Just wanted to tell you that the new photo you put up yesterday, is a
really good one.

Bets

This story was sent to you by: Louis Rugani

Anita O'Day dies.

--------------------
Anita O'Day: 1919-2006
--------------------

A jazz legend born in Chicago

By Dennis McLellan
Tribune Newspapers: Los Angeles Times

November 24, 2006

LOS ANGELES -- Anita O'Day, who shot to fame as a singer with drummer Gene
Krupa's swing band in the early 1940s and became one of the most distinctive
voices in the history of jazz, died Thursday. She was 87.

Ms. O'Day died of cardiac arrest in a convalescent hospital in West Los Angeles,
according to her manager, Robbie Cavalina. Born in Chicago on Dec. 18, 1919, she
was still a relatively unknown singer in jazz joints in Chicago when Krupa hired
her as his $40-a-week vocalist in 1941.

She was born Anita Belle Colton. Her father left when she was 1; her mother
worked in a meatpacking plant. An only child, Ms. O'Day began singing as a young
girl in church during summer visits to her grandparents in Kansas City.

Billed as the Jezebel of Jazz by the early 1950s, Ms. O'Day titled her 1981
autobiography "High Times Hard Times." She described backroom abortions, a
nervous breakdown, two failed marriages, jail time for drug possession and more
than a decade-long addiction to heroin that nearly killed her with an overdose
in 1966.

"She was a wild chick, all right, but how she could sing!" Krupa once said.

As a result of having her uvula (the small, fleshy part of the soft palate that
hangs down above the back of the tongue) accidentally cut off by a doctor during
a tonsillectomy at age 7, Ms. O'Day had no vibrato and was unable to hold notes.

"I'm not a singer; I'm a song stylist," she said in a 1989 interview with The
New York Times. "I'm not a singer because I have no vibrato . . . . If I want
one, I have to shake my head to get it. That's why I sing so many notes--so you
won't hear that I haven't got one."

Ms. O'Day scored one of the Krupa's band's greatest hits with "Let Me Off
Uptown" in 1941.

Named "New Star of the Year" by Down Beat magazine, Ms. O'Day's other hits with
the Krupa band included "Alreet," "Kick It" and "Bolero at the Savoy."

After leaving Krupa, she was a vocalist with Stan Kenton's band from 1944 to
1945; her most popular recording with him was the million-selling "And Her Tears
Flowed Like Wine."

A memorable appearance at the 1958 Newport Jazz Festival, in which she sang nine
songs including "Sweet Georgia Brown," added to her stature as a jazz legend.
Copyright (c) 2006, Chicago Tribune

This story was sent to you by: Louis Rugani

--------------------
Broadway Lyricist Betty Comden Dies
--------------------

By MICHAEL KUCHWARA
AP Drama Writer

November 24, 2006, 12:24 PM CST

NEW YORK -- Their 60-year collaboration was such that many believed Betty Comden
and Adolph Green, whose musicals won five Tony Awards, were married.

Instead, the beautiful music they made together graced the stage and screen, and
included the classic Broadway musical "On the Town" and the film "Singin' in the
Rain."

Comden died Thursday of heart failure at New York Presbyterian
Hospital-Columbia, said her longtime attorney and executor Ronald Konecky. She
was 89.

"She was, in all respects, a very beautiful and legendary person," Konecky said.
"She was a dynamic figure in the arts, theater and film."

On Broadway, Comden and Green (the billing was always alphabetical) worked most
successfully with composers Leonard Bernstein, Jule Styne and Cy Coleman. The
duo wrote lyrics and often the books for more than a dozen shows, many of them
built around such stars as Rosalind Russell, Judy Holliday, Phil Silvers, Carol
Burnett and Lauren Bacall.

Among their Tonys, three were for best musical for their shows "Wonderful Town,"
"Hallelujah, Baby!" and "Applause." The duo received the Kennedy Center honors
in 1991.

"It's a kind of radar," Comden once said of her partnership with Green. "We
don't divide the work up, taking different scenes. We sit in the same room
always. I used to write things down in shorthand. I now sit at the typewriter.
Adolph paces more. A lot of people don't believe this, but at the end of the day
we usually don't remember who thought up what."

Green died in October 2002 at age 87.

The best Comden and Green lyrics were brash and buoyant, full of quick wit, best
exemplified by "New York, New York," an exuberant and forthright hymn to their
favorite city. Yet even the songwriters' biggest pop hits -- "The Party's Over,"
"Just in Time" and "Make Someone Happy" -- were simple, direct and heartfelt.

