The Jazz Age (1920s-1940s)'s topics - tribe.netTribe.net. Local Connectionsfavorite lead instrument?~lorenzo!http://JazzAge.tribe.net/thread/6b555134-a71b-45fc-a2ba-c5c107db05f22009-04-10T02:26:33Z2007-01-21T18:46:17Z<div>the great music of the era allowed for a variety of wonderful soloists to come to the fore. Are you more partial to clarinet, trumpet, sax, vibes, trombone, piano??? Comments?
<br/>
<br/>Surprisingly, I can easily pick Chopin if we are talking about classical music, but when it comes to grand old jazz. . .it's harder to pick.</div>
<div>
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</div>~lorenzo!2007-01-21T18:46:17ZWhat is your 1920s name?inkvisionhttp://JazzAge.tribe.net/thread/1a11ca74-8a0a-4710-bf0c-c2f0122667892009-02-25T14:57:24Z2005-10-19T16:06:20Z<div>This is cute and fun...
<br/>
<br/>http://www.blogthings.com/1920snamegenerator/
<br/>
<br/>Mine is Isabella Mozelle.</div>
<div>
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</div>inkvision2005-10-19T16:06:20ZValentine's Cabaret and DanceKayhttp://JazzAge.tribe.net/thread/1a873510-0514-4139-ba8f-359250a8583a2009-01-14T01:35:45Z2009-01-14T01:35:45Z<div>
<br/>
<br/>Valentine's Cabaret and Dance with
<br/>Black Olive Jazz,
<br/>featuring Kay Kostopoulos, vocals,
<br/>Larry Vuckovich, piano,
<br/>and the Eurotrash Latin & Swing band
<br/>
<br/>SATURDAY, February 14th, 2008, 7:30 – 10:30 p.m.
<br/>All Saint’s Episcopal Church
<br/>555 Waverly Street, Palo Alto, CA 94301
<br/>
<br/>BROWN PAPER TICKETS: http://www.brownpapertickets.com/event/52494
<br/>1-800-838-3006
<br/>
<br/>Advance Purchase: $15.00
<br/>Door price: $20.00
<br/>CONTACT: 415-289-6655
<br/>www.blackolivejazz.com
<br/> blackolivejazz@gmail.com
<br/>
<br/>
<br/>Stanford teacher, actor & vocalist, Kay Kostopoulos, is joined by Larry Vuckovich, master jazz pianist, (www.larryvuckovich.com), celebrating their new CD release “Blue Valentine” in a program of love poems, jazz standards, and swing dance music. The show will begin with a duo cabaret featuring music and poetry--from the romantic to the erotic--followed by a dance for all to enjoy. The dance will feature the exciting Eurotrash Latin and Swing Band, playing all of your favorite tunes for your dancing pleasure!
<br/>
<br/>More…
<br/>Valentine from a Stanford "Lover"
<br/>
<br/>Stanford Drama teacher and actress, Kay Kostopoulos, will appear with piano jazz legend, Larry Vuckovich, in a Valentine's concert celebrating love and lust. The evening will begin with a cabaret of music, love letters and poetry from Byron, Browning, Bernhardt, Beethoven, Heloise and Abelard; followed by a music program that will include jazz standards, latin, and swing. " I thought the show would be a fun thing to do for the Palo Alto community, since many folks have taken class with me through Stanford’s Continuing Studies Program, or had seen me perform at Stanford Summer Theatre in Pinter's The Lover, and as the lusty "other woman", in Amy Freed's Restoration Comedy", says Kostopoulos. Kay also performs frequently in the Bing Music Program for patients and staff at Stanford Hospital.
<br/>
<br/>After her sell out Valentine’s concert at the Dragon Theatre a few seasons ago, Kay chose the All Saint’s Church in Palo Alto for the venue, to feature dancing in the large, lovely space. There will be table seating for socializing, and wine and chocolates offered at intermission. Part of the proceeds will benefit the church and Palo Alto Community. "You can bring your Valentine, whether it's a lover, a dear friend, or your mom—or come solo and maybe meet someone at the dance…who knows?" says Kostopoulos.
<br/>
<br/>Tickets will be sold in advance for $15.00, at the door for $20.
<br/>To purchase: log onto the website www.blackolivejazz.com, or
<br/>
<br/>BROWN PAPER TICKETS: http://www.brownpapertickets.com/event/52494
<br/>
<br/> For more information, please call 415-289-6655.
<br/>
<br/></div>
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</div>Kay2009-01-14T01:35:45Zseeking new moderatoramazonikahttp://JazzAge.tribe.net/thread/df3209fb-8a43-4a00-b5e9-f944a2a037b52008-11-10T03:38:46Z2008-11-08T07:57:04Z<div>Hi all,
<br/>
<br/>When I started this Tribe so long ago, I had a lot more time to participate in discussions.
<br/>I don't anymore.
<br/>
<br/>I feel it's important to me an involved moderator, and I just haven't been able to do that.
<br/>I'm looking for a replacement!
<br/>
<br/>Would anybody like to take over?</div>
<div>
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</div>amazonika2008-11-08T07:57:04Z"King Of Jazz" VHS conversion help....anyone?Robowanhttp://JazzAge.tribe.net/thread/e4abd9f8-a15a-4e4c-a8f2-672ecf2347a72008-07-27T14:43:43Z2008-05-22T18:39:18Z<div>Howdy, and apologies ahead of time, as I may cross-post this. I have a good VHS copy of the fabulous 1930 film, "King Of Jazz" featuring Paul Whiteman and his cronies. Since there are no plans afoot to properly release this on DVD by anyone (that I know of), I'd like to convert my VHS tape to DVD format. Does anyone in this tribe have the capability to do this, and would you be interested in dubbing this for me? I have money, I can pay, but ideally I'd love someone to do this as a trade...and I'd even make copies for anyone interested for postage costs of shipping said DVD. I'm just tired of dragging my closeted VCR out every time I want to watch this film.</div>
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</div>Robowan2008-05-22T18:39:18ZMiss Lee Morse...confettahttp://JazzAge.tribe.net/thread/67a53d50-2c6e-4388-ae5d-eadb87f39c982008-07-20T01:07:06Z2007-11-04T20:03:51Z<div>Here is a list
<br/>of the songs
<br/>Miss Lee Morse
<br/>recorded in
<br/>November...
<br/>
<br/>I hope you
<br/>like them as
<br/>much as I do.
<br/>
<br/>~confetta
<br/>
<br/>Lee Morse
<br/>
<br/>Deep Wide Ocean Blues
<br/>(Lee Morse)
<br/>11-1925
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/deepwideocean.ram
<br/>
<br/>Golden Dream Girl
<br/>(Lee Morse)
<br/>11-28-1924
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/GoldenDreamGirl.ram
<br/>
<br/>I Wonder Where My Baby Is Tonight
<br/>(Walter Donaldson)
<br/>11-11-1925
<br/>New York, New York
<br/>
<br/>My Sugar Babe
<br/>(Lee Morse)
<br/>11-11-1925
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/mysugarbabe.ram
<br/>
<br/>
<br/>Lee Morse and her Bluegrass Boys
<br/>
<br/>Ain't That Too Bad?
<br/>(Endor / Ward)
<br/>11-1926
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/aintthattoobad.ram
<br/>
<br/>Everybody Loves My Baby But My Baby Don't Love Nobody But Me
<br/>(Jack Palmer / Spencer Williams)
<br/>11-28-1924
<br/>New York, New York
<br/>
<br/>He's My Secret Passion
<br/>(Young and Valentine)
<br/>11-26-1930 New York, New York
<br/>
<br/>If You Want The Rainbow
<br/>(You Must Have Rain)
<br/>(Levant / Rose / Dixon)
<br/>11-3-1928
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/ifyouwant.ram
<br/>
<br/>I Love My Baby
<br/>(My Baby Loves Me)
<br/>(Green / Warren)
<br/>11-1925
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/ilovemybaby.ram
<br/>
<br/>I Wonder Where My Baby Is Tonight?
<br/>(Walter Donaldson)
<br/>11-11-1925
<br/>New York, New York
<br/>
<br/>Jersey Walk
<br/>from "Honeymoon Lane"
<br/>(Dowling / Hanley)
<br/>11-4-1926
<br/>New York, New York
<br/>
<br/>My Fate Is In Your Hands
<br/>(Fats Waller / Andy Razaf)
<br/>11-4-1929
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/myfateis.ram
<br/>
<br/>The Jersey Walk
<br/>(Creamer / Dowling / Hanley)
<br/>11-1926
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/jerseywalk.ram
<br/>
<br/>The Little White House
<br/>from "Honeymoon Lane"
<br/>(Dowling / Hanley)
<br/>11-4-1926
<br/>New York, New York
<br/>
<br/>To Be Forgotten
<br/>(Irving Berlin)
<br/>11-4-1929
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/tobeforgotten.ram
<br/>
<br/>With All My Heart
<br/>(Lee Morse)
<br/>11-4-1926
<br/>New York, New York
<br/>
<br/>You're Driving Me Crazy!
<br/>(What Did I Do?)
<br/>(Walter Donaldson)
<br/>11-26-1930
<br/>New York, New York
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/morse/youredrivingme.ram
<br/>
<br/> To Learn More about Lee Morse...
<br/> Please visit:
<br/> http://www.squidoo.com/LeeMorse/
<br/>
<br/> ~ fettz </div>
<div>
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</div>confetta2007-11-04T20:03:51ZHelp with unknown artistHappyBirdhttp://JazzAge.tribe.net/thread/16d4134b-bbd7-484f-9d9a-ba85eb044dff2008-01-22T08:44:48Z2008-01-21T11:33:54Z<div>My friend had a friend make her a CD quite some time ago, and we don't know who does this one song. I tried figuring it out on Google, but that didn't work. Can someone tell me if they think they know who sings/wrote this song?
<br/>Likely 20's era?
<br/>
<br/>Sailing, sailing, over the ocean blue
<br/>The admiral's daughter is after Davey
<br/>and his dingy too
<br/>
<br/>She first saw Davey in a big parade
<br/>A show of strength that the navy made
<br/>There was subs and cruisers and all the best
<br/>But Davey's little dingy stood out from the rest
<br/>
<br/>Chorus:
<br/>Ship ahoy, sailor boy
<br/>Don't you get too springy
<br/>The admiral's daughter is down by the water
<br/>She wants to ride your dingy
<br/>
<br/>She built as big as a battle ship
<br/>Davey says he'd have to make two trips
<br/>Let her go ride with the other guys
<br/>His dingy's no good for a gal that size
<br/>
<br/>Chorus
<br/>
<br/>She's made up her mind that he must get caught
<br/>His dingy has got to sail into her port
<br/>She won't let it rust because she knows the score
<br/>Oh, you can tell she's had a dingy before
<br/>
<br/>Chorus
<br/>
<br/>She ruined her first mate, I understand
<br/>He wound up with his anchor dragging in the sand
<br/>Since Davey heard she's headed his way
<br/>He's got a life-preserver on his dingy night and day
<br/>
<br/>Davey thinks she'll try sabbotage
<br/>So he's devised a little camofauge
<br/>Everybody says it's a real slick trick
<br/>He's got it painted red and white like a peppermint stick
<br/>
<br/>Chorus
<br/>
<br/>Just got a flash from the naval base
<br/>The big manuver, it just took place
<br/>She finally grabbed him by the pier
<br/>He got in too deep with his landing gear
<br/>There was quite a battle
<br/>There'll be hell to pay
<br/>Cuz he sank his dingy, singin'
<br/>"Anchor's Away"!!!</div>
<div>
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</div>HappyBird2008-01-21T11:33:54ZFallouthttp://JazzAge.tribe.net/thread/422894ff-280a-4628-a717-3f82d81447d92007-10-14T17:29:16Z2004-04-29T19:01:27Z<div>This is a very obscure question, and most likely no one here will be able to answer me. But I've been trying to find this for at least four years!
<br/>
<br/>The introduction of a game called 'Fallout', by Black Isle, features a beautiful jazz-age-style song - the title and singer of which I do not know. He's got a wonderful crisp, tenor voice.
<br/>
<br/>The lyrics I can recall:
<br/>
<br/>"Someday, you'll think of me / when you are all alone. / Someday, you'll sit and sigh..."
<br/>
<br/>That's it. I suppose I could always play the game again. ;) The song isn't mentioned anywhere in the credits, and Black Isle has been unresponsive.
<br/>
<br/>Little help?</div>
<div>
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</div>2004-04-29T19:01:27ZArt Deco Society of Northern California's 23rd Gatsby Picnic this Sunday Sept 9th.endymionsfatehttp://JazzAge.tribe.net/thread/6538fb02-1133-48b8-9abb-f9cce3e583182007-09-07T01:05:48Z2007-09-07T01:04:46Z<div>Hello all you swell Hepcats and Sinners,
<br/> I'm not affiliated with the Art Deco Society (ADS) but thought it would be a great place to post this information for those that might be interested in knowing about the era or attending this wonderful event.
<br/>http://www.artdecosociety.org/about/events/calendar.htm
<br/>more info
<br/>http://www.artdecosociety.org/about/events/Gatsby/gatsbymain.htm
<br/>
<br/>Ticket's aren't cheap, but neither is this event. Oh, ticket price does not include edibles so you will have to bring your own.
<br/>
<br/>See you there.</div>
<div>
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</div>endymionsfate2007-09-07T01:04:46ZLondon UK eventCanyellahttp://JazzAge.tribe.net/thread/dfeb838a-0d58-4cd1-a815-3b564637544e2007-09-06T10:13:52Z2007-09-06T10:13:52Z<div>Hmmm. shame i can't seem to post a flyer here... but..
<br/>
<br/>*I Got Rhythm*
<br/>A celebration of 1930s Jazz
<br/>
<br/>September 23, 6pm-12am at Favela Chic, London
<br/>-Vipers Dream Band
<br/>-Taina Kortelainen & Simon Selmon (swing/tap maestros)
<br/>-DJ Canyella
<br/>
<br/>more info at www.myspace.com/nottaspromotions
<br/>
<br/>:)
<br/>
<br/>Canyella</div>
<div>
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</div>Canyella2007-09-06T10:13:52ZAmelia Earhart and Friends in the Jazz ageLauriehttp://JazzAge.tribe.net/thread/1b6b4005-e514-4ece-bbe1-96b538b3f9422007-08-08T13:34:34Z2007-08-08T03:04:01Z<div>As the soon to be biographer of Amelia Earhart's husband, George Palmer Putnam, I have spent the last few years steeped in this era - I love it - George Putnam who was the head of G P Putnam Son's Publishing Company knew everyone who was anyone from this period and there were just so many fascinating and cool people
<br/>Should anyone care to chat about them, I would love to as well</div>
<div>
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</div>Laurie2007-08-08T03:04:01ZBaSTiLLE DAy in SF!delachauxhttp://JazzAge.tribe.net/thread/cfe7080e-c121-49c8-a9a4-4e6fd66f343c2007-07-02T19:41:05Z2007-07-02T19:41:05Z<div>http://www.youtube.com/watch?v=oAxPMJujsjI
<br/>
<br/>2nd Annual Bastille Day Bacchanal!
<br/>UNDERGROUND FRANCO-SONIC DANCE SOIREE et
<br/>BELLE EPOQUE CABARET FEATURING:
<br/>
<br/>Les Dames:
<br/>Charlotte La Belle Araignée
<br/>The Flying Fox
<br/>The Scenic Sisters
<br/>Margot Montmartre
<br/>Maître des Cérémonies:
<br/>Professor Violet!
<br/>
<br/>Dansez Dansez avec
<br/>Les Maestros Super:
<br/>Monsieur Laird
<br/>Monsieur Delachaux
<br/>Monsieur Kizmiaz
<br/>
<br/>La Vie en Verte avec Unkle Paul and the Green Fairy Bar!
<br/>
<br/>Dress as your favorite LOVERS & LIBERTINES
<br/>from the GUILLOTINE to GODARD! French Maids, Mimes, Mods & Montmartrians, Legionnaires, Impressionists, Existentialistas, Bardot, Toulouse-Lautrec, Jane Avril, Jerry Lewis, Jacques Cousteau, Jean Cocteau, Camus, De Sade, Deneuve, De Gaulle, Louis XVI, Anais Nin, Amelie, Marie Antoinette, Napolean, Piaf, and Pepé Le Pew!
<br/>
<br/>ANON SALON
<br/>285 9th Street (@ Folsom)
<br/>SAN FRANCISCO
<br/>Presale tickets at:
<br/>www.fetelaboum.com </div>
<div>
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</div>delachaux2007-07-02T19:41:05ZDeco dress workshop - Berkeley CA 7/22Kendrahttp://JazzAge.tribe.net/thread/2b580d74-de95-490a-b063-e82be67d46b72007-06-20T17:11:24Z2007-06-20T17:11:24Z<div>The 2007 Greater Bay Area Costumers Guild Workshop Series Presents:
<br/>
<br/>ONE HOUR DRESSES OF THE 1920s
<br/>Sunday, July 22, 2007
<br/>11 a.m. to 5 p.m.
<br/>Location: LSI, 2015 Center Street, Berkeley, CA
<br/>http://www.gbacg.org/Current/OneHourDress.htm
<br/>
<br/>Need a new dress to wear to the Art Deco Society's Gatsby Summer Afternoon or the Silent Film Festival? Join us on July 22 and make a dress in a day!
<br/>
<br/>In the 1920s many books and magazine articles were dedicated to sewing a frock fast. Using period references, Bridget Bradley-Scaife will show you the fabulously simple techniques that go into making yourself a quick and beautiful 1920's dress. Students will learn how to measure, construct and personalize their frock with design elements used on dresses of the 1920's.
<br/>
<br/>Each student will receive handouts and a CD. A supply list that includes suggested fabric and trim yardage will be sent to each student prior to class.
<br/>
<br/>Location: Language Sciences Institute (LSI), 2015 Center Street, Berkeley, one block south of the Berkeley BART station. LSI has drink machines but no real food, bring a sack lunch or visit one of the local eateries. Free street parking or paid parking garage nearby.
<br/>
<br/>Cost: $37.00 GBACG Members, $47.00 Non-Members
<br/>
<br/>Deadline for Sign-up: July 13, 2007 or until full. Space is limited.
<br/>This workshop is payable via PayPal. You may also pay by check.
