NNPA NEWSWIRE — “The NNPA is pleased and excited to do this live stream with our Brother Leader Ice Cube on behalf of the Black Press of America,” said Benjamin F. Chavis, Jr., NNPA president and CEO. “Cube continues to spit truth to power in his lyrics, videos, music and the genius of his creative talent and high energy. In addition to learning more about his latest project, our discussion is especially important in light of the devastating COVID-19 pandemic and the increased racial tension between African Americans and the police.”
Arts & Entertainment
Remembering Little Richard
Personal memories of Little Richard and his connection to Milwaukee
By Richard G. Carter
While experiencing great sadness at the news of the passing last week, at 87, of the groundbreaking Little Richard Penniman, I recall my distinct pleasure watching him in person on a number of occasions in Milwaukee during his hey-day in the 1950s and talking at length with him by telephone here in 1991.
Indeed, among the many great, black performers I have known and interviewed from the era of original black rhythm and blues (1948-62)—from the likes of Antoine “Fats” Domino to Ruth Brown—Little Richard was in a class by himself. He really ripped it up, echoing the words of one of his many hits.
How well I remember the first time (in 1956) when I saw Little Richard in person at the old Colonial Theater, at the corner of North 16th and West Vliet streets. While many top R&B vocal groups (such as the Moonglows) and singles (such as Bo Diddley) also played the Colonial, it was Little Richard who always brought down the house.
On one occasion, everyone in this jam-packed movie theater laughed out loud when the heavily made-up Little Richard—wearing a bright green suit—struggled to slide a piano across the stage. After he finished, he looked out at the crowd and said “I sure don’t know what’s goin’ on in this theeee-ater. Makin’ a star like me work so hard…”
Friday Night Dances
In those days, black students from Lincoln and North Division high schools would flock to the Northside Y (at 6th St. and North) for Friday Canteen Night dances. And what did we dance to most? The raspy, shouted vocals of Little Richard.
In addition to “Long Tall Sally”—my all-time Little Richard favorite—I best loved “Baby Face” and “By the Light of the Silvery Moon.” The latter is the only upbeat version of the song I‘ve ever heard. And the DJ on the scene at the “Y” always would accommodate me, and my girlfriends, by playing these two tunes.
During his long career, the 5-feet-10 Little Richard—capitalizing on the names of Little Willie John, Little Anthony and Little Esther—sang the theme song in two movies, The Girl Can’t Help It (1956) and $Dollars (1971). He appeared in two others in 1956—Don’t Knock the Rock and Mister Rock and Roll, lip-synching “Tutti Fruti,” “Long Tall Sally,” “Ready Teddy,” “Lucille” and “Keep A-Knockin’.”
As a child, the Macon, Georgia-born Richard Wayne Penniman was heckled by a murdered. father who called him a “sissy boy clown” after seeing him in a dress with makeup and lipstick. He went on to proudly use this persona—wearing Pancake 3—in his early gigs, leading the Upsetters and other small bands on the way to hitting it big.
Over the years, he sold more than 30-million records. Other hits included the likes of “She’s Got It,” “Slippin and Slidin’,” “Good Golly, Miss Molly,” “Jenny, Jenny,” “Miss Ann,” “Rip it Up,” “Send Me Some Lovin’” and “Heeeby-Jeebies.” In 1986, he was one of the first inductees into the Rock and Roll Hall of Fame.
Talking with Little Richard
In 1991, while researching my book Goodnight Sweetheart, Goodnight: The Story of the Spaniels, I talked at length by telephone with Little Richard, seeking his recollections of this groundbreaking doo-wop vocal group, for my use.
“Yeah, those boys could siiing-iiing,” he said. “They on it. ’Special that bass man, Gerald, I think his name was. And my man, smooth voice Pookie. My goodness. Child, if I was in a group, it would be the Spaniels.”
When asked which Spaniels tune he liked best, he surprisingly named three—their haunting debut record “Baby, It’s You” (1953); the rousing, upbeat version of “Stormy Weather” (1958); and their little known, last hit an a cappella “Danny Boy” (1974).
But most of our talk was about himself—a subject Little Richard never tired of. He told me the reason he temporarily gave up rock music in 1957 to become a minister, and sing only gospel music, was because he heard the voice of God—recalling his youth signing in church. But he returned to rock in 1964 never to look back.
Asked his reaction to inferior covers of his “Tutti Frutti” and Long Tall Sally” by Pat Boone, he said he initially resented it but realized the upside. “White kids may listen to Pat Boone on the radio for their parents, but they buy my records and keep ‘em under their pillow,” he said.
Now Little Richard Penniman—the architect of rock ‘n’ roll and its most influential and uniquely powerful performer—is gone. But his body of work will live forever. In the wake of his passing, accolades poured in from the likes of Spike Lee, Elton John, Mick Jagger, Bob Dylan, Brian Wilson, Paul McCartney and Bette Midler.
When recalling Little Richard’s flamboyant appearances on those memorable Milwaukee nights in the mid-to-late 1950s, I smile and can still see him pounding away at the piano while standing, and joyfully shouting, “Wooooo…” And I am happy.
Festival City Symphony Postpones Concerts, Ends Season
Milwaukee, Wis.—In accordance with the recommendations of the Wisconsin Department of Health Services concerning COVID-19, Festival City Symphony has decided to end its Symphony Sundays and Pajama Jamborees 2019-2020 season.
The final two Symphony Sundays concerts, “Let Freedom Ring!” originally scheduled for March 22 and “Monuments” originally scheduled for May 3, will be rescheduled for next season. Ticketholders for these concerts should keep their tickets, because they will be honored at the door next season.
The final Pajama Jamboree concert, “Spring Pajama Jamboree” originally scheduled for May 6, has been cancelled.
Anyone with specific questions regarding tickets can email [email protected].
