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Here is some details on carpenter jobs in Chicago. Learn what it was, what it is and what it will be like working as a carpenter in the windy city.

Way back in the day Chicago had great fire that pratically burned the hole city down. It was an unfortunate incident that happened in the city. But behind every cloud there is a silver lining. Carpentry jobs were at a high demand many buildings had to be rebuilt from the ground up. Im sure it was an exciting time for carpenters and construction businesses in that area and people that lived in this great state.

Shortly after the fires carpenters, iron workers, electricians, labourers, teamsters all got together and built the first skyscrapper in in the United States in the year of 1885. Which was a long time ago, I personally would not want to be the test dummmy/carpenter on that job. I am sure there were people that were very proud to be on that constuction job.

To speed it up almost a hundred years later all the trades got together and built the sears tower which is the tallest building in the western hemisphere. It is a awsome building, also that is one project that I would have loved to work on. To this day carpenters are renovating floors in the building.

Carpenter jobs in Chicago have a bright future in the windy city. At this moment jobs are at a slow pace but resources say that the construction market will be picking up soon which means more work for carpenters. This city is huge and even though the economy is slow I know for a fact there is carpenters working in those huge buildings getting jobs done and making good money doing them.

 

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Logistics and transportation are areas where efficiency makes for a successful bottom line; many industries have been lured from North America by lower overhead, less regulation, and more freedom to dump waste. The last thing industry here in the First World needs is an expensive disaster that interrupts the supply line to industries like metal stamping of parts for larger industries. Deadlines for delivery, the cost of shipping – vital factors like these can become unmanageable during a sustained interruption of the logistical chain.

Take for example the raw materials and machinery needed to operate a custom metal stamping factory that makes parts that require custom parts made with difficult forms or deep drawing to fill the order that makes another company tick. The stamping factory will need special tools and stamping machinery. The best equipment would be most likely imported from Germany where the highest quality machinery is produced. The German equipment comes in across the ocean into a city like Detroit or Chicago, where it may change over to finish the journey by rail. Then the rolls of steel or aluminum have to come in from another continent perhaps. All of this cargo is typical to shipping on the Great Lakes. An accident or sabotage along one of the canals or locks could paralyze many industries, and in fact both accidents and sabotage have occurred along the Welland Canal.

It was a clear and pleasant evening several miles from where I grew up in Welland, in a small town called Allenburg along the canal heading north to St. Catherines. Allenburg is basically a coffee shop, a stoplight, an antique store – oh yes…and one lift bridge. Canal bridges are pretty easy to drive – one stick makes them go up, the other stick makes them go down. You see the lake boat coming, raise the bridge; after the boat passes, lower it and raise the gates for the long line of cars to continue on their way. It seems simple enough but when the lake freighter Windoc, carrying million dollars worth of grain was passing through the bridge began to come down before the ship had cleared. The funnel crashed into the span and was sheared off, destroying the freighter and the bridge. The Seaway had to close for several days, causing a chain-reaction as boats had to set anchor. The bridge had to remain in the up position for the rest of the shipping season, to the consternation of drivers who had to take a detour for nearly a year. N.M. Paterson and Sons, the owners of the Windoc had to sue the Seaway operators for .8 million to recover their losses but the day-to-day losses cost time and money to thousands of other businesses due to interruption in production.

Security along the Welland canal in Ontario is practically non-existent; the last sabotage plot was in 1916 when German diplomat Franz von Papen threatened to blow up the canal, but he had already been expelled from the U.S. for espionage. A dynamite charge was planted on the hinges of one of the locks in 1900 doing minor damage. When it comes to sabotage the official story of the 2000 – 2008 White House regarding terrorists states that terrorists are everywhere waging war on North American soil yet there’s an easy target on the Canadian side of the border that would cause havoc if taken out by explosives. Without bridges and lift locks St. Lawrence Seaway would close for a long period and disrupt the economy. Interrupting logistics is a basic tenet of military strategy. The answer is that the corporatists and extremely wealthy elite are in control of events and they will only destroy things when it’s in their interests, such as the military implosion demolition of the obsolete, largely non rentable, asbestos-ridden towers of the World Trade Center. Anyone who works with steel will tell you that fires can’t cause skyscrapers to collapse and explode into a fine dust. The implosion that removed Building 7 was recorded from many angles. All three buildings went down at the speed of gravity, the hallmark of controlled demolition. They who own the cargo protect the route on which it travels.

Motoman Welding Robots Choreographed to look like they are dancing…brought to you by www.weldingtipsandtricks.com The 2009 AWS welding show expo in Chicago was well attended with vendors from all over the world… Miller Welding, Lincoln Welding, Esab welder equipment, Hobart welding, Weldcraft tig torches, Uniweld oxy fuel equipment, Tweco mig guns, Speedglas auto darkening helmets, Jackson welding hoods, Smith Torches, Harris oxy acetylene , Victor torch company and others were all displaying welding supplies of all kinds
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www.bingcrosby.com

Harry Lillis “Bing” Crosby (May 3, 1903 October 14, 1977) was an American popular singer and actor whose career stretched over more than half a century from 1926 until his death. Crosby was the best-selling recording artist until well into the rock era, with over half a billion records in circulation.

One of the first multimedia stars, from 1934 to 1954 Bing Crosby held a nearly unrivaled command of record sales, radio ratings and motion picture grosses. Widely recognized as one of the most popular musical acts in history, Crosby is also credited as being the major inspiration for most of the male singers of the era that followed him, including Perry Como, Frank Sinatra, and Dean Martin. Yank magazine recognized Crosby as the person who had done the most for American G.I. morale during World War II and, during his peak years, around 1948, polls declared him the “most admired man alive,” ahead of Jackie Robinson and Pope Pius XII. Also during 1948, the Music Digest estimated that Crosby recordings filled more than half of the 80,000 weekly hours allocated to recorded radio music.

Crosby exerted an important influence on the development of the postwar recording industry. In 1947, he invested ,000 in the Ampex company, which developed North America’s first commercial reel-to-reel tape recorder, and Crosby became the first performer to pre-record his radio shows and master his commercial recordings on magnetic tape. He gave one of the first Ampex Model 200 recorders to his friend, musician Les Paul, which led directly to Paul’s invention of multitrack recording. Along with Frank Sinatra, he was one of the principal backers behind the famous United Western Recorders studio complex in Los Angeles.

Through the aegis of recording, Crosby developed the techniques of constructing his broadcast radio programs with the same directorial tools and craftsmanship (editing, retaking, rehearsal, time shifting) that occurred in a theatrical motion picture production. This feat directly led the way to applying the same techniques to creating all radio broadcast programming as well as later television programming. The quality of the recorded programs gave them commercial value for re-broadcast. This led the way to the syndicated market for all short feature media such as TV series episodes.

In 1962, Crosby was the first person to be recognized with the Grammy Global Achievement Award. He won an Academy Award for Best Actor for his role as Father Chuck O’Malley in the 1944 motion picture Going My Way. Crosby is one of the few people to have three stars on the Hollywood Walk of Fame.

Contents

1 Early life

2 Popular success

2.1 Music

2.2 Motion pictures

2.3 Television

2.4 Style

2.5 Vocal characteristics

2.6 Career statistics

3 Entrepreneurship

3.1 Mass media

3.2 Thoroughbred horse racing

4 Personal life

5 Legacy

6 Golf

7 Compositions

8 Filmography

9 Discography

10 Radio

11 RIAA certification

12 References

13 External links

//

Early life

Crosby was born in Tacoma, Washington, on May 3, 1903, in a house his father built at 1112 North J Street. His family moved to Spokane, Washington, in 1906 to find work.

He was the fourth of seven children: five boys, Larry (18951975), Everett (18961966), Ted (19001973), Harry ‘Bing’ (19031977), and Bob (19131993); and two girls, Catherine (19041974) and Mary Rose (19061990). His parents were English-American Harry Lincoln Crosby (18701950), a bookkeeper, and Irish-American Catherine Helen (affectionately known as Kate) Harrigan (18731964). Kate was the daughter of Canadian-born parents who had emigrated to Stillwater, Minnesota, from Miramichi, New Brunswick. Kate’s grandfather and grandmother, Dennis and Catherine Harrigan, had in turn moved to Canada in 1831 from Schull, County Cork, Ireland. Bing’s paternal ancestors include Governor Thomas Prence and Patience Brewster, who were both born in England and who immigrated to what would become the U.S. in the 17th century. Patience was a daughter of Elder William Brewster (pilgrim), (c. 1567 April 10, 1644), the Pilgrim leader and spiritual elder of the Plymouth Colony and a passenger on the Mayflower.

