Hell, even "Take Me Out to the Ballgame" has an ad for CrackerJacks in it.
|
|
Magorium's Wonder Emporium (24/21)Paper Towns (23/30)Papita, mani, tostom (Peanuts and Crackerjacks) (4/8)Slither (4/1)Trainwreck Unrated (4/13)We Are Marshall (4/1)We Are Your Friends (4/18)White Fang (4/1)Wild Wild West (4/1)X-Men (4/1)X-Men Days of Future Past (4/1) Annie HallBattle of the Planet of the ApesBeneath the Planet of the ApesBlazing SaddlesCarrieConquest of the Planet of the ApesEscape from the Planet of the ApesHannah and Her SistersIn the Heat of the NightMystic PizzaNight at the MuseumOncePlanet of the ApesRevenge of the NerdsSuperman ReturnsTaken 3UnbrokenWild HuluNetflixAmazon Have something to add to this story?
|
|
One of the oldest clubs is Crackerjacks, Inc., organized in 1976 in the Eastern Seaboard region of the U.S.
|
|
A portion of his Crackerjacks group sang and recorded gospel music under the moniker the Crossroads Quartet. Among the members throughout the years were Smith, Tommy Faile, Ray Atkins, Lois Atkins, brother Ralph Smith, and Wayne Haas. In Charlotte, Smith founded in 1957 the first commercial recording studio in the Southeast. In addition to recording the Crackerjacks and its various members, he recorded such musicians as vocalist/guitarist/songwriter Tommy Faile, Lester Flatt, Earl Scruggs, Pat Boone, Ronnie Milsap, George Beverly Shea and the Statler Brothers.
|
|
His band, renamed Arthur Smith & His Crackerjacks, became an institution in the Southeast area through the new medium. They had a daily early-morning variety program, Carolina Calling, which was carried on the CBS- TV network as a summer-replacement during the 1950s. This increased Smith's national visibility.
|
|
Formed in 2010, as a four-team summer collegiate wood bat league, MCL played their first season in the summer of 2011. The original four members were Chicago Zephyrs, Rockford Foresters, Southland Vikings and Will County CrackerJacks. Teams play a 30-45 game schedule with league playoffs. The league all-star game is played sometime around mid-season.
|
|
In 1995, Tommy Faile, formerly of Arthur Smith and the Crackerjacks, was his partner.Joe DePriest, "Tommy Faile: Still Singing, Playing Country Music," The Charlotte Observer, April 27, 1995. Howard's last broadcast was September 28, 2001 from the Shelby Fair. At the time he was doing a "Swap Shop" program on Piedmont Super Station, selling commercial time, and doing remote broadcasts.
|
|
Musical groups and clubs that run for pupils include: Senior Orchestra, Junior Orchestra, junior and senior choirs and chamber choirs, Close Harmony Group, Big Band, Concert Band, Samba Band, String Group, Dixieland Crackerjacks, junior and senior saxophone groups, and Soul Band. The Music School is equipped with classrooms, a recording studio, auditorium and 12 private teaching rooms for individual instrument tuition.
|
|
Until 1941, the summer and tropical equivalent to the Dress Blue "crackerjacks" was a white cotton jumper uniform with blue tar flap and cuffs, adorned with white piping and stars like the blue uniform. This uniform was discontinued "for the duration" and was never reinstated; instead the Undress Whites with the addition of ribbons and neckerchief became the summer dress uniform for sailors.
|
|
The Mellomen were a popular singing quartet active from the late 1940s through the mid-1970s. The group was founded by Thurl Ravenscroft and Max Smith in 1948. They recorded under a variety of names, including Big John and the Buzzards, the Crackerjacks, the Lee Brothers, and the Ravenscroft Quartet. They were sometimes credited as the Mellowmen, the Mello Men, or the Mellow Men.
|
|
Arthur Smith was born in 1921 in Clinton, South Carolina, the son of Clayton Seymour Smith, a cotton mill worker, and his wife. His father was also a music teacher, and led a brass band in Kershaw, South Carolina. The boy's first instrument was the cornet. Arthur, along with his brothers Ralph and Sonny, formed a Dixieland combo, the Carolina Crackerjacks, who appeared briefly on radio in Spartanburg, South Carolina.
|
|
Palmer began playing cornet at age 11, and was actively playing gigs with the Mose Wiley Band in St. Louis by 14. In 1928, he began playing tuba, and joined Oliver Cobb's Rhythm Kings in 1929. Palmer's first recordings were with Cobb in 1929, and he continued to perform with the band through 1934. Following Cobb's death in 1931, Eddie Johnson took over leadership for the band, renaming it the St. Louis Crackerjacks.
