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celestialmazer · 5 years

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Such an interesting history and evolution to an impressive and overlooked form of art, and now some of them are in Glasgow!

The Backstory on a Hollywood Backdrops - CBS

In Hollywood's Golden Age, hand-painted backdrops played a vital role in the magic of movies, creating cities, sunsets, or any other setting a director could imagine. These massive artworks were some of the largest paintings ever created, by artists whose work often went unappreciated. John Blackstone reports on the Backdrop Recovery Project, an effort to rescue these works of cinema history, and talks with Karen Maness, coauthor of "The Art of the Hollywood Backdrop," and with Lynne Coakley, whose family business, JC Backings, has been providing the backgrounds to movies and TV shows for generations.

https://www.jcbackings.com/index.php

https://youtu.be/qvVc2i4euQY

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How 200 historic Hollywood backdrops were saved from the dumpster

https://www.latimes.com/entertainment-arts/story/2019-12-20/saving-the-lost-art-of-hollywood

By MARY MCNAMARA - CULTURE COLUMNIST AND CRITIC - DEC. 20, 2019

On top of a hill in Valencia, where the wind blows most days, the buildings are big, new and absolutely nonforthcoming. They could house anything — a doctor’s office, a car dealership, a secret government agency. Inside one, against the back wall, lies a pile of large equally nondescript pieces of canvas. Most are long and tied up with string; some have been folded into thick squares and stacked. They could be anything — enormous window treatments or very thin floor coverings.

For the record:

3:56 PM, Jan. 06, 2020 This article says several backdrops went to the Royal Scottish Academy. They went to the Royal Conservatoire of Scotland.

Hillsides, houses, airports and cathedrals; cityscapes, landscapes and the ocean rocking toward the horizon; courtrooms and bedrooms, bungalows and castles; gas stations, skyscrapers, apartment buildings; the roofs of Paris and New York, corridors, tapestries, train depots and a mineshaft burrowing into an icy mountains.

These are the 90 painted backdrops that remain of more than 200 saved through the Art Directors Guild Backdrop Recovery Project, a two-year attempt to keep a relatively few pieces of irreplaceable art and Hollywood history from the fate of so many sets, props, costumes and backdrops: the studio dumpster.

“Hollywood started as a green industry and then became brown,” says former ADG president and Recovery Project founder Tom Walsh. “Everything was used repeatedly; nothing went into storage. Then when studios began to decline, they got rid of everything, sold things in auctions or just threw them away. And the first to go were backings. We will never know how many were lost, and if I go down that road I will just start to cry.”

“These, though,” he says, “we were able to save.”

There is no more iconic Hollywood image than the backdrop. Backdrops, or backings, are the enormous paintings that make the movie and television industries possible by stretching the confines of a studio set into endless possibility. With a good backdrop, western plains can stretch to the horizon, snowy peaks of mountains create the suspense of dizzying heights, jungles bloom, skyscrapers loom and cities wink through apartment windows. Sets cradle the action; actors, writers and directors create characters and drama; but backdrops build worlds.

Many are imprinted on our collective memory — the Georgian sunset against which Scarlett O’Hara vowed never to be hungry again, the island beaches of “South Pacific,” the view of the Danube from the Von Trapp family’s terrace in “The Sound of Music,” Mt. Rushmore in “North by Northwest.”

In the early years of Hollywood, studios hired artists to paint their own backings, which were sometimes used repeatedly and sometimes thrown away, depending on need, space and the studio’s financials. In the 1950s, a few scenic artists realized this was not a great system, that studios somehow sharing backings might work better, and a few artists began striking out on their own, painting and purchasing various backdrops they would then rent out.

Nowadays almost all backings, painted and otherwise, are furnished by rental companies.

JC Backings is one of the best known of the now handful of rental companies with the most notable collection of historic backdrops in the business. A business that has increasingly shifted away from painted backings to photograph and digital versions. Over the years, JC Backings has regularly, and out of necessity, culled its collection. Even when rolled or folded, backdrops are big, difficult to move, and require temperature-controlled storage. Those not making money as rentals are literally just taking up space.

Two years ago, President Lynne Coakley decided the company no longer needed 207 of its older backings. But this time, instead of filling up an oversize dumpster, she donated them to the Art Directors Guild, which unrolled, photographed and cataloged each one, and then set about finding each one a home.