<br/>Please see our website ( www.gbacg.org ) for sign-up information.</div>
<div>
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</div>Kendra2007-06-20T17:11:24Znew episode - manoucheCanyellahttp://JazzAge.tribe.net/thread/fc85f552-b0ca-4fb0-8232-f247f53e80e22007-06-14T00:07:42Z2007-06-14T00:07:42Z<div>Let me introduce you to my podcast - this week's episode is smoky dimly lit underground bar...check it out. Not strictly manouche but the manouche is in there. :)
<br/>
<br/>http://canyella.podmatic.com
<br/>
<br/>lots of love
<br/>Canyella</div>
<div>
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</div>Canyella2007-06-14T00:07:42ZFree Jazz and improvisation in Portugal, Europefreemusichttp://JazzAge.tribe.net/thread/797b887f-605c-46e7-8b2f-576a2cb3ab122007-04-19T13:30:51Z2007-04-19T00:02:56Z<div>Hi,
<br/>I run a pod dedicated to free improv out of Lisbon, Portugal: http://freemusic.podomatic.com
<br/>Pay me a visit!
<br/>
<br/>Peace
<br/>
<br/>freemusic</div>
<div>
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</div>freemusic2007-04-19T00:02:56Zplaying 78 rpm records...if only I couldRobowanhttp://JazzAge.tribe.net/thread/9f5c1abe-5fb8-4267-bb80-93939dd112322007-04-03T18:15:04Z2007-03-10T14:56:04Z<div>Can some kind soul recommend a new turntable that plays 78s properly, and doesn't cost an arm and both legs? I had an older Numark DJ turntable that *would* play at 78, but the needle wasn't right. I'd even go for a vintage model, if needles still could be acquired. I've got a stack of old 78s that I really really want to hear.</div>
<div>
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</div>Robowan2007-03-10T14:56:04ZBlue Moonhttp://JazzAge.tribe.net/thread/5e7555eb-3cf1-4ef5-9130-8f5434ed30152007-03-15T07:49:55Z2007-03-07T09:58:39Z<div>you saw me standing alone,
<br/>With out a dream in my heart,
<br/>With out a love of my own....</div>
<div>
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</div>2007-03-07T09:58:39ZI'll Get ByMaxhttp://JazzAge.tribe.net/thread/4f65d237-7b95-410f-9b90-9156f28f9b962007-02-23T07:36:31Z2007-02-23T07:36:31Z<div>http://www.youtube.com/watch?v=alnaRK2_f7A
<br/>
<br/>Billie Holiday sings a lovely version of "I'll Get By As Long As I Have You" while the girl in the picture sips a cocktail and makes a few amusing gestures. I'm not sure if it's meant to be serious or a camp; but the music is splendid.</div>
<div>
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</div>Max2007-02-23T07:36:31ZThe Devil's Cabaret (1930)confettahttp://JazzAge.tribe.net/thread/5f59e902-48a5-44e6-b470-eca66e5fcc702007-02-09T22:42:45Z2007-01-31T20:01:51Z<div>http://www.youtube.com/watch?v=wGh3eqtLJ0M</div>
<div>
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</div>confetta2007-01-31T20:01:51Zthe jazz age in your lifeamazonikahttp://JazzAge.tribe.net/thread/9b574c9e-284d-4422-8889-2336d80dd94e2007-01-30T06:43:52Z2006-03-08T16:17:27Z<div>Hi everyone,
<br/>
<br/>I'm really curious if and how some of you bring the jazz age into your own life.
<br/>
<br/>For example, I met someone once who was a really talented amateur clothing designer and sewer and made most of her own clothes. She was also a huge 1940s fan, so most of her wardrobe looked straight out of that era. She always looked really amazing in beautiful tailored suits or swing dresses, and she also did her hair and makeup appropriately. Somehow, she still managed to blend in nicely with "modern times" though...but she stood out as always looking more polished and classy than everyone else. (That style is truly timeless!)
<br/>
<br/>How about you guys? Is there anything you do that helps you experience a little bit of the Jazz Age in your daily life?
<br/></div>
<div>
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</div>amazonika2006-03-08T16:17:27ZFree jazz movies at the Berkeley Public LibraryKurthttp://JazzAge.tribe.net/thread/3c24dc99-29e2-448c-872f-54137dd969de2007-01-23T00:03:05Z2007-01-22T08:28:19Z<div>info here...
<br/>
<br/>http://www.berkeleydailyplanet.com/article.cfm?issue=01-19-07&storyID=26147
<br/>
<br/>http://nvr.org/lookingatjazz/
<br/>
<br/>and in the monthly newsletter at http://berkeleypubliclibrary.org/</div>
<div>
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</div>Kurt2007-01-22T08:28:19Zthe classic fedoraamazonikahttp://JazzAge.tribe.net/thread/ce826d10-56c5-490e-936a-bcd933c4b6f12007-01-21T06:44:54Z2006-11-09T00:24:03Z<div>
<br/>Hi all,
<br/>I'm looking for advice on purchasing a fedora.
<br/>I want to get one that is classic vintage style, along the lines of perhaps a classy yet street-wise hep cat of the 30s or 40s.
<br/>Not too upper-crust, and not too pimpin'. More along the lines of film noir detectives.
<br/>
<br/>I've found a cool store that sells fedoras:
<br/>http://www.thefedorastore.com
<br/>
<br/>...but there are so many choices, I'm a bit overwhelmed!
<br/>
<br/>Oh, and colors! Something to go with a brown pin-stripe suit -- would it have to be brown, or is it acceptable to get away with black or grey?
<br/>
<br/>I'd like to choose one as authentically stylish as possible, so any advice on proper vintage fedora etiquette would be appreciated.
<br/>
<br/>And if you can suggest a better online source for purchasing one, please pass it on!
<br/>
<br/>Thanks so much for any help.</div>
<div>
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</div>amazonika2006-11-09T00:24:03ZSONGS to SINGJulieRaehttp://JazzAge.tribe.net/thread/2805b97f-487b-4040-ac63-134724f79feb2006-12-06T01:20:54Z2006-12-04T07:47:11Z<div>I'm gather songs to record for an eclectic album - especially interested in material without or with expired copyrights.
<br/>LOVE this era of music but in need of guidance.
<br/>Any and all help APPRECIATED!</div>
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</div>JulieRae2006-12-04T07:47:11ZLouise Brooks exhibitthomasgladyszhttp://JazzAge.tribe.net/thread/b310cdf5-4b50-470f-be1b-3c4b7ec74e7c2006-11-09T20:52:25Z2006-11-07T06:52:52Z<div>"Homage to Lulu: 100 Years of Louise Brooks" (November 4, 2006 through January 5, 2007)
<br/>an exhibit at the San Francisco Public Library
<br/>Main Branch, Fourth Floor, Steve Silver Beach Blanket Babylon Music Center
<br/>
<br/>"Homage to Lulu: 100 Years of Louise Brooks" celebrates the centenary of the silent film star Louise Brooks (1906 - 1985). Now considered an icon of the Jazz Age, Brooks' popularity today rivals that of her more celebrated contemporaries. On display are dozens of vintage objects - including books, magazines, sheet music, postcards,and related ephemera - which tell the story of her life and films.
<br/>
<br/>Highlights include American and French photoplay editions (the movie tie-in editions of the 1920's), an editorial comic strip explaining the scandalous circumstances behind Brooks' affair with Charlie Chaplin, Brooks' inspired novels, a jumbo-size lobby card, and a full-page newspaper advertisement for "Show Girl" - the Brooks-inspired novel which became a hit stage play and the long-running comic strip "Dixie Dugan."
<br/>
<br/>This exhibit - organized by Thomas Gladysz and the San Francisco-based Louise Brooks Society - coincides with many other events taking place around the San Francisco Bay Area and the world.
<br/>
<br/>Related Events in the Bay Area:
<br/>
<br/>"Celebrating Louise Brooks: An Evening of Rare Films"
<br/>Sunday, November 12th at 7:30 p.m.
<br/>Balboa Theater (3630 Balboa Street) in San Francisco
<br/>-- Peter Cowie, author of the just released Louise Brooks: Lulu Forever, will give a short talk after the screening of rare Louise Brooks films - some not shown in 80 years. Special guests, door prizes, give-aways, and a book signing with Peter Cowie will round out the program. This special event is co-sponsored by The Booksmith (www.booksmith.com) and the Louise Brooks Society (www.pandorasbox.com)
<br/>
<br/>Louise Brooks Birthday Bash
<br/>Tuesday, November 14th at 7:00 p.m.
<br/>Victoria Theater (2961 16th Street) in San Francisco
<br/>-- a screening, live music, birthday cake, and festivities with the cast and crew of "Lulu" - followed by a 10 p.m. staging of of the Wedekind play done as a silent film a la Louise Brooks in "Pandora's Box" - more info at www.victoriatheatre.org/
<br/>
<br/>Screening of the 1926 Louise Brooks flapper comedy, "Love 'Em and Leave 'Em"
<br/>Tuesday, November 21st at 7 p.m.
<br/>Main Library, Lower Level, Koret Auditorium (100 Larkin Street at Grove)
<br/>-- with an introduction by Thomas Gladysz, director of the Louise Brooks Society; more info at sfpl4.sfpl.org/news/exhibitions.htm</div>
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</div>thomasgladysz2006-11-07T06:52:52Z1930s era movie recommendationamazonikahttp://JazzAge.tribe.net/thread/e62ed328-5b9f-424b-9e7a-e4b4d05a030d2006-11-02T21:43:20Z2006-06-27T17:38:16Z<div>
<br/>If you like contemporary films set in the jazz age, and you like naked ladies, you might like to check out "Mrs. Henderson Presents". http://imdb.com/title/tt0413015/
<br/>
<br/>It's a story about an eccentric widow who buys a theater and puts on shows featuring nude women.
<br/>
<br/>The story is good, the acting is good, and although I felt it could have wrapped up at a faster pace, it was totally enjoyable.
<br/>
<br/>The cast includes Judi Dench, Bob Hoskins and Christopher Guest.
<br/>
<br/>The whole production definitely had a Stephen Frears feel to it...so if you like his directing style, you'll like this film.
<br/>
<br/></div>
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</div>amazonika2006-06-27T17:38:16ZCab Calloway with some psycotic super splitting tap dancers...Jackhttp://JazzAge.tribe.net/thread/b43b48e9-5e06-47b0-ae37-1b901cf570bd2006-10-30T02:27:23Z2006-10-28T20:23:52Z<div>Dig:
<br/>http://www.youtube.com/watch?v=_8yGGtVKrD8</div>
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</div>Jack2006-10-28T20:23:52ZHappy HalloweenLaurieSiegelhttp://JazzAge.tribe.net/thread/5b6a1797-b80e-40fc-b3a1-500ca610febb2006-10-12T16:55:03Z2006-10-12T16:55:03Z<div>Check Out this Halloween Video. Really cool!!!!
<br/>
<br/>http://www.youtube.com/watch?v=LwUvDcnqtbg</div>
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</div>LaurieSiegel2006-10-12T16:55:03ZDig my gig: Vintage jazz radio show online anytime!Jackhttp://JazzAge.tribe.net/thread/7d3f179c-9029-4f55-8c92-7227d1a7ba2a2006-10-08T00:11:44Z2006-10-08T00:11:44Z<div>My name is Jack Blackfelt and I am a vintage jazz disc jockey for internet radio station www.eastvillageradio.com I spin jazz and pop vocals from the 20s to the 60s 10am-12noon EST every Sunday morning. An archive is for each show is available right after broadcast, so you have all week to hear it and not get up early if you don't wanna.
<br/>If you're in Manhattan, stroll on by 1st Avenue and 1st street during my show'shours and say hello...it's a storefront studio station.
<br/>Cheers, Jack B. </div>
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</div>Jack2006-10-08T00:11:44Zanother movie recommendation: The Purple Rose of Cairoamazonikahttp://JazzAge.tribe.net/thread/2e36894a-c9ed-4b59-995e-fd978ba2ddd22006-08-27T17:08:36Z2006-08-27T16:51:49Z<div>
<br/>I haven't laughed out loud at many films lately, until I rented Woody Allen's "The Purple Rose of Cairo".
<br/>
<br/>It's set in the 1930s, when millions of poor Americans escaped to the movie theater to forget their troubles.
<br/>
<br/>The main character is obsessed with movies, rattles off any kind of movie trivia at the drop of a hat, and daydreams about movies all day long.
<br/>
<br/>She finds herself jobless and unhappy in her marriage and escapes to the movies every single day. One of the characters in the film notices her in the audience and jumps off the screen! They begin a love affair, and he refuses to return to the movie. The other characters in the movie are stuck, unable to complete their scene.
<br/>
<br/>The whole plot is hilarious, and there are some truly great lines. The depression-ers "feel" of the film is very authentic (although I think the speaking manner sometimes sounded a bit too modern), and each character is wonderful to watch.
<br/>
<br/>I highly recommend this one!!</div>
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</div>amazonika2006-08-27T16:51:49ZLulu playthomasgladyszhttp://JazzAge.tribe.net/thread/fdced88e-669e-4732-8cf3-44c3af1191632006-08-22T05:06:32Z2006-08-22T05:06:32Z<div>The New York Times just gave a glowing review to "Lulu," a Louise Brooks-inspired silent stage play which was performed at the New York International Fringe Festival. The play will next be performed at the Victoria Theater in San Francisco starting September 7th. (see www.victoriatheatre.org/) Jason Zinoman wrote in Saturday's New York Times:
<br/>
<br/> "The Silent Theater Company of Chicago is dedicated to the idea that the theater doesn't need the spoken word, which it proves with panache in its first production, Lulu, an ingeniously staged version of the Louise Brooks 1929 silent film Pandora's Box.
<br/>
<br/> Stylishly directed by Tonika Todorova, this dreamlike play without words is about an insatiable hedonist who leaves death in her tracks. It opens with a wild freak show - peopled by a bearded lady, a dwarf and a man on stilts - dressed and lighted in a noirishly severe black and white, like the cover of a 1920's scandal sheet burst to life. Last to enter is the knockout showgirl Lulu (Kyla Louise Webb), a good-time girl who is clearly bad news.
<br/>
<br/> In the seasoned hands of Ms. Brooks - whose black bob, imitated here, may be the most famous haircut in film history - the role inspired oceans of critical drooling. Kenneth Tynan once wrote that she was "the only star actress I can imagine either being enslaved by or wanting to enslave."
<br/>
<br/> The charismatic Ms. Webb, who wears a blankly innocent expression, letting her jitterbugging body do the seducing, may not bring on such dark thoughts, but her pursuit of unbridled pleasure is so persuasive that you are sure that after the show she will seduce the rest of the cast members and then break all their hearts.
<br/>
<br/> Backed by the moody piano of Isaiah Robinson, this coolly stylized presentation, which could benefit from a few more tech rehearsals, communicates a remarkable amount of plot - in a few crisply designed scenes that slip back and forth between erotic and macabre.
<br/>
<br/> The glamorous Lulu is a reminder of how effective the great silent performers were in their ability to cut directly to the heart of a scene, something Billy the Mime also accomplishes superbly. If you don't have the crutch of language, you need to be able to tell a story with discipline and clarity, and these wordless artists developed a vocabulary every bit as articulate as that of any playwright in the Fringe. They are particularly eloquent with comedy and horror, two areas in which the theater often lags behind film. When was the last play you saw that was really scary or made you explode in belly laughs?
<br/>
<br/> Unlike talking actors, who generally shun the grand gesture as hammy, these silent performers are willing to go for the jugular. They treat their limitation in speech as an opportunity to exploit the rest of their repertory, which may be the reason that their shows seem bolder, faster and meaner than any others I saw this week. Silence, in an odd way, has liberated them."
<br/>
<br/>For more about the Chicago-based Silent Theatre visit www.silenttheatre.com/. You can even watch a silent trailer of the play - with intertitles.</div>
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</div>thomasgladysz2006-08-22T05:06:32ZRadiohttp://JazzAge.tribe.net/thread/58e9a72a-eb0b-4feb-ba2b-483203e80e572006-08-02T18:08:16Z2006-08-02T18:08:16Z<div>http://www.upstartradio.com/Internet%20Radio%20Broadcast.html</div>
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</div>2006-08-02T18:08:16ZSwingin' all the way to the House of Blues!phatcatswingerhttp://JazzAge.tribe.net/thread/f9b78539-9843-4971-8478-1f8b7dd11b542006-07-28T19:15:35Z2006-07-28T19:15:35Z<div>And soon, with your help... swingin' to bigger and better places!
<br/>
<br/>We would like to invite everyone here to join our tribe and to join us at our gigs! We are a very high energy, 9 piece swingin' swing band and we want you to be a part of our rise to the top!
<br/>
<br/>Check out our new gig with Big Bad Voodoo Daddy coming up next week! Just join our tribe and check out our post for the gig.
<br/>
<br/>We really encourage everyone to read and reply with your thoughts, suggestions, questions, or just anything to our posts. We also encourage you to post your own thoughts on anything involving the Jazz, Swing, Big Band era!!
<br/>
<br/>We hope to see you here:
<br/>
<br/>http://tribes.tribe.net/phatcatswinger
<br/>
<br/>Sincerely,
<br/>
<br/>Phat Cat Swinger </div>
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</div>phatcatswinger2006-07-28T19:15:35Zdance ideasaliciadenisonhttp://JazzAge.tribe.net/thread/b9f54ed2-e089-4484-b257-d7c7f8a00ebf2006-07-14T07:37:03Z2006-07-02T07:00:40Z<div>I've been wanting to do a 1920's belly dance for a while now. Does anyone have any ideas about costuming or music to share with me? I want to have fingerwaves and a unique 20's look. I was thinking of basing a costume on an old Mata Hari picture or something. Any suggestions on where to start my research?
<br/>-Alicia</div>
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</div>aliciadenison2006-07-02T07:00:40ZGig trade w/ Phat Man Dee!phatmandeehttp://JazzAge.tribe.net/thread/cfeaa533-4ef2-4add-81fc-5246646966e62006-06-02T19:50:31Z2006-06-02T19:50:31Z<div>Hi!!! My name is Phat Man Dee and I am looking to trade gigs with other phabulous entertainers. Immediately I am looking to perform in NYC/ Brooklyn around July 20th. I have a show that night at Starshine Burleqsue at Ra Fi Fi in the E. Village , but would love to do something maybe the night before or after in the area or even in Philadelphia. I am a jazz singer with tendencies towards
<br/>bluegrass and comedic burlesque. I have toured with the Goddess Perlman, Candeye Kane, the Bindlestiff Family Cirkis, Circus Rediculous, and the Fat Bottomed Girls Burlesque Review. You may see my website online:
<br/>htttp://www.phatmandee.com/
<br/>and press kit:
<br/>www.sonicbids.com/phatmandee/
<br/>
<br/>I would really like to make this a 2 way thing, I am based in Pittsburgh, PA (home of the Warhol Museum, Fred Rogers, Jeff Goldblum, the Goddess Perlamn, Gene Kelly. Billy Strayhorn, the most bridges of any city in America, that annoyingly catchy "Play That Funky Music White boy" song , and as well we have the largest concentration of Jews between Brooklyn and Israel) and I love to show off my hometown. If you can get me a gig to share with you in your hometown, I will find a booking for you here. As I said, I am immediately looking for something in NYC, but would love to explore more of this great nation of ours. </div>
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</div>phatmandee2006-06-02T19:50:31ZFootage You'd Never Thought You'd SeeLorihttp://JazzAge.tribe.net/thread/6b118f59-2a64-413d-8245-37e161d35f872006-06-02T19:48:53Z2006-05-24T13:00:36Z<div>http://www.dvblog.org/movies/03_2006/django.mov</div>
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</div>Lori2006-05-24T13:00:36ZHello.The Kidd and Taynghttp://JazzAge.tribe.net/thread/b52e351c-d7ae-4cae-bbaf-9327083d95512006-05-29T15:50:08Z2006-05-29T15:50:08Z<div>hI I am new here.
