LOT of old rare 78 rpm phonograph records various E- Radio trascription

An oddball lot of 3 10" phonograph discs. 1. COLUMBIA TV18260 Says electrical transcription lateral cut. 10" 33 1/3 rpm VG++, maybe E 2. COLUMBIA TV16884 Says electrical transcription lateral cut. 10" 33 1/3 rpm V G++, maybe E 3. Special commemorative pressing february 1969 TENNESSEE ERNIE FORD Sixteen tons, 10 in vinyl 78 rpm. E-, very nice record, awesome songs FREE SHIPPING WIKIPEDIA:
Usage of terminology is not uniform across the English-speaking world (see below). In more modern usage, the playback device is often called a "turntable", "record player", or "
", although each of these terms denote categorically distinct items. When used in conjunction with a
as part of a
setup, turntables are often colloquially called "decks".
In later electric phonographs (more often known since the 1940s as record players
or turntables
), the motions of the stylus are converted into an
by a
, then converted back into sound by a
.
Close up of the mechanism of an Edison Amberola, circa 1915
The term phonograph
("sound writing") was derived from the
words φωνή
( phonē
, 'sound' or 'voice') and γραφή
( graphē
, 'writing'). The similar related terms gramophone
(from the Greek γράμμα gramma
'letter' and φωνή phōnē
'voice') and graphophone
have similar root meanings.
In
, "gramophone" may refer to any sound-reproducing machine using
, which were introduced and popularized in the UK by the
. Originally, "gramophone" was a proprietary
of that company and any use of the name by competing makers of disc records was vigorously prosecuted in the courts, but in 1910 an English court decision decreed that it had become a generic term; United States
Early phonograph at Deaf Smith County Historical Museum in
,
In
, "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to
's upstart Gramophone, a very different machine which played nonrecordable discs (although Edison's original Phonograph patent included the use of discs.
) Australia
Wood engraving published in
, depicting a public demonstration of new technology at the Royal Society of Victoria (Melbourne, Australia) on 8 August 1878.
In
, "record player" was the term; "turntable" was a more technical term; "gramophone" was restricted to the old mechanical (i.e., wind-up) players; and "phonograph" was used as in
. The "phonograph" was first demonstrated in Australia on 14 June 1878 to a meeting of the
by the Society's Honorary Secretary,
who published "The Sounds of the Consonants, as Indicated by the Phonograph" in the Society's journal in November that year.
On 8 August 1878 the phonograph was publicly demonstrated at the Society's annual conversazione
, along with a range of other new inventions, including the
. Early history
Dictionary illustration of a
. This version uses a barrel made of
. World music
is an English phrase for styles of music from non-Western countries, including quasi-traditional, intercultural, and
. World music's inclusive nature and elasticity as a musical category pose obstacles to a universal definition, but its ethic of interest in the culturally exotic is encapsulated in Roots
magazine's description of the genre as "local music from out there".
This music that does not follow "North American or British
and
traditions"
was given the term "world music" by music industries in Europe and North America.
The term was popularized in the 1980s as a marketing category for non-Western traditional music.
It has grown to include subgenres such as ethnic fusion (
,
,
, etc.)
and
. Lexicology
Main article:
in 2012
The term "world music" has been credited to
, who coined it in the early 1960s at
in
, where he developed undergraduate through
programs in the discipline. To enhance the learning process (John Hill), he invited more than a dozen visiting performers from Africa and Asia and began a world music concert series.
The term became current in the 1980s as a marketing/classificatory device in the media and the
.
There are several conflicting definitions for world music. One is that it consists of "all the music in the world", though such a broad definition renders the term virtually meaningless. Forms
Alan Stivell in concert at
(
), 2013
Examples of popular forms of world music include the various forms of non-European classical music (e.g.
music,
music,
), Eastern European folk music (e.g. the village music of the
,
),
,
,
, and the many forms of folk and tribal music of the
,
,
,
,
and
.
The broad category of world music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of ethnic music are commonly categorized together by virtue of their indigenous roots. Over the 20th century, the invention of
, low-cost international air travel, and common access to global communication among artists and the general public have given rise to a related phenomenon called "