Milwaukee’s Festival City Symphony, the oldest performing symphony orchestra in the area, showcases area professional musicians. Its mission is to extend the reach of classical music in the community with reasonable pricing and informative formats that embrace people of all ages. Symphony Sundays are performed at the Pabst Theater, while free Pajama Jamborees are held on select Wednesday evenings in the Bradley Pavilion of the Marcus Center for the Performing Arts. For more information, visit festivalcitysymphony.orgor call 262-853-6085
National Recording Registry Class Produces Ultimate ‘Stay at Home’ Playlist
National Recording Registry Class Produces Ultimate ‘Stay at Home’ Playlist
Whitney Houston, Tina Turner and Selena Among Inductees
The gentle sounds of “Mister Rogers’ Neighborhood”; Russ Hodges’ thrilling play-by-play of the National League tiebreaker between the New York Giants and the Brooklyn Dodgers in 1951; the Village People’s international dance anthem, “Y.M.C.A.”; “Cheap Trick at Budokan”; and the original 1964 Broadway cast recording of “Fiddler on the Roof” are among the newest recordings inducted into the National Recording Registry of the Library of Congress.
Librarian of Congress Carla Hayden today named these and 20 other recordings as aural treasures worthy of preservation because of their cultural, historical and aesthetic importance to the nation’s recorded sound heritage.
“The National Recording Registry is the evolving playlist of the American soundscape. It reflects moments in history captured through the voices and sounds of the time,” said Hayden. “We received over 800 nominations this year for culturally, historically or aesthetically significant recordings to add to the registry. As genres and formats continue to expand, the Library of Congress is committed to working with our many partners to preserve the sounds that have touched our hearts and shaped our culture.”
Under the terms of the National Recording Preservation Act of 2000, the Librarian, with advice from the Library’s National Recording Preservation Board (NRPB), is tasked with annually selecting 25 titles that are “culturally, historically, or aesthetically significant” and are at least 10 years old. More information on the National Recording Registry can be found at loc.gov/programs/national-
The new recordings added to the National Recording Registry bring the total number of titles on the registry to 550, a small part of the Library’s vast recorded-sound collection of nearly 3 million items.
The sound recordings recently named to the registry showcase works across multiple genres and formats, including radio sportscasts, children’s recordings, classical, field, country, folk, jazz, pop, rap, disco, Latin and Broadway. The spoken-word and musical recordings span over a half century, from 1920 to 2008.
The disco hit “Y.M.C.A.” remains a symbolic recording within American culture.“I had no idea when we wrote Y.M.C.A that it would become one of the most iconic songs in the world, and fixture at almost every wedding, birthday party, bar mitzvah and sporting event. I am glad that the music of Village People has made the world smile for over 40 years with our music. On behalf of my partners Jacques Morali and Henri Belolo, we thank you and are honored to be in such elite company,” said Victor Willis, lead singer and writer of the lyrics of Y.M.C.A.
The most recent recording added to the registry is Colin Currie’s 2008 “Percussion Concerto” album, composition by Jennifer Higdon, and the recording from the most contemporary genre is rap icon Dr. Dre’s debut studio album, “The Chronic” (1992), which solidified his reputation as one of the greatest rappers in music.
Among the selections are the groundbreaking 1920 jazz swing “Whispering” by Paul Whiteman and his Orchestra; two conjunto music pioneers who introduced the classic accordion (Narciso Martinez) and bajo sexto (Santiago Almeida) on “La Chicharronera,” released in 1936; Puccini’s “Tosca,” performed by one of the 20th-century’s greatest opera singers, Maria Callas, and released in 1953; Eddy Arnold’s 1965 version of “Make the World Go Away”; the first commercial digital recording of symphonic music in the United States, by Frederick Fennell and the Cleveland Symphonic Winds, from 1978; field recordings of over 50 hours of traditional Afghan music; and “A Feather on the Breath of God,” an award-winning album of sacred vocal music written in the 12th-century and performed and recorded by Gothic Voices in 1985.
“This album of Hildegarde von Bingen’s music brought the art of an amazing woman to an entirely new audience, and I feel most fortunate to have been part of the group that recorded it,” said soprano Dame Emma Kirkby.
Several recordings on the list were made by some of America’s phenomenal female changemakers.
Among them are Memphis Minnie, one of the most popular female country blues singers of all time, and her well-known single “Me and My Chauffeur Blues,” recorded in 1941. Memphis Minnie, whose real name is Lizzie Douglass, dominated the male dominated blues genre in the early 1900s and influenced female guitarists for over 3 decades. “I learned Me And My Chauffeur Blues way back in the 1970s. When I got the opportunity to record the Ramblin’ album for Folkways Records,” said singer-songwriter Lucinda Williams. “I knew it had to be on there. I have always felt a deep connection with Memphis Minnie -and always will.”
Selena’s successful 1990 album, “Ven Conmigo,” made her the first female Tejano singer to have a gold album. March 31 marks 25 years since the singer’s untimely death in Corpus Christi, Texas. Over the past quarter of a century, Selena’s influence on fashion, culture, and of course music has remained impactful on the generations that have come after her.
Tina Turner’s 1984 album “Private Dancer” served as a personal statement of liberation and solidified her legendary career. “Tina’s innate ability to expand her reach deep into all this new material seems, to this very day, simply unbelievable. Never equaled,” said Rupert Hine, a musician, songwriter and producer on the album. “These songs were populated in such a small handful of days at such high energy as to leave those left in the room thereafter spinning. Something very special was happening right under our feet.”
Maria Schneider’s Grammy Award-winning studio album, “Concert in the Garden,” recorded in 2004, is also included in the registry this year. Schneider also is the first female jazz composer to have an album added to the National Recording Registry. “I am deeply moved to have this album that was artistically so fulfilling to make, honored in this magnificent way,” said Schneider. “Crowdfunded in 2003, years before the word “crowdfund” was coined, and as the first release on the prescient label, ArtistShare, “Concert in the Garden” paved the way to artistic and financial freedom in recording. At the time, I had a sense it was making history, showing how when the internet opens up a two-way, direct and transparent connection between an artist and an audience with no intermediary, the artist can find financial independence and true artistic freedom.”
Two of the additions — Dusty Springfield’s 1969 album “Dusty in Memphis” and Whitney Houston’s rendition of a Dolly Parton classic, “I Will Always Love You” — have a hidden connection. Houston’s mother, legendary gospel vocalist Cissy Houston, recorded background vocals as a member of The Sweet Inspirations for songs on “Dusty in Memphis.”
Rock & Roll Hall of Famers Cheap Trick rocked Japan in 1978 with the recording of their live album. “We are honored that our breakout album, ‘Cheap Trick at Budokan,’ is being added to the National Recording Registry of the Library of Congress,” said the group’s lead guitarist and principal songwriter, Rick Nielsen. “We thank our loyal fans who nominated us, and our favorite Rockford school librarian who got the ball rolling!”
