#Jerry Weldon

[badmovieihave]

Bad movie I have Motherless Brooklyn 2019

[72-votes]

Tʜᴇ Kɪʟʟɪɴɢ Vᴏᴛᴇ

Thirty-five years ago, DC Comics opened a phone poll to kill Batman's child sidekick, Robin.

The poll was open to paying callers in the U.S. and Canada for a window of 35 hours, starting on 15 September 1988 at 9AM EST. There were two premium-rate phone numbers—one for Robin's survival, and one for Robin's death. Each paying caller could call multiple times. The results were decided by a margin of 72 votes out of a total 10,614 votes—the difference was just under 0.68%.

Now you decide.

KILL ROBIN

Jerry Smith of Covington, Kentucky claims to have sold his Mercedes-Benz to pay for votes to kill Robin

"Who Killed Cock(y) Robin? I Killed Cock(y) Robin" article by Glen Weldon (2008)

"1-800-DEAD-ROBIN" autobiographical comic by Tony Wolf (2015)

"We killed Jason Todd" feature by Matt Markman (2021)

SAVE ROBIN

Senator Patrick Leahy (D-Vt.), a noted Bat-fan and scholar, denounced the episode as a "Roman gladiator-like readers vote."

"I loved him [...] I personally voted for him to live 100 times, and my mom flipped when she saw the phone bill," says magazine writer Savas Abadsidis.

MJG6 said: I was dead broke, working my way through college, but I voted. My first job was at a comic book store, making me an OG fan girl, I guess, and I encouraged people to vote to save him. [...] Because killing a teen, in a role kids are supposed to identify with, that was just sick.

Further Reading

"A Death in the Family, or: How DC Comics Let a Phone Vote Kill Robin" via r/HobbyDrama

"Living Dead Boy: Jason Todd vs. The Culture That Killed (and Resurrected) Him" on Women Write About Comics

"The Vote to Kill Robin" - trivia, misconceptions, opinions by comic-commentary

Some fan letter columns from Jason's later times as Robin

No Birds Allowed: Batman without Robin

"A lot like Robin if you close your eyes": Displacement of meaning in the Post-Modern Age by Mary Borsellino, an essay on dead Robins, sexism, and classism

🦞 The Tale of Larry the Lobster 🦞

Submitted arguments below:

Kill Robin

Anonymous propaganda IN FAVOR of killing the lobster the Robin!

I love Jason Todd. I love his post-crisis Robin days, I love his sense of justice and his adorable love of learning and his silly curly bangs! I say this to emphasize that I don't want him killed out of any dislike of the character.

I want him dead out of a love for storytelling that gets to stick to its guns and doesn't pull its punches. In context of the poll we readers have just seen Dick Grayson get kicked out of the role due to Bruce's fear of him getting hurt, then he turns around and gets a new Robin anyways because he misses him! I really like that Bruce is being messy and hypocritical! Let that have some real consequences please!

If there were no real consequences then Dick got shoved out of being Robin for what? Hairbrained overprotective worry? Why even change the way he graduated into being Nightwing so much then or heck why even kick him out in the first place?

One might argue that we haven't even given this Robin proper time to develop, that instead he might be taken in new and interesting directions as his own unique Robin shaping the mantle into a legacy rather than just something that was Dick's. I admit this is a very good point, and we are cutting off some possible interesting avenues. As I mentioned, I do like this character! But are we really going to get that?

If DC is already prepared to toss him out of this mortal coil and through the pearly gates after such a short while, do we really think we're going to get much more love and care applied to him?

I say let's roll the dice for something new! May the comics world and all these characters have to deal with the ramifications for many years to come!

Save Robin

robin’s death (and subsequent resurrection) is, frankly, an insult to robin fans of that era. to want to see this child get killed in a brutal manner for no apparent reason, to see jason essentially removed from the narrative so batman could go back to being gritty and depressed—this is awful to me. he hadn’t even been robin for very long!

but that’s not why he should’ve lived.

the resurrection of jason todd as the red hood was narratively interesting enough that it kept most fans of the original jason hooked, and it still does! he has become a prime example of a trauma survivor: his death changed him, and those who loved him have difficulty accepting that.

but there is no resolution to that story, nor was there a resolution to jason’s tenure as robin. dick chose to leave robin behind and take on a new mantle. tim, steph, both had robin taken away from them (and let’s forget about how tim is still robin, because that doesn’t matter right now). damian’s role as robin conflicts with his misconception of his role in the family. everyone else has had an ending, and jason’s death…well. after his resurrection, he has somehow remained stagnant and wildly inconsistent at the same time. this applies to under the red hood too.

