Actors – to self tape or rehearse, I highly recommend using WeAudition where you can work with skilled actors from around the world. Use promo code GREG25 to get 25% off the subscription fee. Join at WeAudition.com
Self tapes for film, TV and commercial roles began for auditioning actors before the pandemic. Lockdowns during the pandemic sped up the adoption process. Now auditioning digitally is much more common than auditioning in a casting office.
There’s so much written online about how to self tape. Film and TV casting consultant Greg Apps runs a great, no bs self tape course which I personally highly recommend.
Now since a picture tells a thousand words, I’ve put together a 3 minute reel of self tape clips for you to check out what works first-hand. These clips are from self tapes I’ve made that have all won, or received special mentions, in US and Australian competitions. Check it out below. Get good karma by giving it a thumbs up…
Technically, I use a phone (sometimes held in an outstretched hand like in the heart attack scene, other times clipped to the top of a microphone stand), the phone microphone, natural light and imagination. I use DaVinci Resolve to edit.
Weekly US self tape challenges are run by No Good Theater.
Check out my actor website gregpoppleton.com where you’ll see full versions of the clips from the 3 minute compilation in the Self Tape section. And soundtrack your day with aircheck Phantom Dancer radio mixes of live 1920s-60s radio swing and jazz.
Meanwhile, happy self taping.
New selftape. Script: “How Would You Know?”. The author’s name was not on the script.
San Antonio Rose – need something dancey, upbeat and happy that will help the sun shine through?
Otherwise known as Rose of San Antonio, this Australian-accented homage to the signature song of the King of Western swing, Bob Wills will put a smile on your dial.
Written in 1938. Lyrics added in 1940.
Song #1 on the new album ‘Tin Pan Alley Vol. 2’.
SPOTIFY: https://open.spotify.com/album/1fWRX8EF00yiI9xYgYRVnA
APPLE MUSIC: https://itunes.apple.com/us/artist/152547010
AMAZON: https://www.amazon.com/Greg-Poppleton/e/B001LI794A
WEBSITE: https://www.gregpoppletonmusic.com/20s-30s-tin-pan-alley-vol-2/
Harry Reser, virtuoso 1920s-30s banjo star and band leader, the first to record ‘Santa Claus is Coming to Town‘, is your feature artist on this week’s Greg Poppleton Phantom Dancer.
The Phantom Dancer, your non-stop 2 hour mix of swing and jazz from live 1920s-60s radio, is produced and presented by 1920s-30s singer and actor Greg Poppleton can be heard online from 12:04pm AEST Tuesday 28 April at https://2ser.com/phantom-dancer/
The last hour is all vinyl.
Harry Reser’s recorded output is staggering and among the ensembles he was associated with included The Bostonians, the Campus Boys, Jimmy Johnston’s Rebels, the Four Minstrels, the Seven Rag Pickers, the Victorian Syncopators, Earl Oliver’s Jazz Babies, Bill Wirges’ Orchestra, Tom Stacks and his Minute Men and the celebrated Cliquot Club Eskimos, which were heard weekly on NBC Red, then Blue, then CBS radio network from 1925 until 1935.
Reser was one of the busiest and most prolific bandleaders and session men of the 1920s. His massive output of unfailingly cheerful and uplifting tunes, with vocals by Tom Stacks (who first sung the aforementioned Santa song) was released under more than 175 pseudonyms, including The Volunteer Firemen (who you’ll hear on this show), the Tickle Toe Ten, Jack’s Fast Steppin’ Bellhops, Si Higgins & His Sodbusters, and — most famously — the ginger ale-affiliated Clicquot Club Eskimos.
Reser was a first cousin to Orville & Wilbur Wright, the Wright brothers, who first flew an airplane in 1903. His musical talents became apparent in toddlerhood, and when his parents realized they had a child prodigy, they had a special guitar made for him suited to his extremely small size. This was his first instrument.
Reser recalled, “Of course, being a kid, and playing for various minor concerts and recitals naturally gave me somewhat of a hero feeling, but I was never able to get the attitude of a great many people whom I often heard talking prodigies, juvenile wonders and any number of other equally mysterious things in connection with my playing. It never seemed in the least remarkable or extraordinary that I played at the age of eight.”
From ages 9 to 14 he studied music theory, piano, violin and cello.
By the 1910s the banjo was making its presence felt more strongly with dance bands and Reser felt he should learn how to play it as quickly as possible. He practiced until he was able to play to a high enough standard to supplement his piano playing, thus increasing his chances of earning a reasonable living. In the summer of 1920 he played in a Dayton dance band under the leadership of Paul Goss. By this time he was playing the banjo regularly. He soon moved to Buffalo, New York to appear at the Hippodrome, playing primarily violin, though continuing to work on his banjo technique as well.
After Christmas of 1920 he moved to New York City. He sought out engagements and soon found himself in demand. Some of the early bands he was involved with included those of leading dance band leaders Ben Selvin, Benny Krueger, Sam Lanin, Nathan Glantz, and Mike Markel (for whom he played saxophone).