" music. Musicians from diverse cultures and locations could readily access recorded music from around the world, see and hear visiting musicians from other cultures and visit other countries to play their own music, creating a melting pot of stylistic influences. While communication technology allows greater access to obscure forms of music, the pressures of commercialization also present the risk of increasing musical homogeneity, the blurring of regional identities, and the gradual extinction of traditional local music-making practices. Hybrid examples
performing at
in 2013
Since the music industry established this term, the fuller scope of what an average music consumer defines as "world" music in today's market has grown to include various blends of ethnic music tradition, style and interpretation,
and derivative world music genres have been coined to represent these hybrids, such as ethnic fusion and
. Good examples of hybrid, world fusion are the
-
meld of
,
the pan-cultural sound of AO Music
and the
/
music of
,
each of which bear tinges of contemporary, Western influence—an increasingly noticeable element in the expansion genres of world music. Worldbeat and ethnic fusion can also blend specific indigenous sounds with more blatant elements of
. Good examples are
's album
, on which South African
music is heard;
's work with
singer
; the
project, in which vocal loops from
are blended with Western, contemporary rhythmic textures and
; and the work of
, who combined pop and rock music with world elements.
Depending on style and context, world music can sometimes share the
genre, a category that often includes
and textural expressions from indigenous
sources. Good examples are
,
,
or
music. World music blended with new-age music is a sound loosely classified as the hybrid genre 'ethnic fusion'. Examples of ethnic fusion are
's "Face-to-Face" from Beyond Grand Canyon,
featuring authentic
combined with
, and "Four Worlds" from The Music of the Grand Canyon
, featuring spoken word from Razor Saltboy of the
. World fusion
Not to be confused with
.
The subgenre world fusion
is often mistakenly assumed to refer exclusively to a blending of Western
elements with world music. Although such a hybrid expression falls easily into the world fusion category, the suffix "fusion" in the term world fusion should not be assumed to mean jazz fusion. Western jazz combined with strong elements of world music is more accurately termed world fusion jazz
,
or non-Western jazz
. World fusion and global fusion are nearly synonymous with the genre term
, and though these are considered subgenres of
, they may also imply universal expressions of the more general term world music
.
In the 1970s and 80s,
in the
genre implied a blending of jazz and
, which is where the misleading assumption is rooted. Precursors
released "My Boy Lollipop" in 1964. Small's version was a hit, reaching number 2 both in the
and in the US Billboard
. In the 1960s,
and
had popular hits in the USA. In 1969 Indian musician
played
at the
.
In the 1970s,
's funky track "
"
(1972) became a hit, and
released "Sunshine Day" (1976).
created
and
,
and
followed Fela Kuti's funky music.
musicians such as
,
,
,
,
,
,
,
,
,
,
and
developed
.
The
musician
pioneered the connection between traditional
, modern
and world music with his 1972 album
.
Around the same time, Stivell's contemporary,
singer-songwriter
popularised
music.
Neo-traditional
music featuring a fusion of modern instruments and traditional instruments such as the
and the
has been further developed by
. Lebanese musical pioneer
fused
and
with
folk, and is listed in the catalog of the
's Library and Archives
as the first rock star of the
. Popular genres
Although it primarily describes traditional music, the world music category also includes popular music from non-Western urban communities (e.g.
) and non-European music forms that have been influenced by other so-called third-world musics (e.g.
).
The inspiration of Zimbabwe's
in blending the
(finger Piano) style onto the
, saw a host of other Zimbabwean musicians refining the genre, none more successfully than The
. The Bhundu Jit music hit Europe with some force in 1986, taking
and
fully under its spell.
For many years,
has attracted numerous musicians from former colonies in
and
. This scene is aided by the fact that there are many concerts and institutions that help to promote the music.
and
music have an important presence in the French capital. Hundreds of thousands of Algerian and Moroccan immigrants have settled in Paris, bringing the sounds of
(
),
, and
.
The
community is also very large, integrated by people from
,
,
, and
.
Unlike musical styles from other regions of the globe, the American music industry tends to categorize Latin music as its own genre and defines it as any music sung in Spanish from the
. Western
The most common name for this form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.
The transition was somewhat centered in the US and is also called the
.
Fusion genres such as