Most of the more famous images went quickly. The film academy took the backdrop from the “Fit as a Fiddle” number in “Singin’ in the Rain,” the eerie landscape of “Forbidden Planet,” the tapestried walls of “Marie Antoinette,” the office from “Adam’s Rib.” Others, like the Sistine Chapel from “The Shoes of the Fisherman” were given to colleges; the Autry Museum of the American West has eight (including two from the 1947 Katherine Hepburn/Spencer Tracy Western “The Sea of Grass”) and a few went to the Royal Scottish Academy. (George Gibson, the legendary head of MGM’s scenic design department, where many of the backdrops were painted, was Scottish.)

In their new homes, the backings function in a variety of ways — as exhibits, teaching tools and occasionally theatrical backdrops, but all, including the ones still in storage in Valencia, mark another important shift in Hollywood. For many who work in the cinematic crafts, the real tragedy of the digital revolution and the end of the studio system has been the loss of so many iconic props and artworks. Now, as more studios are dismantled, absorbed or re-purposed, there is a growing demand that the working assets of old Hollywood, be they research libraries, backdrops or remainders of sets, be preserved.

In the short version of the story, the Backdrop Recovery Project began with a phone call. In 2017, Walsh was working in New Mexico as production designer on the Netflix western series “Longmire” when he got a call from Coakley.

She said: “Well, Tom, we’re going to move.”

He managed to not drop the phone, but it was a big and upsetting announcement. JC Backings was founded by the Coakley family, which has been part of the scenic art world for five generations. Over the years, the company acquired the collections of MGM, Universal, 20th Century Fox, Disney and Paramount.

For 40 years, the company operated out of the famous MGM scenic paint studio on what is now the Sony lot in Culver City and had a history with the studio for even longer. Lynne’s great-grandfather, John Coakley, was a scenic artist there, working under Gibson’s tutelage, when, in 1936, he fell to his death from a studio scaffolding. MGM’s method of compensation was to hire his son, John Harold Coakley, as an apprentice. John Harold eventually went to 20th Century Fox and, after “Cleopatra” nearly bankrupted the studio, he bought its backdrop collection. In 1962, he formed JC Backings with his son, John Gary Coakley.

In 1972, the company moved to MGM and its still gold-standard scenic studio.

JC Backings remains in the painted backdrop business — a backing from the 1958 musical “South Pacific,” for example, was recently used on an upcoming Netflix series and several equally venerable backings were recently rented for new Marvel projects (none of which Lynne can name because she signed nondisclosure agreements). But at least half of the company’s inventory is photo and digital, and it made no sense to pay for the MGM studio, which was built for painting scenic backings and did not have the storage space the company needed.

When Lynne Coakley decided to move the headquarters to a larger facility in Culver City, with a warehouse equipped for painting in Gardena, she eyed the 3,000 or so painted backings in the company’s collection and realized that more than 200 of them had not been used in years.

A decade ago, she says, she would have just chucked them; some were faded or damaged, some so specific they could never be used again.

“It’s only in the last 10 years that we’ve started thinking of them as having historic value,” says Coakley. “For years, we thought of backings as a commodity; that’s our business.”

In the long version of the story, the conversation that resulted in the Backdrop Recovery Project occurred almost 10 years ago.

An award-winning production designer, Walsh had worked with JC Backings for much of his career. As president of ADG, from 2003 to 2013, he was committed to making the public aware of scenic artists and preserving the historic work that remained. “I started as a pot boy,” he says, referring to the young workers who mixed the paints that scenic artists used for backdrops. “It was the last days of the old ways, and ever since then, I have a soft spot for scenic artists.”

And not just as a preservationist. Walsh believes that old Hollywood arts are crucial in developing the new ones and bemoans the fact that many cinema schools now view scenic painting as an elective for their arts programs.

“A lot of people are going into the digital arts,” he says, “but the best artists I’ve worked with, digital or not, are the ones who can pick up a pencil, who can look at something and see it before they start re-creating it. No matter how they do it.”

In 2012, he founded the ADG archives, which contains resources gleaned from old studio research libraries — books and photos, paintings and advertisements, anything and everything that could help artists of all types make the sets, props and backings beautiful and believable.

That same year, he approached Lynne about publicly displaying some of the iconic backdrops and the small paintings from which they were created; over seven years, the ADG and JC Backings co-hosted five open-house nights at the historic MGM studio.