Allan Sherman’s comedy classic from 1963, “Hello Muddah, Hello Fadduh,” makes the registry this year. “It would have amazed my father, 50-plus years since he wrote it. It’s still something that people care, sing about,” said Sherman’s son, Robert Sherman.
The original version of “Wichita Lineman,” written by Jimmy Webb and recorded by country music legend Glen Campbell in 1968, also was added. “I’m humbled and, at the same time for Glen, I am extremely proud,” said Webb. “I wish there was some way I could reach him to say, ‘Glen, you know they’re doing this. They are putting our music in a mountain–it will be preserved for all time.” Country music artist Toby Keith said, “Wichita Lineman is one of the songs I love best. Though written over 50 years ago, It continues to haunt and enthrall us. Jimmy Webb is America’s finest living songwriter and no one can sing a song like the incomparable Glen Campbell.”
Also on the list: a two-sided 1927 recording of Compagnia Columbia’s “Protesta per Sacco e Vanzetti Raoul Romito’s “Sacco e Vanzetti” by Raoul Romito — a response to the 1921 guilty verdicts and death sentences of two Italian immigrants. These Italian-language recordings are examples of Italian American opposition to the arrest, trial, sentencing and executions of Sacco and Vanzetti.
Recordings of several radio broadcasts also were added: an episode of “Arch Oboler’s Plays,” one of the earliest American old-time horror radio program; the announcement of the assassination of President John F. Kennedy made by the Boston Symphony Orchestra conductor during the recording of a live performance on Nov. 22, 1963; and Russ Hodges’ call of the 1951 National League tiebreaker between the New York Giants and Brooklyn Dodgers.
The Giants were down two runs in the bottom of the ninth inning of the final game of the three-game playoff. Ralph Branca was pitching for the Dodgers, Bobby Thomson came to bat, and Willie Mays was on deck. “Ralph was a good, good pitcher. Didn’t have a real good curve but a good fastball,” the legendary Mays recalled. “And he placed it a lot, so I thought they would do the same thing with Bobby. Walk him and pitch to me because they knew that was my first year.” They didn’t. Instead, Thomson hit a walk-off home run — the “Shot Heard ’Round the World” — and gave the Giants one of the most dramatic victories in baseball history.
Some registry titles have already been preserved by the copyright holders, the artists or other archives. In cases where a selected title has not already been preserved, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the sound recording will be preserved by some entity and available for future generations. This can be either through the Library’s recorded-sound preservation program or through collaborative ventures with other archives, recording studios and independent producers.
The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (loc.gov/avconservation/). It is home to more than 7 million collection items.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States — and extensive materials from around the world — both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
2019 National Recording Registry
“Whispering” (single), Paul Whiteman and his Orchestra (1920)
Paul Whiteman’s blockbuster hit “Whispering” was the first in a long series of popular recordings that sharply defined a new style and direction in instrumental dance music — one that would have long-lasting effects. Though rather quaint to modern ears, “Whispering” was made at the pinnacle of up-to-date dance music and directly led to the Big Band Era. Among its attributes were bold, clean lines with the melody clearly in front. Gone was the old fashioned-ness of the lead being handed off to different voices mid-chorus. Also, harmonic and rhythmic support was pared down to a sleek, tasteful profile, one that encouraged the smart-looking updated fox-trot of 1920. With his pianist-arranger, Ferde Grofe, and ace trumpet man Henry Busse, Whiteman would both codify a type of jazz and be popularly considered its king.
“Protesta per Sacco e Vanzetti,” Compagnia Columbia; “Sacco e Vanzetti,” Raoul Romito (1927)
This 1927 release combines a spoken, dramatic set piece on it’s A side with a protest song on the B side. Both decry the impending execution of Nicola Sacco and Bartolomeo Vanzetti, two Italian American immigrants convicted of murder in 1920 but believed by many to have been railroaded because of their anarchist political beliefs.
The recording was made by Compagnia Columba, a group of actors who recorded this and other scenes for the Columbia label. “Protesta per Sacco e Vanzetti” presents a scene at a rally for the two men, with actors, representing different regions of Italy, speaking on their behalf as well as others wrongly accused: “Friends, you already know what has brought us together here, and I am happy to see in this solemn moment a crowd made up not just of Italians but of people of all nationalities: Italians, Americans, Jews, English, Japanese. At this fatal hour we have come together to form a single race: the human race! With no differences based on age, on class, or on party.” The scene was written by Frank Amodio, who specialized in dramatic and comedic sketches aimed at Italian-Americans. Side B features Raoul Romito, a popular Neapolitan tenor residing in the U.S., performing a song written by Renzo Vampo and F. Penisero, of whom little is known, though they wrote at least one other song also in defense of Sacco and Vanzetti.
“La Chicharronera” (single), Narciso Martinez and Santiago Almeida (1936)
Martinez and Almeida, two pioneers of Tex-Mex conjunto music, introduced the classic accordion (Martinez) and bajo sexto (Almeida) combination on this, their first recording for Bluebird Records. Martinez was known as the “Father of Conjunto Music” and had a long career in Texas, performing from a huge repertoire of regionally popular dance tunes and styles including polkas, redovas, schottisches, waltzes, mazurkas, boleros, danzones and huapangos. Almeida developed the bajo sexto guitar as the distinctive accompanying instrument in the classic conjunto style. Their music exemplified the blending of Central European instruments and dance genres with those of Mexican Texas that had been going on for at least a generation before they made their first recordings. This conjunto sound remains popular in Tex-Mex music in an expanded and amplified form. Martinez and Almeida were later honored with the NEA’s National Heritage Fellowship artist award in 1983 and 1993, respectively.
“Arch Oboler’s Plays” episode “The Bathysphere” (Nov. 18, 1939)
Arch Oboler was one of radio’s great suspense writers, later bringing his talents to the terrifying and beloved “Lights Out!” radio program. Prior to that assignment, he helmed this eponymous series and one of his best known plays, “The Bathysphere.” “Bathysphere” concerns the descent of a diving bell to a depth of 3,200 feet with an unlikely two-man crew: a scientist and a dictator, one of whom may not be entirely trustworthy. After taking over “Lights Out!,” Oboler restaged this radio play, in 1943, with new actors but with the same spine-tingling suspense. Years later, Rod Serling would acknowledge Oboler as one of his greatest influences.
