domingo, 29 de mayo de 2022
sábado, 28 de mayo de 2022
SATURDAY NIGHT AT THE MOVIES 012: LADIES OF THE CHORUS (1948)
"It was really dreadful." this was Marilyn Monroe's confession to French journalist Georges Belmont in 1960 of her first starring film, "Ladies Of The Chorus", released twelve years earlier. "I was supposed to be the daughter of a burlesque dancer some guy from Boston falls in love with. It was a terrible story and terribly, badly photographed; everything was awful about it. So, Columbia dropped me. But you learn from everything."
Monroe's debut as a musical comedy performer in "Ladies Of The Chorus" was arguably far from dreadful. In the succinct, B-movie with a ten-day production schedule, she portrayed Peggy Martin, a burlesque chorus dancer with an overprotective mother, May (Adele Jergens), another dancer in the troupe. When headliner Bubbles LaRue quits, the stage manager asks May to take her place, but she concedes to her daughter. Peggy's performance is classy, and the audience is smitten by her. Randy Carroll (Rand Brooks), a wealthy young man in the audience, is especially smitten and anonymously sends Peggy orchids by the dozens. When a florist, unaware of Peggy's identity, disapproves of Randy sending orchids to a burlesque star, Peggy plans along with a sneer. Peggy and Randy begin dating, and Randy quickly proposes.
Protective May approves of Randy but fears his wealthy mother will disapprove of Peggy based on her career as a burlesque star. In the past, when May was a young chorus girl, she married a wealthy young man from the audience who had fallen in love with her. After Peggy's birth, the marriage was annulled because May's mother-in-law rejected her. Hoping to spare her daughter from the pain she experienced in the past, may urges Randy to inform his mother of Peggy's profession before introducing them. Randy cannot bring himself to do this, and his mother, Mrs. Carroll (Nana Bryant), hosts an engagement party and invites Peggy and May.
Entertainers invited to the event recognize the mother and daughter, and May is forced to disclose their profession to the guests, who all pass judgment. Mrs. Carroll wholeheartedly accepts Peggy and performs a song. She also delivers a bombshell by informing her guests that she, too, had been a chorus girl, but this is a tale told to soften her guests. In the end, Peggy and Randy proceed with marriage plans, and May settles down with her longtime boyfriend, the stage manager of her show.
Having played Charles Hamilton, Scarlett O'Hara's first husband in "Gone With The Wind," Rand Brooks (1918-2003), in the role of Randy, had the distinction of giving Monroe her first screen kiss, undoubtably thrilling for the former Norma Jeane Baker who had seen the celebrated film at age thirteen. Brooks had a recurring role in the Hopalong Cassidy series of film westerns and later made appearances on television in "The Adventures Of Rin Tin Tin," "The Lone Ranger," and "Maverick."
Columbia's acting coach Natasha Lytess, soon to become Monroe's on-set acting coach on subsequent films until production wrapped on "The Seven Year Itch" (1955), had recommended Monroe to casting director Harry Romm. Monroe auditioned by singing one of three songs designated to the second female lead. Romm found her irresistible and sent her to Columbia's director of music and vocal instructor, Fred Karger, for refining.
Monroe performed three songs by Allan Roberts and Lester Lee with choreography by Jack Boyle. As part of a chorus, she sings "Ladies Of The Chorus" in the film's opening and breaks out in the solo, "Anyone Can See I Love You," on the burlesque stage and in a reprise montage with Brooks. Finally, in "Every Baby Needs a Da-Da-Daddy," Monroe forshadows her Beatnik-inspired "My Heart Belongs To Daddy" number in "Let's Make Love" (1960). In the last number, she steps out of a giant picture album in a flowing gown of virginal white chiffon with a tight, spangled bodice. Poised and graceful, Monroe glows with promise as a future musical comedy queen.
"Every Baby Needs A Da-Da-Daddy" is Monroe's first significant performance in a musical and strangely predictive. In a stylized set depicting a jewelry store with a neon sign in the shape of a diamond ring. Monroe's long, sparkling gown with a slit up its side foreshadows her costume in "Gentlemen Prefer Blondes" (1953). The song's reference to Tiffanys prophesized her iconic number, "Diamnods Are A Girl's Best Friend," in the same film. With graceful moves and silky hair styled in the coiffure of Columbia's reigning queen, Rita Hayworth, Monroe is reminiscent of the latter's "Put The Blame On Mame" number from the studio's "Gilda" (1946). However, Monroe's performance is far more virtuous. The studio clearly marketed her as a somewhat wholesome version of Hayworth - and a far cry from the siren image 20th Century Fox would later invent.