<br/>
<br/>I am about to watch Spite Marraige for the first time her in a minute... I love Buster ever so...</div>
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</div>The Kidd and Tayng2006-05-29T15:50:08ZF.W. Muranu's FAUST at the Castro Theatre June 1, 2006fidobarkshttp://JazzAge.tribe.net/thread/98dc8a5a-db2e-4ddc-9c94-1baa5e5cbe102006-05-29T07:08:58Z2006-05-24T22:33:00Z<div>June 1
<br/>Faust
<br/>Th: 8p Directed by F.W. Murnau Cast: Gosta Ekman, Emil Jannings, Camilla Horn, Frida Richard, William Dieterle 1926, 115 min Silent with Live Accompaniment
<br/>
<br/>Live accompaniment by Gatto Marte, an acclaimed Italian eclectic quartet (violin, bassoon, piano and double-bass) founded in 1991, known for a bracing mix of jazz, neo-classical and progressive rock.
<br/>
<br/>Directed by legendary filmmaker F.W. Murnau, Faust tells the story of a scholar who makes a pact to sell his soul to the devil in exchange for a return to his youth. The last and best of Murnau’s German films, this is a work of extraordinary beauty and emotional power.
<br/>
<br/>Advance Tickets are available on www.ticketweb.com $20 General Admission, $16 Seniors/Students with ID </div>
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</div>fidobarks2006-05-24T22:33:00Z11th Annual San Francisco Silent Film Festival at the Castro Theatrefidobarkshttp://JazzAge.tribe.net/thread/e3b17c2f-58bc-48cf-bd2a-8595fe67e1a92006-05-24T22:31:46Z2006-05-24T22:31:46Z<div>Lots of goodies coming July 14-16, 2006
<br/>http://www.silentfilm.org/filmfestival.htm</div>
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</div>fidobarks2006-05-24T22:31:46ZRudy and Gloria, this weekend at Castro.edwin_heavenhttp://JazzAge.tribe.net/thread/cca8cad4-4e38-4415-85fb-82358e5566a22006-05-22T10:25:38Z2005-11-08T02:49:12Z<div>Who's all going this Sunday to see Valentino and Swanson in the LONG LOST 1922 silent classic BEYOND THE ROCKS?</div>
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</div>edwin_heaven2005-11-08T02:49:12Zinfluence & poweramazonikahttp://JazzAge.tribe.net/thread/76998131-6e62-4ead-a919-3f65fd4637532006-05-21T16:10:21Z2006-05-19T23:47:52Z<div>
<br/>I was thinking about the most powerful and influential people in North America during the Jazz Age.
<br/>
<br/>...certainly presidents.
<br/>
<br/>But I keep thinking that culture and media may have been a bigger influence to shape American society during the Jazz Age. It was the first time that movies, newspapers, radio, and music really took a hold on the general populace.
<br/>
<br/>Technologies such as film, recorded sound, and the rapid spread of information through new rail lines, highways (affordable automobiles!) and radio waves allowed society to define itself.
<br/>
<br/>...so who or what do you think had the biggest influence in shaping American society during the Jazz age?
<br/>
<br/>I'm going to vote for W.R. Hearst and his newpapers, and also for recorded sound/music.
<br/>
<br/>Other ideas?
<br/></div>
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</div>amazonika2006-05-19T23:47:52ZNew flickr group: Jazz-Age in Printinkvisionhttp://JazzAge.tribe.net/thread/b2c303d6-0b17-41e4-9a0e-05348d2734352006-04-25T21:39:10Z2006-04-25T21:39:10Z<div>About Jazz-Age in Print
<br/>
<br/>Celebrating the fabulous jazz-age illustrators and (graphic designers) and the illustrations and print design they created in the 1920s and 1930s.
<br/>
<br/>Illustration and print design of the twenties through the thirties, including:
<br/>Editorial illustration, magazine and newspaper advertisement, book illustration, posters, sheet music, record cover illustration, postcards, typography and package design.
<br/>
<br/>http://www.flickr.com/groups/jazzage/</div>
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</div>inkvision2006-04-25T21:39:10ZI just wanted to thank our fabulous MODERATOR!confettahttp://JazzAge.tribe.net/thread/29b4aab8-a31c-424f-8127-e7fff8f40a1b2006-04-18T06:44:04Z2006-04-18T06:44:04Z<div>Thanks for putting images I have posted as your main image!!!!!!
<br/>
<br/>GOSH!
<br/>
<br/>WHO ELSE WILL DO THAT???????
<br/>
<br/>We must have very similar tastes visually!
<br/>
<br/>How Great is THAT?
<br/>
<br/>Thanks a MiLLiON : )
<br/>
<br/>I LOVE THIS TRIBE : )
<br/>
<br/>~confetta</div>
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</div>confetta2006-04-18T06:44:04ZCANCELLED!!! NIPPER'S NIGHT OUT! Thursday March 9, 2006 @ 8 pm (Crooners & Songbirds) CANCELLED!!!inkvisionhttp://JazzAge.tribe.net/thread/7e3de9b8-9012-46b2-9471-e99f8df2ddaa2006-03-09T18:37:35Z2006-03-09T18:37:35Z<div>CANCELLED!!! NIPPER'S NIGHT OUT! Thursday March 9, 2006 @ 8 pm (Crooners & Songbirds) CANCELLED!!!
<br/>
<br/>Due to personal reasons, a change of venue management and facilties, etc. tonight's Crooners and Songbirds event is cancelled. We apologize for any inconvenience.</div>
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</div>inkvision2006-03-09T18:37:35ZLon Cheney Film Festival Info, plus Articledianakaufmannhttp://JazzAge.tribe.net/thread/ba989ccd-7848-4e3a-aeec-f7e18c9031462006-02-22T01:54:32Z2006-02-21T23:27:22Z<div>Now Playing:
<br/>The UCLA Film & Television Archive's "Lon Chaney/Tod Browning: The Unholy Two" continues screening through March 12.
<br/>The remaining Chaney films in the series are "The Black Bird," "Outside the Law," "The Phantom of the Opera," "The Hunchback of Notre Dame," "West of Zanzibar," "The Road to Mandalay," "The Unholy Three" (1925 silent version) and "He Who Gets Slapped."
<br/>For more information, call (310) 206-FILM or visit www.cinema.ucla.edu.
<br/>
<br/>The Most Fiendish Face in Movies
<br/>http://www.latimes.com/features/magazine/west/la-tm-chaney8feb19,0,5519170.story?coll=la-home-magazine
<br/>· Lon Chaney's power to terrify is timeless. Just ask Kenneth Turan, who takes the horror personally.
<br/>
<br/>Kenneth Turan, Kenneth Turan is a Times film critic and the author of "Never Coming to a Theater Near You." He is writing a biography of Lon Chaney.
<br/>Feast your eyes, glut your soul on my accursed ugliness.
<br/>
<br/>—"The Phantom of the Opera," 1925
<br/>
<br/>One minute you're a fiend and the next . . . you're almost human.
<br/>
<br/>—"West of Zanzibar," 1928
<br/>
<br/>As an actor and a person, on-screen and on his own, Lon Chaney, the celebrated Man of a Thousand Faces, haunts my dreams, disturbs my sleep and troubles my waking moments.
<br/>
<br/>Everyone knows his most famous face: the horribly disfigured Erik, the tortured, wretched Phantom of the Paris Opera. It's a face beyond nightmare, beyond imagining, one of the most terrifying images ever put on-screen, instantly recognizable on everything from rock concert posters to postage stamps. It's a face that expresses fury and despair, pleading and rage, that radiates emotions we have no names for and don't really want to know exist.
<br/>
<br/>But to know that face is to know everything and nothing. For Lon Chaney was also a man of a thousand paradoxes, "the star who lived like a clerk," according to director Tod Browning, a determined loner, co-star Jackie Coogan once said, who "made Howard Hughes look like Pia Zadora." As befits a specialist not in monsters with human faces but in humans with monstrous ones, almost everything about him was an enigma, a contradiction or both.
<br/>
<br/>Chaney was an important star, as big a draw as the silent era produced. In 1928 and 1929, the nation's theater owners voted him the No. 1 male box-office attraction. His "The Hunchback of Notre Dame" was Universal's top-grossing film of 1923, as "The Miracle Man," his breakthrough role, had been for Paramount in 1919. When MGM announced the seriousness of his final illness in August 1930, so many people called to donate blood that the studio had to take on extra telephone operators. When he died a few days later, at age 47, every studio in Hollywood suspended work for five minutes in his honor.
<br/>
<br/>He was also deeply respected by his peers. Burt Lancaster recalled one of Chaney's moments as "the most emotionally compelling scene I've ever seen an actor do." Joan Crawford, all of 23 when she co-starred with Chaney in "The Unknown," considered him "the most intense, exciting individual I'd ever met, a man mesmerized into his part." When he acted, "it was as if God were working, he had such profound concentration."
<br/>
<br/>And yet one of the great Chaney paradoxes is that although his work is part of every actor's lexicon ("I want you to be big—Lon Chaney big," Stanley Kubrick told Vincent D'Onofrio during the filming of "Full Metal Jacket"), as a performer he is sui generis, without descendants, a star unlike any other before or since.
<br/>
<br/>Part of the explanation for this is that Chaney achieved stardom by taking roles that are almost too strange to characterize or even talk about comfortably, let alone imagine anyone attempting today and achieving anything beyond cult or fringe status. He was not a horror star—the genre did not really exist until "Phantom" helped create it—but rather an exceptional character actor who made a habit of playing singularly unnerving individuals. It was not a boast when the trailer for "The Big City" claimed that "no one on the screen today can equal Lon Chaney for the thrill of the unusual." It was a fact—and still is.
<br/>
<br/>Even putting aside the death's head Phantom and the misshapen Hunchback, Chaney's choices give pause. Versatile enough to take on two roles in the same film (one of his characters even kills the other in "Outside the Law"), the actor was a shape-shifter, capable of savagely murdering his own daughter or playing his own sweet grandmother with equal panache. He was an armless man in "The Unknown," and a double amputee in "The Penalty." Hard to miss was his predisposition for playing grotesques, seemingly villainous people who were crippled, scarred or mutilated, with the fantastically paralyzed being his specialty. It's no wonder that one of the era's catchphrases was "Don't step on that spider, it might be Lon Chaney."
<br/>
<br/>Because there was no precedent for this kind of acting, Chaney's performances absolutely terrified his audiences. Moviegoers regularly fainted and stifled screams, and a London carpenter who saw Chaney as a vampire in "London After Midnight" just before murdering a housemaid and then attempting to slit his own throat claimed in court, to good effect, that a hallucination of the actor had driven him mad.
<br/>
<br/>Words such as "vile," "grotesque," "macabre" and "bizarre" appear and reappear in reviews of Chaney's films. One critic said his work in "The Hunchback of Notre Dame" created "a Quasimodo such as can only be imagined under the stress of a peculiarly vindictive nightmare"; Variety called it "murderous, hideous and repulsive." Reviewers were not at all sure that this was a good thing, but no one doubted the actor's effectiveness, then or now.
<br/>
<br/>So where did this singular talent come from? Why did it strike such a popular chord in its day, yet leave no traces on contemporary film? This despite the fact that Chaney remains the most frightening of screen presences, someone whose films leave me so shaken that to watch them after the sun goes down is to risk, as the Phantom's inamorata Christine did, "a night of vague horrors, tortured dreams."
<br/>
<br/>Answers to any Chaney questions are difficult to come by. For one thing, we don't have access to the entirety of his output, and likely never will. Biographer Michael Blake, who knows as much about the man as anyone living, says that of the 158 films Chaney made (from his one-reel debut in "Poor Jake's Demise" in 1913 to his only sound film, "The Unholy Three," in 1930), perhaps 47 or 48 survive in complete or partial form. For another, Chaney was a man who sought to hide in plain sight, who insisted that "between pictures there is no Lon Chaney."
<br/>
<br/>He was a celebrity who rarely gave interviews, who disliked autographs, personal appearances and answering fan mail (he made an exception for men behind bars), and who even famously turned his back on the camera in a 1925 newsreel showcasing MGM's stars. He did not go to premieres, did not socialize with his Hollywood peers and mocked studio publicity requests for personal details by pointedly commenting, "I can just hear them saying, 'Eat Lon Chaney's favorite cereal and look like the Hunchback of Notre Dame.' "
<br/>
<br/>Some of this reticence can be put down to shrewd showmanship, to an actor savvy enough to realize that revealing too much of oneself was "like pulling the beard off Santa Claus." But the more one learns of Chaney's history, the more one comes to believe that this is only part of the story. For this is an actor who once boasted that he would "fix it so nobody else will write my biography after I'm gone." Even his vacation spot of choice fit this arm's-length pattern: a stone cabin (designed for him by celebrated L.A. architect Paul Williams) in a roadless section of Inyo National Forest so remote that the only way in was by pack train or on foot.
<br/>
<br/>Since Chaney's private life was just that, the rare personal glimpses of him by contemporaries are revered by devotees as if they were splinters from the true cross. Biographers argue over whether there was any hidden darkness in Chaney, and use words such as "withdrawn," "secretive," "uncommunicative" and "dour." Yet as always, there is considerable evidence to the contrary as well. Though he likely was, as "Phantom" cinematographer Charles Van Enger said, "one person that you did not want to see mad," he was also something of an instinctive socialist who once refused to work overtime because it would have cheated the film's extras of one more day's pay. Young actresses he worked with, such as his "Hunchback" co-star Patsy Ruth Miller, invariably remembered him as "extremely kind, thoughtful and protective."
<br/>
<br/>What emerges, on one level, is the picture of a complete professional who had little patience for studio shenanigans. When he responds to a query about "Where East Is East" co-star Lupe Velez with a curt "She's behaving herself," when he writes of Universal Studios that "I am not going to stand for any of their foolishness or stalling," it seems as if one is hearing the genuine, irascible voice of the man himself.
<br/>
<br/>Yet on another level it is impossible not to see Chaney as a man who learned through a difficult life to hide both his identity and his emotions when he was off-screen. It's a classic self-protective stratagem, but it also may have helped him—perhaps even forced him—to more effectively channel his feelings when he was on camera.
<br/>
<br/>Leonidas Chaney was a performer virtually since his birth, on April 1, 1883, in Colorado Springs, Colo. Both of his parents were deaf, and in the fourth grade he dropped out of school for three years to care for his bedridden mother, becoming her link to the outside world and in the process honing his impeccable pantomime skills. He was even said to have what deaf people call a "deaf face"—"you communicate everything with it," says biographer Blake, "because you don't have the ability to speak or hear."
<br/>
<br/>As a young teenager Chaney was drawn to the stage, and he spent close to a decade touring the West in a series of subsistence-level musical comedy companies. He met and married the 16-year-old singer Cleva Creighton, and they had a son, Creighton Chaney (the future Lon Jr.), but soon the family resumed touring. It was a difficult, hardscrabble time that Chaney disliked talking about, except for an aside that "barnstorming had sickened me with the acting side of the profession." His son was more forthcoming, remembering that "as a last resort, Pop could always break into a dance in front of any of them old-time bars and get enough nickels and pennies to buy some food."
<br/>
<br/>The marriage became troubled, but no one expected what happened next. On April 30, 1913, during Chaney's performance at the Majestic Theater in downtown Los Angeles, Cleva went into the wings and attempted suicide by swallowing a vial of bichloride of mercury. She lived, but was never able to sing again.
<br/>
<br/>In a bout of fury, Chaney cut Cleva out of his life. He more than divorced her—he never saw or spoke of her again, left her all of $1 in his will and told their son that Cleva had not survived the poison. (Lon Jr. would not find out the truth until after his father died.) The actor then married a chorus girl named Hazel Hastings, herself divorced from a legless man who ran a San Francisco cigar counter, and eventually let it be believed that she was Lon Jr.'s mother. In the insular world of traveling theater, however, Cleva had caused enough of a scandal to make employment difficult for her former husband, which likely led to Chaney's decision to try his hand at the movies.
<br/>
<br/>After years as a journeyman, he got his breakthrough role in 1919 with "The Miracle Man," in which he played a con artist called the Frog, famous for his ability to contort his body into ungodly postures. Only a few minutes of the film survive, but seeing Chaney crawling in twisted pain toward a faith healer called the Patriarch is still as compelling as when Exhibitors Trade Review marveled at this "ghastly deformed mass of flesh faked for the purpose of exciting pity."
<br/>
<br/>It has to be said that Chaney was a perfect match for his era, a kind of genius who came out of and thrived in a society likely to appreciate what he could do. It was a time when physical aberrations were more present, before advances in medical technology and changes in public attitudes altered the natural and psychological landscape. It was also the post-Great War era, and at least one critic has suggested that Chaney's characters were "a way in which the effects and consequences of World War I—the mass mutilation of men's bodies and the return of these men to society"—could be dealt with on-screen.
<br/>
<br/>Going hand in hand with this reality was a kind of unashamed sentiment, a willingness to give way to sensation, that characterized the silent film experience. Audiences were especially susceptible to Chaney's gift for playing heartbreak and horror, pathos and menace. He connected things that audiences have lost the habit of connecting—the grotesque and the tender, if you will—and his fans loved him for it.
<br/>
<br/>That Chaney holds and terrifies us today bespeaks the breadth and depth of his gift. A man of palpable physical strength, he could be subtle and graceful, known to his audience by the delicate movements of his fingers and hands. Uniquely Chaney's as well was a thorough knowledge of the art of makeup. Working out of a simple fisherman's tackle box now in the collection of Los Angeles' Natural History Museum, Chaney became such a master ("It's an art," he said, "but not magic") that he wrote the entry on the subject for the 14th edition of the Encyclopedia Britannica. No one could figure out how he created his clouded blind eye in "The Road to Mandalay" until Michael Blake discovered that the actor had a local optician make a cosmetic version of the then-all-but-unknown contact lens, to completely cover his real eye.
