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Doris Day
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Doris Day (born Doris Mary Kappelhoff; April 3, 1922) is an American actress, singer, and animal welfare activist. After she began her career as a big band singer in 1939, her popularity increased with her first hit recording “Sentimental Journey” (1945). After leaving Les Brown & His Band of Renown to embark on a solo career, she recorded more than 650 songs from 1947 to 1967, which made her one of the most popular and acclaimed singers of the 20th century.
Day’s film career began with the 1948 film Romance on the High Seas, and its success sparked her twenty-year career as a motion picture actress. She starred in a series of successful films, including musicals, comedies, and dramas. She played the title role in Calamity Jane (1953), and starred in Alfred Hitchcock’s The Man Who Knew Too Much (1956) with James Stewart. Her most successful films were the bedroom comedies she made co-starring Rock Hudson and James Garner, such as Pillow Talk (1959) and Move Over, Darling (1963), respectively. She also co-starred in films with such leading men as Clark Gable, Cary Grant, David Niven, and Rod Taylor. After her final film in 1968, she went on to star in the CBS sitcom The Doris Day Show (1968–1973).Que Sera Sera karaoke instrumental KEY E
She was one of the top ten singers between 1951 and 1966.[vague] As an actress, she became the biggest female film star in the early 1960s, and ranked sixth among the box office performers by 2012.In 2011, she released her 29th studio album, My Heart, which became a UK Top 10 album featuring new material. Among her awards, Day has received the Grammy Lifetime Achievement Award and a Legend Award from the Society of Singers. In 1960, she was nominated for the Academy Award for Best Actress, and in 1989 was given the Cecil B. DeMille Award for lifetime achievement in motion pictures. In 2004, she was awarded the Presidential Medal of Freedom by President George W. Bush followed in 2011 by the Los Angeles Film Critics Association’s Career Achievement Award. Que Sera Sera karaoke instrumental KEY E
Doris Mary Kappelhoff was born on April 3, 1922, in Cincinnati, Ohio, the daughter of Alma Sophia (née Welz; 1895–1976), a housewife, and William Joseph Kappelhoff (1892–1967), a music teacher and choir master. All of her grandparents were German immigrants. For most of her life, Day reportedly believed she had been born in 1924 and reported her age accordingly; it was not until her 95th birthday—when the Associated Press found her birth certificate, showing a 1922 date of birth—that she learned otherwise.
The youngest of three siblings, she had two older brothers: Richard (who died before her birth) and Paul, two to three years older. Due to her father’s alleged infidelity, her parents separated. She developed an early interest in dance, and in the mid-1930s formed a dance duo with Jerry Doherty that performed locally in Cincinnati. A car accident on October 13, 1937, injured her right leg and curtailed her prospects as a professional dancer.
While recovering from an auto accident, Day started to sing along with the radio and discovered a talent she did not know she had. Day said: “During this long, boring period, I used to while away a lot of time listening to the radio, sometimes singing along with the likes of Benny Goodman, Duke Ellington, Tommy Dorsey, and Glenn Miller . But the one radio voice I listened to above others belonged to Ella Fitzgerald. There was a quality to her voice that fascinated me, and I’d sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clean way she sang the words.” Que Sera Sera karaoke instrumental KEY E
Observing her daughter sing rekindled Alma’s interest in show business, and she decided to give Doris singing lessons. She engaged a teacher, Grace Raine. After three lessons, Raine told Alma that young Doris had “tremendous potential”; Raine was so impressed that she gave Doris three lessons a week for the price of one. Years later, Day said that Raine had the biggest effect on her singing style and career. Que Sera Sera karaoke instrumental KEY E
During the eight months she was taking singing lessons, Day had her first professional jobs as a vocalist, on the WLW radio program Carlin’s Carnival, and in a local restaurant, Charlie Yee’s Shanghai Inn.During her radio performances, Day first caught the attention of Barney Rapp, who was looking for a girl vocalist and asked if Day would like to audition for the job. According to Rapp, he had auditioned about 200 singers when Day got the job.
While working for Rapp in 1939, she adopted the stage surname “Day”, at Rapp’s suggestion. Rapp felt that “Kappelhoff” was too long for marquees, and he admired her rendition of the song “Day After Day”.After working with Rapp, Day worked with bandleaders Jimmy James, Bob Crosby, and Les Brown.
While working with Brown, Day scored her first hit recording, “Sentimental Journey”, released in early 1945. It soon became an anthem of the desire of World War II demobilizing troops to return home.This song is still associated with Day, and she rerecorded it on several occasions, including a version in her 1971 television special. During 1945–46, Day (as vocalist with the Les Brown Band) had six other top ten hits on the Billboard chart: “My Dreams Are Getting Better All the Time”, “‘Tain’t Me”, “Till The End of Time”, “You Won’t Be Satisfied (Until You Break My Heart)”, “The Whole World is Singing My Song”, and “I Got the Sun in the Mornin'”. In the 1950s she became the most popular and one of the highest paid singers in America. Que Sera Sera karaoke instrumental KEY E
While singing with the Les Brown band and for nearly two years on Bob Hope’s weekly radio program,she toured extensively across the United States. Her popularity as a radio performer and vocalist, which included a second hit record “My Dreams Are Getting Better All the Time”, led directly to a career in films. In 1941, Day appeared as a singer in three Soundies with the Les Brown band.
