Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
Roll-over-Beethoven: Johnnie Ray in context
View through CrossRef
AbstractThe American Johnnie Ray (1927–1990) is best known for his emotional rendition of Churchill Kohlman's song ‘Cry’, a tune that Ray recorded with Mitch Miller in 1951. This song, along with Ray's own composition, ‘The Little White Cloud That Cried’, earned Ray nicknames such as ‘The Nabob of Sob’ and ‘The Cry Guy’. Although wildly popular in the mid-1950s, Johnnie Ray was soon overshadowed by his contemporaries and has been virtually ignored by scholars.This essay situates Ray's music and his hearing impairment in the material and mediated conditions of his life. In addition to interpreting Ray's signature performances, the essay deals with Ray's childhood musicality, his appearances on The Ed Sullivan Show, the influence of televangelism on Ray, cinematic contexts for his life and art, and the hearing aid technology of the 1940s and 1950s.
Title: Roll-over-Beethoven: Johnnie Ray in context
Description:
AbstractThe American Johnnie Ray (1927–1990) is best known for his emotional rendition of Churchill Kohlman's song ‘Cry’, a tune that Ray recorded with Mitch Miller in 1951.
This song, along with Ray's own composition, ‘The Little White Cloud That Cried’, earned Ray nicknames such as ‘The Nabob of Sob’ and ‘The Cry Guy’.
Although wildly popular in the mid-1950s, Johnnie Ray was soon overshadowed by his contemporaries and has been virtually ignored by scholars.
This essay situates Ray's music and his hearing impairment in the material and mediated conditions of his life.
In addition to interpreting Ray's signature performances, the essay deals with Ray's childhood musicality, his appearances on The Ed Sullivan Show, the influence of televangelism on Ray, cinematic contexts for his life and art, and the hearing aid technology of the 1940s and 1950s.
Related Results
Beethoven im „Brockhaus“
Beethoven im „Brockhaus“
Full-length biographies about Ludwig van Beethoven were not published until after the composer's death. During his lifetime, biographical articles in dictionaries and encyclopaedia...
"Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics
"Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics
"Polemic in the Concert Hall": the title of Richard Heuberger's article in the Neue freie Presse refers in no uncertain terms to the uproar surrounding Mahler's performances of Bee...
Wagner, Klimt, and the Metaphysics of Creativity in fin-de-siècle Vienna
Wagner, Klimt, and the Metaphysics of Creativity in fin-de-siècle Vienna
This article takes a close look at a pair of well-known works by Gustav Klimt, the Nuda Veritas (1898) and the Beethoven Frieze (1902), and argues that the Schopenhauerian worldvie...
BARRY, BEETHOVEN AND ‘BEETHOVEN’: IMMORTALITY AND INFLUENCE
BARRY, BEETHOVEN AND ‘BEETHOVEN’: IMMORTALITY AND INFLUENCE
AbstractBeethoven's famous letter to ‘The Immortal Beloved’ still remains a central reference point for our image of his life and music. Gerald Barry's 2007 composition for bass vo...
Beethoven und der Fortschrittsgedanke
Beethoven und der Fortschrittsgedanke
The bourgeois/middle-class Modernity chose music for its art-as-religion and made Beethoven the key figure of its ideals. As a consequence, the “romantic image of Beethoven” (Arnol...
Beethoven à la moujik:
Beethoven à la moujik:
Beethoven's treatments of the Russian folksongs in the “Razumovsky” String Quartets, Op. 59, nos. 1 and 2, have long elicited sharp criticism. A closer look at these treatments all...
Beethoven and Neefe—A Reappraisal
Beethoven and Neefe—A Reappraisal
Abstract
Deeply entrenched in Beethoven biography is the view that Christian Gottlob Neefe was the composer’s most important teacher in Bonn and that Beethoven was g...
WHAT BEETHOVEN LEARNED FROM K464
WHAT BEETHOVEN LEARNED FROM K464
ABSTRACTBeethoven imitated Mozart's String Quartet in A major K464 more openly than any other work by a fellow composer. Yet critics have never explained his fascination with the f...