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INDEX
The page numbers in this index refer to the printed version of this book. To find the corresponding locations in the text of this digital version, please use the “search” function on your e-reader. Note that not all terms may be searchable.
Abbott, George, 81, 84–85, 155–56, 163, 167, 209
Aberle, George (eden ahbez), 126
“Ac-cent-tchu-ate the Positive,” 5
Ackerman, Paul, 232–33
“Act Naturally,” 261
Acuff, Roy, 93
Adams, Lee, 163, 218
Adams, Stanley, 192
Adamson, Harold, 87
“Adelaide’s Lament,” 156
Adler, Lou, 255
Adler, Richard (Dick), 149, 151, 154–55, 160–61, 163, 167
Affair to Remember, An (movie), 108
African-Americans: ASCAP treatment of, 43n; BMI-licensed compositions, 93; dances, 54–55; hot jazz style, 65–66; influence on white writers, 51–52; R&B sounds and teenage audience, 176–77; rock songs and performers, 180–81; soul music, 244, 248–49; urban centers, 247–48
“After the Ball,” 31
Aiken, Clay, 124
“Ain’t She Sweet,” 79, 223
“Ain’t That Peculiar,” 249
“Ain’t We Got Fun,” 59
“Alabama Jubilee,” 79
Aladdin (TV show), 216
Aldon Music, 252–54
Alexander, Arthur, 245
“Alexander’s Ragtime Band,” 7, 37
“All Aboard for Dixieland,” 79
“All I Have to Do Is Dream,” 244, 245
“All or Nothing at All,” 19–20, 64, 92
“All Shook Up,” 178
“All the Things You Are,” 77
“All the Way,” 183
“All This and Heaven Too,” 74
Allen, Robert, 205
“Almost Like Being in Love,” 107
“Alone Together,” 234
Alpert, Herb, 255
Altman, Arthur, 61–64
“Always,” 3, 18
American Federation of Musicians (AFM), 94–95, 113, 129, 132, 166
American Folk Songs (Stafford), 121
“American Pie,” 210
Americanization of Emily, The (movie), 207
Ames Brothers, 153
Amis, Kingsley, 113
“And So to Bed,” 57
And Then I Wrote (Nelson), 246
Andrews, Julie, 208–9
Andrews Sisters, 94, 95, 96
Anka, Paul, 210
“Anna (Go to Him),” 261
Annie Get Your Gun (Broadway show), 8, 106, 107
“Annie Had a Baby,” 180
“Another Saturday Night,” 255
“Any Day Now,” 250
“Any Old Place with You,” 221
“Anyone Who Had a Heart,” 251
Anything Goes (Broadway show), 40–41
“Are You from Dixie?,” 79
Arlen, Harold: early life and career, 72–73; Broadway work, 108, 216; disillusionment with new music, 222; among great writers, 4; Hollywood work, 4, 49, 76, 216; work with black musicians, 52
Armstrong, Louis, 114, 218, 230, 231
Arnaz, Desi, 96
“As Time Goes By,” 6, 90
ASCAP: antitrust suit against BMI, 21–23, 186–87, 196–97, 220; competition and dispute with BMI, 20–21; congressional hearings on conflict with BMI, 144–46, 187–96; prohibition of Broadway collaboration with BMI writers, 172; radio boycott of ASCAP-licensed songs, 21, 83–86, 93; royalty collection and distribution system, 7, 41–43
Astaire, Fred, 5, 6, 16, 108, 230
Astaire Story, The, 230
Autry, Gene, 8, 21, 123–24, 195
“Autumn Leaves,” 203
Avakian, George, 205, 234
Avalon, Frankie, 210
Avery, Sid, 227
“Baby, Baby, Baby,” 153
“Baby, It’s Cold Outside,” 155
“Baby It’s You,” 250
Bacharach, Burt, 12, 150, 151, 152–53, 207–8, 249–52
Baez, Joan, 212–13
Bagdasarian, Ross, 142
Bailey, Mildred, 68
baion beat, 250, 254
Baker, Chet, 233
Baker, LaVern, 181
“Ballad of the Sad Young Men, The,” 236
Ballads (Coltrane), 235
Ballard, Hank, 176
Ballard, Pat, 183–84
“Baltimore, Md., You’re the Only Doctor for Me,” 14
“Band of Gold,” 141, 203