In 1910, Crosby was forever renamed. The six-year-old Harry Lillis discovered a full-page feature in the Sunday edition of the Spokesman-Review, “The Bingville Bugle.” The “Bugle,” written by humorist Newton Newkirk, was a parody of a hillbilly newsletter complete with gossipy tidbits, minstrel quips, creative spelling, and mock ads. A neighbor, 15-year-old Valentine Hobart, shared Crosby’s enthusiasm for “The Bugle,” and noting Crosby’s laugh, took a liking to him and called him “Bingo from Bingville.” The last vowel was dropped and the name shortened to “Bing,” which stuck.

In 1917, Crosby took a summer job as property boy at Spokane’s “Auditorium,” where he witnessed some of the finest acts of the day, including Al Jolson, who held Crosby spellbound with his ad-libbing and spoofs of Hawaiian songs.

In the fall of 1920, Crosby enrolled in the Jesuit-run Gonzaga University in Spokane, Washington, with the intention of becoming a lawyer. He sent away for a set of mail-order drums. After much practice, he soon became good enough and was invited to join a local band made up of mostly local high school kids called the “Musicaladers,” managed by Al Rinker. He made so much money doing this that he decided to drop out of school during his final year to pursue a career in show business.

Popular success

Music

In 1926, while singing at Los Angeles Metropolitan Theater, Crosby and his vocal duo partner Al Rinker caught the eye of Paul Whiteman, arguably the most famous bandleader at the time. Hired for 0 a week, they made their debut on December 6, 1926 at the Tivoli Theatre (Chicago). Their first recording, “I’ve Got The Girl,” with Don Clark’s Orchestra, was issued by Columbia and did them no vocal favors as it sounded as if they were singing in a key much too high for them. It was later revealed that the 78rpm was recorded at a speed slower than it should have been, which increased the pitch when played at 78rpm.

As popular as the Crosby and Rinker duo was, Whiteman added another member to the group, pianist and aspiring songwriter Harry Barris. Whiteman dubbed them The Rhythm Boys, and they joined the Whiteman vocal team, working and recording with musicians Bix Beiderbecke, Jack Teagarden, Tommy Dorsey, Jimmy Dorsey, and Eddie Lang and singers Mildred Bailey and Hoagy Carmichael.

Crosby soon became the star attraction of the Rhythm Boys, not to mention Whiteman’s band, and in 1928 had his first number one hit, a jazz-influenced rendition of “Ol’ Man River.” However, his repeated youthful peccadilloes and growing dissatisfaction with Whiteman forced him, along with the Rhythm Boys, to leave the band and join the Gus Arnheim Orchestra. During his time with Arnheim, The Rhythm Boys were increasingly pushed to the background as the vocal emphasis focused on Crosby. Fellow member of The Rhythm Boys Harry Barris wrote several of Crosby’s subsequent hits including “At Your Command,” “I Surrender Dear,” and “Wrap Your Troubles In Dreams”; however, shortly after this, the members of the band had a falling out and split, setting the stage for Crosby’s solo career. In 1931, he signed with Brunswick Records and recording under Jack Kapp and signed with CBS Radio to do a weekly 15 minute radio broadcast; almost immediately he became a huge hit.

As the 1930s unfolded, it became clear that Bing was the number one man, vocally speaking. Ten of the top 50 songs for 1931 either featured Crosby solo or with others. Apart from the short-lived “Battle of the Baritones” with Russ Columbo, “Bing Was King,” signing long-term deals with Jack Kapp’s new record company Decca and starring in his first full-length features, 1932′s The Big Broadcast, the first of 55 such films in which he received top billing. He appeared in 79 pictures.

Around this time Crosby made his solo debut on radio, co-starring with The Carl Fenton Orchestra on a popular CBS radio show, and by 1936 replacing his former boss, Paul Whiteman, as the host of NBC’s Kraft Music Hall, a weekly radio program where he remained for the next ten years. As his signature tune he used “Where the Blue of the Night (Meets the Gold of the Day)”, which also showcased his whistling skill.

He was thus able to take popular singing beyond the kind of “belting” associated with a performer like Al Jolson, who had to reach the back seats in New York theatres without the aid of the microphone. With Crosby, as Henry Pleasants noted in The Great American Popular Singers, something new had entered American music, something that might be called “singing in American,” with conversational ease. The oddity of this new sound led to the epithet “crooner.”

Crosby gave great emphasis to live appearances before American troops fighting in the European Theater. He also learned how to pronounce German from written scripts and would read them in propaganda broadcasts intended for the German forces. The nickname “der Bingle” for him was understood to have become current among German listeners, and came to be used by his English-speaking fans. In a poll of U.S. troops at the close of WWII, Crosby topped the list as the person who did the most for G.I. morale, beating out President Franklin Delano Roosevelt, General Dwight Eisenhower, and Bob Hope.

Crosby’s biggest musical hit was his recording of Irving Berlin’s “White Christmas”, which he introduced through a 1942 Christmas-season radio broadcast and the movie Holiday Inn. Crosby’s recording hit the charts on October 3, 1942, and rose to #1 on October 31, where it stayed for 11 weeks. In the following years, his recording hit the Top 30 pop charts another 16 times, topping the charts again in 1945 and January 1947. The song remains Crosby’s best-selling recording, and the best-selling single and best-selling song of all time. In 1998, after a long absence, his 1947 version hit the charts in Britain, and as of 2006[update] remains the North American holiday-season standard. According to Guinness World Records, Crosby’s recording of “White Christmas” has “sold over 100 million copies around the world, with at least 50 million sales as singles.”

Motion pictures

Crosby (1942) with golf balls for the Scrap Rubber Drive during World War II

According to ticket sales, Crosby is, at 1,077,900,000 tickets sold, the third most popular actor of all time, behind Clark Gable and John Wayne. Crosby is, according to Quigley Publishing Company’s International Motion Picture Almanac, tied for second on the “All Time Number One Stars List” with Clint Eastwood, Tom Hanks, and Burt Reynolds. Crosby’s most popular film, White Christmas, grossed million in 1954 (0 million in 2010 dollars). Crosby won an Academy Award for Best Actor for Going My Way in 1944, a role he reprised in the 1945 sequel The Bells of Saint Mary’s, for which he was nominated for another Academy Award for Best Actor. He received critical acclaim for his performance as an alcoholic entertainer in The Country Girl, receiving his third Academy Award nomination. He partnered with Bob Hope in seven Road to musical comedies between 1940 and 1962 and the two actors remained linked for generations in general public perception as arguably the most popular screen team in film history, despite never officially declaring themselves a “team” in the sense that Laurel and Hardy or Martin and Lewis were teams.

By the late 1950s, Crosby’s popularity had peaked, and the adolescence of the baby boom generation began to affect record sales to younger customers. In 1960, Crosby starred in High Time, a collegiate comedy with Fabian and Tuesday Weld that foretold the emerging gap between older Crosby fans and a new generation of films and music.

Television

The Fireside Theater (1950) was Crosby’s first television production. The series of 26-minute shows was filmed at Hal Roach Studios rather than performed live on the air. The “telefilms” were syndicated to individual television stations.

Crosby was one of the most frequent guests on the musical variety shows of the 1950s and 1960s. He was especially closely associated with ABC’s variety show The Hollywood Palace. He was the show’s most frequent guest host and appeared annually on its Christmas edition with his wife Kathryn and his younger children. In the early 1970s he made two famous late appearances on the Flip Wilson Show, singing duets with the comedian. Crosby’s last TV appearance was a Christmas special filmed in London in September 1977 and aired just weeks after his death.

Bing Crosby Productions, affiliated with Desilu Studios and later CBS Television Studios, produced a number of television series, including Crosby’s own unsuccessful ABC sitcom The Bing Crosby Show in the 19641965 season (with co-stars Beverly Garland and Frank McHugh), and two ABC medical dramas, Ben Casey (19611966) and Breaking Point (196364), and the popular Hogan’s Heroes military comedy on CBS, as well as the lesser-known show Slattery’s People (19641965).

Style

Crosby perfected an idea that Al Jolson had hinted at, that the popular performer did not have to limit himself to a mere series of shticks but could be a genuine artist in this case, a musician. Before Crosby, art was art and pop was pop; opera singers worried about staying in tune and reaching the upper balcony, vaudevillians concerned themselves with their costumes and facial expressions.

