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Linda Ellen November [2] (born October 16, 1944) [2] is an American singer who has sung tens of thousands of commercial jingles. [3] She was the voice of the singing cat in the Meow Mix commercials, [4] sang the jingle "Galaxy Glue" in the 1981 film The Incredible Shrinking Woman, the "Coke and a Smile" jingle in the classic Mean Joe Greene Super Bowl commercial, [5] and has won many Clio ...
Vaudevillean Mamie Smith records "Crazy Blues" for Okeh Records, the first blues song commercially recorded by an African-American singer, [1] [2] [3] the first blues song recorded at all by an African-American woman, [4] and the first vocal blues recording of any kind, [5] a few months after making the first documented recording by an African-American female singer, [6] "You Can't Keep a Good ...
The lead singer in the FreeCreditReport (FCR) Band was played by French-Canadian actor-singer Eric Violette. Violette's singing voice was lip-synced by another singer because of Violette's thick Francophone accent. In 2010 the group Victorious Secrets won a contest to replace the faux band in a new series of ads.
Pages in category "American women singer-songwriters" The following 200 pages are in this category, out of approximately 1,817 total. This list may not reflect recent changes .
The Standard Quartette of Chicago becomes the first commercial recording of an African American singing quartet. [104] The Black Extravaganza, an outdoor concert in New York City, featuring the Four Harmony Kings, the Old South Quartette and other popular African American musicians, a "breakthrough" show in the history of African American music ...
America Sings was an attraction at Disneyland in Anaheim, California, United States, from 1974 to 1988. [1] It featured a cast of Audio-Animatronics animals singing songs from various periods in America's musical history , often in a humorous fashion.
Popular music, or "classic pop," dominated the charts for the first half of the 1950s.Vocal-driven classic pop replaced Big Band/Swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian bel canto traditions.
Orlando conceived the idea for the Flirts, wrote the songs, played the instruments, and produced the tracks. He then auditioned girls to be the faces of the group. Orlando often called in the services of professional session singers to sing the female vocals for the tracks because most of the performers were trained as dancers, models or actresses.