Word: phonographers
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Dates: during 1930-1939
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...Phonograph records have been used to record the voices of students in public speaking and in the theological school. It was revealed yesterday by Frederick C. Packard, Jr. '20, Assistant Professor of Public Speaking. Professor Packard declared that any student in the University could have a record made of his voice in Holden Chapel on payment of a small laboratory...
George's version was like Dalhart's but it was the likeness that made Judge Davis pronounce George the copycat. Dalhart learned the song from an older Whitter phonograph record in 1923, made several mistakes which are also in George's version. The engineer's name was Steve. Dalhart did not understand it on the record so called him Pete. Average, in stanza three, makes no sense. It was airbrakes in the original version...
...Circuit Court of Appeals in Philadelphia. What Judge Davis had to decide was whether or not David Graves George, a spare, hollow-cheeked old hillbilly who still works for the Southern Railroad, had written the version of the "Old 97" sung by Vernon Dalhart on a Victor phonograph record in 1924. Hillbilly George claimed that he wrote the song in 1903, a week after he had helped to pry nine bodies out of the wreckage. Victor sold a million copies of the Dalhart record. George claimed royalties, estimated at $375,000, which last year a Federal district court awarded...
...sound movies which came in at a time when the market was already imperilled by too many second-rate artists. In the boom years Galli-Curci and John McCormack were the big money-making concert singers. They would get 100 engagements a season and they needed no advertising. Phonograph records built up their names, besides earning them royalties which year after year ran over $100,000. Deflation has weeded out second-raters and for the top-notchers the halls are filling up again...
...student who enjoys a phonograph record by Kreisler played twice as fast as it was ever meant to be played will enjoy Fine Arts 1d immensely. The only defect in the course is the tremendous speed at which it is given. One half year is all the time allotted to dashing through early Christian art to Medieval art through it to Renaissance art, through Renaissance art to modern art, and finally landing somewhat winded in the lap of a post-Impressionist. Professor Edgell strives nobly to make up for the shortness of the time by grinding out words and witty...