By 1922, he had recorded a half dozen pieces, including “Crazy Jo” and Zez Confrey’s “Kitten on the Keys”. In early autumn of the same year, he considered starting his own band. Soon a contract was drawn up with Okeh Records and his first band, the Okeh Syncopators, came into being during September or October 1922. Shortly after the start of this new endeavor he was approached by Paul Whiteman to sit in for Whiteman’s regular banjoist, Mike Pingitore, during a UK tour of the Paul Whiteman Orchestra.
Reser had three original compositions written for tenor banjo; The Cat and the Dog, Cracker Jack, and Lolly Pops.
In 1925, he found fame as the director for NBC’s Clicquot Club Eskimo Orchestra, continuing with that weekly half-hour until 1935. At the same time, he also led other bands using pseudonyms. “Harry Reser and His Six Jumping Jacks”, with vocals by Tom Stacks.
Throughout his career he was an endorsed artist, playing instruments from several well-known makers. During the 1920s he mainly played a variety of William L. Lange’s Paramount tenor and plectrum banjos, and Lange presented him with a Super Paramount Artists Supreme, as he also did to Mike Pingitore, another Paramount musician. Later Reser would play Gibson and Vegavox banjos.
Harry Reser played “Tiger Rag” and “You Hit the Spot” in the Vitaphone musical short Harry Reser and His Eskimos (1936) which is one of three Phantom Dancer Videos of the Week, below..
Reser remained active in music for the rest of his life, leading TV studio orchestras and playing with Broadway theatre orchestras. In 1960 he appeared with Bing Crosby, Peggy Lee, and Buster Keaton in “A 70th Birthday Salute to Paul Whiteman” on TV’s The Revlon Revue. He wrote several instructional books for the banjo, guitar, and ukulele.
In 1965 Reser died of a heart attack in the orchestra pit of Manhattan’s Imperial Theatre while warming up for a Broadway stage version of Fiddler on the Roof.
Your first Phantom Dancer Video of the Week is a Vitaphone short from 1929.
Harry Reser, Vitaphone, 1936, leading his Cliquot Eskimos with early electic organ and Reser playing amped slide guitar but no banjo!
Here’s a more complete version of the Vitaphone short, with the titles obliterated by the person who put the film up on YouTube, probably thinking that would solve any copyright issues.
Thirdly, be amazed by the drumming tricks of Freddie Crump on his 1920s drum kit which is so different from a modern jazz kit. Enjoy!
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Play List – The Phantom Dancer
107.3 2SER-FM Sydney, Live Stream, Digital Radio
Community Radio Network Show CRN #434 |
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107.3 2SER Tuesday 28 April 2020 |
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Set 1
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Jive on 1944 Radio | |
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Theme + Three Little Words
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Denny Beckner Orchestra
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‘Spotlight Bands’
Norfolk Virginia Blue Network AFRS Re-broadcast 30 Mar 1944 |
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Fifth Avenue Sax
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Glen Gray and the Casa Loma Orchestra
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‘One Night Stand’
Tune Town Ballroom St Louis Mo AFRS Re-broadcast 5 Apr 1944 |
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On The Sunny Side Of The Street + Close
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Tommy Dorsey Orchestra (voc) The Sentimentalists
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‘Gi Jive’
AFRS Hollywood Sep 1944 |
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Set 2
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All-Star Parade of Bands from 1950s Radio | |
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Open + The Man On The Beat
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Ray Anthony Orchestra
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‘All-Star Parade of Bands’
Palladium Ballroom KFI NBC Hollywood 23 Nov 1953 |
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Take The A-Train (theme) + Caravan
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Duke Ellington Orchestra
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Basin Street
WCBS CBS NY 16 Apr 1956 |
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Rain
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Les Brown and his Band of Renown
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‘All-Star Parade of Bands’
Palladium Ballroom KFI NBC Hollywood 12 Oct 1953 |
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Set 3
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Some of the Earliest Recorded Jazz Radio | |
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Tie Me To Your Apron Strings Again
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The Volunteer Firemen directed by Harry Reser
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Comm Rec
New York City 27 Jan 1927 |
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I Lost My Gal From Memphis / Here Comes Emily Brown
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Red Nichols Orchestra (voc) Dick Robertson
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‘Heat’
Radio Transcrition New York City 3 Aug 1930 |
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Egyptian Ella
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Philco Hour Orchestra
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‘Philco Hour’
WABC CBS NY 1931 |
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Set 4
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Excursions in Modern Music on 1949 Radio | |
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Open + Bop City
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Charlie Barnet Orchestra
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‘Excursions in Modern Music’
Rendevous Ballroom Balboa Ca 30 Jul 1949 |
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Diz Does Everything
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Jimmy Dorsey Orchestra (tp) Maynard Ferguson
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‘One Night Stand’
Cafe Rouge Statler Hotel AFRS Re-broadcast 7 Apr 1949 |
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Flying Home
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Lionel Hampton Orchestra
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‘One Night Stand’
Aquarium Restaurant NYC AFRS Re-brodcast 1949 |
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Set 5
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French Jazz on the Air 1949 – 1953 | |