It was "On the Town," a musical comedy expansion of Jerome Robbins' ballet
"Fancy Free," that introduced Comden and Green to Broadway in 1944. The story of
three sailors on a 24-hour leave in wartime New York was tailor-made for the
time.

The music was by Bernstein, an old friend of Green's. Comden and Green wrote the
book and lyrics, including two plum roles for themselves.

Green, struggling to become an actor, met Comden through mutual friends in 1938
while studying at New York University.

They formed a troupe called the Revuers, which performed in the Village
Vanguard, a club in Greenwich Village. Out of necessity, Comden and Green began
writing their own material. Among the members of the company was a young
comedian named Judy Tuvin, who changed her name to Judy Holliday when she got to
Hollywood.

Comden and Green's next two musicals, "Billion Dollar Baby" (1945) and "Bonanza
Bound" (1947) were not successful. Discouraged, they left for California where
they found a home at MGM.

There, they wrote screenplays for "Good News," starring June Allyson and Peter
Lawford, and the film version of "On the Town," which scrapped most of
Bernstein's melodies, replacing them with music by Roger Edens. It even
sanitized the lyrics to "New York, New York." Yet the movie, starring Frank
Sinatra and Gene Kelly, was a huge hit.

At MGM, Comden and Green also scored their biggest critical success, writing the
screenplay for "Singin' in the Rain" (1952). The film placed No. 10 on the list
of 100 best American movies of the century, compiled in 1998 by the American
Film Institute.

In 1953, they had another film hit with "The Band Wagon," starring Fred Astaire
and Cyd Charisse. That same year, Comden and Green reunited with Bernstein on
Broadway for "Wonderful Town," a musical version of "My Sister Eileen."

A succession of collaborations with Styne followed, including the 1954 Mary
Martin "Peter Pan," in which they were brought in to augment an already existing
score; "Bells Are Ringing" (1956), written specifically for Holliday, and "Do Re
Mi" (1960), a raucous look at the jukebox industry.

One of their biggest Broadway successes was "Applause" (1970), a show for which
they wrote the book but not the lyrics.

Comden and Green had their share of stage flops, too, most famously "A Doll's
Life" (1982). It was a misguided attempt to figure out what Nora did after she
slammed the door and walked out on her husband in Ibsen's "A Doll's House." The
musical ran five performances.

Yet their longest running show, "The Will Rogers Follies," opened in 1991, a
Ziegfeld-styled retelling of the life of the famous humorist.

Throughout their partnership, Comden and Green performed together on stage, most
notably in their two-person show "A Party with Betty Comden and Adolph Green,"
which was first done on Broadway in 1958 and periodically revived over the
years.

Comden was born in Brooklyn in 1917, Konecky said, the daughter of Leo and
Rebecca Comden. Her father was a lawyer, her mother a schoolteacher. She
graduated from New York University in 1938.

Comden married accessories designer Steven Kyle in 1942. He died in 1979. They
had two children, Susanna and Alan; her son died in 1990.

Associated Press Writer Colleen Long contributed to this report.
Copyright (c) 2006, The Associated Press

This story was sent to you by: Louis Rugani

We'll have tributes to Anita O'Day and Betty Comden on Sunday's Music of the
Stars.

--------------------
Betty Comden: 1917-2006
--------------------

Lyricist behind landmark musicals

New York Times News Service

November 24, 2006

NEW YORK -- Betty Comden, who with her longtime collaborator Adolph Green wrote
the lyrics and often the librettos for some of the most celebrated musicals of
stage and screen, died Thursday. She was 89.

During a professional partnership that lasted more than 60 years and ended with
Green's death in 2002, the Comden-Green blend of sophisticated wit and musical
know-how lit up stage shows like "On the Town," "Wonderful Town," "Peter Pan"
and "Bells Are Ringing." Their Hollywood credits included the screenplays for
two landmark film musicals, "Singin' in the Rain" and "The Band Wagon."

Through the years they worked with composers like Leonard Bernstein, Cy Coleman,
Jule Styne and Andre Previn, creating songs like "New York, New York," "The
Party's Over," "It's Love" and "Some Other Time."

Slim, dark-haired and composed, Ms. Comden was the ideal counterbalance to the
often rumpled, wild-haired and restless Green. Sometimes, during discussions,
she would finish one of his sentences, or vice versa. Songs and shows grew that
way too, although the story was always the starting point.

