Word: crooners
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...male front, crooner Jimmy Powers, playedby Jonathan Simpson '99, is cheesy to the point ofperfection. Along with the dynamic but sometimespatchy-sounding Angel City quartet, he insinuatesa sentimental path into our ready hearts.My ready heart. Lieutenant Munoz (RodrigoCharazo) was a favorite as the figure of dissent,with his deceptively sunny but really acid piece"All You Have to Do is Wait." It is with "Funny,"towards the end of the show, that Roulleau finallysinks his teeth into Stine and shows some fire inthe eye. However, this is not really a failingwhen playing a character which is generally staidand less than...
DIED. GENE AUTRY, 91, Hollywood's first singing cowboy; in Los Angeles. The Texas-born, Oklahoma-raised crooner planned to play baseball (he later settled for owning the California Angels). Instead he entered show business, heeding the advice of Will Rogers, who recommended a radio career after hearing Autry, on break from a job as a telegrapher at a train station, sing and play his guitar. His first hit, 1931's That Silver-Haired Daddy of Mine, was followed by TV and radio shows, almost 100 films and 635 recordings--including his signature Back in the Saddle Again...
...actors stowed away on a '40s-ish ocean liner, ever scurrying from a British stage star who wants them arrested, gelded, dead. Also onboard are a deposed queen (Isabella Rossellini), a gay tennis player (Billy Connolly), a Teutonic chief steward (Campbell Scott) and a suicidal, sub-Sinatra crooner (Steve Buscemi, in the film's funniest turn...
Everything else fell into place, and apart. The no-sweat crooner singing someone else's tune disappeared. Now, thanks to Bob Dylan, everyone was a singer-songwriter, a bleedin' artiste, with a go-to-hell-or-watch-me-writhe-there attitude. Formality gave way to the tyranny of the casual. Billionaire entrepreneurs dressed like the nerds in the family garage they always were...
...advised stab at European art-music "legitimacy." Or, in the worst cases, a truly appalling amalgamation of the two. Charlie Parker's recordings with strings are probably the genre's acme. With their mostly undistinguished arrangements backing the saxophonist as if he were a B-list crooner, the sessions have long been dismissed by jazzbos as being beneath his talents. But he himself was proud of them, and listeners today, accustomed to the burr-in-your-ear juxtapositions of hip-hop and electronica, may find something bracing in the sheer sound of these records, a pleasing shiver in hearing Parker...