Crosby rendered the difference between the two irrelevant. Where earlier recording artists had displayed strictly one-dimensional attitudes, Crosby not only perfected the fully rounded persona, but brought with it the technical ability of a true concert artist. Crosby projected with a majestic sense of intonation that afforded Tin Pan Alley the musical stature of European classics and a jazz-influenced time that made him the dominant voice of both the Jazz age and the Swing era.

Crosby also elaborated on a further idea of Al Jolson’s, one that Frank Sinatra would ultimately extend: phrasing, or the art of making a song’s lyric ring true. “I used to tell (Sinatra) over and over,” said Tommy Dorsey, “there’s only one singer you ought to listen to and his name is Crosby. All that matters to him is the words, and that’s the only thing that ought to for you, too.”

The greatest trick of Crosby’s virtuosity was covering it up. It is often said that Crosby made his singing and acting “look easy,” or as if it were no work at all: he simply was the character he portrayed, and his singing, being a direct extension of conversation, came just as naturally to him as talking, or even breathing. Journalist Donald Freeman said of Crosby, “There is only one Bing Crosby and the time has come now to face the issue squarely he happens to be that unique, awesome creature, an artist.”

Vocal characteristics

Crosby with Bob Hope in Road to Bali (1952)

Crosby is usually considered to be among the most talented singers of his time. Crosby could, as musicologist J.T.H. Mize asserts, “melt a tone away, scoop it flat and sliding up to the eventual pitch as a glissando, sometimes sting a note right on the button, and take diphthongs for long musical rides.”[citation needed] J.T.H. Mize also inventoried the Crosby arsenal of vocal effects, including “interpolating pianissimo whistling variations, sometimes arpeggic, at other times trilling.”[citation needed] While vocal critic Henry Pleasants states that “the octave B flat to B flat in Bing’s voice at that time [1930s] is, to my ears, one of the loveliest I have heard in forty-five years of listening to baritones, both classical and popular, it dropped conspicuously in later years. From the mid-1950s, Bing was more comfortable in a bass range while maintaining a baritone quality, with the best octave being G to G, or even F to F. In a recording he made of ‘Dardanella’ with Louis Armstrong in 1960, he attacks lightly and easily on a low E flat. This is lower than most opera basses care to venture, and they tend to sound as if they were in the cellar when they get there.” Mel Torm concurred with Henry Pleasants stating that “(Crosby’s) low notes could make your bass woofers beg for mercy.”[citation needed]

Career statistics

Crosby’s sales and chart statistics place him among the most popular and successful musical acts of the 20th century. Although the Billboard charts operated under a different methodology for the bulk of Crosby’s career, his numbers remain astonishing: 1,700 recordings, 383 of those in the top 30, and of those, 41 hit #1. Crosby had separate charting singles in every calendar year between 1931 and 1954; the annual re-release of White Christmas extended that streak to 1957. He had 24 separate popular singles in 1939 alone. Billboard’s statistician Joel Whitburn determined Crosby to be America’s most successful act of the 1930s, and again in the 1940s.

Crosby with Danny Kaye in White Christmas (1954)

For 15 years (1934, 1937, 1940, 19431954), Crosby was among the top 10 in box office draw, and for five of those years (19441949) he was the largest in the world. He sang four Academy Award-winning songs “Sweet Leilani” (1937), “White Christmas” (1942), “Swinging on a Star” (1944), “In the Cool, Cool, Cool of the Evening” (1951) and won the Academy Award for Best Actor for his role in Going My Way (1944).

He collected 23 gold and platinum records, according to Joseph Murrells, author of the book, “Million Selling Records.” The Recording Industry Association of America did not institute its gold record certification program until 1958, by which point Crosby’s record sales were barely a blip, so gold records prior to that year were awarded by an artist’s record company. Universal Music, current owner of Crosby’s Decca catalog, has never requested RIAA certification for any of his hit singles.

In 1962, Crosby became the first recipient of the Grammy Lifetime Achievement Award. He has been inducted into the halls of fame for both radio and popular music. Crosby is a member of the exclusive club of the biggest record sellers that include Frank Sinatra, Elvis Presley, Michael Jackson, Garth Brooks and The Beatles.

In 2007 Crosby was inducted into the Hit Parade Hall of Fame, and in 2008 into the Western Music Hall of Fame.

Entrepreneurship

Mass media

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Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (January 2007)

Crosby’s radio career took a significant turn in 1945, when he clashed with NBC over his insistence that he be allowed to pre-record his radio shows. (The live production of radio shows was also reinforced by the musicians’ union and ASCAP.) Historian John Dunning, in On the Air: The Encyclopedia of Old-Time Radio, has written that Crosby having discovered German engineers developed a tape recorder and improved them to a near-professional standard saw “an enormous advantage in prerecording his radio shows. The scheduling could now be done at the star’s convenience. He could do four shows a week, if he chose, and then take a month off. But the networks and sponsors were adamantly opposed. The public wouldn’t stand for ‘canned’ radio, the networks argued. There was something magic for listeners in the fact that what they were hearing was being performed, and heard everywhere, at that precise instant. Some of the best moments in comedy came when a line was blown and the star had to rely on wit to rescue a bad situation. Fred Allen, Jack Benny, Phil Harris, and, yes, Crosby were masters at this, and the networks weren’t about to give it up easily.”

Crosby’s influence eventually factored into the further development of magnetic tape sound recording and the radio industry’s adoption of it. He used his power to innovate new methods of reproducing audio of himself. But with NBC (and competitor CBS) refusing to allow recorded radio programs (except for advertisements and occasional promotional material), Crosby walked away from the network and stayed off the air for seven months, causing a legal battle with Kraft, his sponsor, that was settled out of court and put Crosby back on the air for the last 13 weeks of the 19451946 season.

The Mutual network, on the other hand, had pre-recorded some of its programs as early as the Summer 1938 run of The Shadow with Orson Welles, and the new ABC network formed out of the sale of the old NBC Blue network in 1943 to Edward Noble, the “Life Savers King,” following a federal anti-trust action was willing to join Mutual in breaking the tradition. ABC offered Crosby ,000 per week to produce a recorded show every Wednesday sponsored by Philco. He would also get ,000 from 400 independent stations for the rights to broadcast the 30-minute show that was sent to them every Monday on three 16-inch lacquer/aluminum discs that played ten minutes per side at 33 rpm.

Crosby wanted to change to recorded production for several reasons. The legend that has been most often told is that it would give him more time for his golf game. And he did record his first Philco program in August 1947 so he could enter the Jasper National Park Invitational Golf Tournament in September when the new radio season was to start. But golf was not the most important reason.

Crosby was always an early riser and hard worker, and Dunning and other radio historians have noted that, even while acknowledging he wanted more time to tend his other business and leisure activities. But he also sought better quality through recording, including being able to eliminate mistakes and control the timing of his show performances. Because his own Bing Crosby Enterprises produced the show, he could purchase the latest and best sound equipment and arrange the microphones his way; mic placement had long been a hotly-debated issue in every recording studio since the beginning of the electrical era. No longer would he have to wear the hated toupee on his head previously required by CBS and NBC for his live audience shows (he preferred a hat). He could also record short promotions for his latest investment, the world’s first frozen orange juice to be sold under the brand name Minute Maid.

The transcription method had problems, however. The acetate surface coating of the aluminum discs was little better than the wax that Edison had used at the turn of the century, with the same limited dynamic range and frequency response.

But Murdo MacKenzie of Bing Crosby Enterprises saw a demonstration of the German Magnetophon in June 1947, one that Jack Mullin had brought back from Radio Frankfurt with 50 reels of tape at the end of the war. This machine was one of the magnetic tape recorders that BASF and AEG had built in Germany starting in 1935. The -inch ferric-coated tape could record 20 minutes per reel of high-quality sound. Alexander M. Poniatoff ordered his Ampex company (founded in 1944 from his initials A.M.P. plus the starting letters of “excellence”) to manufacture an improved version of the Magnetophone.