at its core, utrh is a deeply classist retelling of jason’s life pre-death in the family. winick makes him a villain—albeit a sympathetic one—who fucks over or kills people that he would’ve thrown himself in front of to save as robin. in utrh, the implication is that jason had always been violent and angry (and morally compromised), and that he was destined to become worse.

it sometimes feels that jason’s transition into being the red hood (and all the characterization that comes with that) was a decision dc made for shock value. just from jason’s robin run, it’s difficult to imagine jason becoming the red hood. it doesn’t feel inevitable. it’s tragic.

ultimately, i believe that jason never should have died, and that his death was a stunt by dc for its shock value. jim starlin wanted jason dead because to him a child sidekick, in a medium that was originally made for children, was “sheer insanity”. he was fridged, plain and simple.

[hooked-on-elvis]

I have a few playlists with my favorite Elvis songs by theme. One of them is with my favorite songs in general, naturally. I listen to it in the shuffle mode when I'm not in the mood for listening to one specific album. Anyway, I just mentioned here the 1971 Love Letters From Elvis album and I was surprised with another amazing song from it just now.

I can't help but to share.

"This Is Our Dance" written by Les Reed/Geoff Stephens. Recorded June 6, 1970 at RCA’s Studio B Nashville.

Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials.

[lboogie1906]

Brenda Lee Eager (August 8, 1947) is a soul singer, songwriter, and musical theatre performer who has written and performed several hits, including “Ain’t Understanding Mellow”, “Close to You”, and “Somebody’s Somebody”.

She was born in Mobile and brought up in the small town of Lower Peach Tree, where she began singing in church as a child. She started writing songs, and by the tenth grade led her vocal group. She first sang professionally at the age of 17 at the King's Club in Prichard, Alabama.

She relocated to Chicago and by 1971 was the lead singer in Jerry Butler’s backup group Peaches. She recorded several singles with Butler, including, “Ain’t Understanding Mellow”, which was her biggest chart success, reaching #3 on the Billboard R&B chart and #21 on the Hot 100. It sold over one million copies and was awarded a gold disc by the RIAA in April 1972. Their duet version of “(They Long to Be) Close to You” reached #6 on the R&B chart and #91 on the pop chart in 1972. She sang regularly in Rev. Jesse Jackson’s Operation Breadbasket Choir in Chicago in the early 1970s.

As a solo singer, she had two minor R&B chart hits, “Good Old Fashioned Lovin’” (Playboy Records, 1975) and “Watch My Body Talk” (Private-I Records, 1984). She worked as a backup singer for such artists as Ray Charles, Mavis Staples, Diana Ross, Stevie Wonder, and Graham Nash. She has written songs recorded by Bobby Womack, the Staples Singers, Aretha Franklin, Cliff Richard, Gladys Knight, Shirley Brown, Prince, and others. She released an album, Startin’ Over, in 2000.

She performed in the musicals The Message is in the Music, alongside Della Reese, and Wild Woman Blues, in Europe with blues singer Maine Weldon. Since 2006, she has directed The Heaven on Earth Choir at the City of Angels Church in Culver City, California. She has written and performed in a one-woman musical theatre show based on her life, Grace, which premiered in Los Angeles in 2010. #africanhistory365 #africanexcellence

[ulkaralakbarova]