The starting point for their partnership was Greenwich Village where, in the
late 1930s, they joined up with another aspiring entertainer named Judy Holliday
and two other friends to form a cabaret act. They called themselves the Revuers
and persuaded Max Gordon, the owner of a club called the Village Vanguard, that
their act would be good for business. It was.

The Revuers opened at the Vanguard in 1939, performing material that included
freewheeling sketches like "The Banshee Sisters" and "The Baroness Bazooka," a
zany operetta, and frequently accompanied at the piano by one of Green's
friends, a talented young musician named Leonard Bernstein.

The act's success earned them a movie offer, and the Revuers traveled west in
hopes of finding instant fame in "Greenwich Village," a 1944 movie starring
Carmen Miranda and Don Ameche, in which the newcomers turned out to be virtually
invisible. Ms. Comden and Green came back to New York, where they resumed
working at the Vanguard and other clubs.

It wasn't long before they heard from Bernstein, their erstwhile accompanist,
who said he'd been working on a ballet with Jerome Robbins and that the two of
them had decided that the ballet, "Fancy Free," had the makings of a Broadway
show. They were looking for someone to write the book and lyrics.

Ms. Comden and Green jumped at the chance. The result, "On the Town," the story
of three sailors on shore leave in New York, opened late in 1944 and was a
smash.

Ms. Comden married Steven Kyle, a designer and businessman, in 1942. He died in
1979, and she never remarried. They had two children, a daughter, Susanna, and a
son, Alan. Their son, a drug addict, contracted AIDS and died of complications
of his addiction in 1990. Ms. Comden is survived by her daughter.
Copyright (c) 2006, Chicago Tribune

Lou...never heard it before but it really got to my handicapped
daughter.  She loved it as did I.  Thanks for playing it.  Where did
you get it?

Bets

"mizchita" <betty@...>
wrote:
>
> Lou...never heard it
before but it really
got to my handicapped
> daughter.  She loved
it as did I.  Thanks
for playing it.  Where
did
> you get it?
>
> Bets
========================
Joan West of Kenosha
wrote that about five
years ago, and we have
two versions of it:
Pete Revelle, who you
heard yesterday (he
also does the
keyboard), and his
daughter Karen Reynor
did it a week ago,
again with Pete on the
keyboard. Joan writes
great tunes, doesn't
she?

=Lou=

-----Original Message-----
From: John Perry
Sent: Tuesday, December 28, 2004 10:53 AM
To: Lou Rugani
Subject: FW: Lou Rugani is a STAR!



-----Original Message-----
From: Edgar Reihl [mailto:ereihl@...]
Sent: Friday, December 24, 2004 6:32 AM
To: Perry@...
Subject: Lou Rugani is a STAR!


First of all, I think WLIP is one of the most outstanding local radio
stations on the air today! It is one of the only stations still
broadcasting an adult standards music format that is receivable in the
Chicago area, now that WAIT has gone to time brokered programming. (The
other ones I know of are 1480, WSPY, which has "Music of Your Life"
which I enjoy very much, but it is extremely weak here, and 1600, WCGO,
which can't be heard at all at my location).

But WLIP is much more than that-- the announcers; Lou in particular; are
extremely knowledgeable and add a lot of interest to the programs. I
enjoy his car program, which you have labeled as an "infomercial" on
your website. It is much more than that! In addition, his "Music of the
Starts" program is a true classic. I hope someone is taping these shows
for the benefit of future listeners. His shows should be archived at the
Museum of Broadcast Communications.

In the early days of radio, broadcasting was viewed as "being invited
into the listener's home" as a guest. Today it's all about money, and
hence you have people shouting 800 numbers at you 4 times in a
commercial, and loud, intrusive musical themes (for example, WTMJ). I
can remember when WTMJ was a good station. Today, it's just like all the
large market outlets-- loud, obnoxious, and saying the same things over
and over again all day.

Thank you for being a breath of fresh air! I hope you will express my
appreciation to Lou and all the WLIP staff for the great job that they
do. Your station is not the strongest here in Northbrook, but I enjoy
listening when I can.

Merry Christmas!

Edgar Reihl
Northbrook, IL

Some rare Valentine Day
music, with a special
tribute to the late
Barbara McNair ofRacine
and Frankie Laine of
Chicago.

7AM to 11Am on the
Music of the Stars.

I'll also be making an
appearance on the WLIP
Radio Auction at about
11:30 to remember Irene
Buri Nelson.