<br/>
<br/>Nothing was allowed to stand in the way of his desired effects, including what his son characterized as "agonies." "Sometimes it would bleed like hell," said cinematographer Charles Van Enger, referring to the wires that contorted Chaney's nose in his "Phantom" makeup. "We never stopped shooting. He would suffer with it."
<br/>
<br/>Playing criminal mastermind Blizzard, "that cripple from Hell," in "The Penalty," Chaney went further still. To convincingly portray a man who'd had both legs amputated by a negligent surgeon, Chaney had his own strapped behind him, ankles close to thighs, and bound in leather stumps, adding to the illusion with clever use of oversized clothing. The pain was so intense that Chaney couldn't bear to wear the stumps for more than 10 or 20 minutes. Yet he was so absolutely believable that the film ended with a coda, now lost, of Chaney walking on his own legs to prove to audiences that he was a performer, not a real-life amputee.
<br/>
<br/>While the full extent of the pain Chaney endured is open to debate, the conviction he brought to these roles is inarguable. Created not by makeup or physical contortions, his intensity came from a very deep place, pulled from those dark, forever unknown depths whose existence he refused to acknowledge.
<br/>
<br/>The actor always insisted, as he did to "Hunchback" co-star Miller, that "you don't have to live the part, just act it. The point is not for you to cry; make your audience cry." But it is not possible to see Chaney in the best of his roles without believing that in his own way he did live them. Perhaps against his will and maybe even without his knowledge, Chaney was a Method actor before the term existed, someone who had an innate connection to the yearnings of his monstrous characters. "He'd say, 'Virg, make me look frightening and repulsive, but at the same time make the audience love me,' " cinematographer Virgil Miller told film historian Scott MacQueen. "He always wanted to be loved." It is the reason his work refuses to become dated, even if other aspects of his films do.
<br/>
<br/>Watching Chaney can be a kind of personal exorcism. Uninterested in being merely frightening, the actor collapses the distance between the audience and the screen, between us and them, insisting that we have empathy for the horror by making us complicit with it. No one has described the complex web of emotions this man creates better than lifelong Chaney fan Ray Bradbury, interviewed in Kevin Brownlow's comprehensive documentary, "Lon Chaney: A Thousand Faces":
<br/>
<br/>"He was someone who acted out our psyches," Bradbury explains. "He somehow got into the shadows inside our bodies; he was able to nail down some of our secret fears and put them on-screen." Truly, "the history of Lon Chaney is the history of unrequited loves. He brings that part of you out into the open, because you fear that you are not loved, you fear that you never will be loved, you fear there is some part of you that's grotesque, that the world will turn away from."
<br/>
<br/>Bradbury's words remind me that Chaney has the hold on me he does, scares me the way he does, in part because I take horror personally. I am susceptible to the genre's darkness, likely to feel overwhelmed by its power, incapable of viewing it, as many seem to, as a way to dispel the boredom of a bland world. The world is far from bland to me, and horror does not linger on the surface of my mind. It goes deep inside.
<br/>
<br/>Because Chaney, too, seems to connect with his material on a profound, unspoken level, he pulls me into his world. When he is on-screen I feel, paradoxically, like both the person being scared and the person scaring others—and that is a terrifying combination. As Bradbury says, to see Chaney is to feel that one may yet become the person the world will turn away from in horror and fear.
<br/>
<br/>Outlasting even Greta Garbo, Chaney resisted sound films, but he turned out to be so good in "The Unholy Three," his first talkie, that he swore to a notary that the five voices used by his character were all his. The final Chaney paradox was his death of bronchial cancer at age 47 before he could make a second. "Man of Thousand Faces," read the headline on the full-page Los Angeles Times obituary, "Takes But One To Grave." Lon Chaney is buried in a crypt in Forest Lawn in Glendale. It is unmarked.
<br/>
<br/>*</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 1 reply
</div>dianakaufmann2006-02-21T23:27:22Znew introductionsamazonikahttp://JazzAge.tribe.net/thread/a9b82783-b809-4990-bf4b-fda18a9af3f82006-02-21T00:07:50Z2006-02-21T00:07:50Z<div>
<br/>Hi everyone!
<br/>First, let me apologize for being a bit absent lately. I usually try to keep on top of spammers better, and try to get involved in more conversations, but I've been a bit out of the loop for various reasons.
<br/>
<br/>Anyway...I've noticed a lot more new people here -- welcome everybody!
<br/>And it's been a long time since we introduced ourselves the first time, so I'd like to invite anyone who hasn't yet to tell us a little bit about yourself, and especially "How did you become interested in the jazz age?"
<br/>
<br/>...you know, jazz-age aficionados are very interesting and unusual people! I'm really curious about some of you, and am looking forward to some cool discussions. Don't anyone be afraid to start one! :)
<br/>
<br/>Here's a link to the original Introductions thread: http://jazzage.tribe.net/thread/77b530a6-c284-43f8-a8b7-4685be6cc9dd
<br/></div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
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</div>amazonika2006-02-21T00:07:50ZCheck out Boulder Acoustic Societygarianhttp://JazzAge.tribe.net/thread/6985a7ad-9756-4157-badc-486cf6d1d2ea2006-02-17T05:13:49Z2005-12-04T22:08:50Z<div>I think folks in this tribe would dig them. Official website: http://www.boulderacousticsociety.net and there is also a free download of one of their shows at http://www.thespps.org/partners.php</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 2 replies
</div>garian2005-12-04T22:08:50ZTHIS THURSDAY FEB. 9th !! CROONERS & SONGBIRDS: LOVE is the SWEETEST THING!confettahttp://JazzAge.tribe.net/thread/866394dd-99c5-4497-a80b-67517a8d60cd2006-02-06T05:42:28Z2006-02-06T05:42:28Z<div>WHAT:
<br/>CROONERS & SONGBIRDS: LOVE is the SWEETEST THING!
<br/>A Pre-Valentine Celebration of Love Songs from the 20's & 30's
<br/>
<br/>Crooners & Songbirds is a monthly cabaret focusing on
<br/>vocal jazz, blues and popular music from the '20s and '30s.
<br/>This third installment will feature songs of love, longing and more featuring,
<br/>The Dimestore Dandy, Sara Klotz de Aguilar, Enzo Garcia and Tippy Canoe.
<br/>http://crooners.tribe.net
<br/>
<br/>WHEN:
<br/>Thursday February 9th, 2006, 8 pm
<br/>
<br/>WHERE:
<br/>Wilde Oscar's
<br/>1900 Folsom @ 15th St.
<br/>San Francisco, CA
<br/>(415) 621-7145
<br/>
<br/>MUSICIANS BIOS:
<br/>
<br/>* The Dimestore Dandy aka Rick Quisol *
<br/>Having mastered a full repertoire of cheerful tunes, Rick Quisol a.k.a. The Dimestore Dandy of The Frisky Frolics (vocals, kazoo and ukulele) offers a unique opportunity to travel back to an era when the harsh realities of the Depression were temporarily softened by snappy tunes, droll lyrics and the occasional ferocious kazoo solo.
<br/>www.angelfire.com/jazz/friskyfrolics
<br/>www.eastbayexpress.com/issues...ic.html
<br/>
<br/>* Sara Klotz De Aguilar *
<br/>Influences include the early recordings of Billie Holiday/Teddy Wilson, Ella Fitzgerald, Peggy Lee, Dinah Washington, Annette Hanshaw, and Ruth Etting - scratchy old 78s, big band, Dixieland, old-time music and all the jazz greats of the Art Deco era.
<br/>www.gigmasters.com/swing/SaraSwingtime/
<br/>
<br/>* Enzo Garcia *
<br/>Enzo Garcia has been a professionally performing musician for 10 years. He is a singer and a songwriter who accompanies his voice with guitar, accordion, 5-string banjo and harmonica.
<br/>www.enzogarcia.com/
<br/>
<br/>* Tippy Canoe *
<br/>Songbird and uke-slinger, Tippy Canoe, is on a mission to bring sincere uplift in a severely down- slanted era.
<br/>www.tippycanoe.net/
<br/>
<br/>FOR MORE INFORMATION PLEASE CONTACT:
<br/>Confetta aka Ann furlight@comcast.net</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 0 replies
</div>confetta2006-02-06T05:42:28ZHappy New Year, Cats!silverstreamhttp://JazzAge.tribe.net/thread/6a4f1928-9075-4692-b274-4b38daaa26322006-01-03T07:19:26Z2006-01-03T07:19:26Z<div>Bettty Boop. Louiis Armstrong....the Original Spike Jones...Django...yeah, people had somthin' warmand hot to keep tehm going during hard times...during good times!
<br/>Well, things can only get better is my "motto!...and i'm a Blues Woman, myself!
<br/>Taught 6 Saasy chicks the Charleston (by avid request!) on new Years day!
<br/>Jsut sayin' hey...and Hope you All have a Happy and Swing-Swing-Swingin' New year!
<br/>Recommended Winter reading : Really the Blues by Mezz Mezzerow
<br/>"Naked at the Feast...The Biography of Josephine Baker by Lynn Haney</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 0 replies
</div>silverstream2006-01-03T07:19:26ZNew tribe for SF tin-pan-alley hotcha bandinkvisionhttp://JazzAge.tribe.net/thread/606d4f75-7f06-4a8e-94d4-182b64ee67732005-12-17T07:44:33Z2005-12-17T07:34:56Z<div>Amazed that The Frisky Frolics didn't already have a tribe, I started one!
<br/>
<br/>Hope those of you who already know this great 20s-30s (and earlier) era group will join, as well as SF Bay area jazz lovers who are interested in being introduced to great live local music!!</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 2 replies
</div>inkvision2005-12-17T07:34:56ZFifty Million Frenchmanhttp://JazzAge.tribe.net/thread/a6b4b168-2c67-4fde-a966-30c374d5831e2005-12-11T08:04:02Z2005-12-11T02:10:18Z<div>With the Tide of Censorship inundating Tribe lately, I thought these lyrics to one of Sophie's songs fits in well:
<br/>
<br/>
<br/>They say the French are naughty
<br/>They say the French are bad
<br/>They all declare that over there, the French are going mad.
<br/>They have a reputation of being very gay
<br/>I just got back from Paris, and I just want to say:
<br/>When they go parley-vee and parley-vou,
<br/>This for me, zat for you,
<br/>Fifty million Frenchmen can't be wrong.
<br/>When they go Ohh la la la la la la la
<br/>On the bully boulevard
<br/>Fifty million Frenchmen can't be wrong.
<br/>They shake-a the hand
<br/>They shake-a the feet
<br/>They roll ze eyes and kiss cafe right on the street
<br/>Even though the Irish and the Dutch
<br/>Say it don't amount to much
<br/>Fifty million Frenchmen can't be wrong.
<br/>
<br/>All of our fashions come from gay Par-ee
<br/>And if they come above the knee
<br/>Fifty million Frenchmen can't be wrong.
<br/>And if they give the world a new design
<br/>To prove a lady has a spine
<br/>Fifty million Frenchmen can't be wrong.
<br/>They shorten them here,
<br/>They shorten them there,
<br/>And if her name is Teddy, they make Teddy bare.
<br/>If they prefer to see their women dressed
<br/>With more or less of less and less,
<br/>Fifty million Frenchmen can't be wrong.
<br/>When they put on a show, and it's a hit
<br/>No one tries to censor it
<br/>Fifty million Frenchmen can't be wrong.
<br/>And when a book is selling at it's best
<br/>It isn't stopped; it's not suppressed.
<br/>Fifty million Frenchmen can't be wrong.
<br/>Whenever they're dry
<br/>For brandy or rye,
<br/>To get it, they don't gave to give up their right eye.
<br/>And when we brag about our liberty
<br/>And they laugh at you and you and you and me
<br/>Fifty million Frenchmen can't be wrong.
<br/>
<br/>In Viva la France
<br/>They're full of romance
<br/>You'll find policemen with embroidery on their pants.
<br/>And when they start to sing the Marseillaise
<br/>They sing it forty different ways
<br/>Fifty million Frenchmen can't be wrong.
<br/></div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 1 reply
</div>2005-12-11T02:10:18ZTHIS THURSDAY Dec. 8 - Crooners and Songbirds at Wilde Oscar's in SFconfettahttp://JazzAge.tribe.net/thread/1e8cceea-fb03-4c67-866c-372755594f3b2005-12-08T08:48:42Z2005-12-04T20:06:44Z<div>Thurs. December 8th 2005 @ 8 PM
<br/>
<br/>
<br/>CROONERS & SONGBIRDS:
<br/>A Night of Songs from the Beginning of The Modern Era
<br/>
<br/>Wilde Oscar's
<br/>1900 Folsom St.
<br/>San Francisco
<br/>415-621-7145
<br/>
<br/>8pm
<br/>
<br/>Cost: FREE
<br/>
<br/>Megan Lynch, The Lacking in Vaudeville Sobriquette
<br/>www.myspace.com/meganlynch
<br/>
<br/>Kelly McCubbin, The Uke Apocalypse www.ukeapocalypse.com
<br/>
<br/>Rick Quisol, The Dimestore Dandy
<br/>www.angelfire.com/jazz/friskyfrolics/
<br/>
<br/>Come enjoy the piquant plunkings of the "jumping flea" (that's the
<br/>ukulele to those of you with the bowl haircuts) as our trio of
<br/>troubadours trill songs conceived in the crib of the 20th century.
<br/>
<br/>***************************
<br/>***************************
<br/>
<br/>This will be the first installment of Thursday night cabaret spotlights focusing on vocal jazz, blues and popular music from the '20s and '30s. Fans of Tin Pan Alley, The Great White Way and Storyville should beat a path to Wilde Oscar's door and let them know how you like your bread buttered (and yer FISH Battered)!
<br/>
<br/>More Crooners & Songbirds! </div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 3 replies
</div>confetta2005-12-04T20:06:44ZSeeking Sheet Music for "In a Great Big Way"http://JazzAge.tribe.net/thread/40e0f46e-1c63-40d4-8e65-c1c2d4eee2442005-12-06T22:00:41Z2005-11-17T15:40:37Z<div>The song is called "In a Great Big Way" from "Hello Daddy," and it was written by Dorothy Fields / Jimmy McHugh.
<br/>
<br/>I've been searching for it everywhere but cannot find sheet music, a MIDI file, anything. Any ideas? I have Janet Klein's recording of it, but I'm looking to perform it, so I need the accompanying music.
<br/>
<br/>Any ideas, suggestions greatly appreciated.</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 2 replies
</div>2005-11-17T15:40:37ZJazz Age Music Venue!confettahttp://JazzAge.tribe.net/thread/4b6304d0-aa80-49e3-af33-987b20e5f6b52005-12-04T07:50:55Z2005-11-28T17:06:31Z<div>
<br/>Thurs. December 8th 2005 @ 8 PM
<br/>
<br/>
<br/>CROONERS & SONGBIRDS:
<br/>A Night of Songs from the Beginning of The Modern Era
<br/>
<br/> Wilde Oscar's
<br/> 1900 Folsom St.
<br/> San Francisco
<br/> 415-621-7145
<br/>
<br/> 8pm
<br/>
<br/> Cost: FREE
<br/>
<br/> Megan Lynch, The Lacking in Vaudeville Sobriquette
<br/> www.myspace.com/meganlynch
<br/>
<br/> Kelly McCubbin, The Uke Apocalypse www.ukeapocalypse.com
<br/>
<br/> Rick Quisol, The Dimestore Dandy
<br/> www.angelfire.com/jazz/friskyfrolics/
<br/>
<br/> Come enjoy the piquant plunkings of the "jumping flea" (that's the
<br/> ukulele to those of you with the bowl haircuts) as our trio of
<br/> troubadours trill songs conceived in the crib of the 20th century.
<br/>
<br/> ***************************
<br/> ***************************
<br/>
<br/>This will be the first installment of Thursday night cabaret spotlights focusing on vocal jazz, blues and popular music from the '20s and '30s. Fans of Tin Pan Alley, The Great White Way and Storyville should beat a path to Wilde Oscar's door and let them know how you like your bread buttered (and yer FISH Battered)!
<br/>
<br/>More Crooners & Songbirds!
<br/>
<br/>yrs.
<br/>~FeTTs </div>
<div>
posted in
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- 4 replies
</div>confetta2005-11-28T17:06:31ZDjango's "Nuages" lyrics/vocal recording, anyone?Arielahttp://JazzAge.tribe.net/thread/d8006607-87cd-456a-bbda-a661a6b064b32005-11-24T22:28:45Z2005-11-24T22:28:45Z<div>I heard from SF band Gaucho's guitarist that there's words to his famoso song. Any leads appreciated!!
<br/>thanks,
<br/>Ariela</div>
<div>
posted in
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- 0 replies
</div>Ariela2005-11-24T22:28:45ZAuthentic period film?Sweet Bunnyhttp://JazzAge.tribe.net/thread/53da11e9-db66-4271-b0d9-f507bb9878f22005-11-17T02:37:30Z2005-10-18T18:04:44Z<div>Maybe I'm just a stickler for this sort of thing, but I find it so annoying (or just cheap) when a film is suppose to take place in the 20's or 30's, but it totally has modern sensibilities. For example: modern style makeup, hair, language. Besides the Merchant/Ivory films there are few that really seem realistic. "Chicago", give me a break. Same with "The Cat's Meow" (or maybe it was lame for other reasons). Does anyone have any recomendations?</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 11 replies
</div>Sweet Bunny2005-10-18T18:04:44ZA website you all may likeBurkshttp://JazzAge.tribe.net/thread/f6285d63-7282-4998-88bd-3d0298a2f57e2005-11-09T17:00:32Z2005-11-09T17:00:32Z<div>Please check out my new website, dedicated to the art of the pin-up. If you like pinup art, please go to
<br/>
<br/>www.pin-upartonline.com
<br/>
<br/>New paintings will be added on as I finish them, and they will soon be for sale, so keep checking up as the exhibited artwork on this site will change constantly. Feel free to contact me with questions, comments or if you are interested in buying. Enjoy!
<br/>
<br/>Thanks
<br/>Aaron</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 0 replies
</div>Burks2005-11-09T17:00:32ZJazz Age Session this Sunday @ Amnesia, SF: Crosspostsolcrawfordhttp://JazzAge.tribe.net/thread/246d400c-8f1f-48ba-a4a9-82c3ea1467da2005-11-03T21:37:22Z2005-11-03T21:37:22Z<div>The Jazz Age Session continues this Sunday and every first Sunday at Amnesia. Come down for the best and only period jazz session in SF, where two fresh-faced combos will blow full live sets of 20’s-40’s hot jazz that will get you toes tapping and all the vamps flapping. Don’t miss this unique evening of song and dance where traditional tunes get a new lease on life and hot footers get to hoof it up all night long!