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Dream of You
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Django Reinhardt et la Quintette du Hot Club de France
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Radio Geneva
Switzerland 25 Oct 1949 |
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Jam Session
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Dizzy Gillespie (tp) avec Tony Proteau et son Orchestre
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Rex Theatre
RDF Paris Feb 1953 |
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Night and Day
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Django Reinhardt acc. par Paul Baron et son Grand Orchestre
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‘This is Paris’
NBC 1950 |
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Le Boogie de Paris
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Jacques Helian et son Orchestre
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Comm Rec
Paris 1946 |
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Set 6
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Dance Bands on 1938 – 40 Radio | |
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John Peel
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Paul Whiteman Orchestra and Chorus with Jack Teagarden (tb)
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‘Chesterfield Show’
WABC CBS NY 28 Dec 1938 |
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Comes Love
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Artie Shaw Orchestra (voc) Helen Forrest
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Summer Terrace
Ritz Carlton Hotel WNAC NBC Boston 19 Aug 1939 |
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Sugar Blues
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Ella Fitzgerald Orchestra (voc) Ella Fitzgerald
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Savoy Ballroom
WEAF NBC Red NY 26 Feb 1940 |
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Hold Tight
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Glenn Miller Orchestra (voc) Marion Hutton and Band
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Meadowbrook Ballroom
Cedar Grove NJ WJZ NBC Blue NY 18 Apr 1939 |
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Set 7
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Swinging on early 1940s Radio | |
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Johnny Zero
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George Trevare Orchestra (voc) Joan Blake
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Comm Rec
Sydney 1944 |
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Shine
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Jack Teagarden Orchestra
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‘Spotlight Bands’
Joplin Mo Mutual Network 18 Mar 1946 |
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The Skaters’ Waltz
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Tommy Dorsey Orchestra
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Meadowbrook Ballroom
Cedar Grove NJ WABC CBS NY 11 Feb 1941 |
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Moonglow + Swanee River
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Lionel Hampton Orchestra
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‘One Night Stand’
Trianon Ballroom Southgate Calif AFRS Re-broadcast 16 Jun 1944 |
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Set 8
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Band Singers With Their Own Radio Shows | |
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Beg Your Pardon
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Dinah Shore (voc) Harry James Orchestra
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‘Call For Music’
KNX CBS LA 4 May 1948 |
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Evalina
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Mildred Bailey (voc) Paul Baron Orchestra
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‘Music Till Midnight’
WABC CBS NY 1944 |
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Somebody Loves Me
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Peggy Lee (voc) Dave Barbour Orchestra
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‘Rexall Show’ KNX CBS LA 1951 |
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Day By Day + Put Your Dreams Away For Another Day (theme)
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Frank Sinatra and Jimmy Durante
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‘Songs by Sinatra’
AFRS Re-broadcast 27 Feb 1946 |
George Wallace, Australian comedian, composer, dancer and singer, is this week’s Phantom Dancer feature artist from live 1940s-50s radio.
Of interest in the comedy selections of George Wallace from 1940s-50s radio is his early 20th century working class Australian accent and WW1 vintage vaudeville stage delivery.
In a 1949 interview, Wallace admitted that he found it hard to adapt his comedic techniques to radio. “The hardest thing, is keeping [my voice] down. After years on the stage where you have to raise your voice to make a point, I found in radio that this only made the mike blast and it took me a long time to break the habit of wanting to shout at it.”
Nonethesless, Wallace’s delivery hasn’t dated and is still funny, in my opinio. The commercial radio actors he’s working with are very much of their time.
The Phantom Dancer produced and presented by 1920s-30s singer and actor Greg Poppleton can be heard online from 12:05pm AESDT Tuesday 10 March at https://2ser.com/phantom-dancer/
The last hour is all vinyl.
George Stephenson “Onkus” Wallace died the day I was born.
He was an Australian comedian, vaudevillian, radio personality and film star. During the early to mid-20th century, he was one of the most famous and successful Australian comedians on both stage and screen, with screen, song and revue sketch writing amongst his repertoire.
His father toured in minstrel shows and George junior appeared at age three in a Sydney pantomime. He was in his parents’ song-and-dance act until they divorced. He later busked in Pyrmont, New South Waleswaterfront, worked in his stepfather’s ink factory, and was a farm-hand and canecutter in North Queensland. He then joined a road show at age sixteen.
The 1930s saw George turn his talents to film. He starred in five films, all comedies and was the biggest, if not the biggest, Australian star. Three of these, His Royal Highness (1932), Harmony Row (1933) and A Ticket in Tatts (1934), were directed by F. W. Thring for Thring’s company, Efftee Film Productions.
He said in 1933 that he turned down an offer from Universal to film in the US.