It’s the 1970s and San Diego anchorman Ron Burgundy is the top dog in local TV, but that’s all about to change when ambitious reporter Veronica Corningstone arrives as a new employee at his station. Credits: TheMovieDb. Film Cast: Ron Burgundy: Will Ferrell Veronica Corningstone: Christina Applegate Brian Fantana: Paul Rudd Brick Tamland: Steve Carell Champ Kind: David Koechner Ed Harken: Fred Willard Garth Holliday: Chris Parnell Helen: Kathryn Hahn Tino: Fred Armisen Eager Cameraman: Seth Rogen MC: Paul F. Tompkins Bartender: Danny Trejo Waiter at Tino’s: Scot Robinson Stage Manager: Ian Roberts Hot Blonde: Darcy Donavan Petite Brunette: Renee Weldon Tino’s Bassist: Jerry Minor Director: Holmes Osborne Security Guard: Charles Walker Biker Guy: Thomas E. Mastrolia Eyewitness News Member: Jay Johnston Man in Kitchen: Peter A. Hulne Donna: Laura Kightlinger Custodian: Adam McKay Custodian: Joseph T. Mastrolia News Station Employee: Judd Apatow News Station Employee: Debra McGuire Network Reporter: Kent Shocknek Yelling Woman: Monique McIntyre Bum: Bob Rummler Announcer: Chuck Poynter Middle Class Mother: Esmerelda McQuillan Elderly Woman: Angela Grillo Wealthy Family Father: Lionel Allen Wealthy Family Mother: Trina D. Johnson Doctor: Fred Dresch Middle Class Dad: Glen Hambly Nursing Room Resident: Stuart Gold Bill Lawson – Narrator (voice): Bill Kurtis Motorcyclist: Jack Black Arturo Mendes: Ben Stiller Frank Vitchard: Luke Wilson Frank the Bartender (uncredited): Frank Gorgie Zoo Keeper (uncredited): Missi Pyle Public TV News Anchor (uncredited): Tim Robbins Wes Mantooth (uncredited): Vince Vaughn Man in Bar (uncredited): Jerry Stiller Secretary (uncredited): Holly Traister Zoologist with Panda in Doug or Glen scene (uncredited): Matthew Vlahakis Reporter / Anchor (uncredited): Richard Yett Film Crew: Supervising Sound Editor: Mark A. Mangini Casting: Jeanne McCarthy Sound Effects Editor: Richard L. Anderson Stunts: Jack Gill Hair Department Head: Toni-Ann Walker Location Manager: Jeremy Alter Casting: Juel Bestrop Set Decoration: Jan Pascale Music Editor: Ellen Segal Writer: Will Ferrell Executive Producer: David O. Russell Art Direction: Virginia Randolph-Weaver Set Designer: Sally Thornton Director of Photography: Thomas E. Ackerman Music: Alex Wurman Producer: Judd Apatow Executive Producer: Shauna Robertson Editor: Brent White Costume Design: Debra McGuire Stunts: Joe Bucaro III Production Design: Clayton R. Hartley Writer: Adam McKay Co-Producer: David B. Householter Casting: Blythe Cappello Second Assistant Director: Basil Grillo First Assistant Director: Matt Rebenkoff Second Unit Director: Rick Avery Construction Coordinator: John R. Elliott Foley Artist: Joan Rowe Foley Artist: Sean Rowe Stunt Double: Sophia M. Crawford Property Master: Scott Maginnis Color Timer: David Orr Makeup Department Head: Kimberly Greene Script Supervisor: Rebecca Asher Sound Effects Editor: Mike Chock Sound Effects Editor: Donald Flick Key Hair Stylist: Joy Zapata Dialogue Editor: Ralph Osborn Sound Effects Editor: Piero Mura Set Designer: Randall D. Wilkins Set Designer: Barbara Mesney Still Photographer: Frank Masi Visual Effects Supervisor: Ray McIntyre Jr. Key Grip: Lloyd Moriarity Leadman: Louise Del Araujo Production Supervisor: Diane L. Sabatini Video Assist Operator: Paul Murphey Dialogue Editor: Thomas Jones Transportation Coordinator: Michael Menapace CG Supervisor: David Alexander Smith Dialogue Editor: Solange S. Schwalbe Digital Effects Supervisor: Reid Paul Still Photographer: Darren Michaels Additional Editing: Melissa Bretherton Art Department Coordinator: Jeanne Bueche Makeup Artist: Erin Wooldridge Music Editor: Erica Weis Visual Effects Supervisor: Richard R. Hoover Production Sound Mixer: Jim Stuebe First Assistant Camera: Baird Steptoe “A” Camera Operator: Harry K. Garvin Orchestrator: Tom Calderaro Visual Effects Producer: Diana Stulic Ibanez Stunts: Lisa Hoyle ADR Mixer: Jeff Gomillion “B” Camera Operator: Steven Hiller Stunts: Joni Avery Sound Recordist: Philip Rogers Assistant Art Di...

[lamilanomagazine]