<br/>
<br/>WITNESS some of the bay area’s best musicians letting it rip and opening up the bandstand for session musicians to make the music anew before your eyes.
<br/>
<br/>BE MOVED by the irresistible rhythms of our two jumpin’ house bands until you find yourself swinging and strutting on the dance floor.
<br/>
<br/>GET HAPPY with “Pass the Hat” introductory Swing dance lessons at 10:00 pm with Michael, dance instructor from Tuesday Night Jump! (www,TuesdayNightJump.com).
<br/>
<br/>Come down and watch us breathe life into these bygone delights – all for a vintage price - $5!!!!! Hotcha!
<br/>
<br/>Featuring:
<br/>Scott Larson’s Red Light Abatements letting the good time roll on with traditional jazz tunes and a “hot fives” style set up. These boys will transport you to the steamy basement club of your dreams with their brassy takes on such luminaries of the Jazz Age as Bix Biederbecke and Louis Armstrong.
<br/>
<br/>&
<br/>
<br/>Tin Cup Serenade - Swinging combo with a western croon
<br/>“Hopeful Songs of Tragedy, Tragic Songs of Hope...Nestled between the idioms of old time jazz, blues, and western swing, the Tin Cup Serenade croon, thump, and blow a sound that is loose, free, and fun to dance to.“
<br/>
<br/>********This is going to be a night so full on song and dance that we’re starting it off early – the trad jazz begins at 8:30!********
<br/>
<br/>Busters and Broads encouraged to wear their Sunday Jazz Age Best!
<br/>
<br/>What!?
<br/>The Jazz Age Session with
<br/>Scott Larson’s Red Light Abatements
<br/>Tin Cup Serenade
<br/>Jam session at each set + dancing
<br/>Intro Swing Lessons at 10:00 pm
<br/>
<br/>Where!?
<br/>Amnesia
<br/>853 Valencia @ 20th
<br/>
<br/>When!?
<br/>This Sunday, November 6nd & every first Sunday
<br/>***8:30 pm** sharp
<br/>
<br/>How Much?
<br/>Only $5 – jazz jam musicians free</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 0 replies
</div>solcrawford2005-11-03T21:37:22ZHave you Joined the CROONERS & SONGBIRDS TRIBE YET?confettahttp://JazzAge.tribe.net/thread/1e8801de-e231-4d8e-aaaf-6852c5899f162005-10-27T23:56:29Z2005-10-27T21:21:33Z<div>Can I invite you?
<br/>
<br/>The CROONERS & SONGBIRDS TRIBE is a perfect compliment to The Jazz Age Tribe : )
<br/>
<br/>It does not JUST focus on Crooners & Songbirds...
<br/>
<br/>but early jazz and blues, hot jazz, sweet jazz, literature and art of the Jazz Age and more ; )
<br/>
<br/>Crooners & Songbirds is full of interesting and intelligent people and YOU are INVITED!
<br/>
<br/>http://crooners.tribe.net/
<br/>
<br/>
<br/>Crooners & Songbirds
<br/>
<br/> croon ( P ) Pronunciation Key (krn)
<br/>v. crooned, croon·ing, croons
<br/>v. intr.
<br/>
<br/>1. To hum or sing softly.
<br/>2. To sing popular songs in a soft, sentimental manner.
<br/>3. Scots. To roar or bellow... more
<br/>
<br/>
<br/>croon ( P ) Pronunciation Key (krn)
<br/>v. crooned, croon·ing, croons
<br/>v. intr.
<br/>
<br/>1. To hum or sing softly.
<br/>2. To sing popular songs in a soft, sentimental manner.
<br/>3. Scots. To roar or bellow.
<br/>
<br/>v. tr.
<br/>
<br/>To sing softly or in a humming way: crooning a lullaby.
<br/>n.
<br/>
<br/>A soft singing or humming.
<br/>
<br/>song·bird ( P ) Pronunciation Key (sôngbûrd, sng-)
<br/>n.
<br/>
<br/>A bird, especially one of the suborder Oscines of passerine birds, having a melodious song or call.
<br/>
<br/>songbird
<br/>
<br/>n : any bird having a musical call [syn: songster]
<br/>
<br/>This is a tribe for people who love music. Crooners & Songbirds. Although "crooning" refers to a particular time and style...discussions about other "styles" and "times" are also encouraged - including (but not limited to) hot jazz, sweet jazz, early blues, dance bands, snynchopatin' rhythms, early swing and anything you would like to bring to the table!
<br/>
<br/>Russ Columbo, Whispering Jack Smith, Lee Morse, AL Bowlly, Gene Austin, Greta Keller, Sophie Tucker, Marlene Dietrich, Josephine Baker, Helen Morgan, Rudy Vallee, Mildred Bailey, Bessie Smith, Libby Holman, Tiny Tim, Ethel Waters, Hoagy Carmichael, Bing Crosby, The Boswell Sisters, to name just a few...
<br/>
<br/>
<br/>I Love Dancing - Josèphine Baker
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/baker/ilovedancing.ram
<br/>
<br/>
<br/>Charleston Charlie - Marion Harris (9-29-1924)
<br/>LISTEN:
<br/>http://www.redhotjazz.com/songs/harris/charlestoncharlie.ram
<br/>
<br/>yrs.
<br/>~confetta</div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 1 reply
</div>confetta2005-10-27T21:21:33ZMovie Memorabilia Helpwildcatkurhttp://JazzAge.tribe.net/thread/22e361d9-751c-4620-ad64-ee79ba102e572005-10-19T01:33:16Z2005-10-18T01:42:48Z<div>Hi. I have recently come into a huge amount of old movie memorabilia. My husband's grandfather was a movie buff - to the point that when he died, the University of Michigan bought the majority of it for $10,000,000. We are currently cleaning out the basement and have billions of stills (some autographed), posters, signs, magazines, books, press kits, and all kinds of other stuff - all of it relating to movies from the 1910's-1960's.
<br/>
<br/>Much of the stuff has been picked through by the university, and much more has been left in the basement and been somewhat damaged, but there are still literally ROOMS full of this stuff. I know I have at least one autographed Clara Bow - who signed it from the living room of the house we are cleaning out.
<br/>
<br/>Just wondering where to begin. We have done some cataloging of the press kits and posters, but not much after that due to the fact that we have, like, lives and stuff. Any suggestions? Any institutions or societies I should get in contct with? </div>
<div>
posted in
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- 2 replies
</div>wildcatkur2005-10-18T01:42:48ZFrisky Frolics, The Paper Dolls, The Scenic Sisters this Sunday @ Amnesiasolcrawfordhttp://JazzAge.tribe.net/thread/ad65fa51-20d3-4a55-888d-e3b0ff544f1f2005-10-13T00:03:56Z2005-10-13T00:03:56Z<div>ADORE!
<br/>
<br/>That is a word that that in my humble opinion, dear reader, has fallen into sad disuse. Do you remember what it’s like? That moonstruck sentiment that induces in one a starry eyed state of near innocent appreciation; wrapping one’s surrounding spheres of sensation in a soft focus lens and swelling the ol thumpity thump to thrice its size. Forget your calcified urbane orientation for a night, come to Amnesia this Sunday, and surrender to complete and total adoration (and delight) of two wonderful musical anomalies and one pair of feisty footed sisters that our fair city is lucky to hold within its flimsy bounds. Ah, adoration!
<br/>
<br/>First join us early for a screening of Alejandro Adams 2004 Documentary: “The Frisky Frolics: No Kitsch Intended”. A loving portrait of the anachronistic tin pan alley troupe, this film is described as “A Musical. A Comedy. A Documentary. No Matter what you call it this is the feel good movie of the year.”
<br/>
<br/>Then prepare yourself for a hot to trot jazz era evening of acts that, taking a cue from the 20’s and 30’s will demonstrate that even today the cure for the modern condition can lie in a strutting rhythm, a sweet melody sung sincerely, hot tap dancing, and snappy duds :
<br/>
<br/>The Paper Dolls: Velveeta voiced ukulele vixens, The Paper Dolls, will strut, strum and plunk their way into that place in your heart you thought had died when Pee Wee Herman fell from grace. The hot three-part harmonies delight your ears while their charming frames wear a fashionable feast for your eyes. Don’t miss their spectacular debut of a new “dummy” act!
<br/>
<br/>The Scenic Sisters are the cutest little buttons ever to be unfastened. We’re excited for them to grace out dancefloor with their tap dancing scene stealing glamour!
<br/>
<br/>The Frisky Frolics are everyone’s favorite good time fellas. This delightful combo of dapper chaps, voted Best band for the New Depression by the SFBG, is headed up by the uke slinging Rick Quisol, the original Dimestore Dandy with a canzoo attitude, These tin pan alley troubadours are guaranteed to bring a grin to even the sourest of pusses playing hotcha tunes that lifted many a spirit through the dusty days of the 20’s and 30’s.
<br/>
<br/>Put on your best duds and clear your dance cards! The champagne will flow this night!
<br/>
<br/>What!?
<br/>Frisky Frolics
<br/>The Paper Dolls
<br/>The Scenic Sisters
<br/>Screening of the Frisky Frolics Documentary @ 8 pm
<br/>
<br/>When!?
<br/>This Sunday, the 16th
<br/>Film @ 8 pm
<br/>Music at 9 pm
<br/>
<br/>Where!?
<br/>Amnesia
<br/>853 Valencia @ 20th, SF
<br/>
<br/>How Much!?
<br/>Only $5!</div>
<div>
posted in
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- 0 replies
</div>solcrawford2005-10-13T00:03:56ZJazz Age Session this Sunday @ Amnesia, SF: Crosspostsolcrawfordhttp://JazzAge.tribe.net/thread/ed52f79a-1e45-4b47-b05f-30e05035f0462005-09-29T19:29:17Z2005-09-29T19:29:17Z<div>The Jazz Age Session continues this Sunday and every first Sunday at Amnesia. Come down for the best and only period jazz session in SF, where two fresh-faced combos will blow full live sets of 20’s-40’s hot jazz that will get you toes tapping and all the vamps flapping. Don’t miss this unique evening of song and dance where traditional tunes get a new lease on life and hot footers get to hoof it up all night long!
<br/>
<br/>WITNESS some of the bay area’s best musicians letting it rip and opening up the bandstand for session musicians to make the music anew before your eyes.
<br/>
<br/>BE MOVED by the irresistible rhythms of our two jumpin’ house bands until you find yourself swinging and strutting on the dance floor.
<br/>
<br/>GET HAPPY with “Pass the Hat” introductory Swing dance lessons at 10:00 pm with Michael, dance instructor from Tuesday Night Jump! (www,TuesdayNightJump.com).
<br/>
<br/> Come down and watch us breathe life into these bygone delights – all for a vintage price - $5!!!!! Hotcha!
<br/>
<br/>Featuring:
<br/>Scott Larson’s Red Light Abatements letting the good time roll on with traditional jazz tunes and a “hot fives” style set up. These boys will transport you to the steamy basement club of your dreams with their brassy takes on such luminaries of the Jazz Age as Bix Biederbecke and Louis Armstrong.
<br/>
<br/> &
<br/>
<br/>Tin Cup Serenade - Swinging combo with a western croon
<br/>“Hopeful Songs of Tragedy, Tragic Songs of Hope...Nestled between the idioms of old time jazz, blues, and western swing, the Tin Cup Serenade croon, thump, and blow a sound that is loose, free, and fun to dance to.“
<br/>
<br/> ********This is going to be a night so full on song and dance that we’re starting it off early – the trad jazz begins at 8:30!********
<br/>
<br/>Busters and Broads encouraged to wear their Sunday Jazz Age Best!
<br/>
<br/> What!?
<br/> The Jazz Age Session with
<br/> Scott Larson’s Red Light Abatements
<br/> Tin Cup Serenade
<br/> Jam session at each set + dancing
<br/> Intro Swing Lessons at 10:00 pm
<br/>
<br/> Where!?
<br/> Amnesia
<br/> 853 Valencia @ 20th
<br/>
<br/> When!?
<br/> This Sunday, October 2nd & every first Sunday
<br/> ***8:30 pm** sharp
<br/>
<br/> How Much?
<br/> Only $5 – jazz jam musicians free</div>
<div>
posted in
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- 0 replies
</div>solcrawford2005-09-29T19:29:17Zthere an ether leak in here?magnathreehttp://JazzAge.tribe.net/thread/2ef5dd7e-2382-4ef2-92e4-53e39d2b10b22005-09-28T04:03:47Z2005-09-28T04:03:47Z<div>trixie smith - the worlds jazz crazy and so am i
<br/>
<br/>http://magnathree.com/mp3/The%20World's%20Jazz%20Crazy%20and%20So%20Am%20I%20-%20Trixie%20Smith.mp3</div>
<div>
posted in
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- 0 replies
</div>magnathree2005-09-28T04:03:47ZJazz age triple bill at 12 Galaxies Sept 23rdnicolemaronhttp://JazzAge.tribe.net/thread/5f08899f-7e05-43ce-9375-65537f24bff32005-09-16T00:56:28Z2005-08-16T08:21:20Z<div>..ok not strictly such, but each of the bands has major influences from our favorite era. Save the date!
<br/>
<br/>Rosin Coven - http://www.rosincoven.com/
<br/>From my own tribe review of them: "Imagine a séance in a post-WWII Montmarte cabaret, held by apache dancers and calling forth the spirits of Edith Piaf and Bugs Bunny, Eric Satie and Doris Day, Sun Ra and Kurt Weil, to get them to bake a birthday cake in a kitchen run by Charles Mingus, and you might get the tiniest glimpse into the nature of Pagan Lounge, the musical genre pioneered by this incontestably talented collection of magical beings."
<br/>
<br/>Zegnotronic Rocket Society - http://www.angelfire.com/jazz/zrs/
<br/>Delf-described as follows: "After kidnapping Sauguet, Auric, Poulenc, Cocteau, and Django Reinhardt, the ZRS have retreated to the outer edges of the galaxy.... Through ingeneous manipulation and torture devices and many baguettes - ZRS learned the musical secrets of Parisian swing in the 1930's..."
<br/>
<br/>Barbez - http://barbez.com/first.html
<br/>From their website: "Barbez takes shape in a sunstruck phantasm; Kurt Weill swims the length of a still pond, underwater The Residents are refurbishing their home, Erik Satie descends from above to lie in the grass and sip seltzer. Shapes emerge from flowering trees and a Dionysian wedding dance ensues. Provoked by such musics as French musette, Argentine tango, post-war classical and pre-MTV punk, Barbez wrings these disparate worlds to form anew in the band's own soundscape."
<br/></div>
<div>
posted in
<a href="http://JazzAge.tribe.net">The Jazz Age (1920s-1940s)</a>
- 1 reply
</div>nicolemaron2005-08-16T08:21:20ZBE BOP?? BOOP-BOOP-A-DOOP!! : )confettahttp://JazzAge.tribe.net/thread/7380eb53-f2c7-4404-9cb2-0eab22c0010f2005-09-12T21:11:36Z2005-09-10T04:37:34Z<div>On a LIGHTER NOTE:
<br/>
<br/>
<br/>HELEN KANE and that
<br/>Boop-Poop-a-doop !!
<br/>
<br/>
<br/>Helen Kane was the obvious model for
<br/>the Betty Boop cartoons, even if the
<br/>judge did rule against her - she sued the
<br/>creators of the cartoon series and the
<br/>case was in the court system for some-
<br/>thing like two years!!
<br/>
<br/>
<br/>Helen Kane aka Betty Boop Collection
<br/>www.angelfire.com/retro2/vi...er06/HelenKane.htm
<br/>
<br/>
<br/>Kane, Helen
<br/>
<br/>(b 1904; d September 1966) Baby-doll singer, famous as the ‘boop-boop-a-doop’ girl. Her little-girlish voice with its Bronx accent was stolen by the creators of cartoon character Betty Boop. She appeared in a Marx Brothers revue; put forward by conductor Paul Ash, she sang ‘That’s My Weakness Now’ (by Bud Green and Sam H. Stept) in show A Night In Spain ’27; the show flopped after 22 performances but Kane was a hit, signed for a week at the Paramount that stretched to six weeks, then to a recording contract with Victor.
<br/>
<br/>
<br/> In the musical show Good Boy ’28 she sang ‘I Wanna Be Loved By You’ (by Harry Ruby and Bert Kalmar); she allegedly disliked the song and had to be talked into it by impresario Oscar Hammerstein, then threw in the phrase ‘boop-boop-a-doop’ which made her famous. On her first two recordings the music director was Nat Shilkret, on the rest Leonard Joy. Her technical skills, timing, enunciation and intonation, were very good, but nearly all the 22 songs she recorded 1928-30 were meant to sound like flapper novelties (‘Is There Anything Wrong In That?’ was meant to be suggestive). An exception was Rodgers & Hart’s ‘If I Knew You Better’. It was a good attempt at a ballad, and one of the last records she made; maybe she was tired of being typed as a ninny.
<br/>
<br/>
<br/> Inevitable she went to Hollywood, and appeared in Paramount pictures Nothing But The Truth, Sweetie, Pointed Heels, Dangerous Nan McGrew (played the lead and recorded the title song), Heads Up, Flying High, Young Men Of Manhattan and Paramount On Parade, all 1929-30.
<br/>
<br/>
<br/> Max and Dave Fleischer’s Talkatoon series in 1930 featured Betty Boop, who had big eyes, a very short skirt and was considered salacious for the time; the voiceover was done by Ann Rothschild or Mae Questal (experts disagree). Kane sued the Fleischers for stealing her stuff, but the lawyers won, convincing the court that Kane has stolen her ‘boop-boop-a-doop’ from a black singer, Baby Esther. Her career faded with the Great Depression; she appeared in flop show Shady Lady ’33 but made no more films. In 1950 she recorded a track for the 18-year-old Debbie Reynolds to mime in film Three Little Words, a film biopic of Kalmar and Ruby. She died of cancer a few hours after seeing the film on TV.
<br/>
<br/>***************************
<br/>Betty Boop Sound Bites:
<br/>***************************
<br/>
<br/>"Made of pen and ink...
<br/>www.everwonder.com/david/be...oop/sound/swtbety.wav
<br/>
<br/>
<br/>"Don't Take My Boop--s-Doo Away:
<br/>www.everwonder.com/david/be...oop/sound/boopaway.wav
<br/>
<br/>
<br/>"Come Inside Big Boy"
<br/>www.everwonder.com/david/be...oop/sound/boopcmin.wav
<br/>
<br/>
<br/>"A saxophone can go..."