and others also evolved within this phenomenon. 1987 industry meeting
Paul Simon had released a Southern African music-influenced album after falling in love with this music.
On 29 June 1987, a meeting of interested parties gathered to capitalize on the marketing of non-Western folk music.
had released the world music-influenced album
in 1986.
The concept behind the album had been to express his own sensibilities using the sounds he had fallen in love with while listening to
, including
and
. This project and the work of
and
among others had, to some degree, introduced non-Western music to a wider audience. They saw this as an opportunity.
In an unprecedented move, all of the world music labels coordinated together and developed a compilation cassette for the cover of the music magazine
. The overall running time was 90 minutes, each package containing a mini-catalog showing the other releases on offer.
By the time of a second meeting it became clear that a successful campaign required its own dedicated press officer. The press officer would be able to juggle various deadlines and sell the music as a concept—not just to national stations, but also reg Ernest Jennings Ford
(February 13, 1919 – October 17, 1991),
known professionally as Tennessee Ernie Ford
, was an American singer and television host who enjoyed success in the
,
, and
musical genres. Noted for his rich
voice and
humor, he is remembered for his hit recordings of "
" and "
". Biography Early years
Ford was born in
, United States,
to Maud (née Long) and Clarence Thomas Ford. He spent much his time in his early years listening to country or western musicians, in person or on the radio.
Ford began wandering around Bristol in his high school years, taking an interest in radio and began his radio career as an announcer at
in 1937, being paid 10 dollars a week. In 1938, the young
left the station and went to study classical music at the
in
. He returned for the announcing job in 1939 and did it from 1939 to 1941 in stations from
to
. A
, he served in the
in
as the
on a
, but the war ended before he was to be sent to
.
He was also a bombing instructor at
, in
.
After the war, Ford worked at radio stations in
and
. At KFXM, in San Bernardino, Ford was hired as a radio announcer. He was assigned to host an early morning country music disc jockey program, Bar Nothin' Ranch Time
. To differentiate himself, he created the personality of "Tennessee Ernie", a wild, madcap, exaggerated hillbilly. He became popular in the area and was soon hired away by Pasadena's KXLA radio. He also did musical tours. The Mayfield Brothers of
, including
,
, and
, were among Ford's warmup bands, having played for him in concerts in
and
, during the late 1940s.
Ford's appearance as "Cousin Ernie" in three episodes of
made him a household name.
At KXLA, Ford continued doing the same show and also joined the cast of
's popular live
country show Dinner Bell Roundup
as a vocalist while still doing the early morning broadcast. Cliffie Stone, a part-time
for
, brought him to the attention of the label. In 1949, while still doing his morning show, he signed a contract with Capitol. He became a local TV star as the star of Stone's popular Southern California
show.
produced 260 15-minute episodes of The Tennessee Ernie Show
on
for national radio syndication.
He released almost 50 country
through the early 1950s, several of which made the Billboard
charts. Many of his early records, including "
" and "Blackberry Boogie", were exciting, driving boogie-woogie records featuring accompaniment by the 'Hometown Jamboree' band, which included
on lead guitar and pioneer pedal steel guitarist
. "
", a duet pairing Ford with Capitol Records pop singer
,
became a huge country and pop crossover hit in 1950. A duet with
, "False Hearted Girl" was a top seller for the Capitol Country and Hillbilly division.
Ford eventually ended his KXLA morning show and in the early 1950s, moved on from Hometown Jamboree
. He took over from bandleader
as host of the TV version of
when it returned briefly in 1954 after a four-year hiatus.
He became a household name in the U.S., largely as a result of his portrayal in 1954 of the 'country bumpkin', "Cousin Ernie", in three episodes of
. In 1955, Ford recorded "
" (which reached number 4 on the country music chart) with "Farewell to the Mountains" on the
. "Sixteen Tons" cover version success Sixteen Tons
album cover
Ford scored an unexpected hit on the pop chart in 1955 with his rendering of "
", a sparsely arranged coal-miner's lament.
had first recorded it in 1946. It reflected experiences of the Travis family in the mines at
.
The song's fatalistic tone and bleak imagery were in stark contrast to some sugary pop ballads and
also on the charts in 1955:
You load sixteen tons, what do you get?
Another day older and deeper in debt.
, don't you call me, 'cause I can't go;
I owe my soul to the
...
With Ford's snapping fingers
