Winston Collins Tharp
b. July 28, 1905, Little Rock, AR, USA, d. May 3, 1961, Little Rock, AR, USA.
Here's a photograph of "Winky" Tharp, who was born and raised in Little Rock and educated in the public schools there, at Lawrenceville Prep (where Thornton Wilder was his English teacher), and the University of Kentucky, where he played piano with a college group called "The Kentuckians". He started writing with his chief collaborators, Gene Gifford, Joe Bishop and Grady Watts in 1934 and continuing through 1940. Sometime during this period he was also in Hollywood writing with Leon Leonardi and others for radio and the movies. As he had relatives in both California and in New York, he alternated his time between the coasts.

When Tharp married and started a family, he seemed to close the door on professional songwriting. He rarely mentioned the old days to his two sons, and even his wife knew only those reminiscences that he would tell her from time to time. He worked as an accountant in the Arkansas State Auditor's office for most of the years up to his death.

Although Tharp didn't have a new song published or recorded after 1940, he never gave up writing. He carried on a correspondence with Dick Powell (another Little Rock native) and with Johnny Mercer (a school chum) throughout the 1950's. His son has hand written sheet music that Winston continued to write until shortly before his death in 1961. One of his son's enduring memories is of his father composing songs in his head, while driving--and he loved to drive--the hot, dusty roads of the Arkansas of his childhood.

There's a quote from Bernard Taylor that is quite poignant regarding Tharp's work. In the liner notes for a CD release of Connie Boswell recordings, Taylor wrote "[about] the brilliant Clarke/Tharp/Waller song, 'The Panic is On' ...it is curious that this never became a standard. Perhaps it was simply too good; and also, perhaps it's sense of dramatic urgency just didn't make for hit parade material. There is no denying it's excellence, though. The sentiment of the piece is expressed perfectly in both the melody and the lyrics..."

Primarily a lyricist, "Winky" Tharp did write both words and music for some songs. So far as is known, the only one of these recorded was "Two Little Slippers".

Among his songs (Lyrics) are:
(NOTE: WCT = Winston Collins Tharp)
"Out of Space"; WCT; Al Stillman; Joe Bishop; Gene Gifford
"Panic is On"; WCT; Thomas Waller; Geo. Clarke; Bert Clarke
"You've Been Taking Lessons in Love"; WCT; Grady Watts
"Square Face"; WCT; Gene Gifford
"Old Fashioned Swing"; WCT; Joe Bishop
"Jes' Nat'ully Lazy" is also known as
"Jes Natchully Lazy" WCT; Joe Bishop; Hubert W. David
"Paramour"; WCT; Gene Gifford
"Dizzy Glide"; WCT; Gene Gifford. Interesting for what may be the first use of the phrase "rock and roll" in a pop song.
"It's Against The Law [in Arkansaw]" WCT; Bernie Hanighen; Charles Henderson. Written in 1938 for a Warner Brothers picture called 'Mr. Chump'. It may actually have been in the released film.
"Moon Is Riding" WCT; Leon Leonardi. This is another film song written in 1937 for a Republic western. The movie may not have been completed. If it was, the film seems to be lost.
" Moonlight and Cotton"
" Rhythm On The River"
These were both Gene Gifford collaborations written about the same time as "Dizzy Glide" and "Squareface". It is not known if they were ever published or recorded.
"Ride With The Wind For The South"
"Snookie Cookie"
There's little information available on these two tunes. Mrs. Tharp remembers the title "Snookie Cookie" but can't remember the tune.
"Give Me an Old Fashioned Swing" WCT; Joe Bishop.
That's the correct title, but it may have also been known as "Old Fashioned Swing." Winston Tharp, Jr., has a copy of the sheet music, published in 1936 by Isham Jones. It was recorded twice.
"Cathedral in Rio (Ahora Seremos Felices)" WCT; Sammy Kaye.
There doesn't seem to be any sheet music on this one. The Tharp family has a copy of contract with both Sammy Kaye's and Winston Tharp's signatures. It's listed in one of the Rust reference books.
The above information on Winston Tharp was kindly supplied by his son Winston Tharp, Jr., who also maintains a very complete Tharp discography at the Winston "Winky" Tharp Homepage

      Mark Thomas
Up until the 1980s, Thomas was primarily a violinst with the London Symphony Orchestra and a "sessions" man in various London studios. Subsequently, he began to work as a film composer and has also produced some five films: Global Heresy(2001); Triggerman(2001); Rancid Aluminum (2000); Dreaming of Joseph Lees (1999); and Up and Under (1998).