<br/>www.everwonder.com/david/be...oop/sound/boopsax.wav
<br/>
<br/>
<br/>"..those house cleaning blues..."
<br/>www.everwonder.com/david/be...oop/sound/boopblue.wav
<br/>
<br/> "Ain't she cute...sweet Betty..."
<br/>www.everwonder.com/david/be...oop/sound/bbcute.wav
<br/>
<br/>Arpents verts nous voiciiiiiiiiiiii!
<br/>www.maggiore.net/greenacre...unds/gaFrench.wav
<br/>
<br/>
<br/>***************************
<br/>
<br/>LISTEN:
<br/>
<br/>DANGEROUS NAN McGREW
<br/>From the film "Dangerous Nan McGrew" (1930)
<br/>Helen Kane - 1930
<br/>
<br/>www.angelfire.com/retro2/vi...er06/Music/HelenKaneDangerousNanMcGrew.wav
<br/>
<br/>Hotcha, Chacha, Vo-doe-de-oh,
<br/>And Boop-oop Poop-oop-a-doop.
<br/>Tootin', shootin', high-falutin',
<br/>I make you loop the loop.
<br/>
<br/>I'm from the great North West.
<br/>I'm dif'rent from the rest.
<br/>Stand up, stand up, throw your hands up,
<br/>I shoot pants and vest.
<br/>
<br/>Oh, I've been a bad girl all my life.
<br/>I pick my teeth with a carving knife,
<br/>And I make a widow of a wife.
<br/>'Cause I'm dangerous Nan McGrew.
<br/>
<br/>Why, I slapped Jack Dempsey in the face
<br/>And I make barbed wire look like lace
<br/>And I throw myself right out of place
<br/>'Cause I'm dangerous Nan McGrew.
<br/>
<br/>And I eat dynamite
<br/>And I blow up in spite
<br/>I shoot everything in sight
<br/>Beware! Boom boom! Take Care! Poo poo!
<br/>
<br/>With one breath, I sink a boat
<br/>And if anybody gets my goat
<br/>I cut myself a piece of throat
<br/>'Cause I'm dangerous Nan McGrew.
<br/>
<br/>Why, bullets, they bounce right off my chest
<br/>And I sleep on a hornet's nest
<br/>Why, I'm the gal sends show men west
<br/>'Cause I'm dangerous Nan McGrew.
<br/>
<br/>Why, lions tremble when I frown
<br/>When that great big Zeppelin came to town,
<br/>Remember? I'm the one that held it down
<br/>Because I'm dangerous Nan McGrew.
<br/>
<br/>I like destroying pelf
<br/>I shoot bottles off the shelf
<br/>I'm so bad I scare myself.
<br/>Take care! Boom boom! Beware! Poo poo!
<br/>
<br/>Why, I pull a train right off the tracks
<br/>And for perfume, I use shellac
<br/>When mad dogs bite, I bite 'em back
<br/>Grrrr! 'Cause I'm dangerous Nan McGrew!
<br/>
<br/>
<br/>
<br/>
<br/>I Want To Be Bad
<br/>www.angelfire.com/retro2/vi...er06/Music/HelenKaneIWantToBeBad.wav
<br/>
<br/>
<br/>That's My Weakness Now
<br/>www.angelfire.com/retro2/vi...er06/Music/HelenKaneThatsMyWeaknessNow.wav
<br/>
<br/>
<br/>Get Out And Get Under The Moon
<br/>www.angelfire.com/retro2/vi...er06/Music/HelenKaneGetOutAndGetUnderTheMoon.wav
<br/>
<br/>
<br/>Don't Be Like That
<br/>www.angelfire.com/retro2/vi...er06/Music/HelenKaneDontBeLikeThat.wav
<br/>
<br/>
<br/>LISTEN TO THEM ALL !!!
<br/>www.angelfire.com/retro2/vi...er06/HelenKane.htm
<br/>
<br/>
<br/>
<br/>Vo-Dee-oh-Do!
<br/>ThaT's ALL!
<br/>
<br/>~confetta
<br/>http://people.tribe.net/confetta</div>
<div>
posted in
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</div>confetta2005-09-10T04:37:34Zjazz age cars . . .magnathreehttp://JazzAge.tribe.net/thread/8ce633c8-71c5-42d8-99bd-3ef7858fef812005-09-11T07:10:38Z2005-08-02T06:08:34Z<div>the "jazz age" cars dont start till page 2 but
<br/>its worth stating at the beginning . . .
<br/>http://www.findthebesthere.com/classics1.htm
<br/>Whats yer favorite?
<br/>I think the most beautiful cars of the jazz age (Dusenburgs)
<br/>were made here in indiana . . .
<br/>(Auburns , Cords and the Stutz Bearcat were too)
<br/>http://www.acdmuseum.org/</div>
<div>
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</div>magnathree2005-08-02T06:08:34ZWhat is Bebop? (a series of quotes)inkvisionhttp://JazzAge.tribe.net/thread/07cc64f1-7bb0-4115-b959-c98a3ce2db1e2005-09-08T08:12:20Z2005-09-01T03:28:36Z<div>“Bebop is a music of revolt: a revolt against big bands, arrangers, vertical harmonies, soggy rhythms, non-playing orchestra leaders, Tin Pan Alley—against commercialized music in general.”
<br/>— critic Ross Russell, 1948
<br/>
<br/>Bebop players “like to wear berets, goatees and green-tinted horn-rimmed glasses, and talk about their ‘interesting new sounds,’” while their “rapid-fire, scattershot talk has about the same pace and content as their music.”
<br/>"How Deaf Can You Get?" Time (May 17, 1948)
<br/>
<br/>“How to use notes differently. That’s it. Just how to use notes differently.”
<br/>—bebop pianist Thelonius Monk, c. 1965
<br/>
<br/>“What bebop amounts to: hot jazz overheated with overdone lyrics full of bawdiness, references to narcotics and doubletalk.”
<br/>—Time, 1946
<br/>
<br/>“This is the sort of bad taste and ill-advised fanaticism that has thrown innumerable impressionable young musicians out of stride.”
<br/>Review of Charlie Parker, Downbeat (April 22, 1946)
<br/>
<br/>“[Bebop musicians] want to carve everyone else because they’re full of malice, and all they want to do is show you up, and any old way will do as long as it’s different from the way you played it before. So you get all them weird chords which don’t mean nothing, and first people get curious about it just because it’s new, but soon they get tired of it because it’s really no good and you got no melody to remember and no beat to dance to. So they’re all poor again and nobody is working, and that’s what that modern malice done for you.”
<br/>—Louis Armstrong, 1948
<br/>
<br/>“I don’t want you playing that Chinese music in my band!”
<br/>—Cab Calloway, c. 1955
<br/>
<br/>“Everytime a cop hits a Negro with his Billy club, that old club says, ‘BOP! BOP!…BE-BOP!…MOP!…BOP!…That’s what Bop is. Them young colored kids who started it, they know what bop is.”
<br/>—Langston Hughes, 1949
<br/>
<br/>“We didn’t go out and make speeches or say, ‘Let’s play eight bars of protest.’ We just played our music and let it go at that. The music proclaimed our identity; it make every statement we truly wanted to make.”
<br/>—bebop trumpeter Dizzy Gillespie, 1979
<br/>
<br/>(from http://historymatters.gmu.edu/mse/Songs/question3.html)</div>
<div>
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</div>inkvision2005-09-01T03:28:36ZHarold Lloydfidobarkshttp://JazzAge.tribe.net/thread/a6ad8ea1-5e9d-4c12-8a12-cb8760b9f6262005-09-08T08:01:18Z2005-09-06T19:33:31Z<div>I work at the Castro Theatre. WE just had a Harold Lloyd festival which was great. I had the rare opportunity to DJ to one of the films because the organist didnt have time to locate score or put anything together. Did a mix for "Why Worry?" which turned out really good. Used a lot of 1930s latin stuff, Francisco Canaro, Gino del Signore...and other stuff as well, Connie Boswell singing The Carioca, and used Yma Sumac for the battle scene at the end. Also used some Whispering Jack Smith ditties for opening and closing scenes.
<br/>
<br/>Upcoming Dueling Divas: Joan vs. Bette series should really be a blast. Film Noir lovers will enjoy "Mildred Pierce", "Possessed", "The Letter"....tons of other classics..."Now Voyager" "The Women", "All About Eve", Strat-Jacket"....special Midnight screenings of "Whatever Happened to Baby Jane?" and "Mommie Dearest". Hope yuoall can make it!</div>
<div>
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- 4 replies
</div>fidobarks2005-09-06T19:33:31ZEddie Cantorfidobarkshttp://JazzAge.tribe.net/thread/7efa572f-e21a-4182-bb03-b7621942c3be2005-09-06T19:24:18Z2005-09-06T19:24:18Z<div>Just saw Sharon McKnight perform at Cherery House Labor Day party. She sang a 1923 song by Eddie Cantor but cant remember the name...something like "I likes'em dumb" or something like that. Anybody know the actual name of song, and if its was recored? on cd?</div>
<div>
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</div>fidobarks2005-09-06T19:24:18ZCross post: The Jazz Session at Amnesia this Sundaysolcrawfordhttp://JazzAge.tribe.net/thread/edc81b61-97b3-4f52-b3af-42b94b9ae3132005-09-02T02:45:10Z2005-09-02T02:45:10Z<div>Sorry for the spam but this is hot!
<br/>
<br/>The Jazz Age Session continues this Sunday at Amnesia. All you lovers of the hot times were jazz reigned supreme get your getup on and come down to Amnesia this Sunday for a unique evening of period Jazz strictly from the 20’s – 40’s. Those who attended August’s kick off of this monthly event were treated to toe tapping tunes played by some of the bay area’s hottest jazz musicians playing standards and letting it rip during the jam session portions of the night.
<br/>
<br/>And boy will it swing! The dance floor will be cleared and we hope that you take advantage of these toe tapping tunes to get your two step on. As an added incentive we’ll throw in “Pass the Hat” introductory Swing dance lessons at 10:00 pm with Michael from Tuesday Night Jump! (www,TuesdayNightJump.com). Dancing all night long!
<br/>
<br/>Come down for this all in one combination of hot jazz sets, jam sessions and dancing with lessons – all for a vintage price - $5!!!!! Hotcha!
<br/>
<br/>Featuring:
<br/>Scott Larson’s Red Light Abatements letting the good time roll on with traditional jazz tunes and a “hot fives” style set up. These boys will transport you to the steamy back door club of your dreams with their brassy takes on such luminaries of the Jazz Age as Bix Biederbecke and Louis Armstrong.
<br/>
<br/> &
<br/>
<br/> Tin Cup Serenade - Swinging combo with a western croon
<br/> Hopeful Songs of Tragedy, Tragic Songs of Hope...Nestled between the idioms of old time jazz, blues, and western swing, the Tin Cup Serenade croon, thump, and blow a sound that is loose, free, and fun to dance to.
<br/>
<br/> ********This is going to be a night so full of song and dance that we’re starting it off early – the trad jazz begins at 8:30!********
<br/>
<br/> What!?
<br/> The Jazz Age Session with
<br/> Scott Larson’s Red Light Abatements
<br/> Tin Cup Serendade
<br/> Jam session at each set + dancing
<br/> Intro Swing Lessons at 10:00 pm
<br/>
<br/> Where!?
<br/> Amnesia
<br/> 853 Valencia @ 20th
<br/>
<br/> When!?
<br/> This Sunday, September 4th & every first Sunday
<br/> ***8:30 pm** sharp
<br/>
<br/> How Much?
<br/> Only $5 – jazz jam musicians free</div>
<div>
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</div>solcrawford2005-09-02T02:45:10ZGadjo Project @ Catalyst Cocktails 9/231337http://JazzAge.tribe.net/thread/7362ab60-51ca-4746-ae31-4fb3b8b306b02005-08-26T20:24:05Z2005-08-23T19:12:50Z<div>It looks like we're going to be playing some Jazz Age Hot Club favorites for your listening pleasure!
<br/>
<br/>Join us for an evening of music and drinks at San Francisco's best new Art Deco bar, Catalyst Cocktails!
<br/>
<br/>http://www.gadjoproject.com
<br/>http://www.catalystcocktails.com
<br/>
<br/>Do you have a song request? Contact me (Justin) at: 415.286.2299 :)</div>
<div>
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- 3 replies
</div>313372005-08-23T19:12:50ZVau de Vire tonightcream99http://JazzAge.tribe.net/thread/12a709c4-d2af-451b-941c-7599573cec042005-08-14T19:02:47Z2005-07-01T00:01:56Z<div>Vau de Vire will be at Great American Music Hall tonight dancing to Rosin Coven....anybody into it?? I have never seen Rosin C before.
<br/>
<br/>-cream
<br/>
<br/></div>
<div>
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</div>cream992005-07-01T00:01:56ZTin Cup SerenadeSafahttp://JazzAge.tribe.net/thread/6ed216bb-ac76-4bf5-9b4b-c6275185db532005-08-13T22:29:44Z2005-08-12T02:59:22Z<div>Yep, thats right folks. This sunday, &lt;a href=http://www.tincupserenade.com>Tin Cup Serenade&lt;/a> and the Lucky 7 will be performing at Amnesia (853 Valencia, sf ca 94110) starting at 8.30. Lucky 7 will be playing Hot 5 & 7 arrangements for our listening pleasure, while Tin Cup Serenade plays swing, country, and tin pan alley for you to cut a rug to.
<br/>
<br/>oh and there will be dance lessons as well, so show up on the early side!</div>
<div>
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</div>Safa2005-08-12T02:59:22ZThis Sunday: Cotton Club live radio transcription from 1931gotrhythmhttp://JazzAge.tribe.net/thread/89aa3fc9-1c00-4790-915b-827b2b2c91ab2005-08-09T20:10:40Z2005-08-09T20:10:40Z<div>This should be interesting. It's the first U. S. broadcast of a unique 1931 radio transcription from the Cotton Club. (See the Events section.) Sunday, August 14, 2005.</div>
<div>
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</div>gotrhythm2005-08-09T20:10:40Zjazz in the Universal Cafècliffhttp://JazzAge.tribe.net/thread/88b8cc13-7b97-43a9-bc12-50bf7ff890f82005-08-05T20:02:49Z2005-08-05T20:02:49Z<div>Hi!
<br/>
<br/>Maybe after a Jazz concert here you have a cup of coffee in the Universal Cafè:
<br/>
<br/>http://tribes.tribe.net/universalcafe
<br/>
<br/>See you soon at the Universal Cafè!
<br/>
<br/>Best regards
<br/>
<br/>Cliff
<br/>
<br/>
<br/></div>
<div>
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</div>cliff2005-08-05T20:02:49ZGREAT site to buy mp3s of old radio shows....nicolemaronhttp://JazzAge.tribe.net/thread/5b1cc85a-4b9e-487d-a2d3-106c154b28252005-07-29T00:41:45Z2005-07-06T01:33:16Z<div>and it's just the bee's knees. I just found this today, and the guy who runs, it, Doug, is very nice over email. I bought 4 CDs and he emailed me back telling me I qualified for a freebie, and then ASKED me which one I wanted.
<br/>
<br/>There's a wealth of comedy, music, westerns, mysteries, and more. They have an astonishing selection of political pieces and religious broadcasts - I bought a CD of what I think might be ALL of Roosevelt's fireside chats and radio addreseses, and I also bought one with all of Winston Churchill's wartime addresses - something about the war in Iraq makes me long for a cause with honor, something that would make me feel more proud to be an American. Plus I got a little Grand Ole Opry, some swing for the troops, and a collection of Humphrey Bogart's radio appearances.
<br/>
<br/>The Good Ole Days - http://www.thegoodolddays.ca/page1.htm
<br/>
<br/>Love them, buy them, send Douglas a nice little note with your purchase.</div>
<div>
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- 12 replies
</div>nicolemaron2005-07-06T01:33:16ZDjangoFest in Santa Cruz, Aug 1nicolemaronhttp://JazzAge.tribe.net/thread/24b1597f-0fac-454f-b5ed-fc83613a10912005-07-26T21:13:01Z2005-07-26T21:13:01Z<div>I heard Angelo Debarre a couple of months ago, he's amazing, it's like being in a smoky cafe in an as-yet unfashionably gritty district of Paris, hearing the angels singing from the guitar of a dirty-fingernailed fellow who tried to steal your wallet on the way in.
<br/>
<br/>~N~
<br/>
<br/>
<br/> *Django Reinhardt Festival* *Monday August 1, 2005*
<br/>
<br/>
<br/>/“… swing-jazz at its very //“… swing-jazz at its very best ...”
<br/>/– allaboutjazz.com
<br/>
<br/>The spirit of “Le Jazz Hot” reigns supreme with the Django Reinhardt Festival, a tribute to the Gypsy swing-master who redefined the role of jazz guitar in the 1930s. The festival, begun in New York City in 2000, features some of the foremost practitioners of the classic café jazz tradition pioneered by Reinhardt. If there is a style of jazz that people of any musical persuasion can easily to relate to, it’s this one. Lyrical and swinging, Django’s music continues to inspire and delight. Come hear for yourself with European swing masters Angelo DeBarre on lead guitar, Samson Schmitt on rhythm and lead guitar; Florin Niculescu on violin, Ludovic Beier on accordion and Brian Torff on bass.
<br/>
<br/>_TICKETS AND INFORMATION_
<br/>$20/Adv $23/Door
<br/>7:00 & 9:00pm
<br/>
<br/>http://www.kuumbwajazz.org/calendar/index.htm </div>
<div>
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</div>nicolemaron2005-07-26T21:13:01Zmore vintage jazz mp3s for downloadnicolemaronhttp://JazzAge.tribe.net/thread/9ee01079-5c55-439e-8f1b-3f806f8ecc282005-07-15T04:03:28Z2005-05-11T17:25:30Z<div>Hey there, found a great site by a guy who just wanta to preserve and share this incredible music:
<br/>
<br/>http://www.2multiples.com/hotdance/index.htm
<br/>
<br/>
<br/>The downloads change weekly. Please feel free to make a donation.</div>
<div>
posted in
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- 5 replies
</div>nicolemaron2005-05-11T17:25:30ZHow funny is Harold Lloyd?edwin_heavenhttp://JazzAge.tribe.net/thread/c36c0aa9-d249-4a38-883b-2852a7738fba2005-07-12T23:51:32Z2005-07-09T07:29:07Z<div>Smart funny.
<br/>
<br/>Sweet funny.
<br/>
<br/>Fall down funny.
<br/>
<br/>Just saw For Heaven's Sake (1926) at the San Francisco Silent Film Festival he was so brilliant, his gags so perfectly executed, the audience was laughing and applauding at the same time.