Band Wagon, The (movie), 16
bands: arrangers and arrangements, 56, 65–67, 70–71; ASCAP radio boycott, 93; dance music, 55–56; hot jazz, 65–66; Petrillo Ban, 94; pop songs, 69; sentimental music, 115–17; songwriters, 72–76; sweet vs. swing, 65–69, 71–72, 115–16; vocalists, 68–69, 91–92; wartime and postwar, 95, 111–12
“Barbara Allen,” 121
Barer, Marshall, 162
Barkleys of Broadway, The (movie), 108
Barnet, Charlie, 66, 234
Barry, Jeff, 255
Barry, John, 207
Barton, Eileen, 18
Basie, Count, 66, 115
“Baubles, Bangles and Beads,” 159
Baxter, Les, 28, 203
“Be Careful, It’s My Heart,” 92
“Be My Baby,” 255, 259
Beach Boys, 213, 259
Beatles, 11–12, 179, 213, 223, 261
bebop, 113–14, 125, 234
“Because of You,” 24
“Begin the Beguine,” 6
Belafonte, Harry, 161, 211
Bells Are Ringing, The (Broadway show), 214
Bennett, Tony, 9, 24, 126, 141, 160, 204, 213, 232
Bergman, Alan and Marilyn, 208
Berigan, Bunny, 6, 69
Berlin, Irving: background and early work, 7, 36–37; Broadway work, 8, 47, 106, 215; dance theme, 56; Hollywood work, 5, 49, 105, 215; introverted personality, 38; lyrical qualities, 3, 88, 249; royalty earnings, 7–8, 41; on syncopated rhythms, 52; wartime song, 87; “White Christmas,” 7–8, 88–89, 123
Bernstein, Leonard, 106, 214
Berry, Chuck, 181, 210, 246
“Best Is Yet to Come, The,” 237
“Between the Devil and the Deep Blue Sea,” 1, 73
“Bewitched, Bothered and Bewildered,” 180
Bey, Andy, 29
Beyond Glory (movie), 102
“Beyond the Sea,” 20
“Bibbidi-Bobbidi-Boo,” 151
big bands. See bands
Big Clock, The (movie), 102
Billboard charts and categories, 7, 71, 93, 176
“Bim Bam Baby,” 25
“Black Is the Color of My True Love’s Hair,” 121
Blackboard Jungle (movie), 173
blacks. See African-Americans
Blaine, Hal, 256
Blake, Eubie, 52
Blanc, Mel, 226
Blane, Ralph, 84, 89
Blitzstein, Marc, 106
“Blizzard of Lies,” 240
Block, Martin, 129–30
Bloom, Rube, 232
Blossom Time (Broadway show), 48
Blowers, Johnny, 25
“Blue Christmas,” 123
Blue Moods (Davis), 233–34
“Blue Moon,” 223
Blue Stars of France, 236
“Blue Suede Shoes,” 11
“Blue Xmas (to Whom It May Concern),” 236
“Blueberry Hill,” 222
blues, 52, 98
“Blues in the Night,” 69, 74
BMI: ASCAP antitrust suit against, 21–23, 186–87, 196–97, 220; congressional hearings on conflict with ASCAP, 144–46, 187–96; inception as ASCAP competitor, 20–21, 83; musical styles and artists favored, 21, 118, 194–95; radio boycott of ASCAP-licensed songs, 21, 83–86, 93
Bock, Jerry, 151, 162, 167, 217, 218
“Body and Soul,” 6, 60
Bolton, Guy, 47
Bonanza (TV show), 210
Booker T. and the MGs, 244
Boone, Pat, 181
“Born Too Late,” 217–18
bossa nova, 237–39
“Boston Beguine,” 161
Boswell Sisters, 6
“Boy Next Door, The,” 232
Boyd, Jimmy, 24, 123
Brand, Oscar, 23
“Break the News to Mother,” 31
Breakfast at Tiffany’s (movie), 207
Brewer, Teresa, 27n, 119, 150, 153, 164
Brice, Fanny, 53
Brigadoon (Broadway show), 106, 107
Brill Building, 4, 19, 149–51
“Bring It on Home to Me,” 255
Broadway: cast recordings, 200; downward trend, 214–20; maturation of stories and song lyrics, 47–49; musicals and revues, 4, 47, 161–62; postwar resurgence, 104–8; prohibition of ASCAP–BMI collaboration, 172; songwriter revenue from, 7, 48; as source of standards, 5–6
“Broadway Baby,” 152
“Brother, Can You Spare a Dime?,” 46
Brown, Charles, 176
Brown, Les, 112
Brown, Nacio Herb, 13, 164
Brown, Ray, 230