The events were so popular, Walsh says, that he wondered if there was a book to be done. While giving a guest lecture at the University of Texas, Austin, he had met Karen Maness, a former scenic artist who loved backdrops almost as much as he did.

“I grew up in San Diego,” Maness says, “and I fell in love with all the murals in Los Angeles. When I saw my first theatrical backdrop, I knew this is what I wanted to do: I wanted to work big.”

She had been teaching theatrical arts at UT Austin for several years when Walsh approached her about doing a book, and she immediately said yes. “It was a passion project to understand these artists, to help them be seen for their work.”

For the next four years, she and Richard M. Isackes interviewed Hollywood masters and in 2016 produced “The Art of the Hollywood Backdrop,” a gorgeous doorstop of a book that tells the story of an art form that is at its best when it does not appear to exist

“The publisher said it was the most beautiful book they had ever made,” Walsh says. “Certainly it is the heaviest.”

“Tom saw the urgency,” Maness says. “A lot of the artists we interviewed for the book are gone now, and I am so grateful that I got to speak with so many. It’s changed the way I paint and think about painting. I have never seen painting with such sensitivity to color, temperature and value structure. I am so embarrassingly in love with it.”

The Coakleys and their unique collection are a big part of “The Art of the Hollywood Backdrop,” in which the family’s story was told publicly for the first time. Lynne’s parents are, she says, very private and reserved individuals. Working with Walsh and Maness, Lynne began to think of JC Backings’ collection of painted backdrops as something more than company assets.

“After the book came out,” Walsh says, “we started hearing from a lot of people who were also interested in preservation.”

During the early years of the backdrop exhibitions, Lynne had been surprised when Anne Coco, the motion picture academy’s graphic arts librarian, had asked if she would be willing to donate some of the small paintings done as blueprints for the backings, which she happily did. So when Lynne decided there was no point in moving the 200-plus backings that were no longer in use, she called the academy first.

“The academy took about a dozen right away,” Lynne says. “The cream, obviously. The rest went to the ADG, and,” she adds laughing, “Tom got them to take about 10 more.”

Although the academy will not reveal anything about how, or which, backings will be displayed in its new Museum of Motion Pictures, Walsh says he put together an exhibit for architect Renzo Piano and his staff when they were in the designing phase.

For the remaining 207, she called Walsh, who was thrilled.

Thrilled and a little daunted. Moving more than 200 backings, some of which are more than 30 feet wide and, affixed to wooden battens, weigh several hundred pounds, is no joke. Nor is the work of unrolling each one and trying to identify the films for which it was used. Especially when you have only a couple of weeks to do it.

“There were some of backings that hadn’t been opened,” says Maness, who, along with a dozen or so ADG members, helped with the moving and cataloging. “The reason they survived when so many assets were lost or sold off in auction was that they were able to keep them at MGM so they were up and out of sight.”

But if the three weeks it took to catalog and move the backings were difficult, they were also exhilarating. There was gold in them there rafters.

“No one knew the ‘Fit as a Fiddle’ backing was in there,” says Walsh. “Or the tapestries from ‘Marie Antoinette.’ And the ‘Forbidden Planet’ landscapes were so amazing. But even the ones that weren’t famous, are gems. If it weren’t for JC Backings,” he says, “this library, which dates back to the 1930s wouldn’t exist.”

He has spent the past two years finding homes for the original 207 and then an additional 65 donated by Scenic Express. As of publication, there are still 50 or so in the Valencia warehouse that he hopes will find homes at some film or theatrical school. The University of Texas, Austin took 47, including the 24 from “The Shoes of the Fisherman,” which Maness uses to teach painting and design to her students; one of her classes is reproducing the Sistine Chapel.

“Everything you need to know about how to paint is in those backdrops,” she says. “I recognize that we are living in a digital world, but there’s so much power in the painting. “After the book came out, it raised consciousness about preservation. Photographic backings are fine — I use them, we all use them — but painted backdrops are art. Some are so simply drawn that when you look at them closely they don’t look like anything.

“And then you step back and you see the world.”

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tecronet · 5 years

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Tyga Net Worth 2020

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5d-rides-blog · 5 years

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d1anapr1nce · 7 years

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5, 16, 19

Is there a food that you’ve never had but always wanted to try?

I really want to try astronaut ice cream. I’ve heard that it’s awful but I want to find out for myself.

What’s a language you’d like to speak?