and a unique clarinet-driven pop arrangement by Ford's music director, Jack Fascinato, "Sixteen Tons" spent ten weeks at number one on the country chart and seven weeks at number one on the pop chart. The record sold over twenty million copies, and was awarded a
.
The song made Ford a crossover star, and became his
. The Ford Show
Main article:
Ford subsequently hosted his own prime-time variety program,
, which ran on
television from October 4, 1956, to June 29, 1961. Ford's last name allowed the show title to carry a unique
by selling the
to the
(Ford had no known relation to the
that founded that company). The
, an anthology series also sponsored by the company, had run in the same time slot on NBC in the preceding 1955–1956 season. Ford's program was notable for the inclusion of a religious song at the end of every show, a tradition he recalled during his days as a cast member on
's
live radio and TV show. Ford insisted on ending with a hymn on his own show despite objections from network officials and the ad agency representing Ford, who feared it might provoke controversy. Everyone relented after the hymns received overwhelmingly favorable viewer response. The hymn became the most popular segment of his show. He earned the nickname "The Ol' Pea-Picker" due to his catchphrase, "Bless your pea-pickin' heart!" He began using the term during his disc jockey days on KXLA. Later years
In 1956 he released
, his first
album, which remained on '
s Top Album charts for 277 consecutive weeks; his album Great Gospel Songs
won a
in 1964 and was nominated for several others.
After the NBC show ended, Ford moved his family to
in northern California. He also owned a cabin near Grandjean,
, on the upper South Fork of the
, where he would regularly retreat.
In 1961, he recorded two albums of
songs, one for songs of the
and another for songs of the
.
From 1962 to 1965, Ford hosted a daytime talk/variety show, The Tennessee Ernie Ford Show
(later known as Hello, Peapickers
) from
in San Francisco, broadcast over the
television network. In 1968, Ford narrated the
TV special
for
. The mouse narrator seen at the beginning of the special, William the Churchmouse, was a caricature of Ford, in keeping with a Rankin/Bass tradition. Ford was the spokesman for the Pontiac Furniture Company in
, in the 1970s. He also became the spokesman for
brand flour in 1972.
Although he left his own TV show, he went on other shows like
and on
in the early 1980s.
Ford left Capitol Records in 1975. By that time the quality of his country albums had become uneven and none of his releases were selling well. He would never record for a major label again.
Ford's experiences as a navigator and bombardier in World War II led to his involvement with the Confederate Air Force (now the
), a war plane preservation group in Texas. He was a featured announcer and celebrity guest at the annual CAF Airshow in
, from 1976 to 1988. He donated a once-top-secret
to the CAF's B-29 bomber restoration project. In the late 1970s, as a CAF colonel, Ford recorded the organization's theme song "Ballad of the Ghost Squadron".
Over the years, Ford was awarded three stars on the
, for
,
, and
. He was awarded the
in 1984, and was inducted into the
in 1990.
Out of the public eye, Ford and wife Betty contended with serious alcohol problems; Betty had the problem since the 1950s, as well as emotional issues that complicated both their lives and the lives of their sons. Though his drinking began to worsen in the 1960s, he worked continuously, seemingly unaffected by his heavy intake of
. By the 1970s, however, it had begun to take an increasing toll on his health, appearance and ability to sing, though his problems were not known publicly. After Betty committed suicide in 1989 because of prescription drug abuse, Ernie's liver problems, diagnosed years earlier, became more apparent, but he refused to reduce his drinking despite repeated doctors' warnings. His last interview was taped on September 23, 1991, by his long-time friend
for her TV show, and was later aired on December 4 that year.
Ford received posthumous recognition for his gospel music contributions by being added to the
's
in 1994. Personal life
Ernie and Betty Ford at home in 1962
Ford was married to Betty Heminger from September 18, 1942, until her death on February 26, 1989. They had two sons: Jeffrey Buckner "Buck" Ford (born 1950); and Brion Leonard Ford (born 1952, in
), who died on October 24, 2008, in
, of lung cancer, aged 56. In 1980 Ford lived in the Smoke Tree neighborhood of
.
Less than four months after Betty's death in 1989, Ford married again. On September 28, 1991, he suffered severe
at
, shortly after leaving a
at the
, hosted by then-President
. Ford died in H. C. A. Reston Hospital Center, in
, on October 17.
Ford was interred at
,
.
His second wife, Beverly Wood Ford (1921–2001), died 10 years after Ernie; her body was interred with his.
Ford was a member of the
. Discography
Main article: Albums This Lusty Land!