Dopo il lungo tour estivo il XXII Peperoncino Jazz Festival approda a Cosenza

Dopo il lungo tour estivo il XXII Peperoncino Jazz Festival approda a Cosenza. Il Peperoncino Jazz Festival 2023 si appresta ad approdare a Cosenza, città che quest'anno grazie al forte volere della consigliera delegata alla Cultura Antonietta Cozza e del sindaco Franz Caruso e grazie anche alla grande disponibilità del dirigente del settore Cultura Giuseppe Bruno, domenica 10 settembre, ospiterà un'esclusiva giornata interamente dedicata al leggendario Miles Davis nel meraviglioso complesso monumentale di San Domenico. Si inizierà nel tardo pomeriggio, intorno alle ore 18, con l'interessante Storytelling Multimediale avente ad oggetto la creazione di "Kind of Blue", album uscito nel 1959 a firma del grandissimo trombettista americano, considerato uno dei massimi capolavori della storia del jazz (oltre ad essere il disco di jazz più venduto di sempre con 4 milioni di copie, è uno dei primi esempi di modal jazz), nonché, più in generale, una pietra miliare nella storia musicale del '900. Vincitore nel 1992 del Grammy Hall of Fame Award ed inserito nel 2003 al 12º posto nella classifica dei 500 migliori album di ogni tempo stilata dalla rivista Rolling Stone, l'iconico album verrà raccontato nel dettaglio da Alessio Laganà, operatore musicale reggino sempre attento alle nuove tendenze, da anni impegnato sul territorio calabrese come organizzatore di eventi e vinyl selector, che ha alle spalle anche una importante esperienza come tour-manager di artisti internazionali di grande fama. Formatosi in Management dello Spettacolo presso l'Accademia "Teatro alla Scala" di Milano e da oltre un decennio collaboratore del Conservatorio di musica "Francesco Cilea" di Reggio Calabria, Laganà, attraverso immagini e filmati rari, aprirà metaforicamente le porte dello studio newyorkese della prestigiosa etichetta discografica Columbia Records, svelando tutti i retroscena e gli aneddoti legati alla sessione di registrazione più famosa della storia del jazz, facendo rivivere allo spettatore la magia di quella giornata di primavera del 1959 quando Miles ed il suo incredibile sestetto iniziarono a registrare "Kind of Blue". Sempre domani, ma alle ore 21.30, invece, l'omaggio al geniale trombettista proseguirà con il concerto di colui che è stato, cronologicamente parlando, il suo ultimo tenorista: Rick Margitza. Nato a Detroit in una famiglia di musicisti (il nonno paterno era violinista ungherese zingaro, il padre violinista della Detroit Symphony Orchestra, il nonno materno musicista per Glen Miller e Charlie Parker), Margitza ha iniziato a suonare in tenera età e oggi, avendo alle spalle 10 album da leader e importanti collaborazioni (oltre che con Miles, ha suonato in studio e live con McCoy Tyner, Bobby Hutcherson, Tony Williams, Eddie Gomez, Chick Corea, Maria Schneider, Dave Douglas), è considerato uno dei più acclamati e virtuosi sassofonisti della scena mondiale. Nel corso della serata, che sarà ad ingresso libero, Margitza incontrerà musicalmente il trio del formidabile Elio Coppola, batterista napoletano che nonostante la sua giovane età si sta facendo prepotentemente strada nel panorama jazzistico internazionale e vanta collaborazioni con alcuni dei migliori musicisti al mondo (tra cui John Patitucci, Benny Golson, Joey De Francesco, Peter Bernstein, Dave Kikoski, Jerry Weldon, Gerald Cannon, George Cables, Dado Moroni, Ronnie Cuber ed Enrico Rava), formato da Enrico Zanisi al piano e Antonio Napolitano al contrabbasso, con cui proporrà una selezione di brani tratti dal repertorio dei songbook americano, nonché brani originali dei singoli musicisti. Dopo aver fatto tappa nel capoluogo di provincia il festival organizzato dall'associazione culturale Picanto e diretto artisticamente da Sergio Gimigliano vivrà le sue ultime tappe all'insegna del progetto Women Jazz & Wine e le sue piccanti note risuoneranno nelle più belle cantine aderenti al Consorzio Terre di Cosenza. XII PEPERONCINO JAZZ FESTIVAL: Il XXII Peperoncino Jazz Festival, il cui progetto verrà presentato a valere sull'avviso pubblico "Eventi di Promozione Culturale 2023" della Regione Calabria nell'ambito delle attività relative al brand Calabria Straordinaria, è un evento realizzato con il contributo del Ministero della Cultura, con i prestigiosi patrocini istituzionali della Provincia di Cosenza, del Parco Nazionale del Pollino e Parco Nazionale della Sila, del GAL Riviera dei Cedri, di 30 amministrazioni comunali, dell'Istituto di Cultura svizzera Pro Helvetia, di Puglia Sound, oltre a quelli di associazioni quali i-Jazz, FAI, Touring Club Italiano, F.I.S. Calabria, Fondazione Premio Sila e C.O.T. Diamante & Riviera dei Cedri. Le due tappe del festival in programma nell'edizione 2023 nella località lucana di Maratea sono realizzate con il contributo del Comune di Maratea e della Regione Basilicata. Sostenuto da numerosi ed importanti Sponsor privati (tra cui Consorzio Vini Dop Terre di Cosenza, Gas Pollino, Pollino Gestione Impianti, Nuovo Imaie, Amarelli e Ottica Di Lernia), il festival gode del fondamentale supporto logistico di splendide strutture quali: Casa Alegrìa di Campotenese, Alia Jazz Hotel di Castrovillari, Hotel Ristorante Riviera Bleu di Diamante, il Grand Hotel San Michele di Cetraro, l'Hotel Santa Caterina e il Ristorante La Rondinella di Scalea, il Relais Il Mulino di Corigliano e il Minerva Resort Golf & Spa di Sibari, vanta prestigiose Media Partnership (su tutte, quelle di Jazzit, Il Quotidiano del Sud, L'Eco dello Ionio, Calnews, abmreport e Jonica Radio).... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[fearnoarts]