|
|
Don Stovall (December 12, 1913 - November 20, 1970) was an American jazz alto saxophonist. Stovall began playing violin as a child before settling on alto. He played in St. Louis, Missouri, with Dewey Jackson and Fate Marable on riverboats in the 1920s, and then played with Eddie Johnson's Crackerjacks in 1932-33. In the 1930s he lived in Buffalo, New York, where he led his own ensemble and played with Lil Armstrong.
|
|
Bost's Bread was a brand of baked bread distributed in the Western Carolinas, Virginia and Tennessee. Bakers in the eastern parts of the Carolinas and Virginia put out a similar product called Bunny Bread, made with nearly the same recipe. At its height, the Bost's Bakery employed around 2,000 people in and around Shelby, North Carolina. The products of the company became widely known in part due to the advertising antics of Arthur Smith and his Crackerjacks, whose television shows Bost's Bread sponsored on WBTV in Charlotte.
|
|
Tommy Faile Gives Good Account of Himself on NBC's 'Phillip Morris Night' Broadcast , Lancaster News, February 1949 (via BT Memories) In 1951, he joined Arthur "Guitar Boogie" Smith's Crackerjacks as a bass player and singer. Faile also sang bass for Smith's gospel group, The Crossroads Quartet. Faile remained with Smith for eighteen years, and later had his own television show in the early 1970s, which aired on WBTV in Charlotte, North Carolina.Tommy Faile (Myspace) In 1995, he joined Curly Howard's radio program on WKMT.
|
|
Fred Lee Beckett (January 23, 1917 – January 30, 1946) was an American jazz trombonist. Beckett was born in Nettleton, Mississippi, and began playing horn in high school. His professional career began in Kansas City in the 1930s, and soon after he landed a job with Eddie Johnson's Crackerjacks in St. Louis, Missouri. He played with Duke Wright, Tommy Douglas, Buster Smith, and Andy Kirk over the next few years, as well as time in a territory band with Prince Stewart and a gig in Omaha, Nebraska with Nat Towles.
|
|
Born in St. Louis, Missouri, Smith studied music theory as a teenager and learned ukulele as a child before taking up guitar. He spent his early career in territory bands, playing in groups such as Eddie Johnson's Crackerjacks, the Jeter-Pillars Orchestra, the Sunset Royal Orchestra, the Brown Skin Models, and Andy Kirk's 12 Clouds Of Joy. Biography by Eugene Chadbourne, Allmusic.com. Retrieved 14 October 2016 His composition "Floyd's Guitar Blues", recorded with Andy Kirk's orchestra in March 1939, has been claimed as the first hit record to feature a blues solo on electric guitar.
|
|
After Tommy Magness retired, they both joined Toby Stroud's Blue Mountain Boys to play on a radio station, WWVA (AM), in Wheeling, West Virginia. In 1952, Syd Nathan from King Records called and offered to record Reno and Smiley alone. The duo recorded "I'm Using My Bible for a Roadmap" in 1952, which was written by Don Reno in 1950. They went their separate ways, Reno returning to Asheville to work as a mechanic, and Smiley re-joining Arthur "Guitar Boogie" Smith and the Crackerjacks in Charlotte, North Carolina.
|
|
Sherman Coates (1872–1912), who performed with the Watermelon Trust from 1900 to 1914, was recalled by fellow dancers as the first acrobatic dancer they had ever seen. Another of the earliest documented acrobatic dance performers was Tommy Woods, who became well known for his slow-motion acrobatic dance in Shuffle Along, in which he would execute acrobatic movements precisely in time with the music. In 1914, acrobat Lulu Coates formed the Crackerjacks, a popular vaudeville troupe that included acrobatic dance in their performance repertoire up until the group disbanded in 1952. Many other popular vaudeville companies combined acrobatics and dance in their shows, including the Gaines Brothers.
|
|
The Crackerjacks band employed a number of noted country musicians at various times, including Don Reno, fiddler Jim Buchanan (later with Jim & Jesse's Virginia Boys, Mel Tillis), banjoists David Deese, Carl Hunt and Jeff Whittington, resonator guitarist Ray Atkins (Johnny & Jack, Carl Story) and country singer George Hamilton IV. Other regular cast members included Wayne Haas, Maggie Griffin, Gerry Dionne, Don Ange, and Jackie Schuler, along with Ralph Smith and Tommy Faile. As of fall 2006, Smith was retired. His extensive publishing interests, production company, and management business are managed by his son, Clay Smith. The younger Smith, a noted recording artist, ran Johnny Cash's businesses in the late 1970s.