The other two, Let George Do It (1938) and Gone to the Dogs (1939), were directed by Ken G. Hall for Cinesound Productions. Wallace’s contributions to these films extended beyond his performances. He developed the concepts for His Royal Highness, Harmony Row and A Ticket in Tatts by drawing on his stage revues, and co-wrote Let George Do It and Gone to the Dogs. Wallace’s other film work included a 1932 short film, “Oh! What a Night!”, which he is said to have directed unofficially.[8] In later years, he was seen in supporting roles in two dramatic films, The Rats of Tobruk (Charles Chauvel, 1944, Australia) and Wherever She Goes (Michael Gordon, 1953, USA/Australia).
In his physical presentation as well as his performance style, George Wallace differed from international stars of slapstick comedy. For instance, his clothing and speech allude to an Australian working-class type and contrast with Charles Chaplin’s mock-dapper Tramp persona. The fact that Wallace’s performances combine tap-dancing with pratfalls makes him unusual among film comedians anywhere. Moreover, Wallace’s films prefigure developments in Hollywood comedy. An example is the fictional country of Betonia in His Royal Highness, which predates satirical depictions of fictional nations in such celebrated films as The Marx Brothers’ Duck Soup (1933) and Charles Chaplin’s The Great Dictator (1940). Other aspects of Wallace’s films that are relatively unusual for the period are the comedic treatment of haunted houses in Harmony Row and Gone to the Dogs and scientific experimentation in Gone to the Dogs, which emphasize the resourcefulness of Australian filmmaking in the face of Hollywood’s international dominance.
George Wallace had one child, George Leonard Wallace (George Wallace Jnr.), who became a famous comedian in his own right. At age two he debuted on stage in his father’s and mother’s vaudeville act joining them in acrobatic poses. He had success on TV in the late 1950s and 1960s. George Wallace Jnr’s television show, Theatre Royal, which originated in Brisbane, won a Logie Award in 1962 and 1963.
Make sure you come back to this blog, Greg Poppleton’s Radio Lounge, every Tuesday, for the newest Phantom Dancer play list and Video of the Week!
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Play List – The Phantom Dancer
107.3 2SER-FM Sydney, Live Stream, Digital Radio
Community Radio Network Show CRN #427 |
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107.3 2SER Tuesday 10 March 2020 |
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Set 1
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Special Shows | |
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Open + Somebody Loves Me
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Irving Miller Orchestra
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‘Mirth and Madness’
WEAF NBC NYC Jun 1944 |
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I’m Getting Sentimental Over You (theme) + Smiles
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Sy Oliver Orchestra
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‘Endorsed by Dorsey’
WOR Mutual NYC 3 Mar 1946 |
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Lady Be Good + Close
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Ella Fitzgerald (voc) Ray Brown Trio
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‘Swingtime at Savoy’
WNBC NBC NY 28 Jul 1948 |
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Set 2
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1950s Progressive Jazz Radio | |
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Open + So What?
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Miles Davis
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‘Your Treasury of Music’
Birdland WRCA NBC NYC 25 Aug 1959 |
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Set 3
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Benny Goodman 1937 Radio | |
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One O’Clock Jump
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Benny Goodman Orchestra
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Madhattan Room
Hotel Pennsylvania WABC CBS NYC 20 Oct 1937 |
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Open + Blue Skies
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Benny Goodman Trio (voc) Audience
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Madhattan Room
Hotel Pennsylvania WABC CBS NYC 23 Oct 1937 |
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Dixieland Band + Goodbye (theme)
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Benny Goodman Orchestra (voc) Helen Ward
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Madhattan Room
Hotel Pennsylvania WOR Mutual NYC 21 Oct 1937 |
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Set 4
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George Wallace | |
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Open + Three Little Words + Skit
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Edwin Duff (singer) George Wallace Comedian
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‘The George Wallace Show’
2GB Macquarie Network Sydney 1950 |
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Brown Slouch Hat
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Joan Blake
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‘Song of Australia’
ABC Radio 1942 |
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Sophie, The Sort On The Bus
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George Wallace
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Live on The Tivoli Theatre, Sydney
1940s |
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Wacko! We’ve Got a Date
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George Wallace (voc) Billy O’Flynn’s Legionaire Orchestra and Chorus
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Comm Rec
Melbourne 1940 |
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Set 5
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Pee Wee Russell | |
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D.A. Blues
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Pee Wee Russell (cl) Eddie Condon Group
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‘Eddie Condon’s Town Hall Jazz Concerts’
WJZ Blue NYC 1944
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The Blues By Pee Wee Russell
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Pee Wee Russell (cl) Eddie Condon Group
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‘Eddie Condon’s Town Hall Jazz Concerts’
WJZ Blue NYC 9 Sep 1944 |
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Pee Wee’s Town Hall Stomp
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Pee Wee Russell (cl) Eddie Condon Group