Keep your dreams alive -

=Lou=

This story was sent to you by: Louis Rugani

Eldee Young was at Jazz At The Kemper with the Ramsey Lewis trio in August,
1994.

--------------------
Eldee Young: 1936 - 2007
--------------------

`Anchor' of Ramsey Lewis Trio a giant among jazz bass players

By Howard Reich
Tribune arts critic

February 14, 2007

Though he stood just 5 feet 1 inch, Chicago jazz bassist Eldee Young sounded as
big as all outdoors.

His sumptuous bass lines propelled one of the most famous jazz bands to come out
of Chicago--the Ramsey Lewis Trio--and kept him in demand across the city, and
around the world, for more than half a century.

Mr. Young, 71, who during the last two decades divided his time between Chicago
and the Far East, died Monday afternoon, Feb. 12, (Chicago time) in Thailand,
where he was performing. The cause of death is believed to be a heart attack,
according to his family.

"He was a small guy. But when he started playing the bass, which is almost twice
as tall as him, people absolutely loved him," Lewis said.

Mr. Young was "the anchor" of the Ramsey Lewis Trio, the pianist added. "He gave
us the sound that we loved. Onstage, he was so animated."

The ebullience of Mr. Young's stage manner endeared him to audiences.
Extroverted to the core and often venturing beyond the upright bass to play
cello or sing, Mr. Young was a throwback to earlier vintage jazz musicians who
went out of their way to entertain their audiences.

But there was more to Mr. Young's art than charm.

"He was such a consummate musician," said Chicago bandleader-pianist Marshall
Vente, who often performed and recorded with Mr. Young.

"When you're leading a band, if you don't have to worry about a bass player ever
hitting a wrong note, that frees you up to play more and to play freer. That's
what it was like working with Eldee."

Mr. Young started his musical life on guitar, but he switched to bass. It wasn't
until he was a student attending McKinley High School on Chicago's West Side
that he realized music would be his life's focus.

"What really turned him around was when he went to see Josephine Baker and Duke
Ellington downtown," said one of his three sons, Eldevon Young. "He said when he
saw that, he knew that was what he wanted to do."

Not long after graduating from high school, Mr. Young went on the road as a jazz
musician. But it was his tenure in the Ramsey Lewis Trio (with drummer Redd
Holt) in the 1950s and 1960s that made him a widely recognized figure.

The trio's breakup in the mid-1960s, however, came as a deep disappointment.

"We had worked so hard on this music together, and when the group broke up, it
was like a family breakup," Mr. Young told the Tribune in 1996. "I took it very
hard."

Yet he bounced back, enjoying considerable popularity in the late 1960s and
1970s co-leading various bands with Holt.

By the 1980s, he began performing frequently in Asia, finding himself in demand
in Singapore, Vietnam, India, Malaysia and beyond.

"He liked playing over there because people really wanted the music and really
appreciated it," said another son, Tyree Young.

In addition to Tyree and Eldevon, Mr. Young is survived by a third son, Marcus;
his wife of 53 years, Barbara; and a sister, Vermel Cameron.

Funeral arrangements are pending.

----------

hreich@...
Copyright (c) 2007, Chicago Tribune

This story was sent to you by: Louis Rugani

--------------------
Citywide smoking ban may cloud jazz lovers' loyalty
--------------------

By Howard Reich
Tribune arts critic

April 1, 2007

Cigarette in hand and saxophone on lap, jazz icon Dexter Gordon seems lost in
thought, while smoke billows gently from his lips.

It rises in a cloud above him -- white, misty patterns set against an ebony,
late-night backdrop.

The iconic 1948 shot, by celebrated jazz photographer Herman Leonard, has come
to signify the nocturnal ambience and romance of the music. Smoke and jazz, it
seems to say, are as inseparable as Gordon and his horn, each incomplete without
the other.

Yet as the Illinois Senate on Thursday passed a ban on smoking in bars,
restaurants and other public places statewide, the mythology of the smoke-filled
jazz joint may be tested anew in a city world-famous for its jazz culture:
Chicago.

Until now, smoke has blown freely in many of this city's jazz joints, from
Uptown's historic Green Mill to downtown's rambunctious Andy's Jazz Club, from
neighborhood joints such as the intimate New Apartment Lounge on East 75th
Street to the pervasively cloudy Empty Bottle in Wicker Park (actually a rock'n'
roll room that often spotlights innovative jazz).

