mitch-miller

those70scomics  asked:

Mitch Miller

  1. Do you love/hate/don’t feel strongly about this character?
    Oh, God. I actually hate that guy!
  2. What’s your favorite trait of this character?
    None, but he has good hair.
  3. What’s your favorite moment/even involving this character?
    I admit I may laugh every time I see him nerd fight with Eric.
  4. If you could have one power/attribute/etc. of this character, what would it be?
    None, eew.
  5. Have you ever pictured this character naked?
    Eww, no.
  6. When did you fall in love/hate with this character? I you don’t have any strong feelings toward them, why not?
    I never liked him. He’s a bully and an asshole, not to mention the way he treats Donna is just– horrible. I hate it.
  7. Who’s your OTP for this character?
    Nobody.

Charlie Parker with strings.

“In addition to Parker on alto saxophone featured were Mitch Miller on oboe and English horn; Bronislav Gimpel, Max Hollander, and Milton Lamask on violin; Frank Brieff on viola; Frank Miller on cello; Meyer Rosen on harp; Stan Freeman on piano; Ray Brown on bass; Buddy Rich on drums; and Jimmy Carroll or Joe Lipman as arranger and conductor.”

Pictured are Frank Sinatra and Mitch Miller at a recording session, early 1950s. Miller was the head of Artists and Repertoire at Columbia Records beginning in 1950, and oversaw many of Sinatra’s recording dates in the his last two years at Columbia. Miller and Sinatra had a notoriously awful relationship, often arguing at their sessions. Miller, who did oversee several hits including Rosemary Clooney’s “Come On-a My House” and Frankie Laine’s “Mule Train,” has become known for pushing kitschy novelty songs on his artists. Miller had Sinatra record what is now considered by many to be his worst song ever, the infamous “Mama Will Bark.” Of the song, Sinatra later said, “I barked and growled on the record. The only good business it did was with dogs.” Sinatra spoke poorly of Miller for the rest of his life, and blamed Miller for the decline of Sinatra’s recording career in the early ‘50s. Miller stated that Sinatra was able to refuse any song given to him according to his contract. Still, others have stated that Miller could be very convincing by assuring an artist that he would bring them a hit. Miller, who also had a tendency to take over a session, once turned the dials in the control room at a particular Sinatra date–a big no-no for Frank. Sinatra looked at him and said, “Mitch–out…Don’t you ever come into the studio when I’m recording again.