Her performance of the song “Embraceable You” impressed songwriter Jule Styne and his partner, Sammy Cahn, and they recommended her for a role in Romance on the High Seas (1948). Day got the part after auditioning for director Michael Curtiz.[30][31] She was shocked at being offered the role in that film, and admitted to Curtiz that she was a singer without acting experience. But he said he liked that “she was honest,” not afraid to admit it, and he wanted someone who “looked like the All-American Girl,” which he felt she did. She was the discovery he was most proud of during his career.
The film provided her with a #2 hit recording as a soloist, “It’s Magic”, which followed by two months her first #1 hit (“Love Somebody” in 1948) recorded as a duet with Buddy Clark. Day recorded “Someone Like You”, before the 1949 film My Dream Is Yours, which featured the song.
In 1950, U.S. servicemen in Korea voted her their favorite star. She continued to make minor and frequently nostalgic period musicals such as On Moonlight Bay, By the Light of the Silvery Moon, and Tea For Two for Warner Brothers. Que Sera Sera karaoke instrumental KEY E
Her most commercially successful film for Warner was I’ll See You in My Dreams (1951), which broke box-office records of 20 years. The film is a musical biography of lyricist Gus Kahn. It was Day’s fourth film directed by Curtiz.[citation needed]
In 1953, Day appeared as the title character in the comedic western-themed musical, Calamity Jane.A song from the film, “Secret Love”, won the Academy Award for Best Original Song and became Day’s fourth No. 1 hit single in the US.
Between 1950 and 1953, the albums from six of her movie musicals charted in the Top 10, three of them at No. 1. After filming Lucky Me with Bob Cummings and Young at Heart (both 1954) with Frank Sinatra, Day chose not to renew her contract with Warner Brothers.
During this period, Day also had her own radio program, The Doris Day Show. It was broadcast on CBS in 1952–1953. Que Sera Sera karaoke instrumental KEY E
Having become primarily recognized as a musical-comedy actress, Day gradually took on more dramatic roles to broaden her range. Her dramatic star-turn as singer Ruth Etting in Love Me or Leave Me (1955), co-starring James Cagney, received critical and commercial success, becoming Day’s biggest hit thus far. Day said it was her best film performance. Producer Joe Pasternak said, “I was stunned that Doris did not get an Oscar nomination.” The soundtrack album from that movie was a No. 1 hit.
Day starred in Alfred Hitchcock’s suspense film, The Man Who Knew Too Much (1956) with James Stewart. She sang two songs in the film, “Que Sera, Sera (Whatever Will Be, Will Be)”, which won an Academy Award for Best Original Song, and “We’ll Love Again”. The film was Day’s 10th movie to be in the Top 10 at the box office. In 1956, Day played the title role in the thriller/noir Julie with Louis Jourdan.
After three successive dramatic films, Day returned to her musical/comedic roots in 1957’s The Pajama Game with John Raitt. The film was based on the Broadway play of the same name. She worked with Paramount Pictures for the comedy Teacher’s Pet (1958), alongside Clark Gable and Gig Young.[46] She co-starred with Richard Widmark and Gig Young in the romantic comedy film, The Tunnel of Love (1958),but found scant success opposite Jack Lemmon in It Happened to Jane (1959).
Billboard’s annual nationwide poll of disc jockeys had ranked Day as the No. 1 female vocalist nine times in ten years (1949 through 1958), but her success and popularity as a singer was now being overshadowed by her box-office appeal. Que Sera Sera karaoke instrumental KEY E
Day in a publicity portrait for Midnight Lace (1960)
In 1959, Day entered her most successful phase as a film actress with a series of romantic comedies. This success began with Pillow Talk (1959), co-starring Rock Hudson, who became a lifelong friend, and Tony Randall. Day received a nomination for an Academy Award for Best Actress. Day, Hudson, and Randall made two more films together, Lover Come Back (1961) and Send Me No Flowers (1964).
In 1960, she starred with David Niven and Janis Paige in the hit Please Don’ Eat the Daisies. In 1962, Day appeared with Cary Grant in the comedy That Touch of Mink, the first film in history ever to gross $1 million in one theatre (Radio City Music Hall). During 1960 and the 1962 to 1964 period, she ranked number one at the box office, the second woman to be number one four times. She set a record that has yet to be equaled, receiving seven consecutive Laurel Awards as the top female box office star.
Day teamed up with James Garner, starting with The Thrill of It All, followed by Move Over, Darling (both 1963). The film’s theme song, “Move Over Darling”, co-written by her son, reached #8 in the UK.In between these comedic roles, Day co-starred with Rex Harrison in the movie thriller Midnight Lace (1960), an updating of the classic stage thriller, Gaslight.
