Word: elliots
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Dates: during 1940-1949
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...college gym or the local ballroom afterwards. The collegiate circuit, which had brought many a big-money dance band (Glen Gray, the late Glenn Miller) to the top, was in full swing. This season a new face, and a surprisingly young one, had cornered the market: 21-year-old Elliot Lawrence...
Last week Elliot Lawrence's fast-climbing band* played for the homecoming dance at the University of Michigan's Intramural Building. About 700 of the 3,400 students who showed up hovered admiringly around the bandstand all evening while Lawrence played schmalzy ballads like Buttermilk Sky and To Each His Own. Lawrence's autumn schedule covers nine universities, including such profitable dates as Minnesota, Iowa and Nebraska. His nearest competitor-Veteran jazzman Tommy Dorsey's orchestra-has five big college dates...
...Elliot Lawrence is a University of Pennsylvania graduate who likes to wear purple plaid jackets, yellow monogramed shirts and flowered ties. His band is almost as youthful (average age: 23) as his public. He organized his first orchestra-15 kids who called themselves the Band-busters-when he was twelve. They played high-school dances in Philadelphia. Five of Lawrence's current bandsmen are original Bandbusters, including the singer, brunette Rosalind Patton, who sang an uncertain treble for the orchestra when she was eleven, is now a limpid-voiced contralto...
...Elliot's detractors say he had a head start. His father is program director of WCAU, the CBS station in Philadelphia, and got the kids radio time. CBS also owns Columbia Records, and the Lawrence band has snared a profitable recording contract. But even allowing for a starting push, Lawrence's band is doing well on its own. Their college dates were paying as high as $3,000 a night and their first record, I'll Be with You in Apple Blossom Time and Strange Love, has been a steady seller for two months...
...Shaw, as you know, is just turned ninety, and, while some of his work has remained with us in its original freshness, "Arms and the Man" contains much that has become somewhat thin from constant wear. This, combined with a production by Elliot Duvey and a Boston Tributary company of mixed abilities, files the stage with diversion not unpleasant but rather strained...