I’d want to learn a really old language, and I think it would be the funniest to learn Old English, like Beowulf (Hwæt. We Gardena in geardagum, þeodcyninga, þrym gefrunon, hu ða æþelingas ellen fremedon). So then if anyone asked what language I was speaking, I could say English and they’d be like whaaaaaaaaaaaat? Also I’d probably use it to write a Merlin fanfic.

Favorite Ghibli and/or Disney movie

Oh, there’s so many to love! It’s too hard to pick a favorite Studio Ghibli movie (a least favorite would be fairly easy), so my top four are Kiki’s Delivery Service, My Neighbor Totoro, The Cat Returns, and Castle in the Sky.

lovely calm asks to enjoy a cup of tea to

#I couldn't even start picking with disney #thanks for the asks!!!!#milkchocolateowl #answered

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blackkudos · 7 years

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Big Joe Turner

Joseph Vernon "Joe" Turner, Jr. (May 18, 1911 – November 24, 1985), best known as Big Joe Turner, was an American blues shouter from Kansas City, Missouri, United States. According to the songwriter Doc Pomus, "Rock and roll would have never happened without him." While he had his greatest fame during the 1950s with his rock and roll recordings, particularly "Shake, Rattle and Roll", Turner's career as a performer endured from the 1920s into the 1980s. Turner was inducted into the Rock and Roll Hall of Fame in 1987, with the Hall lauding him as "the brawny voiced 'Boss of the Blues'".

Career

Early days

Known variously as The Boss of the Blues, and Big Joe Turner (due to his 6'2", 300+ lbs stature), Turner was born in Kansas City. His father was killed in a train accident when Joe was only four years old. He first discovered a love of music in his involvement at church. He began singing on street corners for money, quitting school at age fourteen to work in Kansas City's nightclubs, first as a cook, and later as a singing bartender. He became known eventually as The Singing Barman, and worked in such venues as The Kingfish Club and The Sunset, where he and his piano playing partner Pete Johnson became resident performers. The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for caucasian patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his entire career.

At that time Kansas City nightclubs were subject to frequent raids by the police, but as Turner recounts, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning."

His partnership with boogie-woogie pianist Pete Johnson proved fruitful. Together they went to New York City in 1936, where they appeared on a playbill with Benny Goodman, but as Turner recounts, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C.". Eventually they were witnessed by the talent scout, John H. Hammond in 1938, who invited them back to New York to appear in one of his "From Spirituals to Swing" concerts at Carnegie Hall, which were instrumental in introducing jazz and blues to a wider American audience.

Due in part to their appearance at Carnegie Hall, Turner and Johnson had a major success with the song "Roll 'Em Pete". The track, basically a collection of traditional blues lyrics featured one of the earliest recorded examples of a back beat. It was a song that Turner recorded many times, with various combinations of musicians, over the ensuing years.

1939 to 1950

In 1939, along with boogie players Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a nightclub in New York City, where they appeared on the same playbill as Billie Holiday and Frank Newton's band. Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want A Little Girl" and "Wee Baby Blues". "Cherry Red" was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance. The next year Turner contracted with Decca and recorded "Piney Brown Blues", with Johnson on piano.

In 1941, he went to Los Angeles and performed in Duke Ellington's revue Jump for Joy in Hollywood. He appeared as a singing policeman in a comedy sketch called "He's on the Beat". Los Angeles was his home for a time, and during 1944 he worked in Meade Lux Lewis's Soundies musical movies. Although he sang on the soundtrack recordings, he was not present for filming, and his vocals were mouthed by comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established their bar in Los Angeles, The Blue Moon Club.

That same year he contracted with National Records company, and recorded under Herb Abramson's supervision. His first hit single was a cover of Saunders King's "S.K. Blues" (1945). He recorded the songs "My Gal's A Jockey" and the risqué "Around The Clock" the same year, and the Aladdin company released "Battle of the Blues", a duet with Wynonie Harris. Turner stayed with National until 1947, but none of his recordings were great sellers. In 1950, he released the song "Still in the Dark" on Freedom Records.

Turner made many albums with Johnson, Art Tatum, Sammy Price, and other jazz groups. He recorded with several recording companies and also performed with the Count Basie Orchestra. During his career, Turner was part of the transition from big bands to jump blues to rhythm and blues, and finally to rock and roll. Turner was a master of traditional blues verses and at Kansas City jam sessions he could swap choruses with instrumental soloists for hours.