“Me and My Chauffeur Blues” (single), Memphis Minnie (1941)
Lizzie Douglas, better known as Memphis Minnie, was born circa 1897 in Algiers, Louisiana. She took up guitar as a child after her family moved to the Memphis, Tennessee, area in 1904 and was singing and playing on Beale Street in Memphis by the age of 13. She started recording under the name “Memphis Minnie” for the Columbia label in 1929 and went on to record over 200 songs, more than any other female country blues artist. “Me and My Chauffer Blues” showcases her aggressive and uncompromising vocal delivery and stinging guitar work. It also is her best known song, thanks in part to later covers by Big Mama Thornton, Nina Simone and Jefferson Airplane.
The 1951 National League Tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)
In 1951, the New York Giants won 37 of their final 44 games to catch their crosstown rival Brooklyn Dodgers, forcing a three-game playoff for the National League pennant. The teams split the first two games, setting up the decisive tiebreaker at the famed Polo Grounds. In the bottom of the ninth inning, the Dodgers led 4 to 1. The Giants had scored a run and had runners at second and third with one out when third baseman Bobby Thomson stepped into the batter’s box. Ralph Branca’s first pitch was a called strike. As he released his next pitch, Giants announcer Russ Hodges said, “Branca throws…” and then shouted, “There’s a long drive. It’s gonna be, I believe — the Giants win the pennant! The Giants win the pennant! The Giants win the pennant! The Giants win the pennant!” This game was actually covered by several legendary announcers, including Hodges (Giants radio), Ernie Harwell (Giants TV), Red Barber (Dodgers radio) and Gordon McLendon (the national broadcast). But it is Hodges’ call that is most remembered and which so vividly captures not only the action on the field but also the excitement of the moment — truly the thrill of victory and one of the greatest calls in all of sportscasting.
Puccini’s “Tosca” (album), Maria Callas, Giuseppe di Stefano, Angelo Mercuriali, Tito Gobbi, Melchiorre Luise, Dario Caselli, Victor de Sabata (1953)
In 1981, Christian Science Monitor critic Thor Eckert Jr. wrote a critique of the recording history of Puccini’s “Tosca” and said, “In 1953 Maria Callas, Giuseppe di Stefano, Tito Gobbi, and maestro Victor de Sabata along with the forces of La Scala Opera gathered to make recording history — the finest ‘Tosca’ of all time, and one of the greatest recordings of an opera on records.” To date, no other “Tosca” has equaled this performance. Produced by Walter Legge, the recording captured one of Callas’ greatest triumphs. The New Grove Dictionary of Music and Musicians would later state, “Among her contemporaries she had the deepest comprehension of the Classical Italian style, the most musical instincts and the most intelligent approach,” while Leonard Bernstein would call her “the Bible of opera.”
“Hello Muddah, Hello Fadduh” (single), Allan Sherman (1963)
“Hello Muddah” is a comic novelty song with lyrics written by Allan Sherman and Lou Busch (to the tune of Ponchielli’s “Dance of the Hours”) in which a boy describes his summer camp experiences at the fictional Camp Granada. At the time of the recording, Sherman was an intermittently successful television writer and producer specializing in game shows, while Busch was best known in the persona of ragtime pianist Joe “Fingers” Carr. Sherman lived in the Brentwood section of Los Angeles and occasionally performed his song parodies for well-known neighbors like Harpo Marx and George Burns. Burns brought him to the attention of Warner Bros. Records. Sherman’s first two albums, released in 1962 and 1963, topped the charts, but it would be this single from his third album, “My Son, the Nut,” that immortalized him. The lyrics were based on letters of complaint Sherman received from his son, Robert, while the boy was attending a summer camp in Westport, New York. The opening lines are remembered fondly by three (or more) generations of Americans: “Hello Muddah, hello Fadduh / Here I am at Camp Granada.”
WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy Assassination, Boston Symphony Orchestra (1963)
The ageless adage of “drawing comfort through music” had never been more thoroughly tested than on the scheduled afternoon broadcast of the Boston Symphony, with its conductor Erich Leinsdorf, on Nov. 22, 1963. That day, just after concluding Handel’s Concerto Grosso in B flat major and a second short piece, Leinsdorf was forced to break with normal concert protocol and, stoically, address the large audience with a change of program and to share the tragic news of President Kennedy having been killed in Dallas only minutes before. For those in the audience and thousands more listening to the broadcast over the radio, it was their first news of the President’s assassination. In the hall, and over the airwaves, shock and gasps rang out. As everyone in the hall — including the musicians — processed this news, the sheet music for the “Funeral March” from Beethoven’s 3rd symphony was distributed to the orchestra, which bravely performed. The next day, Margo Miller of the Boston Globe reported, “The ‘Eroica’ marcia funebre is one of the great moments in music. The dread beat of the march cannot be disguised. Yet there is a middle section of the movement, a time of incredible energy and involvement, somehow, or so it seemed Friday, expressing eternal hope.”
“Fiddler on the Roof” (album), original Broadway cast (1964)
The character of Tevye the Dairyman was created by Yiddish writer Sholem Aleichem and is an orthodox Russian-Jew who attempts to raise his daughters and lead a humble life under the oppressive reign of the tsar. While the Aleichem stories had been adapted various times before, Tevye’s true entry into the greater public consciousness came with “Fiddler on the Roof,” the musical adaptation of Aleichem’s stories. Librettist Joe Stein had become a fan of Aleichem’s writing and enlisted the help of composer Jerry Bock and lyricist Sheldon Harnick to create a show that incorporated traditional Jewish music — like klezmer — into a modern musical theater framework in service of a story about old traditions in conflict with the modern world. In the process, the show brought Jewish audiences closer to part of their heritage (especially sobering in a post-World War II world) while presenting gentile audiences with a story built on universal themes and a central protagonist both conflicting and admirable. With direction from Jerome Robbins and opening with Zero Mostel as a riveting Tevye, “Fiddler” became a massive Broadway success, running for a record-setting 3,242 performances. This RCA Victor cast recording features the original versions of songs that have now become standards, such as “Matchmaker,” “Tradition,” “If I Were a Rich Man” and “Sunrise, Sunset.”