In "Ladies Of The Chorus," Monroe demonstrates the promise of star quality. She plays comedic and dramatic scenes with equal believability and speaks in her natural voice (albeit influenced by coaching in the industry's preferred Transcontinental accent) not yet been replaced by a more breathy, artificial one. The backstory of Monroe's affair with vocal coach Karger is coincidently reflected by the class differences in the plot's lovers.
When production ended, Monroe's short-term contract neared its expiration. Unfortunately, Columbia chose not to renew it. Reportedly, mogul Harry Cohn summoned Monroe to his office shortly before the ending of the contract to "negotiate" an extension, but she refused his advances. In "My Story", Monroe recounted the incident without specifically naming Cohn. He allegedly showed her a framed picture of his yacht and said, "Will you come along on my yacht? I'm not inviting anyone else but you." "I'd love to join you and your wife on the yacht, Mr. Cohn," Monroe replied. "Leave my wife out of this," he snapped. Insulted, Monroe fled and never worked at Columbia again. The incident motivated Monroe to deliver a sarcastic message to him when she achieved superstardom by mailing an autographed portrait sarcastically inscribed, "To my great benefactor, Harry Cohn." Perhaps attempting to claim discovery of Monroe, Columbia recycled Monroe's "Every Baby Needs A Da-Da-Daddy" number in "Okinawa" (1952).
Columbia released "Ladies Of The Chorus" on October 22, 1948, and Monroe received her first reviews. All were positive. "One of the bright spots is Miss Monroe's singing," proclaimed Motion Picture Herald. "She is pretty and, with her pleasing voice and style, shows promise." Variety announced: "Enough musical numbers are inserted, topped with nifty warbling of Marilyn Monroe. Miss Monroe presents a nice personality in her portrayal of the burly singer."
Accompanied by the Karger family, Marilyn discreetly attended a public viewing of the film at the Carmel Theatre on Santa Monica Boulevard in West Hollywood. She wore an oversized coat and dark glasses to maintain her anonymity.
After the critics' and audience's reactions to Marilyn Monroe, Cohn may have regretted dismissing her in his knee-jerk reaction to his bruised ego. Perhaps Monroe felt vindicated by her successes, but her mind was on recognition by those in her more distant past. "I kept driving past the theatre with my name on the marquee," she wrote. "Was I excited! I wished they were using "Norma Jeane" so that all the kids at the home and schools who never noticed me could see it."
Monroe's relationship with vocal coach Fred Karger was outlived by her long connection to his mother and sister, Anne and Mary. Both women attended her funeral in 1962.
But before we get to the main feature, let's enjoy...
The Pre-Show:
Today's film not only distinguishes Marilyn Monroe in her first major role, but also brings forward as a second main character, the burlesque world. We will delve into two of the most prominent burlesque figures the world has ever witnessed: Tempest Storm and Betty Page, plus an added attraction: the famous 1955 "Teaserama" film where both stars performed together. If there ever was an occasion where The Pre-Show outshone the Main Feature it's here and now, at least for historical and educating reasons. Though, as stated above, it is refreshing to watch Marilyn Monroe so young and not entirely the bombshell we would soon get acquainted to.
The Main Feature:
Title: Ladies Of The Chorus
Director: Phil Karlson
Cast: Adele Jergens / Marilyn Monroe / Rand Brooks
Release Date: 1948
Country: United States
On Your Way Out:
And we're on our way home after a delightful evening, enjoying the company of three wonderful ladies, Marilyn Monroe, Tempest Storm & Betty Page. Magnificent talents, each in their own sphere of stardom, who we have had the pleasure of witnessing here today, in Saturday Night At The Movies. Don't forget to take home with you some souvenirs to remember the evening by.