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‘Eddie Condon’s Town Hall Jazz Concerts’
WJZ Blue NYC 1944 |
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Impromptu Ensemble
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Pee Wee Russell (cl) Eddie Condon Group
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‘Eddie Condon’s Town Hall Jazz Concerts’
WJZ Blue NYC 9 Sep 1944 |
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Set 6
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Eugenie Baird | |
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Suddenly It’s Spring
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Eugenie Baird (voc) Glen Gray and the Casa Loma Orchestra
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Aircheck
Hotel New Yorker May 1944 |
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My Buddy
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Eugenie Baird (voc) Paul Whiteman Orchestra
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‘Forever Pops’
KECA ABC LA 1946 |
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My Heart Tells Me
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Eugenie Baird (voc) Glen Gray and the Casa Loma Orchestra
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Aircheck
Hotel New Yorker May 1944 |
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What Is This Thing Called Love
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Eugenie Baird (voc) Paul Whiteman Orchestra
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‘Forever Pops’
KECA ABC LA 1946 |
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Set 7
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1940s Swing Radio | |
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Sleep
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Benny Carter Orchestra |
‘Trianon Time’
Trianon Ballroom Southgate Ca Aircheck 1944 |
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Blackberry Jam
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Glen Gray and the Casa Loma Orchestra
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‘Spotlight Bands’
Columbus OH Blue Network 19 Nov 1943 |
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Let’s Dance (theme) + My Guy’s Come Back
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Benny Goodman Orchestra (voc) Lisa Morrow
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Meadowbrook Gardens
Culver City Ca KHJ Mutual LA 14 Jan 1946 |
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Smokey Mary + Close
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Bob Crosby Orchestra
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CBS Aircheck
23 May 1942 |
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Set 8
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Shep Fields | |
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Country Garden
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Shep Fields and his Rippling Rhythm Orchestra
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Radio Transcription
1940
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Basin St Blues
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Shep Fields and his Rippling Rhythm Orchestra (voc) Robert Goday
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Radio Transcription
1938
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From Another World
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Shep Fields and his Rippling Rhythm Orchestra
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Radio Transcription
1940
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Hi Everyone,
I have a new Drama Showreel for film and TV.
And a new film and TV actor website gregpoppleton.com
As technology has made the making of film more accessable, so the traditional actor showreel has quickly changed.
Gone are the days when a reel had to be professionally shot clips from your film and TV credits.
Now casting directors want to see characters. ‘You can film them in your backyard’, one CD said.
So here are three of my characters from self tapes I’ve recorded over the past two months. There’s a forensic psychiatrist talking to a child, a deskbound detective, then a small time crim. Scripts by Chad Schnackel & David Dalton. Enjoy!
Actor Website: www.gregpoppleton.com
The first live jazz band I saw, many members of which I was later to sing with in my own band, played in front of a banner ‘Bix Lives’. Bix Beidebecke was an American jazz cornetist, pianist and composer.
This week’s 2SER Subscriber Drive Phantom Dancer presented by Greg Poppleton features music by this enourmous figure in jazz history and a 1941 reminiscence about Bix by someone who knew him personally.
This week’s Phantom Dancer will be online right after the 15 October 107.3 2SER Sydney live mix at 2ser.com.
Hear the show live every Tuesday 12:04-2pm on 107.3 2SER Sydney.
Join thousands of others to keep community radio on air by subscribing to 2SER now.
The Bix musical selections you’ll hear on this week’s Phantom Dancer comes from recordings he made as part of the Paul Whiteman Orchestra.
The Paul Whiteman Orchestra was the most popular and highest paid dance band of the day. In spite of Whiteman’s appellation “The King of Jazz”, his band was not a jazz ensemble as such, but a popular music outfit that drew from both jazz and classical music repertoires.
Idiotic jazz critics have derided the Whiteman band for not recording solo after solo by Bix. However, colleagues of Bix have testified that, far from feeling bound or stifled by the Whiteman orchestra, Bix often felt a sense of exhilaration. It was like attending a music school, learning and broadening.
Beiderbecke is featured on a number of Whiteman recordings, including two we’ll hear today with Bing Crosby and the Rhythm Boys as vocalists. These are, ‘You Took Advantage Of Me’ and ‘Changes’.
These two songs are specially written arrangements that emphasize Beiderbecke’s improvisational skills. Bill Challis, an arranger who had also worked in this capacity for Jean Goldkette, was particularly sympathetic in writing scores with Beiderbecke in mind, sometimes arranging entire ensemble passages based on solos that Bix played.
On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered ‘a severe nervous crisis’. “He cracked up, that’s all”, trombonist Bill Rank said. “Just went to pieces; broke up a roomful of furniture in the hotel.”
On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael’s new song, ‘Georgia on My Mind’ with Carmichael doing the vocals, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard.
Beiderbecke’s playing had an influence on Carmichael as a composer. One of his compositions, ‘Stardust’, was inspired by Beiderbecke’s improvisations, with a cornet phrase reworked by Carmichael into the song’s central theme.
Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. “Bix and all the rest would play and exchange ideas on the piano”, he said. “With all the noise [of a New York pub] going on, I don’t know how they heard themselves, but they did. I didn’t contribute anything, but I listened and learned […] I was now being influenced by these musicians, particularly horn men. I could hum and sing all of the jazz choruses from the recordings made by Bix, Phil Napoleon, and the rest.”
This week’s Phantom Dancer video of the week shows Bix Beidebecke playing with the Whiteman Orchestra in a 1928 newsreel. Beidebecke, a self-taught cornetist, plays with puffed cheeks.
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Play List – The Phantom Dancer
107.3 2SER-FM Sydney, Live Stream, Digital Radio
Community Radio Network Show CRN #409 |
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107.3 2SER Tuesday 15 October 2019 |
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Set 1
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One Night Stand | |
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Open + Three Little Words
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Tony Pastor Orchestra
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‘One Night Stand’
Jaentzen Beach Portland OR AFRS Re-broadcast 15 May 1945 |
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I Don’t Wanna Be Loved By Anyone Else But You + How Deep Is The Ocean?
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Louis Prima Orchestra (voc) Lily Ann Polk
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‘One Night Stand’
Meadowbrook Ballroom Cedar Grove NJ AFRS Re-broadcast 28 Sep 1945 |
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Perdido + Close
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Randy Brooks Orchestra
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‘One Night Stand’
Roseland Ballroom NYC AFRS Re-broadcast 21 Sep 1944 |
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Set 2
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Orrin Tucker | |
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Because of You
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Orrin Tucker Orchestra (voc) Orrin Tucker
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Trocadero Ballroon
Elitch’s Gardens Mutual Denver CO Jun 1951 |
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Drifting and Dreaming
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Orrin Tucker Orchestra (voc) The Bodyguards
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Comm Rec
Los Angeles 15 Dec 1939 |
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Goodnight My Love + Drifting and Dreaming (theme)
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Orrin Tucker Orchestra (voc) Orrin Tucker
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Boulevarde Room
Stevens Hotel ABC Chicago 1951 |
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Set 3
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Eddie Condon | |
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Oh, By Jingo!
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Eddie Condon
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‘Doctor Jazz’
Eddie Condon’s WNEW NY 10 Dec 1951 |
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I Found A New Baby
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Eddie Condon
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‘Eddie Condon’s Jazz Concert’
WJZ Blue NY 3 Mar 1945 |
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Bad Habits + Somebody Loves Me + Close
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Eddie Condon (voc) Lee Wiley
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‘Chesterfield Presents Eddie Condon’
Date and place unknown |
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Set 4
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Bix Beidebecke | |
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Changes
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Paul Whiteman Orchestra (Bix solo) (voc) Rhythm Boys
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Comm Rec
NYC 23 Nov 1927 |
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Bix Reminiscence
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Ralph Burton
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‘Chamber Music Society of Lower Basin Street’
WJZ Blue NY 6 Jan 1941 |
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You Took Advantage of Me
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Paul Whiteman Orchestra (Bix solo) (voc) Rhythm Boys
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Comm Rec
NYC 24 Apr 1928 |
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Set 5
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Swing Radio 1940-1941 | |
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Jug Music
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Jimmy Dorsey Orchestra
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Palladium Ballroom
KFI NBC LA 20 Oct 1941 |
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I’m Looking For A Guy Who Plays Alto And Baritone Doubles On A Clarinet And Wears A Size 37 Suit
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Ozzie Nelson Orchestra (voc) Rose Ann Stevens
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Blackhawk Restaurant
WGN Mutual Chicago 30 Mar 1940 |
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Oh So Good
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Glenn Miller Orchestra
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Cafe Rouge
Hotel Pennsylvania WJZ NBC Blue 27 Dec 1941 |
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Tuxedo Junction
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Glenn Miller Orchestra (voc) Marion Hutton, Tex Beneke and the Modernaires
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Cafe Rouge
Hotel Pennsylvania WJZ NBC Blue 27 Dec 1941 |
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Set 6
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Anita O’Day | |
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Kick It
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Anita O’Day (voc) Gene Krupa Orchestra
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Aircheck
7 Jun 1941 |
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I’ll Do It All Over Again
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Anita O’Day (voc) Gene Krupa Orchestra
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Astor Roof
Hotel Astor WOR Mutual NY 15 Aug 1945 |
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Open + Amour
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Anita O’Day (voc) Gene Krupa Orchestra
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Aircheck
1 Oct 1941 |
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Drum Boogie
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Anita O’Day (voc) Gene Krupa Orchestra
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Aircheck
1 Oct 1941 |
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Set 7
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1930s Dance Band Radio Transcriptions | |
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I’ll Do Anything For You
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Seger Ellis and his Choirs of Brass
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Radio Transcription
1937 |
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Ride, Tenderfoot, Ride
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Dick Jurgens Orchestra (voc) Eddie Howard
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Radio Transcription
1938 |
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Snuff Stuff
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Seger Ellis and his Choirs of Brass
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Radio Transcription
1937 |
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There’s Silver on the Sage Tonight
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Dick Jurgens Orchestra (voc) Eddie Howard
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Radio Transcription
1939 |
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Set 8
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Charlie Parker | |
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Scrapple From The Apple
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Charlie Parker
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‘Symphony Sid Show’
Royal Roost WMCA NY 15 Jan 1949 |
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Ad for Face Powder
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Symphony Sid
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‘Symphony Sid Show’
Royal Roost WMCA NY 19 Feb 1949 |
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Oo-Bop-Sha-Bam
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Charlie Parker (voc) Band
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‘Symphony Sid Show’
Royal Roost WMCA NY 22 Jan 1949 |
Criminal Informant by Chad Schnackel & David Dalton.