The citywide smoking ban that went into effect last year exempted taverns and
restaurants with bars until July 1, 2008. And even then, a passage in the law
allows smoking in public places if filters or other technologies can make the
air indoors as clean as it is outdoors.

Nevertheless, Chicago club owners know which way the wind is blowing, with
states such as California, New York and Massachusetts having banished smoking
practically everywhere -- including nightspots.

Some Chicago clubs, such as the avant-garde Velvet Lounge on East Cermak Road
and the age-old Jazz Showcase (currently looking for a new home), banned smoking
long before the law will require it. The reaction has been overwhelmingly
positive, their owners say.

Other venues, such as the aforementioned Green Mill and Andy's, have put off the
(seemingly) inevitable, the rooms usually as thick with fog as anyplace from the
earliest days of jazz, when smoke was the least of the vices encountered in
music dens.

No matter how they feel about the changing aesthetic of smoke, however, many
club owners breathe fire when the subject comes up -- for cultural reasons, and
others.

"I'm not for this no-smoking rule. I'm way against it -- it's a jazz joint,"
says Green Mill owner Dave Jemilo, who revived the historic club in the 1980s
and has turned it into a draw for jazz lovers from around the world.

"You get people here from Paris, and there's going to be no smoke? I don't think
there's anyone in Paris who doesn't smoke," Jemilo said.

"So they're in the Green Mill, they're from Paris, they're listening to jazz,
and they've got to go outside to smoke?

"Clean air in a jazz joint? No nicotine on the paintings at the Green Mill?

"Come on."

Adds Jemilo, "I'm very nervous about it."


Smoke and liquor sales

Specifically, Jemilo fears repeating what happens on Monday nights, when smoke
is banned for Patricia Barber's standing-room-only sets (at the request of the
artist) and on select occasions when he prohibits smoking at the front of the
club at the urging of musicians with various health woes. During the non-smoking
shows liquor sales plummet by half, says Jemilo, even though the audiences are
larger than during the smoking shows.

Other club owners, however, celebrate the cultural shift over smoke.

"If we'd kept smoking, I'd probably be dead by now," says Jazz Showcase founder
Joe Segal, 80. "And, anyway, smoke has nothing to do with music."

Adds saxophonist Fred Anderson, who turned his Velvet Lounge club into a
nonsmoking venue when he moved it to East Cermak Road last summer, "I like it
better without smoke -- everybody likes it better.

"Even without smoke, it's the same Velvet Lounge."

Regardless of whether they're pro- or anti-smoke, however, nearly everyone
agrees that one of the central rituals of jazz has been unraveling across the
country and, more slowly, here in Chicago, as well.


An art form born in vice

Practically since its inception, at the dawn of the previous century, jazz
unfolded in settings where smoke, liquor, drugs, gambling and various sensual
pleasures were readily available. In New Orleans brothels such as Hilma Burt's
and Lulu White's, and in nearby saloons such as the Frenchman's and the Big 25,
a generation of musicians invented an art form in rooms catering mostly to vice.
Piano masters such as Tony Jackson and Jelly Roll Morton helped forge a new
American sound in these places, the licentiousness and hedonism of the setting
perhaps expressed in the freedom and unbridled creativity of the music.

"New Orleans was credited at that time as the second greatest Tenderloin
district in the world, second only to Paris, France," Morton wrote, in
describing Crescent City culture at the dawn of the 20th Century. "That was
before the electric piano days and every house [brothel] that could afford it
would have what they called their [piano] professor."

The link between jazz and sin quickly permeated America's cultural landscape,
enshrined in films such as "Young Man With a Horn" and "'Round Midnight" (the
latter starring Dexter Gordon) and echoed in fiction and non-fiction alike.
Author Shelby Foote, for example, in 1947 poetically described the archetypal
jazz club in his short story "Ride Out":

"On a low dais in the opposite corner," he wrote, "there was a five-man group --
drums, piano, cornet, trombone, clarinet -- seen dimly through smoke that hung
like cotton batting, acrid and motionless except when it is divided to let
waiters through and closed again immediately behind them as they moved among the
small round tables where people sat drinking from undersized glasses."

The theme reverberated in music, too, with songs such as "Smoke Gets in Your
Eyes," "Smoke Rings" and "Smoke! Smoke! Smoke! (That Cigarette)" attesting to
our culture's embrace of the stuff.

