What Was Music Like In The 1940s

What Was Music Like In The 1940s – This Women’s History Month, we’re showcasing photos of some of the local women who contributed to the music scene from the First World War to the 1940s. These girls shared their musical talents. You broadcast through a variety of activities, from traditional music programs to radio. broadcasting. Some are remembered only by the local community. Others achieved international fame and their recordings are still commercially available.

These images, from the San Antonio Light Collection (MS 359), were taken by the magazine’s staff photographer.

What Was Music Like In The 1940s

What Was Music Like In The 1940s

Lydia Mendoza, “Lark of the Border,” poses with her guitar during an appearance at the Auditorium National in San Antonio, January 1948. (MS 359: L-3514-A). Mendoza (1916–2007), the first recording star of Tejano and Norteño music, began singing publicly in San Antonio in the late 1920s. He has received the National Medal of Arts and many other awards.

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Acting Mayor Bill Wright welcomes Josephine Lucchese home after performances in New York and Philadelphia in November 1926. (MS 359: L-0698-F). Lucchese (1893-1974), known in Europe as the “American Nightingale,” gave operas and concerts in the 1920s and 30s.

Rosa Dominguez, Colorado soprano, stands with a WCAR microphone while singing a Mexican folk song in November 1925. (MS 359: L-0349-A). Dominguez later appeared in New York and was a regular on Border Radio, where he earned the nickname “The Mexican Nightingale.”

Violet Hilton (left), saxophonist, and Daisy Hilton, violinist, sit in their home on Vance Jackson Avenue, January 1931. (MS 359: L-395-I). The Hilton Siamese Twins (1908-1969) toured the country performing in shows, vaudeville and cabarets in the 1920s and 30s.

Anna Goodman Hertzberg at her annual Christmas party for members of the Tuesday Music Club and Chaminade Choral Society, December 1933. Trained at the New York Conservatory of Music, Hertzberg (1862-1937) founded the Tuesday Music Club for Women. Practice and study classical music. Recordings of Tuesday Club Music are archived in the UTSA Library’s Special Collections on Main Campus: http://www.lib.utexas.edu/taro/utsa/00225/utsa-00225.html

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Eva Garza, a Lanier High School alumna, performs on stage at the El Nacional Theater on East Commercial Street in May 1939. (MS 359: L-1583-A). In the 1940s, Garza (1917-1966) appeared weekly on CBS Radio’s “Viva America” ​​and “The Voice of America” ​​in New York. He knows the US Army. An “America’s Sweetheart.”

Floy, Donald Ruth and Martha pose at their home on Post Avenue during WOAI radio’s weekly program “Saturday Night Parade” in September 1939. (MS 359: L-2248) – c). The trio, originally from Corpus Christi, later toured the country with Olson and Johnson

Lois Farnsworth Kirkpatrick (Hull) String Players with St. Anthony, March 1939. (MS 359: L-2073-C). Hull (1926-2014), then a resident of Canyon City, Texas, performed and sang in “Texas” music for many years.

What Was Music Like In The 1940s

Rosita Fernandez (Almaguier) in traditional dress just before singing Mexican carols at a performance in La Villeta, July 1944. (MS 359: L-3132-A). Fernandez (1919-2006) became a local radio star in the early 1930s and later appeared in television and movies. Lady Bird Johnson called her “the first lady of San Antonio.” The Rosita Fernandez Collection is housed in the UTSA Special Library on Main Campus: http://www.lib.utexas.edu/taro/utsa/00043/utsa-00043.html

Various Artists Lot Of (50) 1940s Decade Sheet Music Traditional Pop Vocals

Bee Morin (Swerzel) sits at the piano during a visit to St. Petersburg. Anthony, who continued to play as a woman for over a decade, July 1952. (MS 359: L-4377-A). Morin (1910–2007), a regular local radio host in the late 1930s and early 1940s, moved to New York and played piano for television shows in the 1950s. By the 1940s, his voice was rich and expressive. He gave emotional depth to ballads, blues, torch and interesting originals.

This biography of Billie Holiday covers the basic tenets of her story in three chapters covering the 1930s, 1940s, and 1950s. Holiday quotes from famous interviews and his biography,

. This is also an image essay that presents an unaltered image. See: Billy’s Real Vacation, Part 1 – 1930s, Part 3 begins in April.