Greg Poppleton is an actor with Benchmark Creative Management.
Website: https://www.gregpoppleton.com
This week’s Phantom Dancer radio show with Greg Poppleton features a set of women jazz singers from 1950s radio and TV including Billie Holliday, Sarah Vaughan, Betty Roche and Ella Fitzgerald. And the featured artist is the Glenn Miller Orchestra in German.
In just four years Glenn Miller scored 16 number-one records and 69 top ten hits—more than Elvis Presley (38 top 10s) and the Beatles (33 top 10s)
Miller received the first gold record for 1.2 million sales of Chattanoga Choo Choo in 1942.
The Phantom Dancer is your two hour non-stop mix of swing and jazz from live 1920s-60s radio and TV presented by Greg Poppleton on Radio 2SER 107.3 Sydney since 1985.
This week’s show can be heard over and over again online at radio 2ser.com
The last hour is all vinyl.
This description of the Glenn Miller German broadcasts is from “An Overview, from Glenn Miller Declassified” by Dennis M. Spragg © 2017, Potomac Books, University of Nebraska Press:
“A new venture in psychological warfare was the appearance of leading American entertainers and bands on Music for the Wehrmacht (Musik für die Wehrmacht), (over ABSIE, the American Broadcasting Station in Europe, based in London) for which William Klein wrote German-American continuity.
During September 1944 Bing Crosby and Dinah Shore recorded programs and standby (reserve) recordings during their tours of England and the Continent. The American Band of the Allied Expeditionary Forces (ABAEF) pianist Pvt. Jack Rusin accompanied Crosby, who was nicknamed “Der Bingle” by German troops listening to Music for the Wehrmacht. Irene Manning and Morton Downey followed them. Others appearing in the series during the latter third of 1944 were Marlene Dietrich, M1C Sam Donahue and the U. S. Navy Dance Band of the Allied Liberation Forces and even Spike Jones and his City Slickers.
Musical projection of America was furthered notably by the appearance on Music for the Wehrmacht of musical programs with Maj. Glenn Miller and the ABAEF in a series of weekly broadcasts with German continuity. This series instantly became a highlight of the ABSIE schedule and received significantly favorable comment. Interesting evidence of the global audience for Music For The Wehrmacht was received when a listener from New Zealand reported in detail about one of the Glenn Miller broadcasts.
A female announcer identified as Ilse Weinberger hosted many of the Music for the Wehrmacht programs. In OWI photographs, Gloria Wagner is the announcer seen with Glenn Miller and others recording programs in this series. In addition to full-time announcer Wagner (who hosted other
programs) the ABSIE German Desk had two other staff members handle female announcing duties using the “Ilse” pseudonym. Among ABSIE’s well-known German voices was Gottfried “Golo” Mann, son of Thomas Mann and the reporter mentioned in these scripts. All of the ABSIE staff were American citizens and included SHAEF military and OWI civilian personnel. Wagner, Mann, ABSIE contributor Marlene Dietrich and other ABSIE on-air personnel were subject to enemy death threats.
Six complete episodes of Music for the Wehrmacht were recorded and broadcast by the ABAEF. Program 7 was scheduled for broadcast December 20, 1944 but only the start of the episode was recorded. Any additionally planned programs or repeats were cancelled following the announcement of Miller’s disappearance December 24, 1944.
Your Phantom Dancer Video of the Week this week is Episode 3 of the 1940s Republic Serial, Radar Men From the Moon:
Enjoy!
Make sure you come back to this blog, Greg Poppleton’s Radio Lounge, every Tuesday, for the newest Phantom Dancer play list and Video of the Week!
Thank you.