Note: Password for all files: Shade'sVintageRadio
viernes, 27 de mayo de 2022
SHADE'S VINTAGE RADIO SPECIAL 025: HISPANIC COVERED FLAVOURS Volume 001
SVRSP025 (pw: Shade'sVintageRadio)
01 – LA NOCHE DE UN DÍA DIFÍCIL (Pérez Prado Y Su Orquesta) (1964)
02 – EVERYBODY LOVES A LOVER (Doris Day) (1958)
03 – TENGO NOVIO (Leda Moreno) (1962)
04 – PRETTY BLUE EYES (Steve Lawrence) (1959)
05 – BONITOS OJOS AZULES (Los Teen Agers) (1962)
06 – NEXT DOOR TO AN ANGEL (Neil Sedaka) (1962)
07 – MI VECINITA (Neil Sedaka) (1964)
08 – STAND BY ME (Ben E. King) (1961)
09 – VEN A MI (Los Hitters) (1965)
10 – SWEETS FOR MY SWEET (The Drifters) (1961)
11 – SWEETS FOR MY SWEET (The Searchers) (1963)
12 – DULCES A MI NENA (Los Loud Jets)
13 – MY BOY LOLLIPOP (Millie Small) (1964)
14 – MI NOVIO ESQUIMAL (Pyly Gaos) (1966)
15 – EVERY DAY (Buddy Holly) (1957)
16 – DIARIAMENTE (Leda Moreno)
17 – I WANT TO BE FREE (Elvis Presley) (1957)
18 – QUIERO SER LIBRE (Enrique Guzman)
19 – ITSY BITSY TEENIE WEENIE YELLOW POLKA DOT
BIKINI (Brian Hyland) (1960)
20 – BIKINI AMARILLO (Manolo Muñoz) (1960)
21 – DREAM LOVER (Bobby Darin) (1959)
22 – AMANTE SOÑADOR (César Costa) (1972)
23 – C’MON EVERYBODY (Eddie Cochran) (1958)
24 – AVIÉNTENSE TODOS (Los Locos Del Ritmo) (1962)
25 – BYE, BYE LOVE (Everly Brothers) (1957)
26 – ADIÓS, ADIÓS AMOR (Dúo Dinámico) (1993)
27 – JUANITA BANANA (The Peels) (1966)
28 – JUANITA LA PLATANERA (Los Yaki) (1966)
29 – CHICA YE-YÉ (Concha Velasco) (1965)
30 – CHICA YE-YÉ (Gelu) (1965)
31 – CHICO YE-YÉ (Los Botines) (1965)
32 – THE GIRL OF YE YE (Zoe And The Stormies) (1966)
33 – LA OLA NUEVE (Los Jets)
miércoles, 25 de mayo de 2022
domingo, 22 de mayo de 2022
sábado, 21 de mayo de 2022
SATURDAY NIGHT AT THE MOVIES 011: THE BEATLES AND INDIA (2021)
"The Beatles And India" is an absolutely fascinating and in-depth documentary film and companion album that tells the story of the mid-60s period when the Fab Four embraced Indian music and culture, effectively bringing them to the public at large.
This aspect of The Beatles' lives and career between 1966 and 1968 has never been explained and explored to this degree before but it was an incredibly important time, the ripples of which are still being felt to this day.
The film chronicles the group's journey through Indian music and culture, a trek that began during the filming of their own movie "Help!" in 1965. It started with the need to replace one sitar string on an instrument being used in the film. This quest brought the band into the sphere of Indian musicians and culture, which George Harrison immediately began a lifelong bond with. This led Harrison to study with master sitarist Ravi Shankar and Harrison's use of a sitar on the song "Norwegian Wood," the first mixing of Indian sounds into Western pop and rock.
The group visited India for the first time briefly in July of 1966 on the way home from gigs in Philippines. They returned for a longer stay in February of 1968 to study Transcendental Meditation at Maharishi Mahesh Yogi's ashram in Rishikesh, India, which has become a major part of The Beatles' lore and legend. To its credit, the film relates the tale with no sweetened coating, taking us from their honeymoon phase with the Maharishi through their eventual disillusionment with him and their abrupt departure from India.
Some of the most emotive sequences in the documentary contrast footage of the Four in Rishikesh with the Maharishi and his followers with images of those same locations deteriorated and abandoned today. One gets a sense of the death of a dream from them, the failure of these supremely successful young men to find something of meaning beyond the wealth and fame that encircled them. The film is also filled with first-person accounts from people who were there about the events at the ashram and their up-close interactions with some of the most famous people alive at the time.
"The Beatles And India" also carries a subtext that illustrates how this period of Beatle history helped bring Indian people and culture into the Westen mainstream. John, Paul, George and Ringo weren't the only musicians hanging out with the Maharishi (Donovan and Mike Love of The Beach Boys were also there) or the only Westerners to popularize meditation but the sheer magnitude of their celebrity probably did more to introduce Indian thought, culture, and music to Europe and the USA than any other single entity ever could have.