Crosby hired Mullin and his German machine to start recording his Philco Radio Time show in August 1947, with the same 50 reels of Farben magnetic tape that Mullin had found at a radio station at Bad Nauheim near Frankfurt while working for the U.S. Army Signal Corps. The crucial advantage was editing. As Crosby wrote in his autobiography, “By using tape, I could do a thirty-five or forty-minute show, then edit it down to the twenty-six or twenty-seven minutes the program ran. In that way, we could take out jokes, gags, or situations that didn’t play well and finish with only the prime meat of the show; the solid stuff that played big. We could also take out the songs that didn’t sound good. It gave us a chance to first try a recording of the songs in the afternoon without an audience, then another one in front of a studio audience. We’d dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product. If I made a mistake in singing a song or in the script, I could have some fun with it, then retain any of the fun that sounded amusing.”

Mullin’s 1976 memoir of these early days of experimental recording agrees with Crosby’s account: “In the evening, Crosby did the whole show before an audience. If he muffed a song then, the audience loved it thought it was very funny but we would have to take out the show version and put in one of the rehearsal takes. Sometimes, if Crosby was having fun with a song and not really working at it, we had to make it up out of two or three parts. This ad lib way of working is commonplace in the recording studios today, but it was all new to us.”

Crosby invested US,000 in Ampex to produce more machines. In 1948, the second season of Philco shows was taped with the new Ampex Model 200 tape recorder (introduced in April) using the new Scotch 111 tape from the Minnesota Mining and Manufacturing (3M) company. Mullin explained that new techniques were invented on the Crosby show with these machines: “One time Bob Burns, the hillbilly comic, was on the show, and he threw in a few of his folksy farm stories, which of course were not in Bill Morrow’s script. Today they wouldn’t seem very off-color, but things were different on radio then. They got enormous laughs, which just went on and on. We couldn’t use the jokes, but Bill asked us to save the laughs. A couple of weeks later he had a show that wasn’t very funny, and he insisted that we put in the salvaged laughs. Thus the laugh-track was born.” Crosby had launched the tape recorder revolution in America. In his 1950 film Mr. Music, Bing Crosby can be seen singing into one of the new Ampex tape recorders that reproduced his voice better than anything else. Also quick to adopt tape recording was his friend Bob Hope, who would make the famous “Road to…” films with Crosby and Dorothy Lamour.

Mullin continued to work for Crosby to develop a videotape recorder. Television production was mostly live in its early years, but Crosby wanted the same ability to record that he had achieved in radio. The Fireside Theater, sponsored by Procter and Gamble, was his first television production for the 1950 season. Mullin had not yet succeeded with videotape, so Crosby filmed the series of 26-minute shows at the Hal Roach Studios. The “telefilms” were syndicated to individual television stations.

Crosby did not remain a television producer but continued to finance the development of videotape. Bing Crosby Enterprises (BCE), gave the world’s first demonstration of a videotape recording in Los Angeles on November 11, 1951. Developed by John T. Mullin and Wayne R. Johnson since 1950, the device gave what were described as “blurred and indistinct” images, using a modified Ampex 200 tape recorder and standard quarter-inch (0.6 cm) audio tape moving at 360 inches (9.1 m) per second. Mullin demonstrated an improved picture on December 30, 1952, but he was not able to solve the problem of high tape speed. It was the Ampex team led by Charles Ginsburg that made the first videotape recorder. Rather than speeding tape across fixed heads at 100 ips, Ginsburg used rotating heads to record video tracks transversely at a slant across the tape’s width on 2-inch-wide tape moving at only 15 ips. The quadruplex scan model VR-1000 was demonstrated at the National Association of Broadcasters show in Chicago on April 14, 1956, and was an immediate success. Ampex made million in sales during the NAB convention. By this time, Crosby had sold his videotape interests to the 3M company and no longer played the role of tape recorder pioneer. Yet his contribution had been crucial. He had opened the door to Mullin’s machine in 1948 and financed the early years of the Ampex company. The rapid spread of the tape recorder revolution was in no small measure caused by Crosby’s efforts.

The decade following the end of World War II witnessed what has been called the “revolution in sound.” The Decca Company introduced FFRR (Full Frequency Range Recording) 78 rpm records that had the finest frequency response (8015,000 cps) of any recording process before magnetic tape recording. Decca’s method of reducing the size of the groove and designing a delicate elliptical stylus to track on the sides of the groove would be the same innovation of the new microgroove process introduced by Columbia in 1948 on the new 33 rpm LP vinyl record. Crosby’s sponsor Philco would join Columbia in selling a new .95 record player with jeweled stylus (not steel) tracking at only 10 grams (not 200) for these LPs. No longer would records wear out after 75 plays. Crosby’s Ampex Company would be joined by Magnecord, Webcor, Revere, and Fairchild in selling one million tape recorders to a rapidly growing consumer audio component market by 1953. The 1949 Magnecord tape recorder had stereo capability eight years before any vinyl record had it. These components soon began to feature the transistor invented by Bell Labs in 1948.

Thoroughbred horse racing

Crosby was a fan of Thoroughbred horse racing and bought his first racehorse in 1935. In 1937, he became a founding partner and member of the Board of Directors of the Del Mar Thoroughbred Club that built and operated the Del Mar Racetrack at Del Mar, California. One of Crosby’s closest friends was Lindsay Howard, for whom he named his son Lindsay and from whom he would purchase his 40-room Hillsborough estate in 1965. Lindsay Howard was the son of millionaire businessman Charles S. Howard, who owned a successful racing stable that included Seabiscuit. Charles S. Howard joined Crosby as a founding partner and director of the Del Mar Thoroughbred Club.

Crosby and Lindsay Howard formed Binglin Stable to race and breed thoroughbred horses at a ranch in Moorpark in Ventura County, California. They also established the Binglin stock farm in Argentina, where they raced horses at Hipdromo de Palermo in Palermo, Buenos Aires. Binglin stable purchased a number of Argentine-bred horses and shipped them back to race in the United States. On August 12, 1938, the Del Mar Thoroughbred Club hosted a ,000 winner-take-all match race won by Charles S. Howard’s Seabiscuit over Binglin Stable’s Ligaroti. Binglin’s horse Don Bingo won the 1943 Suburban Handicap at Belmont Park in Elmont, New York.

The Binglin Stable partnership came to an end in 1953 as a result of a liquidation of assets by Crosby in order to raise the funds necessary to pay the federal and state inheritance taxes on his deceased wife’s estate.

A friend of jockey Johnny Longden, Crosby was a co-owner with Longden’s friend Max Bell of the British colt Meadow Court, which won the 1965 King George VI and Queen Elizabeth Stakes and the Irish Derby. In the Irish Derby’s winner’s circle at the Curragh, Crosby sang “When Irish Eyes Are Smiling.”

The Bing Crosby Breeders’ Cup Handicap at Del Mar Racetrack is named in his honor.

Personal life

Crosby was married twice, first to actress/nightclub singer Dixie Lee from 1930 until her death from ovarian cancer in 1952. They had four sons: Gary, twins Dennis and Phillip, and Lindsay. The 1947 film Smash-Up: The Story of a Woman is indirectly based on her life. After Dixie’s death, Crosby had a relationship with actress Inger Stevens and with Grace Kelly before marrying the actress Kathryn Grant in 1957. They had three children, Harry (who played Bill in Friday the 13th), Mary (best known for portraying Kristin Shepard, the woman who shot J.R. Ewing on TV’s Dallas), and Nathaniel.

Crosby was a member of the Roman Catholic Church. Kathryn converted to Roman Catholicism in order to marry him. He was also a Republican, and actively campaigned for Wendell Willkie in 1940, asserting his belief that Franklin Roosevelt should serve only two terms. When Willkie lost, he decreed that he would never again make any open political contributions.

Crosby had an interest in sports. From 1946 until the end of his life, he was part-owner of the Pittsburgh Pirates and helped form the nucleus of the Pirates’ 1960 championship club. In 1978, he and Bob Hope were voted the Bob Jones Award, the highest honor given by the United States Golf Association in recognition of distinguished sportsmanship in golf.

Crosby reportedly overindulged in alcohol in his youth, and may have been dismissed from Paul Whiteman’s orchestra because of it, but he later got a handle on his drinking. A 2001 biography of Crosby by Village Voice jazz critic Gary Giddins says that Louis Armstrong’s influence on Crosby “extended to his love of marijuana.” Bing smoked it during his early career when it was legal and “surprised interviewers” in the 1960s and 70s by advocating its decriminalization, as did Armstrong. According to Giddins, Crosby told his son Gary to stay away from alcohol (“It killed your mother”) and suggested he smoke pot instead. Gary said, “There were other times when marijuana was mentioned and he’d get a smile on his face.” Gary thought his father’s pot smoking had influenced his easy-going style in his films. Crosby also smoked two packs of cigarettes a day until his second wife made him stop. He finally quit smoking his pipe and cigars following lung surgery in 1974.