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Play List – The Phantom Dancer
107.3 2SER-FM Sydney, Live Stream
Community Radio Network Show CRN #404 |
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107.3 2SER Tuesday 17 September 2019 |
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Set 1
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Big Bands on Air From The Palladium Ballroom 1949-61 | |
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Let’s Dance
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Benny Goodman Orchestra
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’One Night Stand’
Palladium Ballroom LA AFRS Re-broadcast 22 Mar 1949 |
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Walkin’
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Harry James Orchestra
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’One Night Stand’
Palladium Ballroom LA AFRS Re-broadcast 27 Nov 1959 |
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It Took Ten Days Blues
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Jerry Gary and His Band of Today
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’One Night Stand’
Palladium Ballroom LA AFRS Re-broadcast 20 Jan 1961 |
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Set 2
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Strange and Wonderful 1938 – 1960 Radio Transcriptions | |
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Theme + The Sound of Music
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Felicia Saunders with Harry Sosnik and the Savings Bonds Orchestra
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’Guest Star’
Radio Transcription New York City 3 Apr 1960 |
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Theme + In A Little Spanish Town
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The Master Radio Canaries
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’Hartz Mountain Pet Food Canaries’
Radio Transcription Chicago 1949 |
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I’m Wild About Horns on Automobiles
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Hoosier Hot Shots
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’Alka-Seltzer Radio Spot’
NBC Transcriptions, Chicago 1938 |
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Set 3
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1920s-30s Women Pop Singers | |
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He’s So Unusual
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Helen Kane
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Comm Rec
New York City 14 Jun 1929 |
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I Can’t Write The Words
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Mildred Hunt (voc) Philco Orchestra
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’Philco Hour’
WABC CBS NY 1931 |
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After You’ve Gone + Got A Bran’ New Suit
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Kay Thompson (voc) Dodge Orchestra
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’Dodge Program’
Radio Transcription New York City 1935 |
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Set 4
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Swing and Sway with Sammy Kaye on 1940s Radio | |
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Theme + Kiss Me Sweet, Kiss Me Simple
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Sammy Kaye Orchestra (voc) Laura Leslie and Don Cornell
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’Chrysler Showroom’
Radio Transcription 1949 |
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Swanee River
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Sammy Kaye Orchestra
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’One Night Stand’
Hotel Astor Roof New York City AFRS Re-broadcast 27 Aug 1945 |
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So In Love + My Gal Sal + Theme
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Sammy Kaye Orchestra (voc) Tony Alamo
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’Chrysler Showroom’
Radio Transcription 1949 |
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Set 5
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Women Jazz Singers 1950s Radio & TV | |
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Intro + Fine & Mellow
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Billie Holliday
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’The Sound of Jazz’
WCBS CBS TV NY 8 Dec 1957 |
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My Gentleman Friend
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Sarah Vaughan
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’Concert Recording’
Apollo Theatre NY 17 Aug 1950 |
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All Of Me
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Duke Ellington Orchestra (voc) Betty Roche
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Blue Note
WMAQ NBC Chicago 30 Jul 1952 |
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Ridin’ High
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Ella Fitzgerald (voc) Benny Goodman Orchestra
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’Texaco Swing Into Spring’
WRCA TV NBC NY 9 Apr 1958 |
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Set 6
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Cab Calloway on Live 1940s Radio From Cafe Zanzibar NYC | |
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Do I Care? No, No
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Cab Calloway Orchestra (voc) CC
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Comm Rec
New York City 18 Mar 1940 |
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Minnie The Moocher (theme) + The Very Thought Of You
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Cab Calloway Orchestra (voc) CC
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’One Night Stand’
Cafe Zanzibar New York City AFRS Re-broadcast 22 Sep 1944 |
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The More I See You
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Cab Calloway Orchestra (voc) CC
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’One Night Stand’
Cafe Zanzibar New York City AFRS Re-broadcast 10 Jul 1945 |
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Lammar’s Boogie + Coastin’ With JC
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Cab Calloway Orchestra
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’One Night Stand’
Cafe Zanzibar New York City AFRS Re-broadcast 16 July 1946 |
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Set 7
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Early Radio Jazz and Dance | |
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Blue Melody Blues
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Tiny Parham and his Musicians
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Comm Rec
Chicago 1 Feb 1929 |
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Me
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Gus Arnheim Orchestra (voc) Loyce Whiteman and Dave Marshall
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’Cocoanut Grove’
Radio Transcription 1931 |
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Happy Feet
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Paul Whiteman Orchestra (voc) Bing Crosby and the Rhythm Boys, Brox Sisters
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’King of Jazz’
Film Soundtrack 1929 |
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Is It Spain + A Most Remarkable Girl
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The Dixie Two-Steppers (voc) The Dixie Tenor
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’Sunny Meadows Program’
Radio Transcription 1929 |
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Set 8
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Glenn Miller Broadcasting to Germany 1944 | |
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Intro + Here We Go Again
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Glenn Miller AEF Orchestra
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Radio Transcription
American Broadcasting Station in Europe (ABSIE) Abbey Road Studios London Oct-Nov 1944 |
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Now I Know
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Glenn Miller AEF Orchestra (voc) Johnny Desmond
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Radio Transcription
New York City 1939 |
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Begin the Beguine
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Glenn Miller AEF Orchestra (voc) Irene Manning
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Radio Transcription
American Broadcasting Station in Europe (ABSIE) Abbey Road Studios London Oct-Nov 1944 |
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Great Day + Close
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Glenn Miller AEF Orchestra
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Radio Transcription
American Broadcasting Station in Europe (ABSIE) Abbey Road Studios London Oct-Nov 1944 |
Actor - Singer - Voiceover 