Brown, Roy, 180
Brown, Ruth, 176
Browne, Jackson, 263
Brubeck, Dave, 114, 238
Bryant, Boudleaux and Felice, 245, 246
Buck, Gene, 87
Buckley, Jeff, 263
Burke, Johnny, 5, 74
Burlingame, Jon, 207–8
Burton, James, 256
“But Beautiful,” 9, 74
“But Not for Me,” 235
Butler, Jerry, 247, 250, 257
“Buttons and Bows,” 102–3, 118
By the Beautiful Sea (Broadway show), 15–16, 27–29
“By the Light of the Silvery Moon,” 146
“By the Time I Get to Phoenix,” 259
Bye Bye Birdie (Broadway show), 117, 218, 252
“Bye Bye Love,” 245
Byrd, Charlie, 238
Caddy, The (movie), 108
Caesar, Irving, 46
Cahn, Sammy, 54, 75, 88, 106, 183, 200, 209, 229
Cain, Jackie, 235–36
Call Me Madam (Broadway show), 8, 215
Calloway, Cab, 69
Campbell, Glen, 256, 257
“Can I Get a Witness?,” 249
“Canadian Sunset,” 150
Candide (Broadway show), 214
“Can’t Buy Me Love,” 213
Capitol Records: artists and recordings, 28, 94, 99–100, 119, 137, 202, 227; Cole contract, 124, 126–27; inception and artistic focus, 93–94, 226; Sinatra contract, 25, 146, 166, 226–27
Capote, Truman, 216
Carmichael, Hoagy, 3, 55, 69, 72, 75, 158–59
Carnival (Broadway show), 218
“Caroline, No,” 12, 259–60
Carousel (Broadway show), 104
Carter, Benny, 112
Casa Loma Orchestra, 56, 66
Casablanca (movie), 90
Cash, Johnny, 246
Castle, Vernon and Irene, 54
“Castle Rock,” 142–43
“Cat and the Canary, The,” 99
Celler, Emanuel, 144–45, 188–90
“Chains,” 253, 261
“Chances Are,” 185, 205
Chandler, Karen, 153
“Change Partners,” 56
“Chant of the Jungle,” 60
Charade (movie), 207
Charlap, Bill, 2–3, 242
Charlap, Morris “Moose,” 151, 164–65, 168–71, 172
Charles, Ray, 180, 243–44
Charnin, Martin, 221
“Cheek to Cheek,” 5, 6, 56, 229
Cher, 256
“Cherokee,” 234
Cherry, Don, 141, 203
Chet Baker Sings, 233
“Chim Chim Cher-ee,” 209
Chords, 180–81
Christmas music, 123–25
“Christmas Song, The,” 124–25
Christy, June, 231
Cinderella (movie), 106, 151
Cinderella (TV show), 200
Clark, Dick, 198, 199, 210
Clark, Guy, 262–63
Clark, Kenneth S., 56, 60
Clarke, Donald, 135–36
“Climb Ev’ry Mountain,” 105
Cline, Patsy, 245, 246
Clooney, Rosemary, 19, 24, 91, 118, 141–42, 164, 206
Cochran, Hank, 245
Cohan, George M., 34, 35
Cohen, Leonard, 263
“Cold, Cold Heart,” 141
Cole, Nat “King,” 94, 124–27, 197, 199, 204–5
Coleman, Cy, 151, 152, 161, 217, 237
Coleman, Larry, 150, 171
Collins, Al “Jazzbo,” 131
Collins, Judy, 258
Coltrane, John, 235
Columbia Records: artists and recordings, 18, 201, 203, 205, 206, 212, 232, 234, 260–61; in BMI consortium, 20, 22; LP format and recording genres, 200, 210–11, 219; personnel, 139, 201, 205, 212, 219; Petrillo Ban, 94; popular music approach, 24; Sinatra contract, 25, 142, 144. See also Miller, Mitch
Comden, Betty, 169
Come Dance with Me! (Sinatra), 229
Come Fly with Me (Sinatra), 229
“Come On-a My House,” 24, 134–35, 141–42
“Comin’ Home, Baby,” 239
“Comin’ in on a Wing and a Prayer,” 87
Como, Perry, 17, 92, 94, 96, 126, 199, 204, 250, 263
Conniff, Ray, 141, 203, 205, 211
Cooke, Sam, 247, 255
Cookies, 253
Coolidge, Arlan, 193
Copas, Cowboy, 160
Copland, Aaron, 121
Copper Canyon (movie), 102
copyright law, 7, 38–39, 41–42, 128–29, 181
Co-Sines, 252
Costa, Don, 119
“Cottage for Sale, A,” 122
“Count Your Blessings (Instead of Sheep),” 3, 215
country music, 93, 118–19, 160, 176, 194–95, 243–44
Cover Girl (movie), 15
“Cow-Cow Boogie,” 94
Craig, Francis, 117