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By Michael LaBlanc

Modern Musicians: Profiles of the folks in track: quantity 2

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Rust, Brian, Jazz Records 1897-1942, 5th Revised and Enlarged Edition, Volumes 1 and 2, Storyville Publications, 1982. , The Big Bands, Macmillian, 1967. Wilson, Bob, Beauty, Drive, and Freedom (unpublished monograph), c. 1958. Periodicals Collier's, January 20, 1956. down beat, August, 1935; March 15, 1940; September 1, 1941; July 1, 1942. Metronome, July 1935; October, 1943. New Yorker, November 8, 1982. New York Times, June 3, 1942. Philadelphia Bulletin-Enquirer, April 10, 1928. Variety, February 12, 1936.

She reminisced for a Seventeen interviewer: "It was amazing. Once I was up there, I felt a tremendous confidence. " After graduating from high school in 1975, Branigan enrolled at the American Academy of Dramatic Arts in New York City to prepare for her new vocation. At first she commuted from her parents' home, but then she moved to Manhattan and worked as a waitress to pay her rent and tuition. Branigan found in waitressing a form of preparation for performing that wasn't available in her classes.

At twenty he joined his uncle Dick Bill's band, the Sandia Mountain Boys, then working in Albuquerque, New Mexico. " The Sandia Mountain Boys were a modest local success, performing five days per week on the radio and once weekly on television, in addition to their live shows. Campbell left his uncle's band in 1958, largely because he felt he was singled out for undue persecution. Forming his own group, Glen Campbell and the Western Wranglers, he continued to perform mainly in the 38 For the Record.

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