(1956)

(1956)

Spirituals

(1957)

Ford Favorites Ol' Rockin' Ern' Nearer the Cross

(1958)

The Star Carol

(1958)

Gather 'Round

(1959)

A Friend We Have

(1959)

Sing a Hymn with Me

(1960)

Sixteen Tons

(1960)

Sing a Spiritual with Me

(1960)

Come to the Fair

(1960)

Civil War Songs of the North

(1961)

Civil War Songs of the South

(1961)

Looks at Love

(1961)

Hymns at Home

(1961)

Mississippi Showboat

(1962)

I Love to Tell the Story

(1962)

Book of Favorite Hymns

(1962)

Long, Long Ago

(1963)

We Gather Together

(1963)

Story of Christmas

(1963)

Great Gospel Songs

(1964)

Country Hits Feelin' Blue

(1964)

World's Best Loved Hymns

(1964)

Let Me Walk with Thee

(1965)

Sing We Now of Christmas

(1965)

My Favorite Things

(1966)

Wonderful Peace

(1966)

God Lives

(1966)

Bless Your Pea Pickin' Heart

(1966)

Aloha

(1967)

Faith of Our Fathers

(1967)

Our Garden of Hymns

(w/ )

(1968)

World of Pop and Country Hits

(1968)

O Come All Ye Faithful

(1968)

The Best of Tennessee Ernie Ford Hymns

(1968)

Songs I Like to Sing

(1969)

New Wave

(1969)

Holy, Holy, Holy

(1969)

America the Beautiful

(1970)

Everything Is Beautiful

(1970)

Abide with Me

(1971)

C-H-R-I-S-T-M-A-S

(1971)

Folk Album

(1971)

Mr. Words and Music

(1972)

Standin' in the Need of Prayer

(1972)

Country Morning

(1973)

Ernie Ford Sings About Jesus

(1973)

Make A Joyful Noise

(1974)

(w/ )

(1975)

Sing His Great Love

(1976)

For the 83rd Time

(1976)

He Touched Me

(1977)

Swing Wide Your Golden Gate

(1978)

Ramblin' Down Country Roads With Tennessee Ernie Ford

(1979)

Tell Me the Old, Old Story

(1980)

There's A Song In My Heart

(1982)

Sunday School Songs For Children of All Ages

(1983)

Keep Looking Up

(1984)

6000 Sunset Boulevard: Featuring The Billy Liebert Band

(2009