And to the last performances of his career, Frank Sinatra always lit a cigarette
onstage when singing 3 a.m. ballads such as "One for My Baby (And One More for
the Road)."

But anti-smoking legislation of the past couple decades was bound to reach into
nightclubs, even in Chicago, where toxic fumes are not only allowed but found in
abundance.


Curious ambivalence

As the smoking endgame proceeds, the "anti" and "pro" sides predictably have
taken their positions.

But, surprisingly, a curious ambivalence is settling on many players in this
battle. For they loathe smoke and, at the same time, lament its disappearance.

"I think that smoking is deleterious to your health," says Empty Bottle owner
Bruce Finkelman, who concedes that the clubs he encounters in non-smoking cities
around the world are "a lot more of a pleasant situation."

But, he adds, "a bar is the last bastion where you can go to smoke, you can go
to drink, and you can let your vices out, and I like that."

Perhaps no one finds himself more torn than photographer Leonard, whose immortal
photos of saxophonist Gordon, Sinatra, Billie Holiday, Billy Eckstine and others
are practically framed in smoke.

"I love smoke, if only because it added a lot to my pictures -- otherwise I'm
totally against it, and I do approve of the smoking ban in public places," says
Leonard.

"If you take some of my pictures with smoke in them, and you put your hand over
the smoke, you've got a picture of a jazz musician, period. But with the smoke,
you've got more atmosphere, and therefore more reality."

Leonard backlit his subjects to give the images more dimension and definition,
he says, not to highlight the smoke that eventually became a signature for his
work.

Smoke was so prevalent in those early years, says Leonard, that he hardly
noticed it.

"Everybody smoked back then -- except me," says the photographer, hastening to
add that Gordon -- his emblematic subject -- died of throat cancer.

"Had he not smoked," says Leonard, "he might have lived a little longer and
given us a little more music."

----------

hreich@...
Copyright (c) 2007, Chicago Tribune

Thanks to Ron Smolen for passing this along. Ron's band played for our last WLIP
dance, on Valentine's Day of 2003 at the Kenosha Ramada Inn .

=Lou=


-----Original Message-----
From: Ron Smolen
Sent: Monday, April 2, 2007 7:08 AM
Subject: eddiehubbard.com/


http://www.eddiehubbard.com/



Posted: Friday, March 30, 2007



It saddens us to inform you, his friends and listeners, Eddie Hubbard passed
away Monday 3/26/2007.
Eddie and his wife Lill were in a car accident the prior week. Lill survived
the accident and is recuperating with family members. His loving family
surrounded Eddie at the time of his passing. Eddie Hubbard was a radio
announcer most of his life.
Starting his career in Baltimore Maryland then moving to Chicago where he
was with WIND/ WGN/FM100/WJJD for many years. Eventually moving to the
Dallas/Fort Worth, Eddie joined ABC Radio Satellite Music Network.
Eddie was loved by millions and will be extremely missed.

A private memorial was held. In lieu of sending flowers, donate to your
favorite charity in Eddie Hubbard's name.

_________________________________________________________________
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This story was sent to you by: Louis Rugani

Tommy Newsom.

--------------------
Tommy Newsom: 1929 - 2007
--------------------

Talk show's 'Mr. Excitement'

Award-winning backup bandleader for 'Tonight Show,' known for dull suits and
duller personality, enjoyed being monologue fodder for Johnny Carson

Associated Press

May 1, 2007

PORTSMOUTH, Va. -- Tommy Newsom, the former backup bandleader on "The Tonight
Show" whose "Mr. Excitement" nickname was a running joke for Johnny Carson, has
died. He was 78.

Mr. Newsom died of cancer Saturday at his home in Portsmouth, the city of his
birth, according to his nephew, Jim Newsom.

The saxophonist joined "The Tonight Show" in 1962 and rose from band member to
assistant music director. He retired along with Carson in 1992.

Mr. Newsom won music direction Emmys for "Night of 100 Stars" in 1982 and "The
40th Annual Tony Awards Show" in 1986. "The Tonight Show" received five Emmy
awards during Mr. Newsom's years on it.

"I hope he will be remembered as a gifted musician," Jim Newsom said Monday in a
telephone interview. "I'm sure he will be remembered for his wit and deadpan
humor on 'The Tonight Show.' And to some of us a certain age, he will always be
remembered as Mr. Excitement."

That was the name Carson gave Mr. Newsom to make light of his low-key
personality and drab brown and blue suits -- a sharp contrast to the flashy
style of bandleader Doc Severinsen.