Jerry Weldon

[gregoryburrus]

Leonieke Scheuble's All Star Hard Bop Quintet with Jerry Weldon, Valery Ponomarev, Bill Crow and Nick Scheuble

April 7 Jazz Appreciation Month 2023 featuring Leonieke Hard Bop Quintet with Jerry Weldon, Valery Ponomarev, Bill Crow and Nick Scheuble Get ready for a night of electrifying jazz as Clements Place presents  Leonieke Scheuble’s All Star Hard Bop Quintet in our Jazz973 Jazz Appreciation Month 2023. This powerhouse ensemble features icons like Jerry Weldon on Saxophone, Valery Ponomarev on…

[gregoryburrusproductions]

Celebrate Jazz Appreciation Month 2023 featuring Leonieke Hard Bop Quintet from Gregory Burrus on Vimeo.

Celebrate Jazz Appreciation Month 2023 featuring Leonieke Hard Bop Quintet with Jerry Weldon, Valery Ponomarev, Bill Crow and Nick Scheuble Get ready for a night of electrifying jazz as Clements Place presents Leonieke Scheuble’s All Star Hard Bop Quintet in our Jazz973 Jazz Appreciation Month 2023. This powerhouse ensemble features icons like Jerry Weldon on Saxophone, Valery Ponomarev on Trumpet, Bill Crow on Bass, and Nick Scheuble on Drums. Immerse yourself in the captivating hard bop sound, an influential jazz style that blossomed in the 1950s, combining the essence of bebop with rich flavors of blues, soul, and gospel music. Witness Leonieke's soul jazz quintet masterfully perform tunes reminiscent of the legendary Art Blakey & The Jazz Messengers, Horace Silver, Hank Mobley andClifford Brown, taking you on an unforgettable journey through the golden era of hard-bop. Don't miss this unparalleled opportunity to experience the artistry of these acclaimed jazz virtuosos on the Clements Place Jazz stage! gregoryburrusproductions.com/events

[olvaheiner]

Wynton Marsalis, Joe Farnsworth, Russell Hall, Isaiah J. Thompson & Jerry Weldon - Daily Battles (Jazz Arrangement)

[fridayschildrecords]

1. My Stove’s On Fire - Robert Lester Folsom

2. Ginger & Ruth - Jerry Paper

3. Think - Shin Joong Hyun

4. I Will Take That Ride - Betty Davis

5. Do You Believe - Supreme Jubilees

6. Be Thankful For What You Got (Pt. 1 & Pt. 2) - William DeVaughn

7. Mysterious Vibes - The Blackbyrds

8. Morning Sunrise - Weldon Irvine

9. Punch Er’ In The Guts - Tex Crick

10. Khala My Friend - Amanaz

11. Buzzin’ Fly - Tim Buckley

[badmovieihave]

Bad movie I movie Anchorman: The Legend of Ron Burgundy 2004

[hooked-on-elvis]

"If I Were You" (1971)

Written for Elvis by Gerald Nelson*, Elvis recorded the song on June 8, 1971 at the RCA’s Studio B Nashville. His recording of "If I Were You" was released in the album "Love Letter's From Elvis" on June 16, 1971.

Guitar: James Burton, Chip Young, Elvis Presley. Bass: Norbert Putnam. Drums: Jerry Carrigan. Piano: David Briggs. Organ & Harmonica: Charlie McCoy. OVERDUBS, Guitar: James Burton. Organ: David Briggs. Percussion: Jerry Carrigan. Percussion & Vibes: Farrell Morris. Steel Guitar: Weldon Myrick. Trumpet: Charlie McCoy, George Tidwell, Don Sheffield, Glenn Baxter. Saxophone: Wayne Butler, Norman Ray. Flute, Saxophone & Clarinet: Skip Lane. Trombone: Gene Mullins. Flute & Trombone: William Puett. Vocals: Mary Holladay, Mary (Jeannie) Green, Dolores Edgin, Ginger Holladay, Millie Kirkham, June Page, Temple Riser, Sonja Montgomery, Joe Babcock, The Jordanaires, The Imperials. Source: elvisthemusic.com