“Make the World Go Away” (single), Eddy Arnold (1965)
“Make the World Go Away” brought veteran country hitmaker Eddy Arnold to a new, younger audience and launched what he called his second career. The recording showcased songwriter Hank Cochran’s memorable melody and plaintive lyrics, Arnold’s mellow baritone vocal and the tasteful backing of such Nashville session stalwarts as guitarist Grady Martin, pianist Floyd Cramer and the Anita Kerr Singers, along with an eight-piece string section. “Make the World Go Away” was a prime example of the “Countrypolitan” style of country music and one of the high-water marks of the Nashville sound that producer Chet Atkins and others had pioneered. Released in the fall of 1965, it became an unexpected presence in the national top 10 alongside the Beatles, James Brown and Dean Martin at a time when few other country artists or songs were crossing over to the pop charts.
Hiromi Lorraine Sakata Collection of Afghan Traditional Music (1966-67; 1971-73)
This collection of over 50 hours of important and unique field recordings from Afghanistan was the research of ethnomusicologist Hiromi Lorraine Sakata. Sakata first researched in Afghanistan in 1966-67 and captured 25 hours of recordings of singers and instrumentalists from the provinces of Kabul, Khandahar, Urozgan, Nangarhar, Herat, Balkh and Nuristan. Her second trip, from 1971 to 1973, resulted in 26 additional hours of recordings from Herat, Kabul, Badakhshan, Hazarajat and Kandahar. As she wrote in her book “Music in the Mind: The Concepts of Music and Musician in Afghanistan” (2002), these recordings document a time and place that are now completely gone. Invasion, civil war and social upheaval have disrupted and, in some cases, destroyed the musical life she documented between 1966 and 1973. Sakata, a well-known expert in the music of Afghanistan, taught at the University of Washington and the University of California (Los Angeles) for decades. These important recordings are now deposited at the Ethnomusicology Archives at the University of Washington.
“Wichita Lineman” (single), Glen Campbell (1968)
Glen Campbell made a splash on both the country and pop charts and achieved enormous fame in the ’60s and ’70s with a singing style that matched a genial tone with introspective lyrics, emphasizing them in a way that made him ideal for modern country songwriters, most notably Jimmy Webb. Webb conceived the tale behind “Wichita Lineman” while driving through Washita County, Oklahoma, during a time when counties had their own telephone company utilities and lineman employees. Among the endless lines of poles was a silhouetted lineman who struck Webb as “the picture of loneliness.” What was the man saying into the receiver? Webb placed himself in the man’s head and, with lingering feelings from an affair with a married woman, crafted one of the most beautiful songs to ever climb the charts. With the location changed from Washita to the more euphonious Wichita (of Kansas), “Wichita Lineman” struck listeners with its poetic lyrics about a man attempting to make a romantic connection in the face of his own crippling loneliness. BBC Radio 2 recently described the song as “one of those rare songs that seems somehow to exist in a world of its own — not just timeless but ultimately outside of modern music.”
“Dusty in Memphis” (album), Dusty Springfield (1969)
By 1968, London-born singer Dusty Springfield was already a success in the United Kingdom when she came to America to record “Dusty in Memphis,” which would become the defining album of her career. Even before “Memphis,” Springfield had strong ties to American music having released hits written by Burt Bacharach and Hal David as well as Gerry Goffin and Carole King. Three legendary producers were involved in the sessions: Jerry Wexler, Arif Mardin and Tom Dowd. The instrumental tracks were recorded at legendary American Sound Studio in Memphis, Tennessee, featuring the Memphis Cats and backup vocalists, the Sweet Inspirations. Springfield initially recorded her vocals there as well, but reportedly dissatisfied with the results, later rerecorded them at Atlantic Studios in New York City. Though the single “Son of a Preacher Man” was a hit, early album sales proved modest. Over time, “Dusty in Memphis” grew in stature to become widely recognized as an important album by a woman in the rock era. Elvis Costello, who contributed the liner notes on the “Memphis” 2002 reissue, writes, “Dusty Springfield’s singing on this album is among the very best ever put on record by anyone.” Her voice, Costello wrote, was “… recorded in the audio equivalent of ‘extreme close-up.’ Every breath and sigh is caught and yet it can soar.”
“Mister Rogers Sings 21 Favorite Songs From ‘Mister Rogers’ Neighborhood’ ” (album), Fred Rogers (1973)
Almost two decades after the last broadcast of “Mister Rogers’ Neighborhood” in 2001, Fred Rogers remains an influential figure in American culture. As an enduring presence on national public television since 1968, Rogers emphasized holistic child development through play, curiosity and human interaction, while fostering emotional intelligence. Rogers held a bachelor’s degree in music composition and aptly leveraged the potential of music to influence emotion, memory and cognitive development by composing prolifically for his program. Numerous musical guests and the consistent presence of an in-house jazz trio led by pianist Johnny Costa also exposed listeners to a wide range of high-quality music. Certain tunes became synonymous with the program, especially the opening and closing themes as well as “You Are Special” and “I’m Proud of You.” His recitation of his lyrics for “What Do You Do (With the Mad That You Feel)” was a high point of his 1969 testimony before the Senate Subcommittee on Communications that helped save funding for public broadcasting.
“Cheap Trick at Budokan” (album), Cheap Trick (1978)
Though a handful of U.S. critics and devoted fans could have told you about their formidable live performances, Cheap Trick had had, by the late 1970s, very little impact at home in the USA. But they were already huge in Japan. In 1978, at the Budokan in Tokyo before 12,000 ardent fans, the band recorded this seminal live album, which was originally meant solely for sale in the Japanese market. But stoked later by word-of-mouth and airplay on a few U.S. FM rock stations, high-priced imports of the album began to sell in unheard-of numbers for a Japanese release in the U.S. Further airplay and interest increased when Epic, the band’s record company, serviced radio stations with a promotional version of the album unavailable in stores before finally releasing “Cheap Trick at Budokan” domestically in February 1979. It proved to be the making of the band in their home country, as well as a loud and welcomed alternative to disco and soft rock and a decisive comeback for rock and roll.