The cultural exchange they began made Indian sounds part of the rock vocabulary used by countless artists since then and began the expansion and evolution that has since spread Indian ideas around the globe. Now, meditation, yoga, and mindfulness are everywhere in the West but most likely wouldn't be if the most famous band ever hadn't brought them to us at the height of their career. "The Beatles And India" is one of the most compelling Beatle documentaries ever made and fills in the blanks about one of the most crucial parts of the group's history. Settle in and watch every second.
But before we get to the main feature, let's enjoy...
The Pre-Show:
Three quarters of our Pre-Show deals with The Beatles, Donovan and Rishikesh. We begin with a short video-musical adventure where we get the opportunity to enjoy some Indian orientated Beatle music (with some surprises included).
Secondly, we have an interesting video where we get to understand how The Beatles (especially George Harrison), used their musical talents to compose and expose Indian music to Western cultures.
Our last Beatle-India orientated video is (in my humble opinion) as good as the main feature, where we get Donovan himself to take us through a Magical "back to Rishikesh" trip where we witness his personal surprise at how some things have changed but others (emotions) remain locked in time.
And we've reached the final chapter concerning the "Sun Records" series. Where Elvis will go separate ways to a bright, but very short, future which lay ahead of the Memphis Recording Service.
The Main Feature:
Title: The Beatles And India
Directors: Ajoy Bose & Peter Compton
Cast: The Beatles / Donovan / Maharishi Mahesh Yogi
Release Date: 29th May 2021
Country: United Kingdom
On Your Way Out:
If you are the type that usually after the main feature rushes out, I urge you to stop and take your time to savour the goods offered "On Your Way Out". I'm sure you won't regret the pause in your daily routines. Today's offer complements perfectly both our Main Feature and The Pre-Show. So don't waste no time and enjoy today's visit.
Note: Password for all files: Shade'sVintageRadio
viernes, 20 de mayo de 2022
miércoles, 18 de mayo de 2022
domingo, 15 de mayo de 2022
sábado, 14 de mayo de 2022
SATURDAY NIGHT AT THE MOVIES 010: YELLOW ROSE (2020)
In "Yellow Rose", a feature film highlight of the Austin Film Festival, a teenage Filipino-American girl named Rose buys guitar strings at a music shop in Bastrop. When she sets her Townes Van Zandt songbook on the counter to pay, the boy working the register takes note. "Townes is like my spirit God," she tells him.
This early scene introduces you to the heart of a timely film about Texas music, songwriting, and how it might feel if your mother is deported and you end up bunking at a revered Austin honky-tonk.
Country music and the "Broken Spoke" (which celebrates its 58th anniversary this year) play starring roles in "Yellow Rose", as does the tattooed, snowy-headed Dale Watson, a real-life Texas honky-tonk legend and owner of the "Little Longhorn Saloon" in Austin. After Rose's mother is put in a detention center, Rose runs from Bastrop to Austin and the "Broken Spoke", one of the only places she feels at home.
At the "Broken Spoke", Rose befriends Watson, and they begin writing music together. Some of the songs were crafted organically while filming at Watson's Austin house, a recurring set in the film. "Square Peg," the stand-out track from the film, evolves throughout the movie as Rose seeks a life where she fits in.
"It was easy to write for Rose," Watson says. "You put politics aside, and just think of a person and what she's dealing with - that's what this film is really doing. It's not red, it's not blue. It's about real people, and it evolves an emotion in you. That's what counts."
Although director and producer Diane Paragas began work on "Yellow Rose" over 15 years ago, she feels like this is the right time for the film to be released. A Filipino-American who went from the Philippines to Lubbock as a young child. Paragas conveys Rose's story with authenticity. "I hope I found a way to put a heart and a face on the human condition, on what it's like to be separated from family," Paragas says. "The core theme of this movie is empathy."
Dale Watson who pretty much plays himself, says "I'm not an actor. I'm a reactor. Luckily in this film you have such strong characters like Rose (played by Eva Noblezada) that I only had to react to this powerful force in front of you. When she screams at you, you just do what you do. So I give all the credit to Diane for that. But if I look bad, it's totally my own fault."