The 1940s was a decade of growth and change for the holiday. He moved from popular medieval music and Tin Pan Alley to a wider emotional landscape. But his turbulent personal life was marred by a heroin addiction that landed him in prison a decade ago.

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Billy is a singer-songwriter who creates songs with raw lyrics about love and loss that stand the test of time. His original, “God Bless the Child” (1941) became a standard. In “Dark Sunday” (1942) he spoke openly about suicide.

“Strange Fruit” (1939) directly confronted the horrors of pogrom in the South. A true political protest song, it confronted Northern European audiences with the unspeakable cruelty of oppression in the Southern states and remains one of the most powerful art hymns against racial oppression in all its forms.

Singing the song every night in 1939 at Cafe Society in New York City, Holiday often created a nightly ritual of sadness and depression. He left behind a cry of personal pain against racism and exploitation that remained the face of his life, and became his signature.

What Was Music Like In The 1940s

Marcoric explains that “Strange Fruit” was not written by Billy as he claimed. But with the political activist Abel Meeropol (1903-1986). Although the holiday made it famous and memorable, he was largely forgotten.

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“I hate adultery, I hate injustice, I hate those who perpetuate it,” I wrote.

” A New York City Jewish teacher and communalist, he wrote hundreds of poems, plays, and songs under the pen name Lewis Allen. Inspired by composers George Gershwin and Kurt Weill, his other works were less successful.

Labels. A large body of water marks his birth as an independent artist. It became one of his best-selling records.

Doesn’t want to ride holiday trains – he hates them. But he loves to fly. He loves soul food: beans and rice, cooked vegetables, pork and home cooking. For example, when he visited England he said:

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“I was so tired of fancy hotel meals that one night I picked up a small can of red beans that I always take with me. I got a garlic, hamburger meat. I pulled out the can of Sterno and started cooking a batch of red beans just the way I like them.”

At first, he was inspired by saxophonists Lester Young, Louis Armstrong and Bessie Smith. He liked pianist Teddy Wilson, tenor saxophonist Coleman Hawkins and Benny Goodman. Some of the singers he mentioned well include K Starr and Peggy Lee.

Unfortunately, in the late 1940s Billy’s use of illegal drugs – first marijuana and opium, then heroin – landed him in serious trouble with the law. As a result of more than one celebrity arrest, he spent a year in jail during 1947-48.

What Was Music Like In The 1940s

The holiday is also affected by bad choices of male partners. It is well-known, described in the autobiography and clearly mentioned in his memoirs. Of course, this is a source of pain heard in his sad songs.

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Despite the tragic events, he won in the forties and gained international fame33. He received great acclaim at Carnegie Hall. Co-starring with Louis Armstrong in the 1947 film “New Orleans,” they made a fun record together.

By the end of the 1940s, Holiday’s life had declined. His life was seriously threatened by a drug conviction

This resulted in the suspension of his New York City cabaret license, prohibiting him from performing in New York City, greatly reducing his income. His mother’s death was another devastating blow.

Hearing his physical decline, his voice began to crack. Even his old friend and flame Buck Clayton noticed the change in writing.

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By the early 1950s, his singing was in constant demand. Billie Holiday recorded frequently, played on the radio, appeared on television and toured abroad. Despite all his hardships, he is a tough survivor, a living legend and an even better jazz singer.

His iconic status grew in the 1950s. His biography has been published. But as shown in Episode 3, his turbulent personal life and reputation as a drug-addicted criminal continue to threaten Billie Holiday’s career.

, (Billie Holiday with William Dufty, Doubleday, 1956), read an audio clip of Kid Wiegant. Buck Clayton quotes

What Was Music Like In The 1940s

On the Jazz Rhythm website, you can find photos, text and the complete radio show: Billie Holiday page.

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Dave Radlauer is a six-time award-winning radio host who has presented jazz since 1982. His comprehensive Jazz Rhythms website is a compilation of early jazz history and nearly 500 hours of exclusive music, broadcasts, interviews and footage with rare audio.

Radlauer aims to tell the story of the San Francisco Bay Area renaissance jazz. To preserve the memory of local stories, he collects, excavates, translates and publishes them.

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