"He became a running character in Carson's monologue," Jim Newsom said. "Tommy
enjoyed that."

Not long after the Carson era ended in 1992, Mr. Newsom remarked that his image
as an ordinary guy was "fairly accurate -- compared to Rambo."

"I realize things have to end sometime," Mr. Newsom said at the time. "I felt
regrets at it ending and there was a sense of relief in a way."

Along with his work on "The Tonight Show," Mr. Newsom arranged and composed
music for Skitch Henderson, Woody Herman, Kenny Rogers, John Denver and other
performers.

He also released several albums as a bandleader, including "Live From Beautiful
Downtown Burbank" in 1978 and "I Remember You, Johnny" in 1996.

Before landing his "Tonight" gig, he toured the Soviet Union and South America
with Benny Goodman and played in "The Merv Griffin Show" orchestra.
Copyright (c) 2007, Chicago Tribune

-----Original Message-----
From: Lou@...
Sent: Friday, May 11, 2007 9:10 PM
To: MusicOfTheStars@yahoogroups.com
Subject: Lou@... sent you a link to content of interest

Lou@... sent you a link to the following content:

New Review: The Marriott's "Shenandoah" is Broadway-worthy revisionism
http://leisureblogs.chicagotribune.com/the_theater_loop/2007/05/new_review_the_.\
html

The sender also included this note:

Happy Mother's Day! Celebrate with our Music of the Stars Mother's Day Special
this Sunday from 7AM to 11AM.

--
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-----Original Message-----
From: kenosha_classof58@yahoogroups.com
Sent: Friday, June 29, 2007 3:26 AM
To: kenosha_classof58@yahoogroups.com
Subject: [kenosha_classof58] Digest Number 2093

There is 1 message in this issue.

Topics in this digest:

1. John Bunic
     From: Judy Testard


Message
________________________________________________________________________

1. John Bunic
     Posted by: "Judy Testard" jtestard@... kenosha_gal1940
     Date: Thu Jun 28, 2007 3:28 pm ((PDT))

An iconic figure in Kenosha's music community died Wednesday, about four months
after he counted off his last tune with his well-known big band. John Bunic, 75,
was familiar to area musicians and concert goers for his quarter-century as
director of the Kenosha Pops Concert Band. Moreover, he was known for fronting
the seemingly timeless John Bunic Big Band - an 18-piece jazz and swing outfit
that performed locally for nearly 50 years.
Messages in this topic (1)
________________________________________________________________________
________________________________________________________________________

To visit our Home Page go to:
http://groups.yahoo.com/group/kenosha_classof58


Our group address is:
kenosha_classof58@yahoogroups.com

CLASS PHOTO ALBUMS Created by Bob Kermgard
http://www.picturetrail.com/classof58




This is our memorial website dedicated to those classmates who have passed away:

http://members.tripod.com/~grammajudy1940/Memorial_to_classof_fiftyeight_kenosha\
wisconsin.html


This site lists the classmates we are looking for.
http://members.tripod.com/grammajudy1940/Kenosha_Class_of_Fifty_Eight



Judy's Business & Family Albums:
http://www.PictureTrail.com/judy

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Yahoo! Groups Links



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Will Schaefer, who wrote ``Jeannie'' and ``Flintstones'' music, dead
at 78

By DINESH RAMDE
Associated Press Writer

July 4, 2007, 9:39 PM CDT

MILWAUKEE -- Will H. Schaefer, a Kenosha-born composer who wrote
background music for "I Dream of Jeannie" and "The Flintstones,"
died of cancer, a family friend said. He was 78.

Schaefer died Saturday in a nursing home in the Palm Springs,
Calif., suburb of Cathedral City, Danny Flahive said Wednesday.

"We lost a biggie," Flahive said, referring to the music
industry. "He was brilliant. Even toward the end of his life, he was
writing for a 100-piece orchestra of the Budapest symphony."

Schaefer, of Rancho Mirage, Calif., may not have been a household
name but his work touched countless fans of television and Disney.

He wrote scores -- background music but not the theme songs -- for
such TV shows as "The Flying Nun," "Hogan's Heroes," "The Jetsons"
and "The Tonight Show Starring Johnny Carson."

He also composed and recorded music for more than 700 commercials,
including for Ford, Chevrolet and Pillsbury.

"I think people overlook people like Will," Flahive said. "He just
didn't get his due credit."

