, Pennsylvania 6-5000 - and his most famous song, A String of Pearls. So many of Gray's pieces became best-sellers that he has been described as more responsible for the band's success than Miller himself, although publicly he always described the relationship as mutually beneficial. Jerry was again without a job when Miller broke up his band in September 1942 to enter the Army Air Forces. The now-Captain Miller used his connections to have him posted to the Army Air Force Training Command and in early 1943 Jerry rejoined his old boss. Entrenched military bureaucracy halted Miller's initial plans to establish a group of service bands with Gray as coordinator of the arranging staffs. Instead, he became chief arranger for Miller's "Band of the Training Command", known to everyone today as the Glenn Miller Army Air Forces Orchestra. Jerry's training as a both a violinist and swing arranger served him well with the massive AAF orchestra, which comprised an enlarged dance band and a 21-member string section. He created new arrangements of several of Miller's civilian-band hits, added strings to a modified version of Begin the Beguine that he had written for Artie Shaw, and wrote somewhat looser jazz pieces such as Enlisted Men's Mess. He also co-wrote the famous march version of St. Louis Blues along with Perry Burgett and Ray McKinley. Two arrangements in particular show the breadth of styles that he was able to contribute: a lush, string-heavy treatment of Fred Fisher's Blue is the Night gave that relatively obscure tune a semi-classical cast, while his punching brass arrangement of Everybody Loves My Baby was perhaps the culmination of the repetitive short-phrasing style he developed with the Shaw band. Jerry was also the full orchestra's assistant conductor, while Ray McKinley and George Ockner served as seconds-in-command for the dance band and string section, respectively. It fell to Gray to conduct the orchestra's first concert in Paris after Miller's airplane disappeared over the English Channel. When the men returned to the U.S. in 1945 and McKinley left following his discharge, Gray assumed full leadership of the AAF Orchestra until its final performance on November 17 of that year. Jerry was passed over for the job of leading the postwar "ghost" Glenn Miller Orchestra, reportedly because the Miller Estate felt he did not have the pop-star qualities they wanted in a new leader. Instead they approached Ray McKinley, who was not interested, and finally hired Tex Beneke whose talents as vocalist and lead tenor sax player in Miller's civilian band provided a much more colorful front for the band. For a while Jerry did radio and studio work in the Los Angeles area, including leading the band on a radio show called Club 15 that featured Dick Haymes. He expressed frustration with musicians who were cashing in on the Miller name even though their connections were tenuous (Ray Anthony) or non-existent (Ralph Flanagan), so in 1949 he accepted a request from Decca Records to lead his own Miller-styled orchestra. The result was what he called "Jerry Gray and the Band of Today", an orchestra featuring his old Miller hits along with new compositions. SelectionsTheme - This Can't Be LoveRe-Stringing the PearlsCrazy She Calls MeSitting by the WindowStormy Weather MarchDesert Serenade (Theme) For a number of years the Gray and Beneke bands co-existed, each staffed by many former Miller musicians plus other well-known performers. The Gray band included Al Klink, Trigger Alpert, Zeke Zarchy, Jimmy Priddy, Ernie Caceres, Bernie Privin, and John Best from the Miller dance bands plus George Ockner, David Sackson, and Harry Katzman from the AAF string section. Most importantly he hired clarinetist Wilbur Schwartz whose unusual broad tone had been so important to the civilian band's reed blend. Hits included the obligatory recreations of Miller classics, new compositions in the Miller style such as Restringing the Pearls, and other distinctive tunes such as Sound Off. Listening to the Jerry Gray and Tex Beneke orchestras provides an interesting contrast. Jerry was arguably closer in spirit to the Miller legacy but never quite achieved the same level of popularity because he was less of a showman and Decca was no match for RCA's marketing machinery. Tex benefited from greater name recognition and stage presence but was hampered by restrictions placed on him by the Miller Estate both before and after his split with RCA. Jerry continued to tour with his band in various forms through the 1950s. In 1953 he and Henry Mancini