Holst: Suite No. 1 in E-Flat, Suite No. 2 in F / Handel: Music for the Royal Fireworks / Bach: Fantasia in G (special edition audiophile pressing), Frederick Fennell and the Cleveland Symphonic Winds (1978)
This recording was the first commercial digital recording of symphonic music in the United States and was captured on the Soundstream recorder, the first available commercial digital recorder, introduced by U.S. inventor Thomas Stockham. The original recording was released to vinyl in 1978 and then again in 1983 as the first CD release for the U.S.-based Telarc label. The recording was produced by Robert Woods and engineered by Jack Renner, co-founders of the Telarc label. Telarc and Soundstream worked together, increasing the capability of the Soundstream recorder, and the results had an immediate impact on audiences around the globe. The World Book Encyclopedia described this recording as having “the bass drum heard around the world.”
“Y.M.C.A.” (single), Village People (1978)
In 1977, the Village People emerged as a purposely campy and extravagantly costumed vocal sextet of guys — the Native American, the cop, the biker, the soldier, the cowboy and the construction worker — singing upbeat dance floor anthems that often referenced gay pop culture. Now, over 40 years since it hit the streets and the dance floors, “Y.M.C.A.,” their biggest hit, is an American cultural phenomenon — people from all walks of life do the “Y.M.C.A.” dance at weddings, Bar Mitzvahs or sporting events. It is as likely to be heard at a Midwestern prom as it is at New York City’s annual Gay Pride parade. Back in its heyday, “Y.M.C.A.” was a hit around the world, going to No. 1 on the charts in over 15 countries, and its ongoing popularity is evidence that, despite the naysayers, disco has never truly died.
“A Feather on the Breath of God” (album), Gothic Voices; Christopher Page, conductor; Hildegard von Bingen, composer (1982)
Twelfth-century Benedictine abbess Hildegard von Bingen is the earliest known woman composer whose works have survived to present day. She was a writer, philosopher, Christian mystic and visionary as well — the title of the album is a quote from one of her writings. Her repertoire had been ignored for decades until the release of this beautiful recording by the award-winning Gothic Voices, directed by Christopher Page and engineered by Tony Faulkner. This was Gothic Voice’s first recording; it also marked the beginning of Gothic Voices as a permanent group. The release helped heighten — albeit belatedly — von Bingen’s life story and remarkable achievements both inside and outside of music.
“Private Dancer” (album), Tina Turner (1984)
Tina Turner survived a brutal marriage to reclaim fame and obtain recognition as a solo artist and a superstar in her own right with this timeless 1984 comeback album. After several solo projects she released following her divorce from Ike Turner failed to sell, Turner was without a recording contract when John Carter signed her to Capitol Records in 1983 and she began work on “Private Dancer” in England. Propelled by the lead single, “What’s Love Got To Do With It?” (later the title of the big screen biopic about Turner’s life), “Private Dancer” revealed Turner as a mature and versatile singer whose work transcended categories like rock and pop. Since then, the album and its song cycle have become a touchstone and a symbol for powerful womanhood. “Private Dancer” solidified her as a legend — a status she achieved on her own terms.
“Ven Conmigo” (album), Selena (1990)
This 1990 album by Selena Quintanilla, known to millions of fans simply as Selena, was the first Tejano record by a female artist to achieve gold status. The album also marks a turning point both in Selena’s career and within the Tejano music genre — as it brought the music to a wider American audience and upended the dominance of male-led acts within the genre. Selena’s biographer, Joe Nick Patoski, highlights the expanded stylistic scope of the album, which Selena’s versatility made possible. The selections pushed the boundaries of the Tejano genre at the time while keeping the beat at the heart of the music; as Patoski quoted Selena, “I don’t think you can really mess with the beat.” Hits like “Baila esta cumbia” helped establish Selena as “the reigning queen of the Tejano music world,” as her obituary in The New York Times called her just five years later.
“The Chronic” (album), Dr. Dre (1992)
“The Chronic” is the 1992 solo debut album of hip-hop artist and producer Dr. Dre, a former member of N.W.A. Along with exemplifying the “G Funk” style of hip-hop production, it solidified the West Coast’s dominance of the genre, and its influence would be heard for years to come. Although a solo album, “The Chronic” also featured appearances by future superstar Snoop Dogg, who used the album as a launching pad for his own solo career. “The Chronic” is considered one of the most important and influential albums of the 1990s and is regarded by many fans and peers to be the most well-produced hip-hop album of all time.
“I Will Always Love You” (single), Whitney Houston (1992)
Inspired in part by the end of her musical partnership with Porter Wagoner, this song had been a big hit on the 1974 country charts for its writer, Dolly Parton. Later, it would become one of her signature compositions; over the years, she often concluded her concerts and her TV variety shows with it. In the early ’90s, actor Kevin Costner suggested that pop diva Whitney Houston record it for the soundtrack of their forthcoming film, “The Bodyguard.” Already recognized as one the great voices of her generation, Houston took the song and made it her own. Her powerful, passionate performance drove her rendition to the top of the charts. The recording would eventually become Houston’s signature song and sell upwards of 20 million copies.
“Concert in the Garden” (album), Maria Schneider Orchestra (2004)
Dance permeates Maria Schneider’s “Concert in the Garden” with titles such as “Dança Ilusória” and “Choro Dançado.” Listening to “Pas de Deux,” it is hard not to be reminded of the seminal “Sketches of Spain” album Miles Davis made with arranger Gil Evans’, with whom Schneider worked closely in the 1980s. It is a testament to Schneider’s composing and arranging talents that her work can be seen not as a copy of Evans’ work, but an extension of it. And it is a tribute to her determination and leadership that the Maria Schneider Orchestra was some 15 years old at the time of this recording, with its 18-piece membership largely intact over that entire period. For them, Schneider created an amalgam of big band, chamber music and improvisational jazz. Such improvisation can be seen in Donny McCaslin’s critically acclaimed solo in “Buleria, Solea y Rumba.” In addition, “Concert in the Garden” was the first album to win a Grammy without having been sold in stores, being only distributed digitally with no fixed format. Also, the album was funded and distributed by crowdfunding site ArtistShare, to respond to fan-driven demand for styles of music not otherwise readily available, while offering artists greater control over their work.
