RBG: Beyond Notorious. Starting in present day and working back through history, each episode in this 6-part series highlights a decade of RBG's life.
Hear from RBG herself in a new interview, and some of the people who know her best, including her granddaughter Clara Spera, law school classmate Professor Arthur Miller, and equal pay activist and Supreme Court plaintiff Lilly Ledbetter. The records they issued initially on Riverside suggested this, although they soon shifted their emphasis to the then-contemporary music of Thelonious Monk, Randy Weston, Bill Evans, Sonny Rollins and Cannonball Adderley.
Grauer had been publisher of The Record Changer, a basically moldy-fig magazine that carried long lists of old records for sale or for auction. After World War II, out-of-print 78 rpm jazz records from the prewar days were issued on LP in increasing numbers by so-called ''bootleggers'' or ''pirates'' one of whom blatantly called his label Jolly Roger. They had no legal rights to the records and paid no fees of any kind for using them.
Grauer, who died in , said in a interview. But then the bootleggers got too greedy and started to put out recent stuff. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Read more. We are now here, where we begin to move on to another aspect of life's journey. After 11 years of being on the air, this moment is entirely bittersweet. I was onstage and totally lost it, totally lost what I was doing and could not remember the words to the songs, could not remember anything, and it was a very, very scary and embarrassing evening.
Has it inspired you to record any material related to it? I have recorded a song about it, but I chose not to use it. The reason I chose not to put it out was because I felt like, with everything going on, we just needed to get on with life. We needed to go on and try to live our life. I felt like you can almost fall into that whole thing of capitalizing on what happened.
Music is entertainment. Music is supposed to make you feel good or feel bad or make you happy, make you sad. You never know, on the next record I may have something out there that is a tribute or reflects that kind of mindset.
I stood there and looked at the twin towers off of the USS Intrepid with my wife and family. I played at the World Trade Center, standing between the two towers, I played a concert there. At the same time, you also want to be very aware that we have a job to do, and our job is to entertain. Instead of getting on the bandwagon and doing something like that, I just felt like since I had just released a new album, it was probably better for me just to go on and do what I was doing off the album.
If you could go any place in the entire world, where would that be? I would really love to go over and see some of that area. Without going to Hawaii or someplace on vacation, I think that would be cool to go over and see some stuff like that, some stuff that you read about or you hear about in church.
Go and actually see those places. Movie theaters had used live music, ranging from a single piano or organ to a full orchestra, to accompany films since the beginning of the medium, so it was only natural that someone would seek to simplify the process by including recorded music in the films themselves.
Inventors as far back as Thomas Edison had experimented with the idea. The most obvious solution -- to have a phonograph record accompany the film -- also had the obvious drawback of being very, very easy to screw up. Just a tiny skip in the record and the movie's out of synch -- and that's if you can synch them up correctly to begin with.
The system that some smart engineers came up with, and which I am not smart enough to fully grasp, was sound-on-film. Basically, the sound waves were converted to patterns of light and shade and included on the film strip next to the images. Some magic thing in the projector would convert the patterns back into sound, and voila.
Synchronization wasn't a problem, and if part of the film was damaged and had to be cut out, the corresponding sound was cut out too. Technology for sound-on-film had existed since around , but it wasn't until after World War I that people started getting serious about it.
After being turned down by the major Hollywood studios, Vitaphone found a buyer in Warner Brothers, still a minor company in but looking to aggressively expand. They weren't thinking of talking pictures, though; the idea was simply to have synchronized music accompany their films, which would make them more successful in smaller theaters that didn't have orchestras. The Warners launched Vitaphone in August with Don Juan , a lavish costume drama starring John Barrymore and accompanied by a magnificent score recorded by the New York Philharmonic.
The feature was preceded by a program of short films that also had sound, including one in which the president of the Motion Picture Producers and Distributors of America gave a speech lauding the new process. The whole affair was an enormous hit, and the Warners were emboldened. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.
Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists., recorded November 18, at Van Gelder Recording Studio, Englewood Cliffs, NJ, originally issued on Wes Montgomery - Movin' Wes to recorded December 7, at Van Gelder Recording Studio, Englewood Cliffs, NJ, originally issued on Wes Montgomery - Goin' Out Of My Head recorded September 16, at Van Gelder Recording Studio, Englewood Cliffs, NJ, originally .