Following his recovery from a life-threatening fungal infection of his right lung in 1974, Crosby emerged from semi-retirement to produce several notable albums and concert tours. In March 1977, after videotaping a concert for CBS to commemorate his 50th anniversary in show business, Crosby backed off the stage into an orchestra pit, rupturing a disc in his back that required a month of hospitalization. In his first performance after the accident and his last American concert, on August 16, 1977 in Concord, California, the power went out, and he continued singing without amplification. In September, Crosby, his family, and singer Rosemary Clooney began a concert tour of England that included two weeks at the London Palladium. While in England, Crosby recorded his final album, Seasons, and his final TV Christmas special with guests David Bowie and Twiggy. His duet with Bowie on “Peace on Earth/Little Drummer Boy,” generated so much interest that it was later released as a single and became an annual holiday classic. At the end of the century, TV Guide listed the Crosby-Bowie duet as one of the 25 most memorable musical moments of 20th century television.

His last concert was in the The Brighton Centre two days before his death, with British entertainer Dame Gracie Fields in attendance. Crosby’s last photograph was taken with Fields.

At the conclusion of his work in England, Crosby flew alone to Spain to hunt and play golf. Shortly after 6:00 p.m. on October 14, Crosby died suddenly from a massive heart attack after a round of 18 holes of golf near Madrid where he and his Spanish golfing partner had just defeated their opponents. It is widely written that his last words were “That was a great game of golf, fellas.” Because of incorrect instructions from his family, the year of birth engraved on Crosby’s tombstone is 1904 rather than 1903. He was interred in the Holy Cross Cemetery in Culver City, California, next to his first wife. He was buried nine feet deep so that his second wife could be buried with him.

At his death, because of Crosby’s shrewd investments in oil, real estate, and other commodities, he was one of Hollywood’s wealthiest residents, along with Fred MacMurray, Lawrence Welk, and best friend Bob Hope. A clause in his will stated that his sons from his first marriage could not collect their inheritance money until they were 65. Crosby felt that they had already been amply taken care of by a trust fund set up by their mother, Dixie Lee. All four sons continued to collect monies from that fund until their deaths.

After Crosby’s death, his eldest son, Gary, wrote a highly critical memoir, Going My Own Way, depicting his father as cold, remote, and both physically and psychologically abusive.

Younger son Phillip frequently disputed his brother Gary’s claims about their father. In an interview conducted in 1999 by the Globe, Phillip said, “My dad was not the monster my lying brother said he was; he was strict, but my father never beat us black and blue, and my brother Gary was a vicious, no-good liar for saying so. I have nothing but fond memories of Dad, going to studios with him, family vacations at our cabin in Idaho, boating and fishing with him. To my dying day, I’ll hate Gary for dragging Dad’s name through the mud. He wrote Going My Own Way out of greed. He wanted to make money and knew that humiliating our father and blackening his name was the only way he could do it. He knew it would generate a lot of publicity. That was the only way he could get his ugly, no-talent face on television and in the newspapers. My dad was my hero. I loved him very much. He loved all of us too, including Gary. He was a great father.”

However, Lindsay and Dennis publicly agreed with many of Gary’s criticisms of their father and Lindsay eventually committed suicide. Dennis ended his life two years later, grieving over his brother’s death, and battered, just as his brother had been, by alcoholism, failed relationships, and a lackluster career. Both brothers died of self-inflicted gunshot wounds to the head. Their mother had struggled with alcoholism since her teens.

Phillip Crosby died in 2004.

Denise Crosby, Dennis’ daughter, is also an actress and known for her role as Tasha Yar on Star Trek: The Next Generation, and for the recurring role of the Romulan Sela (daughter of Tasha Yar) after her withdrawal from the series as a regular cast member. She also appeared in the film adaptation of Stephen King’s novel Pet Sematary.

Nathaniel Crosby, Crosby’s youngest son from his second marriage, was a high-level golfer who won the U.S. Amateur at age 19 in 1981, the youngest winner of that event (a record later broken by Tiger Woods). Nathaniel praised his father in a June 16, 2008, Sports Illustrated article.

Widow Kathryn Crosby dabbled in local theater productions intermittently, and appeared in television tributes to her late husband. Although left very comfortable in Crosby’s will, Kathryn’s allowance was controlled by a foundation that Crosby had carefully set up.

In 2006, Crosby’s niece, Carolyn Schneider, attempted to dispel the impressions created by some of the more vitriolic books penned about her uncle, publishing “Me and Uncle Bing,” in which she offered an intimate glimpse of her family, and gratitude for Crosby’s generosity to her and to other family members. Since publication of her book, Schneider has been a favorite at gatherings of Crosby fans, and has offered her memories of “Uncle Bing” to the BBC.

Legacy

Crosby’s childhood home in Spokane, Washington is the Alumni Association office for Gonzaga University. His dorm blanket hangs in the stairwell, and other memorabilia are on the first floor and in the “Crosbyana Room” at the Crosby Student Center, where his Oscar for Going My Way is on display. A statue of Crosby is at the front steps of the student center, although his pipe has frequently been stolen as a prank. There is a campus legend that Crosby was asked to leave Gonzaga after trying (and failing) to use a pulley to bring a piano to his fourth floor dorm room in DeSmet Hall; the piano reportedly shattered on the ground below. However, the story is apocryphal, as the dorm in question was not built until a year after Crosby left Gonzaga. In 2006, the Met Theater in Spokane, Washington was renamed “The Bing Crosby Theater” in his honor.

He is a member of the National Association of Broadcasters Hall of Fame in the radio division.

The family has established an official website. It was launched October 14, 2007, the 30th anniversary of Bing’s death.

In his 1990 autobiography Don’t Shoot, It’s Only Me! Bob Hope states, “Dear old Bing. As we called him, the Economy-sized Sinatra. And what a voice. God I miss that voice. I can’t even turn on the radio around Christmastime without crying anymore.”

Golf

Crosby is a member of the World Golf Hall of Fame. Aside from Bobby Jones and Arnold Palmer, Crosby may be the person most responsible for popularizing the game of golf. Since 1937 the ‘Crosby Clambake’ as it was popularly knownow the AT&T Pebble Beach National Pro-Amas been a leading event in the world of professional golf. Crosby first took up the game at 12 as a caddy, dropped it, and started again in 1930 with some fellow cast members in Hollywood during the filming of The King of Jazz. Although he made his name as a singer, vaudeville performer, and silver screen luminary, he would probably prefer to be remembered as a two handicap who competed in both the British and U.S. Amateur championships, a five-time club champion at Lakeside Golf Club in Hollywood, and as one of only a few players to have made a hole-in-one on the 16th at Cypress Point.

He conceived his tournament as a friendly little pro-am for his fellow members at Lakeside Golf Club and any stray touring pros who could use some pocket change. The first Clambake was played at Rancho Santa Fe C.C., in northern San Diego county, where Crosby was a member. He kicked in ,000 of his own money for the purse, which led inaugural champion Sam Snead to ask if he might get his 0 in cash instead of a check. Snead’s suspicions notwithstanding, the tournament was a rollicking success, thanks to the merry membership of Lakeside, an entertainment industry enclave in North Hollywood. That first tournament set the precedent for all that followed as it was as much about partying as it was about golf.

The tournament, revived on the Monterey Peninsula in 1947, has as of 2009 raised million for local charities.

Compositions

Crosby co-wrote 15 songs. His composition “At Your Command” was no.1 for three weeks on the U.S. pop singles chart in 1931, beginning with the week of August 8, 1931. “I Don’t Stand a Ghost of a Chance With You” was his most successful composition, recorded by Duke Ellington, Linda Ronstadt, Thelonious Monk, Billie Holiday, and Mildred Bailey. The songs Crosby co-wrote are:

“That’s Grandma” (1927), with Harry Barris and James Cavanaugh

“From Monday On” (1928), with Harry Barris and recorded with the Paul Whiteman Orchestra featuring Bix Beiderbecke on cornet

“What Price Lyrics?” (1928), with Harry Barris and Matty Malneck

“At Your Command” (1931), with Harry Barris and Harry Tobias

“Where the Blue of the Night (Meets the Gold of the Day)” (1931), with Roy Turk and Fred Ahlert

“I Don’t Stand a Ghost of a Chance with You” (1932), with Victor Young and Ned Washington

“My Woman” (1932), with Irving Wallman and Max Wartell

“Love Me Tonight” (1932), with Victor Young and Ned Washington

“Waltzing in a Dream” (1932), with Victor Young and Ned Washington

“I Would If I Could But I Can’t” (1933), with Mitchell Parish and Alan Grey

“Where the Turf Meets the Surf” (1941)

“Tenderfoot” (1953)

“Domenica” (1961)

“That’s What Life is All About” (1975)

“Sail Away to Norway” (1977)

Filmography

Main article: Bing Crosby filmography

Discography

Main article: Bing Crosby discography

Radio

The Radio Singers (1931, CBS), sponsored by Warner Brothers, 6 nights a week, 15 minutes.