“Percussion Concerto” (album), Colin Currie (2008)
A drummer’s dream, Jennifer Higdon’s composition “Percussion Concerto” received a Grammy in 2010. It began its life as a co-commission between the Philadelphia Orchestra, the Indianapolis Symphony Orchestra and the Dallas Symphony Orchestra. Tim Smith of the Baltimore Sun wrote that the one-movement work “unleashes a kinetic storm of urban beats, balanced by passages of Asian-influenced musings that exploit the most seductive qualities of the diverse percussion instruments assigned to the soloist.” And Marin Alsop, the conductor of this particular performance, said that the concerto “embraces the concept and explains that a major priority for her is to give listeners a sense of grounding and a feel for where they are in her compositions.” This 2008 recording by percussionist supreme Colin Currie — indeed, the piece was written for him — captures his great virtuosity. The piece would go one to win the Grammy for Best Classical Contemporary Composition.
2019 National Recording Registry
1. “Whispering” (single), Paul Whiteman and his Orchestra (1920)
2. “Protesta per Sacco e Vanzetti,” Compagnia Columbia; “Sacco e Vanzetti,” Raoul Romito (1927)
3. “La Chicharronera” (single), Narciso Martinez and Santiago Almeida (1936)
4. “Arch Oboler’s Plays” episode “The Bathysphere.” (Nov. 18, 1939)
5. “Me and My Chauffeur Blues” (single), Memphis Minnie (1941)
6. The 1951 National League tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)
7. Puccini’s “Tosca” (album), Maria Callas, Giuseppe di Stefano, Angelo Mercuriali, Tito Gobbi, Melchiorre Luise, Dario Caselli, Victor de Sabata (1953)
8. “Hello Muddah, Hello Fadduh” (single), Allan Sherman (1963)
9. WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy assassination, Boston Symphony Orchestra (1963)
10. “Fiddler on the Roof” (album), original Broadway cast (1964)
11. “Make the World Go Away” (single), Eddy Arnold (1965)
12. Hiromi Lorraine Sakata Collection of Afghan Traditional Music (1966-67; 1971-73)
13. “Wichita Lineman” (single), Glen Campbell (1968)
14. “Dusty in Memphis” (album), Dusty Springfield (1969)
15. “Mister Rogers Sings 21 Favorite Songs From ‘Mister Rogers’ Neighborhood’ ” (album), Fred Rogers (1973)
16. “Cheap Trick at Budokan” (album), Cheap Trick (1978)
17. Holst: Suite No. 1 in E-Flat, Suite No. 2 in F / Handel: Music for the Royal Fireworks / Bach: Fantasia in G (Special Edition Audiophile Pressing album), Frederick Fennell and the Cleveland Symphonic Winds (1978)
18. “Y.M.C.A.” (single), Village People (1978)
19. “A Feather on the Breath of God” (album), Gothic Voices; Christopher Page, conductor; Hildegard von Bingen, composer (1982)
20. “Private Dancer” (album), Tina Turner (1984)
21. “Ven Conmigo” (album), Selena (1990)
22. “The Chronic” (album), Dr. Dre (1992)
23. “I Will Always Love You” (single), Whitney Houston (1992)
24. “Concert in the Garden” (album), Maria Schneider Orchestra (2004)
25. “Percussion Concerto” (album), Colin Currie (2008)
Milwaukee World Festival, Inc. Statement Regarding Summerfest 2020
The music industry has been profoundly impacted by the coronavirus pandemic and most live events scheduled for early summer have been cancelled. In the interest of safety and in cooperation with artists, Summerfest 2020 will move to new dates: September 3-5, 10-12 and 17–19, 2020. The new dates provide the best possible option to deliver the Summerfest experience our fans and sponsors have grown to love; we are doing everything possible to continue a tradition which spans five decades.
We know there will be many questions and we look forward to sharing details with you in the future. All purchases of festival tickets will be honored for the rescheduled September dates. More information about rescheduled performances at the American Family Insurance Amphitheater and BMO Harris Pavilion will follow soon. Please check Summerfest.com frequently for updates.
In compliance with the direction provided by Governor Tony Evers, the Milwaukee World Festival, Inc. offices are currently closed. Should you have any immediate questions, please email [email protected].
All of us at Summerfest look forward to seeing you in September. Until then, I hope you can take some time to listen to your favorite artists and enjoy the magic of music. Please take care of yourself and one another.
Don Smiley
President & Chief Executive Officer
Milwaukee World Festival, Inc.
Statement from Marcus Performing Arts Center
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Performances Suspended at Milwaukee Rep due to COVID-19
MILWAUKEE REPERTORY THEATER
TO SUSPEND ALL PERFORMANCES AND PUBLIC EVENTS
THROUGH APRIL 5, 2020
March 13, 2020 – [Milwaukee] – With the public health emergency declared by Wisconsin Gov. Evers due to the global coronavirus (COVID-19) pandemic, Milwaukee Repertory Theater will be closed for all public events beginning March 13, 2020 through April 5, 2020. This action is taken to prioritize the safety and health of our patrons, employees, artists, and students at this critical time. In accordance with the Wisconsin Department of Health Services (DHS) guidelines of the cancellation of all public gatherings of 250 or more, all performances, acting classes and programs scheduled at Milwaukee Rep through April 5 are canceled, including the performances of Chasin’ Dem Blues, Eclipsed, Antonio’s Song/ I Was Dreaming of a Son andHootenanny: The Musicale. The Stackner Cabaret restaurant and bar will also be closed during this time.
For patrons with tickets during the affected date range, Milwaukee Rep has a few options, including ticket exchanges for future productions. You can view options below or contact the Ticket Office by phone 414-224-9490 or email [email protected].
For Patrons with tickets to Eclipsed scheduled through March 29 in the Quadracci Powerhouse, we have developed an innovative way for you to experience this production from the comfort of your own home with an exclusive access to a recording of the production. We are still working on bringing this all together but ticket holders will receive an email from Milwaukee Rep with directions on how to access the recording soon.
Patrons with tickets to Chasin’ Dem Blues scheduled through March 22 in the Stackner Cabaret have the following options: Donate tickets and receive a tax deduction for the total ticket value; credit the ticket value towards a future Milwaukee Rep performance; or send contact information to Ticket Office at [email protected] to discuss other options.
The world premiere of Antonio’s Song / I Was Dreaming of a Son scheduled for March 24 – April 5 in the Stiemke Studio will be postponed to a future date to be announced.
The world premiere of Hootenanny: The Musicale in the Stackner Cabaret had performances slated to begin March 27, but will not begin until the week of April 6. An official start date has not yet been set. For those with tickets for the first two weeks of performances Ticket Office staff will be in touch to reschedule.