<br/>
<br/>I doubt if there are comics today who can even come close to Mr. Lloyd. Jacque Tati in the late '40s and '50s ... but during the Jazz Age, Harold Lloyd was KING.</div>
<div>
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- 7 replies
</div>edwin_heaven2005-07-09T07:29:07ZGadjo Project at Catalyst Cocktails (8/11)minorswinghttp://JazzAge.tribe.net/thread/963a7932-441b-4c34-b970-4829140d1add2005-07-12T19:33:58Z2005-07-12T19:33:58Z<div>Hey everyone!
<br/>
<br/>Come check us out from 6:30-8:30 PM at Catalyst Cocktails, a swingin' Art Deco bar in the heart of San Francisco. No cover! Just bring your friends and a desire to enjoy your favorite alcoholic beverages while groovin' to great acoustic jazz music. See ya there!
<br/>
<br/>www.catalystcocktails.com
<br/>www.gadjoproject.com
<br/>
<br/>Gadjo Project, Live at Catalyst Cocktails
<br/>Thursday, August 11th
<br/>6:30 - 8:30 PM</div>
<div>
posted in
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</div>minorswing2005-07-12T19:33:58ZRetro Photographyhttp://JazzAge.tribe.net/thread/78db64d0-163e-4931-9e4c-124f211e67612005-07-09T23:48:21Z2005-07-09T23:48:21Z<div>Hello Jazz Age type folks,
<br/>
<br/>SF bay area photographer interested in connecting with folks wanting shots of themselves in their Jazz Age rags....as it were. From Flapper to Art Deco to Film Noir.....only cost you a beer (I do other photography to pay the rent). My studio is in Livermore......yeah, I know way the ____ out there!?
<br/>
<br/>Watch your back!
<br/>Jim
<br/>
<br/>http://www.lafterhall.com/intro.html</div>
<div>
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</div>2005-07-09T23:48:21ZThe Paper Dolls & Tin Cup Serenade this Sunday in SFsolcrawfordhttp://JazzAge.tribe.net/thread/3f1f5a5e-3f87-42ea-9c57-532a141301592005-07-08T21:49:15Z2005-07-08T21:49:15Z<div>One thing that I love about music from the jazz age is its ability to tell simple stories of love, hope, and loss with a fresh and innocent flair. In a faster-than-the-speed-of-sound post-modern era, music from (and inspired by) the jazz age has a way of slowly and gently charming it’s way under your skin. It politely invites itself inside for a cup of tea and ends up shacking up with your heart, where it’s catchy melodies and good-natured lyrics keep your ticker thumping in swing time.
<br/>
<br/>Come down to Amnesia for a pairing that’s sure to make you swoon and get your feet tapping to halcyon tunes. The Paper Dolls and Tin Cup Serenade are two local jazz age gems that are mined from a bygone time where everything sparkled just a bit brighter and the music swung a little harder.
<br/>
<br/>The Paper Dolls are a trio of fresh-faced fillies with silken voices strumming three ukuleles as if they were the heartstrings of cherubic cupid himself. These sweet tarts takes on popular tunes from the 20’s and 30’s to the even 80’s will transport you back to the day where dreams could be bought for a dime a dance.
<br/>
<br/>Hopeful Songs of Tragedy, Tragic Songs of Hope...Nestled between the idioms of old time jazz, blues, and western swing, the Tin Cup Serenade croon, thump, and blow a sound that is loose, free, and fun to dance to. These boys are the house band in the jump shack that originally sat upon the sight that Elvis built his heartbreak hotel. Once they strike up the band, you’ll find yourself on the dance floor in no time looking for you chance at bittersweet romance.
<br/>
<br/>What!?
<br/>The Paper Dolls
<br/>Tin Cup Serenade
<br/>
<br/>When!?
<br/>This Sunday, the 10th
<br/>9 pm
<br/>
<br/>Where!?
<br/>Amnesia
<br/>853 Valencia @ 20th</div>
<div>
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</div>solcrawford2005-07-08T21:49:15ZRing Lardner?ShannonQhttp://JazzAge.tribe.net/thread/39d93994-9317-4c4e-9c36-585c8f6846a02005-07-05T18:21:32Z2005-07-04T20:28:12Z<div>Anybody here a Ring Lardner fan?
<br/>
<br/>I've stumbled across him in the course of a project I'm putting together. He's rarely mentioned in the same breath as better-known modernists, even though Fitzgerald and Hemingway both knew, hung out with, and cited him as an influence to varying degrees.
<br/>
<br/>I've already tracked down a few good web sources and a bibliography, but I'd be interested in the thoughts of anybody who has them. He's not somebody I've ever thought about, though I seem to remember my dad liked him.
<br/>
<br/>I just discovered yesterday that he and I grew up in the same county in southwestern Michigan, hence some of my interest.</div>
<div>
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- 1 reply
</div>ShannonQ2005-07-04T20:28:12ZTROUBLE IN PARADISE: PRE-CODE HOLLYWOODHandsome_Jackhttp://JazzAge.tribe.net/thread/c5a37e35-508c-474d-badd-3c65b25f79562005-07-04T02:46:02Z2005-07-02T21:09:07Z<div>How 'bout that other Ol' Time film festival happening by the Bay?
<br/>http://bampfa.berkeley.edu/pfa_programs/precode/index.html
<br/>
<br/>Starting tonight, the Pacific Film Archive, located on the South edge of the Berkeley campus (a block east of Sather Gate), will be kicking off their rep festival of pre-code movies from the early thirites, depicting an era when the liberated elite of this puritanically strapped country were feeling their oats and exploding with cynical, yet unjaded honesty and exploring the "modern" in all its glory.
<br/>
<br/>Come watch a young Barabara Stanwyck and Myrna Loy kick in the teeth of respecatble society. Come see the works of Anita Loos, Josef Von Sternberg, Ernst Lubitsh, Ben Hecht attempt to give hope and different spiritual path options to the bold during a time of deep depression. Come see the Freaks, the Red-Headed Women, the Lady Killers, the Baby Faces. See the Hot Voodoo. Peel a Grape.
<br/>
<br/>The series starts tonight with two Lubitsch films: TROUBLE IN PARADISE (7 pm) followed by DESIGN FOR LIVING (8:45). Parking on Bancroft and Bowditch.</div>
<div>
posted in
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</div>Handsome_Jack2005-07-02T21:09:07ZSF Bay Area deco eventKendrahttp://JazzAge.tribe.net/thread/b4afc8a4-9c16-46b8-9a11-27b40f9f83ce2005-06-15T19:40:41Z2005-06-14T20:53:11Z<div>The Greater Bay Area Costumers Guild has a 1920s-30s themed event coming up that I thought might be of interest to members of this tribe:
<br/>
<br/>Let's Putter Around
<br/>Saturday, July 16, 2005
<br/>
<br/>Oh Dear! Bertie Wooster and his pals have decided to spend a day on the links. Bertie wants to show off his new swing. Gussie Fink-Nottle wants to impress Madeline. As usual, Jeeves will save the day. A 1920's/1930's afternoon of mayhem and miniature golf. Karts-N-Golf, 34805 Ardenwood Blvd., Fremont, CA 94555. Tickets are now on sale: GBACG $6.50; Non-members $7.50; Children (11 and under) $5.75.
<br/>
<br/>More info, including the link to buy tickets: http://www.gbacg.org/putter-around.htm</div>
<div>
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</div>Kendra2005-06-14T20:53:11ZErté fans...check this out!amazonikahttp://JazzAge.tribe.net/thread/e5bb4c3c-950b-4762-ae7a-c391c2b404582005-06-13T17:40:50Z2005-06-13T00:02:17Z<div>
<br/>I had a surprising an wonderful experience today!
<br/>I went to a baby shower for my brother's new son. It took place at his mother-in-law's company HQ. She is an affluent woman and art collector.
<br/>
<br/>As I was munching away on food, I looked around me and nearly fell over when I realized I was surrounded by original Erté silkscreens! I think there were about 8 of them in the room, most of them either 6/300 or 7/300. They are very nice prints, and very valuable.
<br/>
<br/>I am such a huge Erté fan myself, and I have never seen any originals...I was so surprised and overwhelmed I nearly cried, they were so beautiful! Just breathtaking! And so unexpected!
<br/>
<br/>I took pictures, which I have uploaded in this tribe's gallery. Unfortunately I wasn't able to get really top quality photos, due to the poor lighting and having to just take quick snaps. But I hope they give an idea of their beauty.
<br/>
<br/>The monochromatic pictures are actually detailed with a very shimmering silver that didn't come out too well in the shots. The ones with red background have striking glistening gold details.</div>
<div>
posted in
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- 2 replies
</div>amazonika2005-06-13T00:02:17ZDjangofest 2005nicolemaronhttp://JazzAge.tribe.net/thread/09abcb16-b705-4fd2-ba8d-775f39f751982005-06-12T00:07:04Z2005-06-07T20:42:08Z<div>from the Django Rheinhardt tribe:
<br/>
<br/>http://www.djangofest.com/sf/schedule.htm
<br/>
<br/>I'm hoping to go Fri or Sat evening.</div>
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</div>nicolemaron2005-06-07T20:42:08ZVince Giordano Interviewgotrhythmhttp://JazzAge.tribe.net/thread/02b5153b-d0ac-41cb-ae1c-8c06020cc3282005-06-09T01:19:51Z2005-03-03T08:46:26Z<div>Here's a great recent interview with Vince Giordano, whose music I enjoy quite a lot.
<br/>____________________________________________________
<br/>
<br/>Vince Giordano: Hot Jazz for The Aviator
<br/>
<br/>Posted: 2005-01-11
<br/>on the "All About Jazz" web site
<br/>
<br/>URL as of March 3, 2005:
<br/>http://www.allaboutjazz.com/php/article.php?id=16150
<br/>(Note: the web page includes pictures and links)
<br/>
<br/>
<br/>By David French
<br/>
<br/> Vince Giordano, 52, has long been the premier authority on performing 1920s and '30s jazz and popular music. Woody Allen, Madonna, Terry Zweigoff, Garrison Keillor and the New York Philharmonic have all used Giordano and his eleven-piece big band, the Nighthawks, to summon up the days of Busby Berkeley and bathtub gin. Most recently the Nighthawks recorded 22 note-perfect recreations of vintage hits for the soundtrack of The Aviator, Martin Scorsese's Howard Hughes biopic. Giordano appears in the film in the center of a vocal trio singing “Happy Feet” ala Paul Whiteman's Rhythm Boys.
<br/>
<br/>While Giordano has done many soundtracks and four CDs of his own, you should see the Nighthawks live as they rip through vintage stompers like “Powerhouse” and “Radio Rhythm.” To feel the frenetic pulse of a big band in full swing from just a few feet away—it makes the old music come alive with a shout, and changes forever how you think of the old records.
<br/>
<br/>I spoke recently with Giordano about The Aviator and some of his projects and passions.
<br/>
<br/>AAJ: How much of your work made it into the final cut of The Aviator?
<br/>
<br/>VG: Well, I haven't actually seen the movie yet, but people I've spoken with have told me that the first half is full of our stuff.
<br/>
<br/>AAJ: Is there a soundtrack CD?
<br/>
<br/>VG: Yeah, there were a few unfortunate things that happened. We're on the soundtrack CD but they kind of dropped the ball with credits. The vocal tracks only credit the vocalists, not the Nighthawks. The vocals are by Rufus Wainwright, the Manhattan Rhythm Kings, Martha Wainwright, Loudon Wainwright III and David Johansen and we don't get any credit for backing them up. We're on eight tracks but we're credited for three.
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<br/>AAJ: You were impressed by the Cocoanut Grove set?
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<br/>VG: The Cocoanut Grove set was done in Canada and the Grauman's Chinese Theater. They built these massive sets—just unbelievable, they were really breathtaking. The attention to detail was just fantastic, and the money and the labor and the skill. The comic juxtaposition of going back to the club we were playing at the time and having to argue with the owner about fixing the back door—a $25 dollar job—it was a real pinch of reality there.
<br/>
<br/>AAJ: It must be satisfying to see this music you're so passionate about reach such a wide audience?
<br/>
<br/> VG: I hope it's going to be a success and more young people take notice. The one thing [Leonardo] DiCaprio said to me was, “I had no idea that this music had so much vitality and so much energy to it.” You know, a lot of people think of old music coming off records—they never really get into it. He had to bone up on the character of Hughes and the period and the clothes and that's what folks need—to spend a little time and listen to some of the old sounds. So we hope it will influence more people and keep the music alive for another few years.
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<br/>Young ragtime artists are always talking about the influence of The Sting. If I've read it once I've read it a hundred times. There was an immensely popular movie that really went over and really was wonderful for ragtime. So, I'm looking for a movie like that to influence music of the '20s and '30s, where young people will come back and keep saying, “That film was so great, and the music that was in it, and that's what decided me on expanding my career and embracing this music.” That's my dream.
<br/>
<br/>AAJ: How did you become a big band leader?
<br/>
<br/>VG: I started working early on with small little combos ? everybody's playing, doing the round robin. Which I still enjoy doing, but it kind of got played out for me. I would go back to the recordings and say, “Wow, listen to the discipline.” And it wasn't the same all the time like we were doing as kids—it was a combination of orchestrated stuff and loose jazz happening.
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<br/>Listening to a couple of concerts by the New York Jazz Repertory Company really kind of nailed it in for me. I saw these great musicians playing these great scores, reading the original notes and the original solos. These were very capable jazz musicians who could make their own great solos. But they were locked into a certain period that night—whether it was Fletcher Henderson or Bix Beiderbecke—and I said “Ah, so it is possible to do this. It is possible to capture some of what I'd been hearing on records, to bring that into today's time frame.”
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<br/>I just love the energy of the earlier jazz. I love the way that they were very limited in certain ways as far as chord progressions. They seem to do a lot within those boundaries. That's the thing that always knocked me out and I wanted to recapture some of that.
<br/>
<br/>AAJ: As a teenager you studied with Bill Challis? [Challis was a legendary arranger for Paul Whiteman and friend of Bix Beiderbecke who arranged the cornetist's piano compositions like “In a Mist” for publication.]
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<br/>VG: Yeah. When I was studying with Bill I was studying this system that he really insisted that I learn which I completely abandoned. It was called the Shillinger System. Shillinger came along in the early '30s ? it was sort of a mathematical way of composing and arranging. Gershwin, Glenn Miller, Ferde Groffe, Bill Challis, many other musicians were interested in this way of making your brain think with mathematics. We went through a lot of this stuff—we didn't even really touch music paper, it was graph paper. It was permutations. I really tried to sway Bill to say, “ Look, let's get some manuscript paper and a pencil and watch me write and you can rap me with the ruler so to speak.” “No Vince, you really need this.” “All right.”
<br/>
<br/>AAJ: When you started the Nighthawks in the 1970s it was the era of R. Crumb, Woody Allen, Leon Redbone, and The Sting. Was it considered cool then, kind of counter cultural, to listen to this older music?
<br/>
<br/> VG: No. It was cool for me but my contemporaries—they couldn't understand what the hell I was doing. You know, I'm going through the Navy [Giordano was a member of the United States Navy Show Band 1970-72] and having records there on tape and trying to transcribe some stuff and I had guys that were in the band that had been through Berklee and North Texas and they just shook their heads. They saw no point in what I was doing. They saw no point in going back that far. There was just such a resistance to that. Of course, those guys have gotten a little older, a little mellower, and I think it's much easier now doing that old stuff than it was.
<br/>
<br/>I caught Redbone when he first came out [Giordano has since worked many times with Leon Redbone] and I caught the R. Crumb comics with him talking about 78s, but it was almost like being in the closet liking this stuff. You could not readily admit this to most musicians. Thirty years ago, playing vintage jazz was really tough. You just had people questioning you. But, I think, over the years? fellows like Wynton Marsalis, who's had wonderful success with his jazz orchestra, him getting up there and saying, ”Look, we like lots of kinds of jazz, but it's okay to like early Louis Armstrong and early Duke Ellington. This is good stuff.” My musicians are not fighting me like they used to. He's kind of made my life a little bit easier. It's okay to dig Jelly Roll Morton. It's just as valid as playing something by Coltrane.
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<br/>AAJ: What is the state of the classic jazz world these days? There is so much more music available on CD that should be reaching a new audience, and yet when I go see classic jazz, it's definitely an older crowd. Is the audience disappearing?
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<br/>VG: I've noticed some classic jazz festivals have been severely hurt. The audience has been down. There are some young people coming up. What worries me is when this crop of older people go because their touch with this older form of jazz, this is going to be pretty much the last generation. I think the next few years will really tell if this particular form of music will survive.
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<br/>AAJ: Is there a younger generation of musicians that have the same vision that you do?
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<br/>VG: There are some wonderful, talented musicians out there. What I fear is—there's not that worry in their minds about the business of the music and the music business. Yeah it's great to play this music and it's great to play your horn, but where are you going to play it and for whom? We hear Mozart and Brahms—all those great composers—because somebody put that machinery together back in the 1800s, guys like Carnegie and whoever put together the St. Louis Symphony Orchestra and the Boston Symphony and so on. They realized that this music must be played and they had the halls and set up the corporations. I don't see that.
<br/>
<br/>The jazz clubs in New York are getting smaller and smaller. I hate to say this, but you go to New Orleans and you basically can't hear any traditional jazz anymore. And there are a lot of cities where you would think you could hear some jazz around the country and you can't. There's no place there, there's no business. And we need that to keep the musicians working and to keep the sound so people can come in and discover it, otherwise it's just going to dry up and roll away. One of my speeches at the club at the end of the night is “Please support live music.” Whether it's cabaret, whether it's jazz, whether it's country—support live music because you're going to have more fun with live music than with a DJ. There's just something about it.
<br/>
<br/>AAJ: You have mentioned a fantasy of setting up a non-profit space in New York for older jazz.
<br/>
<br/>VG: My plan is to do a non-profit club in New York to bring young kids in during the day and show them films and instruments and, for lack of a better word, kind of Sesame Street it, with some very talented educators that could expose kids to this kind of music so it's not so foreign to them. Then at night have this turn into a real authentic period nightclub. And the fear of losing this place would be taken away because this non-profit corporation would buy the place. That's been the big downfall in clubs. Somebody gets the idea of putting a club with some music in it. Everything's rolling, it's great, the people are coming in and then the landlord comes in, sees what's going on and doubles or quadruples the rent on this guy. This has happened so many times in my lifetime. So all this work, all this publicity, it's all gone, it's right out the window. They don't do that to Carnegie Hall.