ELVIS, ONE DAY PRIOR TO THE SONG RECORDING: Los Angeles, June 7th 1971

"IF I WERE YOU" LYRICS

The sandman comes to my house late each night But it's way in the morning before he turns out my life It's times like this my darling I can see If I were you I'd know that I love me The great snowman I've been called by all But it looks like this time I'm gonna fall It's times like this my darling I can see Oooh If I were you I'd know that I love me Wind and rain and storm closin' in on me I've walked the streets alone with my self sympathy Can you hear me saying hopefully Oooh If I were you I'd know that I love me Wind and rain and storm closin' in on me I've walked the streets alone with my self sympathy Can you hear me saying hopefully If I were you I'd know that I love me Oooh If I were you I'd know that I love me

Lyricist: Gerald Nelson

* ABOUT THE SONGWRITER: Curiously, "If I Were You" is the only non-soundtrack song Gerald Nelson wrote for the King. According to Nelson, he was asked by Lamar Fike or Freddy Bienstock to write songs for Elvis' movies. Some were chosen and some didn't, naturally. The thing is: given the type of movies Elvis was in, in mid to late 60s, most of the songs Nelson wrote for him had to fulfill a purpose: fit the movie plot. Nelson wrote for Elvis some of the poorest tasted material of the King's music career (needless to say that's on the Hollywood producers), such as the song "Yoga Is As Yoga Does" featured in the soundtrack of the movie "Easy Come, Easy Go" (1967). Even though the songs Gerald Nelson wrote didn't turn out to be (not even close to) greatest hits for Elvis, some had a spotlight of their own, like "Clambake" and "Double Trouble", both title tracks to those 1967 films mentioned.

There's an interview with Gerald Nelson I found in an Elvis Forum. He speaks about what he thinks of the songs he wrote for EP, a little bit about the recording sessions and his reason why he chose to release an album with the demos he taped to send to Elvis' staff.

I thought it might be fun to put together a CD of the original demonstration recordings of songs that I wrote for Elvis Presley. Some he recorded, some he didn’t. He was such a good friend and I respected his friendship so much that I never ask him to record any of my work. Lamar Fike or Freddy Beanstalk put those that he did in his hands. Usually they would send me a script and say: ”Write something for this movie”. For the most part that was either fun or insane. Gerald Nelson, lyricist READ THE FULL 2010 INTERVIEW HERE

In 2003, Gerald Nelson released the album "Songs I Wrote for Elvis" in which demos of the songs he wrote for the King are presented. Below, the demo records of the song “If I Were You”, sung by Gerald Nelson.

If you'd like to hear the FULL ALBUM to find out which songs Nelson wrote for Elvis or wonder how the King would sound in the ones he didn't, here's a playlist on Youtube.

[michigandrifter]

Rooster Cogburn 1975

[usacounselingcredit]

Gerald Kevin Sauter

Gerald Kevin Sauter

Williamsburg

Gerald Kevin Sauter was born April 25, 1934, at his home near Millersburg, Iowa, the son of Michael F and Agatha Mary (Wagner) Sauter. He graduated from Millersburg High School in 1952 and went on to spend two years at St. Ambrose College. Kevin was drafted into the United States Army, and spent two years in the reserves. He was a lifelong farmer, farming with his brothers. On June 15, 1957, Kevin was united in marriage to Phyllis “Dee Dee” G King at St. Bernard’s Catholic Church in Millersburg. They were married 65 years this past June! Kevin was a member of St. Joseph Catholic Church in North English and the Knights of Columbus. He enjoyed playing baseball in his younger years, watching the Chicago Cubs and golfing. Kevin died on Tuesday, Dec. 20, 2022, at Compass Memorial Hospital in Marengo at the age of 88 years.

He is survived by his wife, Dee Dee of Williamsburg; three daughters, Shari (Dann) Harwood of Norway, Julie (Don) Meyer of Deep River and Amy (Steve) Greene of Deep River; two sons, Jerry (Shannon) Sauter of New River, Ariz., and Joe (Erika) Sauter of Williamsburg; 13 grandchildren; 19 great-grandchildren; seven great-great-grandchildren; a sister, Audrey Weldon of Williamsburg; a brother, Michael Sauter of Deep River; a sister-in-law, Marge Sauter of North English; and numerous nieces and nephews. He was preceded by his parents; brothers, Claire, Jim and Paul Sauter; sisters, Mary Kathleen Sauter, Barbara DeDecker, Joan Hadley and Kay Joens; and his grandson, Matthew Agnew.