|
|
Shorty Rogers's Swingin' Nutcracker (recorded for RCA Victor in 1960) featured a bass saxophone on four of the movements (played by Bill Hood). The 1970s traditional jazz band The Memphis Nighthawks built their sound around diminutive bass saxophonist Dave Feinman. Some revivalist bass saxophonists performing today in the 1920s–1930s style are Vince Giordano and Bert Brandsma, leader of the Dixieland Crackerjacks. Jazz players using the instrument in a more contemporary style include Roscoe Mitchell, Anthony Braxton, Peter Brötzmann, J. D. Parran, Hamiet Bluiett, James Carter, Stefan Zeniuk, Michael Marcus (musician) Vinny Golia, Joseph Jarman, Brian Landrus, Urs Leimgruber, Tony Bevan, and Scott Robinson, although none of these players use it as their primary instrument.
|
|
Nelson Williams Nelson "Cadillac" Williams (September 26, 1917, Montgomery, Alabama – 1973, Voorburg, the Netherlands) was an American jazz trumpeter. Williams began playing piano at age 13 and settled on trumpet soon afterwards; he may have played with pianist/singer Cow Cow Davenport while still a teenager. In the 1930s he played in the territory bands Trianon Crackerjacks and Brown Skin Models, and acted as musical director for the Dixie Rhythm Girls. Around 1940 he left Alabama for Philadelphia, where he played with Tiny Bradshaw's band before joining the U.S. Army during World War II. After the war Billy Eckstine hired Williams, and following this he worked with John Kirby and pianist Billy Kyle.
|
|
In 1925, Freeman Gosden and Charlie Correll started a comedy show carried by WBT that was a forerunner to Amos and Andy. Russ Hodges, later famous as the radio voice of the New York/San Francisco Giants, was sports editor of WBT for a time in the late 1930s, leaving in 1941 for Washington, D.C. During the Golden Age of Radio, WBT carried the CBS schedule of dramas, comedies, news, sports, soap operas, game shows and big band broadcasts to listeners in the Carolinas and at night, around the Southern United States. One musical program was "Arthur Smith and the Crackerjacks". Smith, best known for writing the song that became the Deliverance theme "Dueling Banjos", went to work at WBT at age 20 at the invitation of station manager Charles Crutchfield.
|
|
That year, the guitarist Jess Easterday and the Hawaiian guitarist Clell Summey joined Acuff to form the Tennessee Crackerjacks, which performed regularly on the Knoxville radio stations WROL and WNOX (the band moved back and forth between stations as Acuff bickered with their managers about compensation). Within a year, the group had added the bassist Red Jones and changed its name to the Crazy Tennesseans after being introduced as such by a WROL announcer named Alan Stout. Fans often remarked to Acuff how "clear" his voice was coming through over the radio, important in an era when singers were often drowned out by string band cacophony. The popularity of Acuff's rendering of the song "The Great Speckled Bird" helped the group land a contract with ARC, for which they recorded several dozen tracks (including the band's best-known track, "Wabash Cannonball") in 1936.
|
|
During his term, Walker often raised the ire of some by identifying directors of Navy programs who were not serving the best interests of the navy (such as a director of the Board of Corrections of Naval Records, and a commander in Pearl Harbor who was separating sailors for being overweight even though he himself was obese) and saw to their quick removal. He was instrumental in creating the Navy's Senior Enlisted Academy, from which virtually all subsequent MCPONs were graduates. He also brought about the Enlisted Surface Warfare Specialist program, to add the same professionalism and thorough platform knowledge within the surface community that had been present for decades in the submarine community. Walker fought for increases in sea pay, improvements in off-duty education opportunities, consolidation of the three-form system of enlisted evaluation reports into a uniform format, and a return to the traditional "crackerjacks" phased out by ADM Zumwalt.
|
|
It fell to MCPON Whittet to solicit input and feedback from the enlisted force to the CNO and Chief of Naval Personnel (CNP) regarding these changes, such as the removal of the traditional jumper uniform "crackerjacks" from the junior enlisted seabag, and replacement with the jacket and tie uniform worn by commissioned officers and Chief Petty Officers. Grooming standards were relaxed; sailors were permitted to grow beards, and the maximum hair length was increased. One of his greatest challenges was getting the senior enlisted leadership to adapt to what they perceived as a relaxation of military order and discipline. Whittet's tenure saw many modernizations to policy that are still in place today, such as the first posting of women to ships, the institution of random urinalysis for drug testing, revisions to the performance evaluation and enlisted advancement procedures and institution of the Chief Petty Officer selection board, and race sensitivity training to decrease racial tension within the enlisted ranks.
|
|