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<br/> A lot of young people really can't get with the fidelity of the old 78-rpm records. It doesn't sound like music of today, because it was recorded different. And I think playing some of this music live for these kids—it kind of opens it up for them. They can touch a trombone and see the reed of a clarinet and then watch some classic footage of Duke Ellington and Louis Armstrong and see what they were when they were young and in action.
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<br/>AAJ: Would that be a project you would take on?
<br/>
<br/>VG: Absolutely, I would love to be a part of it. I couldn't be the sole entity because, you know, I gotta play some music and there's a lot to organizing all that stuff. I just see this part of the business that's really not being talked about. It's got to be addressed or we're just going to have music on old records and that's going to be the end of it.
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<br/>AAJ: What other projects would you like to do?
<br/>
<br/>VG: We've done some silent picture scoring. We did three for AMC a couple of years ago, one Buster Keaton [Sherlock, Jr.] and two Harold Lloyd's [Get Out and Get Under, High and Dizzy] and we performed them live at the East Hampton Film Festival and we went down to Disneyworld and played that. I'd love to do more of that. I'd love to do more silent picture synchronization. Having all this music, I would love to be able to play more of it.
<br/>
<br/>AAJ: How did you come to own so much music? [At present Giordano has inventoried about 98% of his collection of approximately 30,000 big band arrangements, 27,000 pieces of sheet music, and 10,000 silent film cues.]
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<br/>VG: I really started doing that in the '70s when I realized that there was stuff out there. I started putting ads in The International Musician saying I was looking for old dance band arrangements. I got this letter from a fellow that made Gennett recordings in the '20s, Marion McKay. He named me a price and—boom—I got his library. There were arrangements in there in Hoagy Carmichael's hand.
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<br/>Another time I was sitting in Peter Duchin's office. Peter Duchin at one point thought of incorporating my band into one of his satellite units and I was talking with him and going over this and his secretary interrupted and said, “Mr. Duchin there's someone on the other line who has a music collection for sale.” He just kind of brushed it off. I said, “Wait a minute. Do you mind if I take this number?”
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<br/>So I go to this warehouse in Queens and there's this whole radio library of a guy long forgotten named Arnold Johnson. Arnold Johnson had a band in the '20s and '30s and was the first guy to hire Harold Arlen when he came down from Buffalo and Arlen at the time was writing arrangements, playing piano, singing—which he did with the band. And I've got three of his arrangements which he did in his own handwriting. Now if I wasn't sitting in that office at that time that stuff would probably be out on Staten Island in the big landfill.
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<br/>I cleaned out a theater in St. Louis—the Ambassador Theater—and then I cleaned out a theater in Buffalo New York called Shea's Buffalo Theater. It was a big vaudeville house and I'm still going through that music. That's how I found that Louis Armstrong “Laughin' Louie” theme, by the way.
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<br/>When Louis was interviewed by George Avakian, I guess in the '50s, they asked him, “On “Laughin' Louis”—what are you playing here?” And Louis couldn't remember, he said, “I think it must have been something I learned as a kid.” So Avakian writes in his notes—this is on Rare Batch of Satch, a wonderful LP—”If anybody knows what this theme is, please contact me at RCA/Victor.”
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<br/>Thirty years later I was doing a silent picture movie synchronization for something at the Film Forum. I hired a pianist and we're going through all this stuff [old silent film cues], and the piano player started playing this and I fell off my chair. He goes, “What's the matter?” I said, “We found the theme of 'Laughin' Louie!'” I had Avakian's number and I said, “George—listen to this.” (Imitating Avakian) “The theme from “Laughin' Louie!”” It was a stock movie theme from 1921 by Minnie T. Wright, which is probably a pseudonym. Louis was playing for silent films in the '20s—in 1925 when he was with Erskine Tate's Vendome Orchestra. And this was a piece of music that was only four years old and I'm sure he played it over and over again, and it's such a moving melody that it stuck with him.
<br/>
<br/>I had a musician come over here one time and look at all this music. He says, “What are you doing with all this stuff? It's worthless.” You have your right to an opinion, but I've got to tell you, Henderson used a lot of stock arrangements, Whiteman did, Bix did. They were utilized by a lot of bands in a pinch when they needed to make a record and they didn't have the luxury of hiring an arranger. They would take these arrangements and modify them. Bill Challis told me that a lot of the stuff on the Henderson bandstand was from modified stocks.
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<br/>I'm still looking for stuff. Where is the Fletcher Henderson book, the Goldkette book, the Bennie Moten book, the Don Redman book? Why was all this stuff pinched or lost? It's amazing how much—these aren't just stock arrangements, these are some of the best writings ever.
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<br/>I've been preserving stuff all my life. It's not just a museum, it's a living museum. What I'm doing is bringing it out there and breathing new life into it and hopefully getting a new audience.
<br/>
<br/> AAJ: It's that passion for details and for the original music and recordings that set the Nighthawks apart. What does “'authenticity” mean to you?
<br/>
<br/>VG: To me, what I hear on those old recordings is a different language from what is being spoken today. I hear a language of musicians that spoke very intensely. They seemed to have more thrust in what they were playing, and more feel, than musicians of today. Use of vibrato was so prevalent in the brass. I keep telling my guys, “Listen to Louis Armstrong, listen to Benny Goodman, particularly at the very end of their phrasing. That was part of the language and it's like cooking a meal. If you're reading from a cookbook and you're missing one of the ingredients it's not going to be the same. It can't be.
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<br/>We don't know what Mozart played like, or Brahms played like. We don't know how bad or good or fast or slow those fellows played the original arrangements, but we do have the original recordings from the Teens on up and that's great, but it's bad. It's great to hear it, but it's bad when you can't get the musicians to be on the same page as that.
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<br/>I've been criticized for freezing jazz—playing the notes as written as far as the solos. I just want to say, you know they have the Louis Armstrong festival on WKCR and we listen to Louis. Why do we keep on going back to those recordings? We've heard a lot of people play these songs—same ones—but when Louis played his notes—and those particular notes and those particular inflections that he played— these are the things that we keep going back to. Listen to those notes and listen to the intensity of those notes. These were classic pieces of music. Just like Beethoven's Fifth or Mozart's Magic Flute. I mean, nobody's changing those notes. They could, but they want to hear what Mozart wrote. Why can't we pay homage to these musicians and the choices of notes that these guys thought in their heads? Before these guys there was no jazz. These were the creators. These were the Mozarts of their time. Do I get a lot of flack from this stuff, I'll tell you.
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<br/>I don't mean to be a museum piece or anything. We take liberties. Sometimes it' s hard to get the enthusiasm from musicians today. The music that we hear on recordings, that was the music of the time, that was the hip stuff, that was the rock and roll. They were up there and the chicks were coming after them. They were getting the money and they were getting their pictures in Metronome and Downbeat and people were reviewing them and everything was hunky dory. It ain't that way anymore. None of the above happens anymore. And that's fine too, but in a way it's a little melancholy.
<br/>
<br/>
<br/>Vince Giordano and the Nighthawks appear Monday and Tuesday nights 8:30-11:30 at Charley O's Times Square Grill, 611 Broadway at West 49th street, Manhattan: 212-246-1960. For booking information and to obtain copies of any of the Nighthawk's recordings you can contact Vince via email. </div>
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</div>gotrhythm2005-03-03T08:46:26ZPaper Dolls, Rudy LaPelle, Gaucho Gypsy Jazz This Sunday!solcrawfordhttp://JazzAge.tribe.net/thread/0385daf6-d5d1-4f2f-af78-749b390e22662005-06-02T20:36:53Z2005-06-02T20:30:24Z<div>HOT JAZZ SWINGS ON!
<br/>
<br/>Join us this Sunday for an enchanting evening of 20’s and 30’s jazz with THE PAPER DOLLS, RUDY LAPELLE and GAUCHO GYPSY JAZZ preceded by a screening of the ever-pertinent Chaplin farce, THE GREAT DICTATOR.
<br/>
<br/>The Paper Dolls are a trio of fresh-faced fillies with silken voices strumming three ukeleles as if they were the heart strings of cherubic cupid himself. These sweet tarts takes on popular tunes from the 20’s and 30’s will transport you back to the day where dreams could be bought for a dime a dance.
<br/>
<br/>Rumor has it that Rudy Lapelle was born from the horn of a victrola. He’s a slick crooner that will make you swoon with toe tapping tunes by the likes of Cab Calloway, Fats Waller and Bing Crosby. Rob “The Romancer” Reich will accompany Rudy, tickling the ivories into total abandon. Ladies, look out for that swing!
<br/>
<br/>Later in the evening Gaucho will treat us to the jumping Gypsy Jazz delights of Django Reinhardt and Stephane Grappelli. Cameron Shaw (aka Rudy LaPelle) will lend his pipes to Gaucho’s fresh take on these dynamic tunes from the masters of “jazz manouche”.
<br/>
<br/>In Chaplin’s first “talkie” he takes the bull of his time by the horns, lampooning Hitler and Mussolini in his bittersweet farce “The Great Dictator”. On the eve of the US’ entry to the war and in defiance to broad discouragement Chaplin produced this strong political statement personally. Playing dual roles as a humble Jewish barber and Adenoid Hynkel, the ranting dictator of Tomania, Chaplin combined trademark slapstick with sharp political satire.
<br/>
<br/>What!?
<br/>Chaplin’s, The Great Dictator
<br/>The Paper Dolls
<br/>Rudy LaPelle
<br/>Gaucho – gypsy jazz
<br/>
<br/>When!?
<br/>This Sunday, June 5th
<br/>Film at 7 pm
<br/>Music at 9 pm
<br/>
<br/>Where!?
<br/>Amnesia
<br/>853 Valencia @ 20th
<br/>
<br/>How Much!?
<br/>$5 – Hotcha!</div>
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</div>solcrawford2005-06-02T20:30:24ZRagtimeminorswinghttp://JazzAge.tribe.net/thread/0bb0d1c2-9ab1-42f5-a3d0-46d18f7c3e622005-05-31T18:50:37Z2005-05-31T18:50:37Z<div>My friend Ted created the Ragtime tribe. Check it out!
<br/>http://playerpiano.tribe.net</div>
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</div>minorswing2005-05-31T18:50:37ZOld yearbooks?fonduiehttp://JazzAge.tribe.net/thread/2b940f50-72af-4e91-a21b-b7ce51d938ab2005-05-09T18:55:30Z2005-05-07T23:26:52Z<div>My local library asks for donations of unwanted books for their yearly book sale. Since my neighborhood is full of retirement homes, My local library has a great selection of vintage books that are inevitably donated to them after one of the local seniors passes away.
<br/>At this past book sale I came across two high school year books from the late 1920's. I'm fascinated by them. The photo's, fashions, the students names, the drawings, the clubs and organizations, the topical jokes.....
<br/>
<br/>Hopefully I don't have to explain to the members of THIS tribe why I MUST HAVE MORE! This may be a novice question, but can anyone give me tips regarding where I might find more old yearbooks?</div>
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</div>fonduie2005-05-07T23:26:52ZThe JaZZ aGe in PaRiSconfettahttp://JazzAge.tribe.net/thread/6648507d-cbb7-4758-b48c-00672cd971882005-05-09T18:52:08Z2005-05-09T18:52:08Z<div>The amazing tale of the transcontinental cultural exploration of jazz through artifacts, images, testimonies, and audio-visual recordings.
<br/>
<br/>http://www.si.edu/ajazzh/exhibits.htm
<br/>
<br/>a</div>
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</div>confetta2005-05-09T18:52:08ZTales of the Jazz Ageminorswinghttp://JazzAge.tribe.net/thread/14842e70-d4d8-41d1-9401-3be75da28d392005-05-07T01:00:21Z2005-04-29T22:35:35Z<div>The current tribe photo reminded me of reading that book a while back. I really enjoyed that story where the narrator borrows his cab driver to dress up in a two-man horse (or some other animal) costume and shows up at the wrong party.</div>
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</div>minorswing2005-04-29T22:35:35ZRoy Smeck!squidcorphttp://JazzAge.tribe.net/thread/fd7cea62-6ad5-4340-8b57-7ff7417abdd82005-05-04T20:29:42Z2005-03-31T20:00:08Z<div>Just wanted to give a shout-out to my favorite '20s-'30s ukulele-banjo-Hawaiian guitar picker, Roy Smeck. What sweet & silly pickin' it was. Thanks, Yazoo Records.</div>
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</div>squidcorp2005-03-31T20:00:08ZDoes Jazz Put the Sin in Syncopation?inkvisionhttp://JazzAge.tribe.net/thread/e35b6688-a1c3-4945-b40b-8c61b62437b32005-04-27T06:16:21Z2005-04-25T04:51:59Z<div>Does Jazz Put the Sin in Syncopation?
<br/>by Anne Shaw Faulkner, head of the Music Department of the General Federation of Women's Clubs.
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<br/>(Published in Ladies Home Journal, August 1921, pp. 16-34.)
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<br/>We have all been taught to believe that "music soothes the savage breast," but we have never stopped to consider that an entirely different type of music might invoke savage instincts. We have been content to accept all kinds of music, and to admit music in all its phases into our homes, simply because it was music. It is true that frequently father and mother have preferred some old favorite song or dance, or some aria from opera, to the last "best seller" which has found its way into the home circle; but, after all, young people must be entertained and amused, and even if the old-fashioned parents did not enjoy the dance music of the day, they felt it could really do no harm, because it was music.
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<br/>Therefore, it is somewhat of a rude awakening for many of these parents to find that America is facing a most serious situation regarding its popular music. Welfare workers tell us that never in the history of our land have there been such immoral conditions among our young people, and in the surveys made by many organizations regarding these conditions, the blame is laid on jazz music and its evil influence on the young people of to-day. Never before have such outrageous dances been permitted in private as well as public ballrooms, and never has there been used for the accompaniment of the dance such a strange combination of tone and rhythm as that produced by the dance orchestras of to-day.
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<br/>Certainly, if this music is in any way responsible for the condition and for the immoral acts which can be traced to the influence of these dances, then it is high time that the question should be raised: "Can music ever be an influence for evil?"
<br/>
<br/>(read the rest of the article here: http://faculty.pittstate.edu/~knichols/syncopate.html )</div>
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</div>inkvision2005-04-25T04:51:59ZI'll be singing in Alameda March 26thkizzyhttp://JazzAge.tribe.net/thread/86a2ca5b-75e6-4b59-b3c2-4e8fa1da85752005-04-20T06:45:37Z2005-03-14T20:34:26Z<div>My Blue Heaven, An evening of Blues & Jazz with Chris Planas & Heidi Miller (aka Kizzy)
<br/>
<br/>Saturday March 26th, 8pm to 10pm
<br/>
<br/>Admission: Free
<br/>
<br/>All ages
<br/>
<br/>Julie's coffee & tea garden
<br/>1223 Park Street
<br/>Alameda CA 94501
<br/>510-865-2385
<br/>
<br/>Details:
<br/>
<br/>Julie's coffee & tea garden, Alameda's newest venue for live music, is an intimate candle lit setting perfectly suited for a variety of acoustic acts.
<br/>
<br/>My Blue Heaven is a night of tradition Jazz, Blues and a little Torch too!
<br/>Chris & Heidi met here in Alameda both coming from backgrounds in Jazz, Blues, World beat, Rhythm & Blues and with a combined 35 years experience in recording & touring as professional musicians. With Chris on guitar, Heidi will sing favorite selections by Big Maybelle, Ella Fitzgerald and others. </div>
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</div>kizzy2005-03-14T20:34:26ZIf you were there...amazonikahttp://JazzAge.tribe.net/thread/0d04dc6c-6e39-404e-9f6f-ed1b3a32a4532005-04-19T08:45:26Z2005-03-26T19:22:44Z<div>
<br/>I'm curious to hear your answers to this question:
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<br/>If you lived during the jazz age, and had the opportunity to participate in or get involved in any event, circle or discovery, what would you want to participate in? Try to be specific. Let's limit this to things that occurred between the two World Wars.
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<br/>For me, I think would have wanted to be a lead vocalist for some of the big bands, and maybe sung a duet with Louis Armstrong.
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<br/>I also deperately wish I could have participated in the 1920s Berlin cabaret culture.
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<br/>And more generally speaking, I would have loved to do some world traveling during that time. Many countries must have been quite different then, especially Asia. </div>
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</div>amazonika2005-03-26T19:22:44ZGreat recordings online (.ogg format, but can be converted to mp3, too)inkvisionhttp://JazzAge.tribe.net/thread/8a635371-c9bf-4741-a14e-7b64f482761a2005-04-12T22:36:25Z2005-04-11T20:00:20Z<div>http://nfo.net/ogg.htm</div>
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</div>inkvision2005-04-11T20:00:20Zvaudeville on film?amazonikahttp://JazzAge.tribe.net/thread/0f2786f5-1aa2-41bf-a897-720b2f94d9002005-04-08T04:28:35Z2005-04-07T21:58:27Z<div>
<br/>Has there been much vaudeville caught on film?
<br/>I would really love to see what some of the performances were like. Are any of you aware of any VHS/DVDs that may have some footage?
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</div>amazonika2005-04-07T21:58:27ZIntroductionsamazonikahttp://JazzAge.tribe.net/thread/77b530a6-c284-43f8-a8b7-4685be6cc9dd2005-04-02T17:00:03Z2004-04-15T17:22:29Z<div>
<br/>Hi everyone!
<br/>Now that we have a few members, let's learn about each other's fascination with this era. I have to admit I'm really excited to start chatting with you guys, because in my "real" life, I feel like no one shares this passion with me.
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<br/>Me:
<br/>I love everything about this era. It began with being raised on classic vocal jazz music. My mom would play Louis Armstrong and Ella records all day when I was a wee lass. No music has ever touched me deeper.
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<br/>Later, I realized that some of the best fiction out there comes from eary 20th century writers -- I absolutely *adore* Fitzgerald, Waugh, Hemingway, and others of their time.
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<br/>Over the last 5 or 6 years, I became a hard-core classic film fan. I'm specially attracted to the larger-than-life glamorous Hollywood divas -- the glitzier, the better!
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<br/>That led to an appreciation of vintage fashion, which I always loved, but didn't know much about until the last few years.
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<br/>Eventually I realized how intertwined everything is...art, music and design of that era is influenced by politics, events and economy, and so learning about historical events and politics of the era is my latest quest.
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<br/>How about you....?
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</div>amazonika2004-04-15T17:22:29ZJoin the new MINGUS tribe...http://JazzAge.tribe.net/thread/6dfcbea5-32b6-4d8d-8ffe-93a740a40d0d2005-03-21T22:18:46Z2005-03-21T22:18:46Z<div>http://charlesmingus.tribe.net/</div>
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</div>2005-03-21T22:18:46Z