Funeral Mass will be held 1 p.m. on Wednesday, Dec. 28, 2022, at St. Joseph Catholic Church in North English. Visitation will be Wednesday from 11 a.m. until service time. A general memorial fund has been established. Messages and tributes may be left at www.powellfuneralhomes.com.

December 24, 2022 Hammond Louisiana Ukiah California Dike Iowa Maryville Missouri Secretary Maryland Winchester Illinois Kinsey Alabama Edmundson Missouri Stevens Village Alaska Haymarket Virginia Newington Virginia Edwards Missouri https://unitedstatesvirtualmail.blogspot.com/2022/12/gerald-kevin-sauter.html December 24, 2022 at 03:03AM Gruver Texas Glens Fork Kentucky Fork South Carolina Astoria Oregon Lac La Belle Wisconsin Pomfret Center Connecticut Nason Illinois Roan Mountain Tennessee https://coloradovirtualmail.blogspot.com/2022/12/gerald-kevin-sauter.html December 24, 2022 at 03:41AM from https://youtu.be/GuUaaPaTlyY December 24, 2022 at 04:48AM

[paralleljulieverse]

From the PJV Archives: A Star and her Standby

Original caption: Julie Andrews places crown she wears starring in Broadway play ‘Camelot’ on head of her standby, Helena Scott, in New York. Helena, in addition to being Julie’s standby, is the star of her own off-Broadway musical, ‘The Banker’s Daughter’. This unusual arrangement is possible because a standby, unlike an understudy, does not have to be present during a performance. A standby calls in before a performance to make sure the star will go on and after that her time is her own. Helena has an understudy should she have to substitute for Julie. (AP Wirephoto) February 1962

Born Helen Mary Schurgot in Atlantic City in 1928, Scott was a classically trained soprano who studied voice at Juilliard (‘Seashore soprano’, 3). She enjoyed early success as a company soprano with the New York City Opera where she played Musette in Puccini’s La Boheme, Natalie in Lehar’s The Merry Widow and Rose in Weill’s Street Scene (Gaghan, 31). In 1957, Scott sang the role of Natasha in the US premiere production of Prokofieff’s War and Peace which was telecast as a special event on NBC (Durgin, 17). In between operas, Scott performed in several long-running Broadway shows, starting in the chorus before graduating to bigger parts. She was one of the female ensigns helping Mary Martin wash that man outta her hair in South Pacific (1949), a royal consort and, in later performances, Tuptim in The King and I (1951), and a singing principal in the ill-fated Me and Juliet (1953), (Wallace, A-20). Allegedly, it was when she was cast in the latter show that Richard Rodgers suggested she change her stage name from Schurgot to Scott because he had trouble spelling it (Gaghan, 31). Scott’s biggest break came when she was cast to play the lead female role of Rosabella in the UK premiere production of Loesser’s Most Happy Fella in 1960 (Walrath, 29).* 

After the London run of Fella, Scott returned to the US but her career didn’t sustain its early impetus. She appeared in a number of regional productions before coming on board in mid-1961 as Julie’s standby in Camelot, a position that had previously been filled by Inga Swenson (Wahls, C23). Scott continued to pursue other work: a music fair ‘tent’ production of The Merry Widow (Gaghan, 31), and the title role in The Banker’s Daughter, the off-Broadway musical mentioned in the caption above, where she received decent notices but the show closed in a matter of weeks (Davis, 37). After Camelot, a few further regional productions ensued: a summer stock tour of The Music Man (1962) opposite Van Johnson (Dear 5-D), and an upstate New York staging of Most Happy Fella (1962) (Walrath, 29). 

Thereafter, the public record for Scott grows opaque. During the London run of Most Happy Fella, she met and subsequently become engaged to British publishing director, Christopher Lezard (‘Helena is..’ 15). A brief mention in a Broadway gossip column from late-1962, confirms the pair were married and Scott was moving permanently to London (Winchell, 15). She then seems to have retired from performing, devoting her energies to family life and raising her children, one of whom is British columnist and literary critic, Nicholas Lezard (Lezard 2013).

In terms of her Broadway career, Scott is one of those fascinating figures who hovers in the tenebrous margins of musical theatre history. She never broke through to major stardom and, today, her name would likely draw blanks from even the most ardent Broadway enthusiast. However, she -- along with thousands of others -- formed part of the mostly unsung army of supporting talent that helped shape and give vital form to the ‘golden age’ of the American musical. And Scott did at least leave a documentary legacy of some of her work in the form of recordings for several shows including the musical extravaganza Arabian Nights (1954), the Grieg-inspired operetta Song of Norway (1958), and the original London cast recording of Most Happy Fella (1960). These historical recordings reveal a soprano voice of demonstrable skill and training that was well suited to operetta-style musicals but that would have struggled in the face of the rapidly changing musical idioms of the 1960s. 