worked together on the biopic The Glenn Miller Story, starring Jimmy Stewart and June Allyson. In addition to leading his dance band he wrote and arranged for singers such as Vic Damone and released a very un-Miller-oriented LP featuring a full chorus and many of his own compositions. By the 1960s he had settled in Dallas where he conducted the house band at the Fairmont Hotel. This later band generally featured more modern compositions by Gray and other contemporaries such as Sammy Nestico and Billy Byers. In 1968 he briefly returned to the Miller sound with swing arrangements of contemporary songs for Billy Vaughan's orchestra, including Spanish Eyes, A Walk in the Black Forest, and a very AAF-like treatment of One of Those Songs. Jerry kept the latter part of his career separate from the many "Miller alumni" bands except for a very brief and apparently unplanned appearance with Tex Beneke. He continued to lead the Fairmont Hotel band into the 1970s before passing away from a heart attack at the comparatively young age of 61. Jeff Karpinksi King of Prussia, Pennsylvania Email Me

Weegee was the pseudonym of Arthur Fellig (June 12, 1899 - December 26, 1968), an American photographer and photojournalist, known for his stark black and white street photography. Fellig's nickname was a phonetic rendering of Ouija, due to his frequent arrival at scenes only minutes after crimes, fires or other emergencies were reported to authorities. He is variously said to have named himself Weegee, or to have been named by either the girls at Acme or by a police officer. He is best known as a candid news photographer whose stark black-and-white shots documented street life in New York City. Weegee's photos of crime scenes, car-wreck victims in pools of their own blood, overcrowded urban beaches and various grotesques are still shocking, though some, like the juxtaposition of society grandes dames in ermines and tiaras and a glowering street woman at the Metropolitan Opera (The Critic, 1943), turned out to have been staged.[1][2] In 1938, Fellig was the only New York newspaper reporter with a permit to have a portable police-band shortwave radio. He maintained a complete darkroom in the trunk of his car, to expedite getting his free-lance product to the newspapers. Weegee worked mostly at night; he listened closely to broadcasts and often beat authorities to the scene. Most of his notable photographs were taken with very basic press photographer equipment and methods of the era, a 4x5 Speed Graphic camera preset at f/16, @ 1/200 of a second with flashbulbs and a set focus distance of ten feet. He had no formal photographic training but was a self-taught photographer and relentless self-promoter. He is sometimes said not to have had any knowledge of the New York art photography scene; but in 1943 the Museum of Modern Art included several of his photos in an exhibition. He was later included in another MoMA show organized by Edward Steichen, and he lectured at the New School for Social Research. He also undertook advertising and editorial assignments for Life and Vogue magazines, among others. His acclaimed first book collection of photographs, Naked City (1945), became the inspiration for a major 1948 movie The Naked City, and later the title of a pioneering realistic television police drama series and a band led by the New York experimental musician John Zorn. Weegee also made short 16mm films beginning in 1941 and worked with and in Hollywood from 1946 to the early 1960s, both as an actor and a consultant. He was an uncredited special effects consultant and credited still photographer for Stanley Kubrick's 1964 film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. His accent was one of the influences for the accent of the title character in the film, played by Peter Sellers. In the 1950s and 60s, Weegee experimented with panoramic photographs, photo distortions and photography through prisms. He made a famous photograph of Marilyn Monroe in which her face is grotesquely distorted yet still recognizable. For the 1950 movie The Yellow Cab Man, Weegee contributed a sequence in which automobile traffic is wildly distorted; he is credited for this as "Weegee" in the film's opening credits. He also traveled widely in Europe in the 1960s, and took advantage of the liberal atmosphere in Europe to photograph nude subjects. Author: 24THINK Keywords: weegee photos nightmares on wax 1930s 1940s historical art photographer stark black and white street photography electronic jazz indie world music blues Added: May 14, 2008