By the late 1960s, the sexual revolution of the baby boomer generation had refocused public attitudes about sex. Times changed, but Day’s films did not. Day’s next film, Do Not Disturb (1965), was popular with audiences, but her popularity soon waned. Critics and comics dubbed Day “The World’s Oldest Virgin”,[57][58] and audiences began to shy away from her films. As a result, she slipped from the list of top box-office stars, last appearing in the top ten in 1966 with the hit film The Glass Bottom Boat. One of the roles she turned down was that of “Mrs. Robinson” in The Graduate, a role that eventually went to Anne Bancroft. In her published memoirs, Day said she had rejected the part on moral grounds: she found the script “vulgar and offensive”. Que Sera Sera karaoke instrumental KEY E
She starred in the western film The Ballad of Josie (1967). That same year, Day recorded The Love Album, although it was not released until 1994. The following year (1968), she starred in the comedy film Where Were You When the Lights Went Out? which centers on the Northeast blackout of November 9, 1965. Her final feature, the comedy With Six You Get Eggroll, was released in 1968.
From 1959 to 1970, Day received nine Laurel Award nominations (and won four times) for best female performance in eight comedies and one drama. From 1959 through 1969, she received six Golden Globe nominations for best female performance in three comedies, one drama (Midnight Lace), one musical (Jumbo), and her television series.
Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s[not verified in body] as a softer alternative to rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular and includes many styles. “Pop” and “rock” were synonymous terms until the late 1960s, when they were increasingly used in opposition from each other.
Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure), as well as the common use of repeated choruses, melodic tunes, and hooks.
David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”.According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”. Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately. Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. Musicologist Allan Moore surmises that the term “pop music” itself may have originated from Pop art. Additionally, it’s important to note that pop music is always evolving, which means that the definition of pop music can change, too. It’s also important to be cognizant of the distinction between pop music and popular music. According to The New Grove Dictionary Of Music and Musicians, popular music is defined as “the music since industrialization in the 1800’s that is most in line with the tastes and interests of the urban middle class.”
The Oxford Dictionary of Music states that the term “pop” refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)
The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.However,[editorializing] the term was in mainstream use[not in citation given] at least ten years earlier. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced”. The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical music, usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”. Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”.
From about 1967, the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.Whereas rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial, ephemeral and accessible. According to British musicologist Simon Frith, pop music is produced “as a matter of enterprise not art”, is “designed to appeal to everyone” and “doesn’t come from any particular place or mark off any particular taste”. It is “not driven by any significant ambition except profit and commercial reward … and, in musical terms, it is essentially conservative”. It is, “provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below … Pop is not a do-it-yourself music but is professionally produced and packaged”.
, “You’ve Lost That Lovin’ Feelin'” ranks as the most frequently played song in US radio history, described by music writers Nick Logan and Bob Woffinden as “the ultimate pop record”.
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According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal “artistic” qualities. Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms.
The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse. The beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are often “that of classical European tonality, only more simple-minded.” Clich?s include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.
Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently[when?] appropriated spoken passages from rap. According to Robert Christgau in 2014, pop music worldwide is permeated by electronic dance music.
A Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found less variety in pitch progressions, growing average loudness levels, less diverse instrumentation and recording techniques, and less timbral variety, which declined after reaching a peak in the 1960s. Scientific American’s John Matson reported that this “seems to support the popular anecdotal observation that pop music of yore was better, or at least more varied, than today’s top-40 stuff.” Que Sera Sera karaoke instrumental KEY E
Left, Michael Jackson in 1984; right, Madonna in 2008
In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles “revolutionized the manner in which pop has been disseminated” and helped to move pop music to ‘a record/radio/film star system’. Another technological change was the widespread availability of television in the 1950s; with televised performances, “pop stars had to have a visual presence”.In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home.Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music. By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which “favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal”.
The latter half of the 20th-century included a large-scale trend in American culture in which the boundaries between art and pop music were increasingly blurred. Between 1950 and 1970, there was a debate of pop versus art.[28] Since then, certain music publications have embraced its legitimacy. According to Popmatters’ Robert Loss: “There’s a strong argument for the ‘rockist’ mode in music criticism—that it exists, and that it’s harmful—and poptimism has positioned itself as a corrective, an antidote. … In general the Old Guard of rock critics and journalists is depicted as a bunch of bricklayers for the foundations of the Rock and Roll Hall of Fame. True in part, which is to say, false. Like film studies, rock criticism of the late ‘60s and the ‘70s was an attempt to make popular music worthy of study; it was poptimism before its day.”
The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era.
Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics. Some of these trends (for example Europop) have had a significant impact of the development of the genre. Que Sera Sera karaoke instrumental KEY E
According to Grove Music Online, “Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures”. Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years produced a greater quantity of music of everywhere except the USA. The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of