Among his TV and Film works are:
Chicanery Moon (2001)
Dog Soldiers (2001)
Testimony of Taliesin Jones, The (2000)
House! (2000)
Merlin: The Return (1999)
Big Tease, The (1999)
Mad Cows (1999)
"Jack of Hearts" (1999 TV Series)
"Aristocrats" (1999) (mini-TV Series)
Sea Change, The (1998)
Up 'n' Under (1998)
Cameleon (1997)
Twin Town (1997)
Daisies in December (1995 TV)
Y Mapiwr (1995. aka: Making of Maps, The)
Wild Justice (1994. aka Covert Assassin. aka: Dial)
Marshal, The (1993 TV)
Trauma (1991 TV)

      Kay Thompson
Currently no information available.
Among her other credits, Kay was a writer and vocal arranger in the famed Arthur Freed 'unit' at MGM Pictures in the 1940's. While there, she worked alongside such other musicians as Connie Salinger (Chief Music Director at the studios, Lennie Hayton, Roger Edens, Andre Previn and others.

      Ken Thorne
b.January 26, 1924, East Dereham, Norfolk, England, UK
In the 1940s,Thorne began working professionally as a pianist with various English bands playing local night clubs and dance halls. In 1944, he began composition studies with private tutors at Cambridge and later studied the organ for five years in London. Variously known as Ken Thorn and as Kenneth Thorne, he has led his own 'Ken Thorne Orchestra'. On March 23, 1973, Thorne and Linda Hayes were married and the union produced three daughters, -Jennifer Coplin, Emily and Claire Thorne. Ken and Emily remain happily married to this day (2008) With the advent of the 1980s, Thorne was nominated for many awards, and was the winner of the 1966 Academy Award for 'Best Music, Scoring of Music, Adaptation or Treatment' for his 'A Funny Thing Happened on the Way to the Forum' scoring. Thorne has mainly focused his work for TV.

      James Thornton
b. Dec. 1. 1861, Liverpool, England, U.K.: d. July 27, 1938, New York, N.Y., USA
Little information is available on Thornton's early life. In 1869, his family emigrated and settled in Boston. Thornton apparently did not finish high school, but started working.

Some well known American 'names' seem to be connected with Thornton. For example, at just age 17, he was working as a night watchman in a printing plant where he had lots of time to read, and his friend, Henry Wadsworth Longfellow, encouraged him in this activity. Later he was a drinking companion to John L. Sullivan, and he also worked in vaudeville with Charles B. Lawlor.

His first job as a singing waiter was in his hometown of Boston, but he was soon waiting tables and singing in New York City at Allen's 'Bal Mabille Cafe', on Bleeker Street. It was at the Bal Mabile that Thornton met Lizzie Cox, who would later become his wife. He sold his first song "Remember Poor Mother at Home" for $2.50, while still working at the cafe.

A little later, Thornton could be found in the saloons and cafes of the lower east side with his friend John L. Sullivan, the famous prizefighter, singing and playing the piano to Sullivan's delight.

After this, Thornton was to spend the greater part of his life as a working vaudevillian and composer-lyricist. His first stage job was as the partner of another famous American, Charles B. Lawlor, composer of "The Sidewalks of New York". (Thornton, dressed as a cleric, delivered a humorous dialogue in the act.) Both on and off the stage, Thornton liked to dress in a Prince Albert cutaway coat and striped trousers. His demeanor, both reserved and dignified, made him appear to be an undertaker. But once onto the vaudeville stage, he was a different man. He was a virtuoso at the piano, and would deliver the most hilarious monologues.

The early 1890's found Thornton touring in vaudeville with his wife, Lizzie Cox, known as Bonnie. Bonnie had a couple of hobbies, - Art and collecting Diamonds. (Among entertainers, her jewelry collection was exceeded only by that of Lillian Russell.) When Bonnie loved a thing, or a person, it was intensely and permanently. That's the way she loved her husband. She was well aware of Thornton's drinking habits, his staying out all night with John L. Sullivan or other friends, his extravagances, and such, but she never doubted her love for him - not for a moment. Once, she asked Thornton to come straight home after the theater. When he refused, she asked if he still loved her, and he replied that his sweetheart was the man in the moon. Thornton wrote the lyric and music for the song "My Sweetheart's the Man In The Moon", which his wife sang with some success on the stage and in cafes. He had Bonnie's rather small vocal range in mind when he wrote it. Over the years, it was his wife Bonnie, that was the inspiration and source of many of his songs.

Brief Chronology:
1889 He wrote "Upper Ten and Lower Five", his first hit.
1890, "The Irish Jubilee" music by Lawlor, and lyric by Thornton.
1894 He Wrote "She May Have Seen Better Days", published by Harms.
1895 He wrote "The Streets of Cairo". (Please see note below.) Watching a 'hootchy-kootchy' dancer at the Chicago World's Fair, was his inspiration for the song. Published by Frank Harding.

Thornton was selling his songs for from $6.00 to $25.00 each. He often sold his songs to get the price of some drinks. There was a certain reciprocity in this. He would use the liquor to get ideas for new songs. Even his time in alcohol clinics were inspirations. "When I Took The Keely Cure", was one of his songs.