Schaefer did receive professional accolades, including winning three
Clio Awards for his work on commercials. He was also nominated for
an Emmy for his score to the Walt Disney TV movie "The Skytrap," and
for a Pulitzer Prize for his concert piece "The Sound of America,"
commissioned for the 1976 bicentennial celebration.

"He always joked that it was nice to be nominated but it would have
been great to win," Flahive said.

During the Korean War, Schaefer was the arranger and assistant
conductor with The U.S. Fifth Army Band stationed at Fort Sheridan,
Ill., where he wrote music for "Radio Free Europe" and "The Voice of
America."

One of his proudest contributions was his work with Disney's "It's a
Small World." His challenge was to adapt the catchy tune, giving it
the international flavor of whichever country's room the ride had
entered.

Schaefer returned periodically to Kenosha, where he spent his youth.
Last year he served as a guest conductor for the Kenosha Pops
Concert Band. He appeared on the Music Of The Stars both in person
and on the telephone many times over the past five years, and also
on the Lenny Palmer Show once.

He died three hours before his band was to perform a Fourth of July
concert in Rancho Mirage, Calif., but the show went on.

"The audience gave standing ovations after everything he arranged,"
Flahive said.

Schaefer divorced in 1984 after a 20-year marriage. He had no
children.

Flahive said a memorial service would be held in November, probably
around Veteran's Day, at which musicians would deliver eulogies and
perform Schaefer's greatest works.

Before he died, Schaefer wrote a bit of a eulogy for himself.

"He leaves this world with a wide smile on his face because he
accomplished in life the musical tasks he first set out to do in his
early teens," he wrote.


Copyright © 2007, The Associated Press

To: MusicOfTheStars@yahoogroups.com
From: X779@... (Lou Rugani)
Subject: Herb Draeger, trombonist.

This story was sent from JSOnline.com: http://www.jsonline.com.
It was sent by X779@... (Lou Rugani) on 7/26/2007 1:36:30 PM
---------------------------------------------------------------------------

He was a member of the former John Bunic Band.

http://www.jsonline.com/story/index.aspx?id=619777

RECORD THEM TO CDs

They have beeen stored away for years gathering dust in your attic
or on the top shelf in your closet.  You would never dream of
getting rid of them, but your not sure what else do do with your
vintage vinyls and cassettes.  You would love to be able to listen
to them again , but pulling outhe old record player (which may or
may not still work)  is not worth the hassle.  In addition , you
don't have a cassette player any longer

Allow us to offer you a solution to this delemma by recording  them
on to a CD

We can record from 33 1/3s, 45s, 78s, and cassettes.

You will be able to listen once again sit back and enjoy the old
style and sound of all your long unplayed favorite records and
cassettes.

Once on a  CD you can listen to then in your vehicle, or anyplace
else.


contact joannkelty7@... for more information and prices

Use RECORD THEM TO CDs in the subject line...

Peter Palmer (born Igor Shouisky on September 3, 1925 in Kenosha,
Wisconsin) was a bandleader, tenor saxophonist and composer who
recorded several albums for Mercury Records including "A Swingin' Love
Affair", "A Swingin' Dance Date", and "Moonlight on the Campus", with
a small singing group which included Ann Trendler, whom he would later
marry. The Peter Palmer Orchestra was featured at Chicago's Sherman
House hotel and accompanied Tiny Tim (by his request) at the Sahara
Tahoe Hotel in Nevada. The orchestra was often booked for a number of
high school and college campus dances in the 1960s. Peter Palmer
studied music at Northwestern University, graduating in 1950, and led
on-campus orchestras there. Later in his career he changed his name to
Johnny Palmer to avoid confusion with the popular Broadway singer and
actor Peter Palmer of Li'l Abner fame. Eventually he would abandon his
musical career to found the Johnny Palmer Speakers Bureau, and he
lived in the Glencoe, Illinois home once owned by bandleader Griff
Williams.

We'll feature his music next Sunday.

Hello everybody
Thanks for accepting me into your group
Its great to know you all
Im a senior pianist in Colombo Sri lanka, and performs a repertoire of
7000 off songs mostly of the vintage period
I mean 20's, 30's
Specially the lost pop favourites which many hear with delight
I also teach music, and if you like to get a list of the more popular
songs I play tell me and I will email one to you
You can tell me what I've missed and about your favourites.
Bye and good luck
Claude

All about records:

http://www.latimes.com/features/magazine/la-tm-vinyl.30dec9,0,878605.story