The Cremo Singer (19311932, CBS), 6 nights a week, 15 minutes.

Unsponsored (1932, CBS), initially 3 nights a week, then twice a week, 15 minutes.

Chesterfield’s Music that Satisfies (1933, CBS), broadcast two nights, 15 minutes.

Bing Crosby Entertains for Woodbury Soap (19331935, CBS), weekly, 30 minutes.

Kraft Music Hall (19351946, NBC), Thursday nights, 60 minutes until Jan. 1943, then 30 minutes.

Armed Forces Radio (19411945; World War II).

Philco Radio Time (19461949, ABC), 30 minutes weekly.

The Bing Crosby Chesterfield Show (19491952, CBS), 30 minutes weekly.

The Minute Maid Show (19491950, CBS), 15 minutes each weekday morning; Bing as disc jockey.

The General Electric Show (19521954, CBS), 30 minutes weekly.

The Bing Crosby Show (19541956, CBS), 15 minutes, 5 nights a week.

A Christmas Sing with Bing (19551962, CBS, VOA and AFRS), 1 hour each year, sponsored by the Insurance Company of North America.

The Ford Road Show (19571958, CBS), 5 minutes, 5 days a week.

The Bing Crosby – Rosemary Clooney Show (19581962, CBS), 20 minutes, 5 mornings a week, with Rosemary Clooney.

RIAA certification

Album

RIAA

Merry Christmas

Gold

Bing sings

2x platinum

White Christmas

4x platinum

References

^ a b Grudens, 2002, p. 236. “Bing was born on May 3, 1903. He always believed he was born on May 2, 1904.”

^ Music Genre: Vocal music.Allmusic. Retrieved October 23, 2008.

^ “Bing Crosby Billboard Biography”. Billboard. http://www.billboard.com/artist/bing-crosby/3574#/artist/bing-crosby/bio/3574. Retrieved 2009-10-28. 

^ Giddins, 2001, p. 8.

^ Gilliland, John. Pop Chronicles the 40′s: The Lively Story of Pop Music in the 40′s. ISBN 9781559351478. OCLC 31611854. , cassette 1, side B.

^ Giddins, 2001, p. 6.

^ a b Hoffman, Dr. Frank. “Crooner”. http://www.jeffosretromusic.com/bing.html. Retrieved 2006-12-29. 

^ Cogan, Jim and William Clark. Temples Of Sound: Inside the Great Recording Studios, p. 36. (Chronicle Books, 2003) ISBN 0-8118-3394-1

^ “Lifetime Achievement Award. ”Past Recipients””. Grammy.com. 2009-02-08. http://www.grammy.com/Recording_Academy/Awards/Lifetime_Awards/. Retrieved 2010-02-10. 

^ Bing Crosby had no birth certificate and his birth date was unconfirmed until his childhood Roman Catholic church in Tacoma, Washington, released the baptismal record that revealed his date of birth.

^ Gary Giddins, Bing Crosby: A Pocketful of Dreams, 2001.

^ Giddins, 2001, p. 24.

^ Guinness Book of Records 2007: ISBN 1-904994-11-3

^ “Crosby Movies”. Waynesthisandthat.com. http://www.waynesthisandthat.com/crosbymovies.html. Retrieved 2010-02-10. 

^ Top 10 lists.

^ Crosby Movies.

^ “Johnny Bond – WMA Hall of Fame”. Westernmusic.com. http://www.westernmusic.com/performers/hof-crosby.html. Retrieved 2010-02-10. 

^ Hammar, Peter. Jack Mullin: The man and his machines. Journal of the Audio Engineering Society, 37 (6): 490496, 498, 500, 502, 504, 506, 508, 510, 512; June 1989.

^ An afternoon with Jack Mullin. NTSC VHS tape, 1989 AES.

^ History of Magnetic tape, section: “Enter Bing Crosby” (WayBack Machine)

^ “Tape Recording Used by Filmless ‘Camera’,” New York Times, Nov. 12, 1951, p. 21. Eric D. Daniel, C. Denis Mee, and Mark H. Clark (eds.), Magnetic Recording: The First 100 Years, IEEE Press, 1998, p. 141. ISBN 0-070-41275-8

^ “Time Magazine Article”. Time Magazine. http://www.time.com/time/magazine/article/0,9171,822904,00.html. Retrieved 2007-01-25. 

^ a b c Giddins, 2001, p. 181.

^ “The Bing dynasty: on the 100th anniversary of Crosby’s birth, we celebrate the granddaddy of celebrity golf”. Golf Digest. 2003-05. http://findarticles.com/p/articles/mi_m0HFI/is_5_54/ai_101967390. Retrieved 2008-11-02. 

^ Grudens, 2002, p. 59.

^ “Philip Crosby, 69, Son of Bing Crosby”. New York Times. 2004-01-20. http://query.nytimes.com/gst/fullpage.html?res=9A01E5D61439F933A15752C0A9629C8B63. Retrieved 2008-11-02. 

^ Bamberger, Michael (2008-06-09). “Sports Illustrated. Nathaniel Crosby”. Golf.com. http://www.golf.com/golf/tours_news/article/0,28136,1812977,00.html. Retrieved 2010-02-10. 

^ “NAB Hall of Fame”. National Association of Broadcasters. http://www.nab.org/AM/Template.cfm?Section=Awards7&CONTENTID=11047&TEMPLATE=/CM/ContentDisplay.cfm. Retrieved 2008-05-03. 

^ “The Official Home of Bing Crosby”. Bingcrosby.com. http://www.BingCrosby.com. Retrieved 2008-11-02. 

^ Don’t Shoot, It’s Only Me! Bob Hope, 1990, Random House Publishers

^ “World Golf Hall of Fame Member Profile”. Wgv.com. http://www.wgv.com/hof/member.php?member=1040. Retrieved 2010-02-10. 

^ “About the Monterey Peninsula Foundation”. http://www.attpbgolf.com/charities/about-mpf.php. Retrieved 2009-12-15. 

^ “RIAA certification”. Archived from the original on 2007-06-08. http://web.archive.org/web/20070608063448/http://www.riaa.com/gp/database/default.asp. 

Bibliography

Giddins, Gary (2001). Bing Crosby: A Pocketful of Dreams The Early Years, 19031940. Little, Brown and Company. ISBN 0-316-88188-0. http://books.google.com/books?id=Oa2_zcwucAgC. 

Grudens, Richard (2002). Bing Crosby Crooner of the Century. Celebrity Profiles Publishing Co.. ISBN 1575792486. http://books.google.com/books?id=Mkz_w-WYiMAC. 

Macfarlane, Malcolm. Bing Crosby Day By Day. Scarecrow Press, 2001.

Osterholm, J. Roger. Bing Crosby: A Bio-Bibliography. Greenwood Press, 1994.

Prigozy, R. & Raubicheck, W., ed. Going My Way: Bing Crosby and American Culture. The Boydell Press, 2007.

