Ate van Delden
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781496825155
- eISBN:
- 9781496825148
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496825155.003.0012
- Subject:
- Music, History, American
From Basque descent and growing up in the Philippines, Fred Elizalde was an advanced composer and orchestra leader. He had worked in the USA and was familiar with the quality of its dance music and ...
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From Basque descent and growing up in the Philippines, Fred Elizalde was an advanced composer and orchestra leader. He had worked in the USA and was familiar with the quality of its dance music and jazz, which he wanted to bring to London and then develop further. He managed to get a contract with the Savoy Hotel, London's top hotel, and in order to fulfil his ambition he hired Americans including Rollini and Bobby Davis. Rollini was featured on most of Elizalde's records, both with the full orchestra and with a jazz band, sometimes using American arrangements. The public's reaction was generally positive, but the band's broadcasts were not always well received. Elizalde defendedhis approach to his management and with initial success. During a short trip home Rollini marries Dixie. His popularity among British music lovers grows further and Melody Maker, a major magazine, asks him to write articles about his music.Less
From Basque descent and growing up in the Philippines, Fred Elizalde was an advanced composer and orchestra leader. He had worked in the USA and was familiar with the quality of its dance music and jazz, which he wanted to bring to London and then develop further. He managed to get a contract with the Savoy Hotel, London's top hotel, and in order to fulfil his ambition he hired Americans including Rollini and Bobby Davis. Rollini was featured on most of Elizalde's records, both with the full orchestra and with a jazz band, sometimes using American arrangements. The public's reaction was generally positive, but the band's broadcasts were not always well received. Elizalde defendedhis approach to his management and with initial success. During a short trip home Rollini marries Dixie. His popularity among British music lovers grows further and Melody Maker, a major magazine, asks him to write articles about his music.
Gregory Mackie
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781942954682
- eISBN:
- 9781789623635
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954682.003.0006
- Subject:
- Literature, 20th-century Literature and Modernism
Commenting on the celebrity his 1924 hit The Vortex afforded him, Noël Coward noted that he “was seldom mentioned in the press without allusions to ‘cocktails,’ ‘post-war hysteria,’ and ‘decadence.’” ...
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Commenting on the celebrity his 1924 hit The Vortex afforded him, Noël Coward noted that he “was seldom mentioned in the press without allusions to ‘cocktails,’ ‘post-war hysteria,’ and ‘decadence.’” This chapter investigates the potent mixture of thematic and stylistic ingredients that render the onstage cocktail the signature of Coward’s brand of popular modernism. It does so by situating his refined drinkers within the popular culture of the interwar period, when drinking cocktails connoted a fashionable rejection of outmoded Victorianism. Staged in in some of British modernism’s defining spaces, cocktails in Coward’s plays are bibulous supplements to the witty dialogue he described as “small talk, a lot of small talk, with other thoughts going on behind.” To sip a cocktail in a Coward play is thus to enact a self that is up to date, metropolitan, sophisticated – a concoction of ingredients whose flavour is indelibly modern.Less
Commenting on the celebrity his 1924 hit The Vortex afforded him, Noël Coward noted that he “was seldom mentioned in the press without allusions to ‘cocktails,’ ‘post-war hysteria,’ and ‘decadence.’” This chapter investigates the potent mixture of thematic and stylistic ingredients that render the onstage cocktail the signature of Coward’s brand of popular modernism. It does so by situating his refined drinkers within the popular culture of the interwar period, when drinking cocktails connoted a fashionable rejection of outmoded Victorianism. Staged in in some of British modernism’s defining spaces, cocktails in Coward’s plays are bibulous supplements to the witty dialogue he described as “small talk, a lot of small talk, with other thoughts going on behind.” To sip a cocktail in a Coward play is thus to enact a self that is up to date, metropolitan, sophisticated – a concoction of ingredients whose flavour is indelibly modern.