Success during the 1950s

In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who contracted him to their new recording company, Atlantic Records. Turner recorded a number of successes for them, including the blues standards, "Chains of Love" and "Sweet Sixteen". Many of his vocals are punctuated with shouts to the band members, as for the songs "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and "Honey Hush" (he repeatedly sings "Hi-yo, Silver!", probably in reference to The Treniers singing the phrase for their Lone Ranger parody "Ride, Red, Ride"). Turner's records scored at the top of the rhythm-and-blues charts; although they were sometimes so risqué that some radio stations would not play them, the songs received much play on jukeboxes and records.

Turner had a great success during 1954 with "Shake, Rattle and Roll", which seriously enhanced his career, turning him into a teenage favorite, and also helped to transform popular music. During the song, Turner yells at his woman to "get outa that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through!, I can't believe my eyes, all that mess belongs to you." He sang the number on film for the 1955 theatrical feature Rhythm and Blues Revue.

Although the cover version of the song by Bill Haley & His Comets, with the risqué lyrics partially omitted, was a greater sales success, many listeners sought out Turner's version and were introduced thereby to rhythm and blues. Elvis Presley's version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but was not a successful single.

"The Chicken and the Hawk", "Flip, Flop and Fly", "Hide and Seek", "Morning, Noon and Night", and "Well All Right" were successful recordings from this period. He performed on the television program Showtime at the Apollo and in the movie Shake Rattle & Rock!(1956).

The song "Corrine, Corrina" was another great seller during 1956. In addition to the rock music songs, he released Boss of the Bluesalbum in 1956. "(I’m Gonna) Jump for Joy", his last hit, reached the US R&B record chart on May 26, 1958.

Returning to the blues

After a number of successes in this vein, Turner quit popular music and resumed singing with small jazz combos, recording numerous albums in that style during the 1960s and 1970s. During 1966, Bill Haley helped revive Turner's career by lending the Comets for a series of popular recordings in Mexico. In 1977 he recorded a cover version of Guitar Slim's song, "The Things That I Used to Do".

During the 1960s and 1970s he resumed performing jazz and blues music, performing at many music festivals and recording for Norman Granz's company Pablo Records. He also worked with Axel Zwingenberger. Turner also participated in a 'Battle of the Blues' with Wynonie Harris and T-Bone Walker.

During 1965 he toured in England with trumpeter Buck Clayton and trombonist Vic Dickenson, accompanied by Humphrey Lyttelton and his Band. Part of a studio concert was televised by the BBC and later issued on DVD. A sound recording of a club appearance made during this tour is not thought of sufficient sound quality to justify commercial issue. He also toured Europe with Count Basie and his Orchestra.

He won the Esquire magazine award for male vocalist in 1945, the Melody Maker award for best 'new' vocalist during 1956, and the British Jazz Journal award as top male singer during 1965. In 1977, Turner recorded "I'm Gonna Sit Right Down and Write Myself a Letter" for Spivey Records, featuring Lloyd Glenn on piano. Turner's career endured from the bar rooms of Kansas City in the 1920s (when at the age of twelve he performed with a pencilled moustache and his father's hat), to European jazz music festivals of the 1980s.

In 1983, only two years before his death, Turner was inducted into the Blues Hall of Fame. That same year, the album Blues Train was released by Mute Records company; the album had Turner paired with the team Roomful of Blues. Turner received top billing with Count Basie in the Kansas City jazz reunion movie The Last of the Blue Devils (1979) featuring Jay McShann, Jimmy Forrest, and other players from the city.

Death

Big Joe Turner died in Inglewood, California, in November 1985, at the age of 74 of heart failure, having suffered the earlier effects of arthritis, a stroke and diabetes. He was buried at Roosevelt Memorial Park, in Gardena, California.

Big Joe Turner was posthumously inducted into the Rock and Roll Hall of Fame in 1987.

Tributes

The New York Times music critic Robert Palmer said: "...his voice, pushing like a Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound."

In announcing Turner's death in their December 1985 edition, the British music magazine, NME, described Turner as "the grandfather of rock and roll."

Bob Dylan referenced Turner in the song "High Water (For Charley Patton)", from his 2001 album Love and Theft. Songwriter Dave Alvin wrote a song about an evening he spent with Turner titled "Boss Of The Blues". It was on his 2009 release, Dave Alvin & The Guilty Women. Alvin discussed the song in Issue 59 of The Blasters Newsletter.