External links

Wikimedia Commons has media related to: Bing Crosby

Bing Crosby’s Official Site

Bing Crosby on Facebook

Bing Crosby on Twitter

Bing Crosby at the Internet Movie Database

Bing Crosby at the TCM Movie Database

Bing Crosby at the Internet Broadway Database

Bing Crosby Internet Museum (site off-line as of January 26, 2010)

The Bing Crosby Discography

Bing Crosby Collection at Gonzaga University

Most Popular Entertainer of the Twentieth Century

Most popular Singers of the 20th century

Conference Bing Crosby (November 2002)

Bing Crosby Article by Dr. Frank Hoffmann

The International Club Crosby Fan Club

BING magazine (a publication of the ICC)

“Bing still matters” (2007) by Ted Nesi, The Sun Chronicle

Bob Hope: The Road to Bed in TimesOnline

Bing Crosby at Find a Grave

Bing Crosby Official 10″ (78Rpm) Discography

v  d  e

Academy Award for Best Actor

Gary Cooper (1941)  James Cagney (1942)  Paul Lukas (1943)  Bing Crosby (1944)  Ray Milland (1945)  Fredric March (1946)  Ronald Colman (1947)  Laurence Olivier (1948)  Broderick Crawford (1949)  Jos Ferrer (1950)  Humphrey Bogart (1951)  Gary Cooper (1952)  William Holden (1953)  Marlon Brando (1954)  Ernest Borgnine (1955)  Yul Brynner (1956)  Alec Guinness (1957)  David Niven (1958)  Charlton Heston (1959)  Burt Lancaster (1960)

Complete List  (19281940)  (19411960)  (19611980)  (19812000)  (2001resent)

Persondata

NAME

Crosby, Bing

ALTERNATIVE NAMES

Crosby, Harry Lillis

SHORT DESCRIPTION

Singer, actor

DATE OF BIRTH

May 3, 1903(1903-05-03)

PLACE OF BIRTH

Tacoma, Washington, United States

DATE OF DEATH

October 14, 1977

PLACE OF DEATH

Madrid, Spain

Categories: 1903 births | 1977 deaths | American baritones | American crooners | American film actors | American jazz singers | American racehorse owners and breeders | American radio personalities | American Roman Catholics | Best Actor Academy Award winners | Burials at Holy Cross Cemetery | California Republicans | Deaths from myocardial infarction | Decca Records artists | Cardiovascular disease deaths in Spain | English Americans | English-language singers | Grammy Award winners | Grammy Lifetime Achievement Award winners | Irish-American musicians | Irish Americans | Major League Baseball executives | Major League Baseball owners | Members of the World Golf Hall of Fame | MGM Records artists | Musicians from Washington (U.S. state) | Peabody Award winners | People from Spokane, Washington | People from Tacoma, Washington | People self-identifying as alcoholics | Pittsburgh Pirates owners | RCA Victor Records artists | Traditional pop music singers | Vaudeville performersHidden categories: Articles needing additional references from September 2009 | All articles needing additional references | Articles containing potentially dated statements from 2006 | All articles containing potentially dated statements | All articles with unsourced statements | Articles with unsourced statements from November 2008 | Articles needing additional references from January 2007 | Articles needing cleanup from January 2009 | All pages needing cleanup

Tupac Amaru Shakur was born in the East Harlem section of Manhattan in New York City.[4] He was named after Túpac Amaru II, an Incan revolutionary who led an indigenous uprising against Spain and subsequently received capital punishment. His mother, Afeni Shakur, was an active member of the Black Panther Party in New York in the late 1960s and early 1970s; Shakur was born just one month after her acquittal on more than 150 charges of “Conspiracy against the United States government and New York landmarks” in the New York Panther 21 court case.[5] Although officially unconfirmed by the Shakur family,[6] several sources list his birth name as either “Parish Lesane Crooks”[7] or “Lesane Parish Crooks”.[8] Afeni feared her enemies would attack her son, and disguised their relation using a different last name, only to change it three months[7] or a year later, following her marriage to Mutulu Shakur. Born in the Bedford-Stuyvesant section of Brooklyn, New York City, New York, Biggie was the only child to Voletta Wallace, a pre-school teacher of Jamaican origin, and George Letore, a welder and small-time Jamaican politician.[6] His father left the family when Biggie was two years old, leaving his mother to work two jobs while raising him. At the Queen of All Saints Middle School, Biggie excelled in class, winning several awards as an English student. He was nicknamed “Big” because of his size before he turned ten years old.[7] From the age of twelve, he sold drugs, unbeknownst …

Welding has long been an important part of the economy of many cities across the globe. One of the most important places economically for a qualified welder and the trade they perform has been the state of Ohio in America. As one of the places where the steel industry in America was at its highest, Ohio has long had a need for experienced welders. This need has continued unabated no matter what economic times the country has been faced with. There are always new buildings in large cities such as Columbus or Cincinnati that will require repair for support struts and water works. There are also new construction projects being undergone all the time.

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Ohio Technical College has been awarded top prize as the 2009 School of the Year in the 2nd annual Tomorrow’s Technician/Chicago Pneumatic competition. Ohio Technical College, a family-owned school providing technical training in a variety of transportation industries, was selected from more than 170 entries nominating 80 schools across the country. Babcox Publications’ Tomorrow’s Technician magazine and Chicago Pneumatic, a leading provider of high-performance tools and compressors, created the contest to recognize top technical colleges dedicated to innovative training programs that prepare students for real-world careers. As the top school, Ohio Technical College will receive 000 worth of Chicago Pneumatic tools and an award presentation at the school, among other prizes. “We are extremely honored to receive the 2009 School of the Year award on behalf of our dedicated staff and hard-working students, who have all become a part of the OTC family,” said Marc Brenner, president of Ohio Technical College. “Our team is committed to providing students with the advanced education and specialized skills – such as our alternative fuel and high performance courses that will help lead the transportation industry into the future. In addition to the School of the Year award, we’re also especially gratified to celebrate our 40th anniversary this year and showcase our continued investment in tomorrow’s professional technicians.” More than 1000 students are enrolled at Ohio …
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For individuals who are new to the brand name Chicago Electric, it is best if they first explore the various tools that the company develops. Power Saw is one of the tools that Chicago Electric manufactures. This product includes an arbor adapter and a swivel cap. Another power tool produced by the firm is Watt Breaker Hammer. The product features a rotational lock retainer system and a carbon brush. Everyone can also purchase a complete gas welding kit, as well as Spot Welder from Chicago Electric.

Chicago Electric tools are very useful and reliable since these products pass the quality control group assigned by the company. Thus, for consumers who are interested in purchasing new, effective, and reliable general purpose, power, and automatic tools, it is best that they visit some retail stores or surf the Internet and look for the various efficient products that are manufactured by this brand name company.

Harbor Freight Dual Mig 171 Welder Review. Bought this about a month ago, its a great welder. My local store had it on sale for 9, but the website had it for 9, so they matched it. I also had 0 in Harbor Freight gift cards, so this little baby cost me 9! I really like it. Its very quiet, has a good duty cycle and the practice welds I have been doing have not resulted in the over heat light going on. It doesn’t come with a plug! You need to buy one… This welder is 220 volts, so you may need an electrician if you don’t know how to do it yourself.
Video Rating: 5 / 5

More Welders Resort to Induction Heating For Preheating, Stress-Relieving

Traditional Induction Heating Applications

- Soldering                                                          

- Brazing

- Surface hardening

- Tempering
- Bonding

- Curing                                                        
- Encapsulating
- Melting
- Forging
- Super heating
- Crystal growing

Although many industries have used induction heating for decades, it’s a newcomer to industrial and construction applications involving welding. Pre-heating before welding and stress-relieving (i.e. postheating) after welding are the new uses for induction heating, and companies with weldiang-intensive operations have significantly increased efficiency as a result.

Induction heating: how it works

Induction heating systems employ non-contact heating. They induce heat electromagnetically rather than using a heating element in contact with a part to conduct heat, as does resistance heating. Induction heating acts more like a microwave oven; the appliance remains cool while the food cooks from within.

In an industrial example of induction heating, heat is induced in the part by placing it in a high-frequency magnetic field. The magnetic field creates eddy currents inside the part, exciting the part’s molecules and generating heat. Because heating occurs slightly below the metal surface, no heat is wasted.

Induction heating’s similarity to resistance heating is that conduction is required to heat through the section or part. The only difference is the source of heat and the temperatures of the tool. The induction process heats within the part and the resistance process heats on the surface of the part. Depth of heating depends on the frequency. High frequency (e.g., 50 khz), heats close to the surface, while low frequency (e.g., 60 Hz) penetrates deeper into the part, placing the heating source up to 3 mm deep, allowing heating of thicker parts. The induction coil does not heat-up because the conductor is large for the current being carried. In other words, the coil does not need to heat-up to heat the workpiece.

Induction heating system components

Induction heating systems can be air- or liquid-cooled depending on application requirements. A key component common to both systems is the induction coil used to generate heat within the part.

Air-cooled system

A typical air-cooled system consists of a power source (5kW or 25kW), induction blanket, and associated cables. The induction blanket consists of an induction coil surrounded by insulation and sewn into a high temperature, replaceable Kevlar sleeve. This type of induction system can include a controller to monitor and automatically control temperature. A system not equipped with a controller requires the use of a temperature indicator. The system could also include a remote on-off switch. Air-cooled systems can be used for applications up to 400 degrees F, designating it as a pre-heat only system.