The film's depiction of its Texas setting is admirably absent of hackneyed, lazy stereotypes of backward, racist Southerners. Though, of course, such folks exist (Rose reveals late in the film that her childhood nickname "Yellow Rose" was basically an ethnic slur), the film gives itself great credit by not grabbing the low-hanging story fruit of Eva facing cartoonishly drawn racist antagonists. Even though Rose's Filipina heritage makes her an anomaly in the country music world, she's seemingly embraced and accepted by everyone around her.
"Yellow Rose," despite its politically fraught subject matter, is by no means a depressing or despairing work. To the contrary, it finds room for humor and moments of lightheartedness, and finds a rich, remarkable balance between the light and the dark in the lives of its characters in a compelling and beautifully crafted fashion. The film's final frame finds Rose defiantly staring down the camera after she delivers her big-break musical performance at the "Broken Spoke." Rose lets us know that despite the social and political obstacles she must confront, she's here to stay, and she's not going anywhere.
But before we get to the main feature, let's enjoy...
The Pre-Show:
Last week we had the opportunity of watching "Viva Las Vegas", well this week you have all the musical videos, pertaining the film, of both Elvis Presley and Ann-Margret in one file. Somehow, a much easier and, definitely, more enjoyable way to revisit the film.
Today's feature deals with two classics as a background to the film. On the one hand Dale Watson, and on the other the "Broken Spoke" (Austin's legendary Honky-Tonk). Well, from the first we have an interesting live radio show which was filmed. In it, besides listening to some great songs, Dale makes a reference to his immediate participation in "Yellow Rose". The second documentary deals directly and magnificently with the "Broken Spoke" itself, where we'll discover that the past is still possible to visit.
And last but not least our great encounter with chapter 7 of the Sun Records series. A series that is coming to its end the following week. So, it's time for you to catch up if you're behind, as the "legends" of the time will entertain us one more week.
The Main Feature:
Title: Yellow Rose
Director: Diane Paragas
Cast: Eva Noblezada / Dale Watson / Princess Punzalan / Lea Salonga
Release Date: October 9th 2020
Countries: United States & Philippines
On Your Way Out:
When we get to this point, I can only wish you've had a great time watching all the "Pre-show" goodies and that the main feature was to your liking. Once again, as we're about to leave, I remind you not to be shy and grab some "extra goodies" for you to take as a memory of today's evening.
Note: Password for all files: Shade'sVintageRadio
viernes, 13 de mayo de 2022
miércoles, 11 de mayo de 2022
domingo, 8 de mayo de 2022
ANYTHING, ANYWHERE, ANYTIME 034
AAA034 (pw: Shade'sVintageRadio)
01 - LET’S GO (The Routers) (1962)
02 – OH YEAH, I’M IN LOVE (Ricky Nelson) (1961)
03 – TICK TOCK (The Boppers) (1979)
04 – ALL I NEED IS YOU (Neil Sedaka) (1959)
05 – SOMEONE TO LOVE ME (Brenda Lee) (1961)
06 – XEROX 914 (Commercial Jingle)
07 – MOLLY (Desperados) (1986)
08 – REMEMBER YOU’RE MINE (Skeets McDonald) (1954)
09 – POSSIBILITY (The Crowns) (1964)
10 – SWEDISH GIRL (Freddy Velas & The Silvertones)
(2018)
11 – LEAVE HER FOR ME (The Jades with Lou Reed) (1958)
12 – KATHLEEN (Wally Lewis) (1958)
13 – I’VE GOT A SECRET (George Hamilton IV) (1957)
14 – I’D RATHER DIE YOUNG (Johnny Cash) (1958)
15 – GOTTA LOT OF RHYTHM IN MY SOUL (Patsy Cline) (1959)
16
– YO SÍ
COMO PATATAS (Commercial Jingle)
17 – SABOR A 50 (Tennessee) (1987)
18 – TIME AFTER TIME (The Consorts) (1960)
19 – CARL PERKINS ON ELVIS (Carl Dialogue) (1989)
20 – BABY LET’S PLAY HOUSE (Live Louisiana Hayride) (Elvis Presley) (1955)
21 – RIP IT UP (Los Lobos) (1987)
22 – WHO WOULDN’T LOVE YOU (Webb Pierce) (1958)
23 – WHAT A SURPRISE (Johnny Maestro & The Crests) (1961)
24 – WHO’S THAT KNOCKING (The Genies) (1959)
25 – WHO’S THAT KNOCKING (The Darts) (1978)
26 – TINY CLOUD (The Roomates) (2012)
27 – SOUL BOSSA NOVA (Quincy Jones & His Orchestra) (1962)
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