And, so, to the $64,000 question: did Scott ever actually get to wear that crown on stage during the run of Camelot? While Julie never missed a scheduled performance during her 18-month tenure with Camelot, she did take a planned two-week holiday from the show from 26 October to 9 November 1961, followed by a further one-week break in early-March 1962 to rehearse and tape her TV special, Julie and Carol at Carnegie Hall. And, during those two periods, Scott assumed the role of Guenevere opposite William Squire who had inherited the lead role of King Arthur following Richard Burton’s departure in September 1961 (’Guenevere’  24). As far as can be ascertained, there weren’t any official reviews of Scott’s brief run in Camelot, though a round-up of Broadway shows by columnist Bruce Galphin (1961) mentioned in passing that “Julie Andrews is gone [from Camelot] and Helena Scott just doesn’t fill the vacuum”. Mind, he also opined that William Squire was “[d]itto..in Burton’s old shoes” (8-A). The principal cast was an impossibly hard act to follow for anyone.

Either way, when time came for Julie to leave Camelot permanently in April 1962 due to pregnancy, Scott doesn’t seem to have been considered as a replacement. The role of Guenevere was initially taken over by Patricia Bredlin, an unknown singer from Wales who was brought over by the producers but who only remained with the show for three months before returning to the UK, reportedly due to homesickness (Gaver, B-2). Bredlin’s understudy, Janet Pavek, assumed the crown for several months (‘Successor’, 39), before  Hollywood star, Kathryn Grayson, came onboard as the fourth and final Guenevere, closing the Broadway run before kicking off  what would be a very lucrative national tour for the show in early-1963 (‘New Heroine’ 23; ‘“Camelot” Leaving...’, 1E). 

Footnote:

* An extra tidbit of trivia, Julie was in the audience for the West End opening night of Most Happy Fella because her-then husband, Tony Walton, designed the scenery and costumes for the London production. Newspaper reports relate that, after the show, she "congratulated the leading lady, Helena Scott, with a rapturous: ‘I loved it’.” (Moynihan, 17; see also Griggs, 10).

Sources

‘“Camelot” Leaving N.Y. for National Tour’ 1963. Democrat and Chronicle. 6 January 1963: p. 1E.

Davis, James 1962. ‘“The Banker’s Daughter” Bright and Gay Musical’. Daily News. 23 January: p. 37.

Doar, Harriet 1962. ‘Music Man So Corny It’s Chic’. The Charlotte Observer. 10 June: 5-D.

Durgin, Cyrus 1957. ‘Impressive New Opera: Prokofieff’s “War and Peace” in US Premiere on NBC-TV.’ Boston Daily Globe, 14 January: p. 17.

Gaghan, Jerry 1961. ‘Opera, Broadway, Now She’s in Tents.’ Philadelphia Daily News. 28 July: p. 31.

Galphin, Bruce 1961. ‘“Camelot”, “Molly” Senior Citizens’. The Atlanta Constitution. 11 December: p. 8-A.

Gaver, Jack 1962. ‘Love Makes Understudy the Queen of “Camelot”’. The State Journal. 13 July: p. B-2.

Griggs, Barbara 1960. ‘The Spell of Corn and Cotton.’  Evening Standard. 27 April: p. 10.

‘Guenevere’ 1961. Daily News. 21 October: p. 24.

‘Guenny’ 1961. Daily News. 9 November: p. 76.

‘Helena is the Most Happy Gal’ 1961. Evening Standard. 12 January: p. 15.

Lezard, Nicholas 2013. Bitter Experience Has Taught Me. London: Faber & Faber.

Moynihan, John 1960. ‘In London Last Night.’ Evening Standard. 22 April: p. 17.

‘New Heroine’ 1962. Daily News. 20 October: p. 23.

‘Seashore Soprano Wins Club Plaudits.’ 1945. Courier-Post, 29 September: p. 3.

‘Successor’ 1962. Daily News. 9 July: p. 39

Wahls, Robert. ‘She’s 109 degrees’. Daily News. 10 November: p. C22-23.

Wahls, Robert 1962. ‘Camelot Queen is a Ringer’. Sunday News. 3 June: p. 25.

Wallace, Weldon 1960. ‘Musical Notes.’ The Sun. 21 February: p. A-20.

Walrath, Jean 1962. ‘Most Happy Fella Delights Audience. ‘ Democrat and Chronicle. 7 August: p. 29.

Winchell, Walter 1962. ‘On Broadway.’ Daily News. 10 September: p. 15.

Copyright © Brett Farmer 2021