It is our hope that the remainder of the 2019/20 Season will continue as planned with Rep LabApril 16-20 in the Stiemke Studio and Destiny of Desire in the Quadracci Powerhouse April 20- May 17, 2020.
It is impossible to cancel performances without creating serious and lasting hardships for our company, our staff, and our artists. As a nonprofit arts organization, Milwaukee Rep relies heavily on the support of Donors, Subscribers and Single Ticket buyers. The individual support is crucial to the organization’s existence as Milwaukee Rep and other arts organizations are realizing significant losses due to the impact of COVID-19. We ask for your patience and support as we navigate these unprecedented challenges.
To learn more, visit www.MilwaukeeRep.com or contact the Ticket Office at 414-224-9490.
About Milwaukee Repertory Theater
Milwaukee Rep is the largest performing arts organization in Wisconsin welcoming nearly 300,000 people at 700 performances of 15 productions a season in the Patty & Jay Baker Theater Complex featuring three unique performance venues– the Quadracci Powerhouse, Stiemke Studio and Stackner Cabaret. For over six decades, Milwaukee Rep has been a centerpiece of Milwaukee’s vibrant arts and cultural scene with productions ranging from Broadway musicals to Shakespeare to American Classics and New Works that are entertaining, inclusive and impactful. Under the leadership of Artistic Director Mark Clements and Executive Director Chad Bauman, Milwaukee Repertory Theater ignites positive change in the cultural, social, and economic vitality of its community by creating world-class theater experiences that entertain, provoke, and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity.
Milwaukee World Festival, Inc. Announces 2020 Let The Music Play Grant Recipients
MILWAUKEE, WI (March 11, 2020) – Milwaukee World Festival, Inc. and American Family Insurance are excited to announce the grant recipients for the 2020 Let The Music Play program. Selected organizations represent non-profits or school programs that support music education in Milwaukee County. These programs have a performance element for young people and, in many cases, help to provide access to equipment or musical training that otherwise would have been unavailable to these student communities.
The 2020 grant recipients and their respective programs include:
- Golda Meir School: Funds will support the purchase of various instruments for band and orchestra students, adding to the music library to purchase music for performances, and a traveling string teacher.
- Girls Rock MKE: Funds will be used for scholarships for Girls Rock Milwaukee Camp, for girls ages 8-16, featuring musical, technical and creative aspects as campers form a band, learn to play an instrument, and perform on stage in a showcase.
- LaCausa, Inc.: Funds will be used to support the Eagle Orchestra and Dance program with new dance apparel, guitars, and sheet music, to utilize in practice and performance.
- Milwaukee Jazz Orchestra: Funds will support costs associated with the Woody Herman Jazz Education Festival including special guest clinicians, band equipment maintenance, venue rental, and tuition assistance.
- Rogers Street Academy: Funds will assist the music program with the purchase of instruments for students in K4-3rd grade, equipment for 5th grade band program, and sheet music.
- Rufus King High School Vocal Music Program: Funds will support the teaching of recording arts and technology.
The selected recipients will also showcase their talents during Summerfest 2020.
The Let The Music Play grant program supports non-profit organizations and schools that serve Milwaukee County through music-based programming. The program is intended to represent the variety of music-based activities taking place in the greater Milwaukee community and is open to programs ranging from band, orchestra and jazz to musical theater and dance. Recipients must demonstrate the ability to present a finished, 7-10 minute performance.
For more information visit MilwaukeeWorldFestival.com
About Milwaukee World Festival, Inc.
Milwaukee World Festival, Inc. is an independent, private 501(c)(3) corporation founded in 1965 that produces Summerfest, presented by American Family Insurance, an 11-day festival that generates approximately $187 million in economic impact for the community each year. Milwaukee World Festival, Inc. also maintains and improves Henry Maier Festival Park, located on 75 acres on the shores of Lake Michigan in Milwaukee, WI. In addition to Summerfest, Henry Maier Festival Park hosts a variety of ethnic and cultural festivals, concerts, walks, runs, and other special events, attracting nearly 1.3 million people. The mission of the organization is to promote an understanding of different ethnic cultures, the histories and traditions of various nationalities, harmony in the community, civic pride and provide a showcase for performing arts, activities and recreation for the public and employment opportunities for the youth of the community. For more details, visit Summerfest.com, Facebook.com/summerfest, Twitter: @Summerfest or Instagram: @Summerfest.
About the American Family Insurance Group
Based in Madison, Wisconsin, American Family Insurance has been serving customers since 1927. We inspire, protect and restore dreams through our insurance products, exceptional service from our agency owners and employees, community investment and creative partnerships to address societal challenges. We act on our belief in diversity and inclusion by constantly evolving to meet customer needs and preferences. American Family Insurance group is the nation’s 13th-largest property/casualty insurance group, ranking No. 306 on the Fortune 500 list. The group sells American Family-brand products, primarily through exclusive agency owners in 19 states. The American Family Insurance group also includes American Family Connect Property and Casualty Insurance Company, the proposed new legal name of Ameriprise Auto & Home, The General, Homesite and Main Street America. Across these companies the group has more than 13,500 employees nationwide.
April Fools “Go Live” Comedy Show Milwaukee, WI
Dream Too Big Consulting is proud to present the April Fools “Go Live” Comedy Show at the Riverside Theatre on Thursday, April 1, 2020. The popular annual comedy showcase will star comedians Michael Colyar, Kelly Kellz, Gilbert Esquivel, MC D Rock, Mathew Filipowicz, and Ms. Cut-N-Up.
Back by popular demand, headline Michael Colyar and Milwaukee’s own Kelly Kellz will be performing the first April Fool “Go Live” comedy show in an effort to unite the community and bring awareness to the importance of civic engagement and having your voice heard.
Tickets to the April Fools “Go Live” Comedy Show are $35.00-$72.00 not including tax, and tickets are on sale at the Riverside Theatre box office and online. The Riverside Theatre is located at 116 West Wisconsin Avenue Milwaukee, Wisconsin.
For more information regarding the event please reach out to Dream Too Big Consulting at 414-708-9113 or [email protected].
Tickets can be purchased online at: https://pabsttheater.org/event/golivecomedyshow2020/
World Premiere “Antonio’s Song/ I Was Dreaming of a Son” debuts at Milwaukee Rep