Dave Alvin would later collaborate on a second reunion album released in 2015 with his former Blaster's brother Phil Alvin featuring four Big Joe covers. Lost Time covers songs such as "Cherry Red", "Wee Baby Blues" and "Hide and Seek". The brothers met Big Joe Turner in Los Angeles while he was playing the clubs on Central Ave. and living in the Adams district between tours in the 1960s. Phil Alvin even opened for Turner a few times with his first band, Delta Pacific and Turner continued mentoring the Alvin brothers till his death in 1985. Big Joe Turner is pictured on the back cover of Lost Time.

The biographical film The Buddy Holly Story refers to Turner as well as contemporaries Little Richard and Fats Domino as major influences on Buddy Holly, with Holly collecting their vinyls.

Mississippi John Hurt wrote and recorded various versions of a song called "Joe Turner Blues." On a 1963 recording Hurt did for The Library of Congress, he is quoted as saying "best blues I ever heard was Joe Turner" before playing a version of the song.

Most famous recordings

"Roll 'Em Pete" (1938) (available in many versions over the years. Used for the million-dollar first scene in Spike Lee's film, Malcolm X)

"Chains of Love" (1951) * (this was Turner's first million seller. The song was written by Ahmet Ertegun using the pseudonym Nugetre, (words) and Van "Piano Man" Walls (music), and the disc reached the million sales mark by 1954.)

"Honey Hush" (1953) * (Turner's second million-seller; written by Turner, it was credited to Lou Willie Turner.)

"Shake, Rattle and Roll" (1954)

"Flip, Flop and Fly" (1955) * (Has sold a million over the years. The song was written by Charles Calhoun and Turner, but was credited to Lou Willie Turner.)

"Cherry Red" (1956)

"Corrine, Corrina" (1956) * (his fourth million seller; with adaption by J. Mayo Williams, Mitchell Parish and Bo Chatmon in 1932. This disc reached No. 41, and spent 10 weeks in the Billboard record chart)

"Wee Baby Blues" (1956) (a song Turner had been singing since his Kingfish Club days)

"Love Roller Coaster" (1956), with new lyrics to the Kansas City classic, "Morning Glory".

"Midnight Special" (1957)

Tracks marked as * were million selling discs.

Discography

SinglesStudio albums

The Boss of the Blues (1956)

Joe Turner (1958)

Rockin' The Blues (1958)

Big Joe is Here (1959)

Big Joe Rides Again (1960)

Singing The Blues (1967)

Texas Style (1971)

Life Ain't Easy (1974)

The Midnight Special (1976)

Things That I Used to Do (1977)

In the Evening (1977)

Kansas City Here I Come (1984)

Collaborations

The Bosses (1973, with Count Basie)

The Trumpet Kings Meet Joe Turner (1974, with Dizzy Gillespie, Roy Eldridge, Harry "Sweets" Edison and Clark Terry)

Everyday I Have the Blues (1975, with Pee Wee Crayton and Sonny Stitt)

Kansas City Shout (1980, with Count Basie)

Nobody in Mind (1982, with Milt Jackson and Roy Eldridge)

Blues Train (1983, with Roomful of Blues)

Shake, Rattle & Blues (2011, with Mike Bloomfield)

Compilations

Boogie Woogie (1941), Columbia Records C44

Rock & Roll (1957)

Have No Fear, Joe Turner is Here (1978)

Wikipedia

#Big Joe Turner #05-18 #11-24

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Tyga Net Worth 2020

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tecronet · 5 years

Text

Tyga Net Worth 2020

Tyga Net Worth The complete Write up on Tyga Net Worth, the net worth of Tyga, Tyga Net Worth 2020.

Tyga early life

Tyga net worth:

Tyga birthday

Tyga is an American rapper born on 19 November 1989.

Tyga born

He was born in California, United States of America on November 19, 1989.

Tyga age

Tyga is currently 31 years old as of 2020.

Tyga height

Tyga spouse

Tyga children

Tyga has only one child King Cairo Stevenson. Tyga dating Tyga was earlier dating Kylie Jenner in 2107. But after rumours were there but nothing is official till now.

Tyga girlfriend

Tyga best songs

Tyga’s best song so far is ‘Taste’ which was released in 2018.

Tyga movies

#NetWorth #NetWorth2020 #TygaNetWorth

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