Liquid-cooled system

Because liquid cools more efficiently than air, this type of induction heating system can be used for applications requiring higher temperatures, such as high-temperature preheating and stress relieving. The principle differences are the addition of a water cooler and the use of a flexible liquid-cooled hose that houses the induction coil. Liquid-cooled systems also generally use a temperature controller and built-in temperature recorder, particularly important components in stress relieving applications. The typical stress relieving procedure requires a step to 600-800 degrees F, followed by a ramp or controlled temperature rise to a soak temperature of approximately 1250 degrees F. After a hold time, the part is control-cooled to between 600-800 degrees F. The temperature recorder collects data on the part’s actual temperature profile based on a thermocouple input, a QA requirement for stress relieving applications. The actual procedure will be determined by the type of work and the applicable code.

Induction heating benefits

Compared to conventional preheating and stress relieving methods, induction heating offers numerous advantages, including improved heat uniformity and quality, reduced cycle time, and lower consumables costs. Induction heating is also safe, reliable and easy to use, and scores higher than alternative technologies in power efficiency and versatility.

Uniformity and quality

Induction heating is not particularly sensitive to coil placement or spacing. Generally, the coils should be evenly spaced and centered on the weld joint. On systems so-equipped, a temperature controller can establish the power requirement in an analog fashion, providing just enough power to maintain the temperature profile. The power source provides power during the entire process.

Reduced cycle time

The induction method of preheating and stress relieving provides significantly quicker time-to-temperature. On thicker applications, such as high pressure steam lines, induction heating can slash two hours from cycle time. It is conceivable to reduce cycle time from the control temperature to soak temperature. When combined with other usability factors, it is not uncommon to expect a 50 percent total cycle time reduction.

Reduced consumables costs

The insulation used in induction heating is easy to attach to work pieces and can be reused many times. Conversely, ceramic fiber insulation used in resistance heating can be used only once or twice before it has to be discarded, requiring a large inventory of insulation and incurring significant costs for disposal of potentially hazardous material. In addition, in comparison to resistance system components, induction coils are robust and don’t require fragile wire or ceramic materials. Also, because the induction coils and connectors don’t operate at high temperatures, they are not subject to degradation, as are ceramic heating pads.

Ease-of-use

A major benefit of induction preheating and stress relieving is its simplicity, which contributes to easy use. Insulation and cables are simple to install, usually taking less than 15 minutes. http://inductionheater.net  has shown boilermakers and pipefitters how to use the induction equipment with just one day of training.

Power efficiency

The inverter power source is 92 percent efficient, a critical advantage in an era of skyrocketing energy costs. Additionally, the induction heating process is more than 80 percent efficient. Regarding power input, the induction process only requires a 40 amp line for 25kW of power.

Safety

Preheating and stress relieving through the induction method is extremely worker-friendly. Induction heating does not require hot heating elements and connectors. Very little airborne particulate is associated with the insulation blankets, and the insulation itself is not exposed to temperatures over 1800 degrees F, which can cause insulation to break down into dust and then breathed by workers .

Reliability

One of the most important factors impacting productivity in stress relieving is not interrupting the cycle. In most instances, cycle interruption means the heat treat will need to be re-run, which is significant when a thermal cycle can take a day to complete. The induction heating system components make cycle interruptions unlikely. The cabling for induction is simple, making it less likely to fail. Also, no contactors are used to control the heat input to the part.

Versatility

The Duolin Induction Heat Treatment System was originally designed for preheating and stress relieving of pipe. Now, users of induction heating systems have adapted the process for weldolets, elbows, valves, and other parts. One of the aspects of induction heating that makes it attractive for complex shapes is the ability to adjust the coils during the heating process to accommodate unique parts and heat sinks. The operator can start the process, determine the affects of the heating process in real-time and modify the coil position to change the result. Lastly, the induction cables can be moved without waiting for air cooling at the end of the cycle.

Induction heating in welding applications

DUO LIN Induction Heating Systems, Co, Ltd., the manufacturer of induction heating systems for welding applications, has proven its technology on a number of projects, including oil and gas pipelines, heavy equipment construction and maintenance and repair of mining equipment. Summaries of various projects are presented below.

Oil pipeline

A North American oil pipeline maintenance operation had used a combination of propane torches and electrical resistance to heat pipe before welding encirclement repair sleeves or STOPPLE fittings to the pipeline’s 48-inch girth. While many repairs could be made without having to stop oil flow or drain it from the pipe, the presence of the crude itself hampered welding efficiency due to the heat sink effect of the flowing oil. Propane torches required constant interruption of welding to maintain heat, and resistance heating – while providing continuous heat – often couldn’t meet required weld temperatures.

The maintenance company turned to induction heating as a solution. On encirclement sleeve repairs, two 25kW systems were employed with parallel blankets to obtain a preheat temperature of 125 degrees F. As a result, cycle time was reduced from 8-12 hours to 4 hours per girth weld. Preheating for a STOPPLE fitting (a “T” junction with valve) repair had been even more challenging due to the fitting’s greater wall thickness. With induction heating however, the company used four 25kW systems with a paralleled blanket set-up. Two systems were used on each side of the “T”. One system was used on the mainline to preheat the oil and the second was used to preheat the “T” at the circumferential weld joint. The preheat temperature was 125 degrees F. The weld time was reduced from 12-18 hours to seven hours per girth weld.

Natural gas pipeline

A natural gas pipeline construction project entailed building a 36 in. diameter, .633 in. pipeline from Alberta, Canada to Chicago. On one spread of this pipeline, the welding contractor used two 25kW power sources mounted on a tractor with the induction blankets attached to booms for speed and convenience. The power sources were used to preheat both sides of the pipe joint. Critical to this process was speed and reliable temperature control. As alloy content increases in materials to reduce weight and weld time, and to increase part life, controlling preheat temperatures becomes more critical. In this induction heating application, it required less than three minutes to obtain the 250 degrees F preheat temperature, versus approximately five minutes using traditional preheating methods. In addition, temperature uniformity and operator safety were improved.

Heavy Equipment

A heavy equipment manufacturer often welds adapter teeth onto its loader bucket edges. Previously, the tack welded assembly was moved back and forth to a large furnace, requiring the welding operator to wait while the part was reheated repeatedly. The manufacturer opted to try induction heating to preheat the assembly to prevent movement of the product. The material is 4 in. thick with a high required preheat temperature due to alloy content. Duolin Electric worked with the customer to develop customized induction blankets to meet the application requirements. The insulation and coil design provided the added benefit of shielding the operator from the part’s radiant heat. Overall, operations were considerably more efficient, reducing welding time and maintaining temperature throughout the welding process.

Mining equipment

A mine had been experiencing cold cracking problems and preheating inefficiency using propane heaters in its repair operations of mining equipment. Welding operators had to remove a conventional insulating blanket from the thick part frequently to apply heat and keep the part at the correct temperature. The mine opted to try induction heating using flat, air-cooled blankets to preheat the parts before welding. The induction process applied heat to the part quickly. It also could be used continuously during the welding process. Weld repair time was reduced by 50 percent. In addition, the power source was equipped with a temperature controller to keep the part at the target temperature. This virtually eliminated rework due to cold cracking. The customer reported an annual savings of ,000.

Power plant

A power plant builder was constructing a natural gas power facility in California. Boilermakers and pipefitters had been experiencing construction delays due to the preheating and stress relieving methods they were employing on the plant’s steam lines. One of the biggest problems on this job was reliability of the electrical resistance equipment, which suffered from contactor and connector failures and broken wires on the heating pads during stress relieving. Extensive rework as a result, combined with long heating cycles, was delaying construction significantly. The company brought in induction heating technology in an attempt to increase efficiency, particularly for work on medium to large steam lines, as these pieces take the most heat treating time required on a job site.

On a typical 16 in. weldolet with a 2 in. wall thickness, resistance preheating and stress relieving used to take five-and-a-half hours to complete. Induction heating was able to shave two hours off the time-to-temperature (600 degrees F) and another hour to reach soak temperature (600 degrees F to 1350 degrees F) for stress relieving. The simplicity of wrapping the induction blankets around complex shapes further reduced the time to perform the heat treat. It took the fitters 15 minutes to wrap a joint that would have required two workers two hours to prepare using a resistance set-up.

 

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