1896 He had three hit songs,
"Don't Give Up the Old Love for the New"
"It Don't Seem Like the Same Old Smile", this song won first prize in a contest sponsored by the New York World Newspaper.
"On The Benches In The Park"
1897 "There's a Little Star Shining For You", was published.
1898 "When You Were Sweet Sixteen", became his greatest hit. His wife had asked him if he still loved her, and his reply was "I love you as I did when you were sweet sixteen". Thornton sold this song to two music publishers; Stern and Marks, and Witmark Music Publishing. When the song became a smash hit, Stern amd Marks sued Witmark, and were able to prove that they had paid Thornton $15.00 for the song. An agreement was reached, and Witmark paid Stern and Marks $5000.00. The song remains popular to this day.
1900 He wrote "The Bridge of Sighs". The "bridge" he had in mind was the one that connects the Criminal Courts building with 'The Tombs' as the old New York City prision was known.
1903 "There's a Mother Waiting for You at Home Sweet Home", was his last successful ballad.

There's still one more tune that has Thornton's name on it as composer. The tune was called "Streets Of Cairo or The Poor Little Country Maid", played here by 'Carl Stevens and His Circus Band' (digitally re-engineered and placed in .ogg format). Here's a photo of the Sheet Music. The tune has a rather interesting history.

A show business promotor by the name of Sol Bloom was the entertainment director of the Chicago World's Columbian Exposition of 1893, which, among other things, celebrated the 400th anniversary of Christopher Columbus' discovery of the New World. (At the time, Bloom was making $1,000 a week, - more money than the President of the United States. Still, in later years, Sol became U. S. Congressman Bloom!)

One of the shows that Sol Bloom put on for the Fair goers was called "A Street In Cairo". It proved to be one of the Expositions most popular attractions, Although the show featured snake charmers and camel rides, it was the lady dancers who got everybody's attention, when they undulated their lithe bodies in the dance that was to become popular under such diverse names as "Hoolah! Hoolah!", "Dance Of The Midway", "Coochy-Coochy Polka", (and variants such as "Kutchi Kutchi", "Kutchy Kutchy"), "Danse Du Ventre" (French for "Belly Dance), and finally as "The Streets Of Cairo". One can just imagine the "Barker" urging patrons to come inside and to watch "Little Egypt" do her Oriental dance, "Ladies and Gentlemen, she's the Eighth Wonder of the World. When she dances, every fiber and every tissue of her entire anatomy shakes like a jar of jelly from your grandmother's Thanksgiving dinner . She's as hot as a red-hot stove on the fourth of July in the hottest county in the state. Step right up, Ladies and Gentlemen...."

In his autobiography, Bloom claimed that he "came up with the melody 'on the spot' at a press conference that introduced his harem, and it immediatelyl caught on." The Society for the Suppression of Vice, and founder Anthony Comstock, did their best to shut down the outrageous exhibit, but their efforts succeeded only in triggering a nationwide Little Egypt craze.

Soon, the "hoochy koochy" strain became ubiquitous, and during the following decade, showed up in many compositions, none of which credited Bloom (who did not copyright the song). Bloom may have heard it from North African musicians he had brought to Chicago. Even Irving Berlin used the melody in his "Harlem Nights".

In 1895, Thornton penned his own version of the strain which he called "Streets Of Cairo or The Poor Little Country Maid". The tune gained even greater popularity when his wife Bonnie Thornton (née: Lizzie Cox), sang it on vaudeville stages everywhere. His lyric tells of a poor little country girl going to ruin, and taking a young man or two with her in the process. While the tune may be used in many different ways, it is today widely regarded as the "Belly Dancers Anthem".

Thornton continued touring in vaudeville, but his music met with little success due to the Public's changing taste. The sentimental ballads, that he loved and well knew to write, had lost popular favor. He became somewhat embittered. In 1929, he made his last public appearance in the Kern-Hammerstein musical 'Sweet Adeline' where he played himself. He died in 1938, at age 77.

      Ricardo Tanturi
b: Jan. 27, 1905, Buenos Aires, Argentina, d: January 24, 1973, Bs As, Argentina.
Here's a photo of Ricardo Tanturi (far left) who, in common with so many of the early Tango composers, had his own orchestra.

As a child, Ricardo studied the Violin, but later switched to the Piano. In 1924, he started to perform at local clubs, and in 1933, formed his first sextet which he called "Los Indios", (the name of Argentina's famous Polo team), and through 1938, they were booked at elegant hotels in Buenos Aires, Argentina, and Montevideo, Uruguay. He then expanded to a full size orchestra, and in 1939 with flamboyant vocalist Alberto Castillo added, the name was changed to Tanturi-Castillo Orquesta. (The other man in the photograph is bandleader/composer Francisco Canaro.) The group was incredibly successful and left an indelible mark in Tango history. Their recordings were hugely successful, and the group always attracted Tango dancers to their performances.

Many of his songs were written for his band, and for his vocalists Alberto Castillo, and from 1943 on, Enrique Campos. His orchestra had a crisp Tango rhythm that dancers found irresistible. He recorded a great many Vals and Milongas, as well as his very distinctive Tangos. His own best known Tango compositions are: "Mozo Guapo," and "Ese Sos Vos (That One Is You)", "Mozo Guapo", and "A Otra Cosa" (Let's Do Something Else).