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ROLL COULD NOT BE PLAYED ON MY PLAYER AS IT WAS TIGHT AND I WOULD NOT FORCE IT ON IT

I BELIEVE IT IS BECAUSE IT IS AN ALBANY

AND NOT AN EDISON

DOROTHY KINGSLEY

 IT'S JUST ME IN MY NIGHTIE 

Label: Albany Indestructible 

Format: Cylinder Wax Roll 853

Country: US

Released: September 1908

Genre: Pop

Style: Vocal

Dorothy Kingsley (October 14, 1909 – September 26, 1997) was an American screenwriter, who worked extensively in film, radio, and television.

Biography

Born in New York City, Kingsley was the daughter of newspaperman and press agent Walter J. Kingsley, and silent film actress Alma Hanlon. Following their divorce, Hanlon remarried to director Louis Myll. They lived at Bayside, Queens for two years,and later moved with Dorothy to the affluent suburb of Grosse Pointe, Michigan.

Kingsley also had an unsuccessful first marriage. As a young divorced mother of three, while recuperating from a severe case of the measles, she listened to all the radio programs and began to think that she could write better material than she was hearing. She went to Los Angeles to visit a friend and made the rounds of numerous agents with material she had written for various radio stars such as Jack Benny. Her youthful appearance worked against her, but she finally found an agent who would take a chance on her. Kingsley went home and packed up her children, but on her return to Los Angeles she found that the agent had gone out of business.

Radio

While Kingsley unsuccessfully made the rounds of agents, she happened to meet Constance Bennett socially. Bennett thought that Kingsley's material was better than her current supply, and used a couple of her gags on her radio program. Despite the size of the program's writing staff, Kingsley began supplying material gags under the table for $75 a week, but eventually the representative who was paying her for the material left and she was again unemployed. Kingsley answered a newspaper ad to write gags for Edgar Bergen, and as a result she was chosen from 400 entries for a one-month trial period at $50 a week. The Edgar Bergen show became one of the top-rated programs and Kingsley stayed with them for several years.

MGM

It was while she was with the Bergen radio show that Kingsley started submitting scripts to studios. Arthur Freed at MGM thought she had promise and wanted to put her under contract at double what Bergen was paying. Bergen was notorious for underpaying his talent and when he found out she was dismissed. Her first assignment was a production rewrite on Girl Crazy, a Mickey Rooney/Judy Garland musical. The current writer was otherwise occupied, so Freed asked her to go down to the set and just do a little work. Kingsley soon developed the ability to fix an ailing script during production, and while she was working on Girl Crazy, producer Jack Cummings was having a lot of trouble with Bathing Beauty and asked her to fix that as well. Many people had already worked on the ailing script whose musical numbers had been shot and had no story. It was the first picture for Esther Williams and became a big hit.

Kingsley often worked without credit; and though hers was usually a co-credit, she normally worked alone, before or after the other screenwriters had finished up. Kingsley wrote many of the great MGM musicals such as Kiss Me Kate, as well as a number of scripts for Debbie Reynolds and three quarters of all the Esther Williams pictures. The grand spectacle pictures were very popular during the war years, when people desperately wanted escapist entertainment. In 1948, Kingsley and fellow screenwriter Dorothy Cooper wrote A Date with Judy, which was a pivotal film for Elizabeth Taylor, who, after playing frail juvenile roles, was given the part of a manipulative modern flirt who saw a school campus as merely husband-hunting grounds.

Kingsley, a devout Catholic, wrote the baseball picture Angels in the Outfield, President Eisenhower's favorite picture, which featured the Pittsburgh Pirates. He ran it so many times that the staff said, “Please, Mr. President, not again."

She was the last of the writers to work on the script for Stanley Donen's Seven Brides for Seven Brothers after Albert Hackett and Frances Goodrich. Their original script was based on the short story The Sobbin' Women by Stephen Vincent Benét, but the script wasn't coming out right. From Kingsley: "Stanley Donen called me in and I looked at the script and said, 'The big trouble in the original short story is that the Howard Keel character is the one that tries to get all of these boys married off, and that’s not right. The girl has nothing to do, and she’s got to be the one to engineer all this stuff.' That was changed around and seemed to please everyone, and we went from there."

After she had been at MGM a while, Kingsley acquired the reputation as a fixer in construction. She would regularly be called down to the set to fix pictures on the fly when the original writers were no longer on the scene to be consulted. The studio kept her working all the time and her contract was continually being extended.

Sinatra

Columbia was set to produce Pal Joey, which was a perfect vehicle for Frank Sinatra; however, Sinatra and Columbia executive Harry Cohn had been feuding for years and didn't speak to each other. Kingsley and Lillian Burns, the assistant to Harry Cohn, did a synopsis of the film written with Sinatra in mind and had it sent to Sinatra without Cohn's involvement. Sinatra agreed to do the picture and Cohn committed without ever seeing the script. Sinatra was so pleased with what Kingsley had done with Pal Joey, he committed to Can-Can without a script.

Later life and death

In 1969, she was instrumental in creating the Bracken's World series for television, based on the behind-the-scenes activities at the fictitious Century Pictures in Hollywood.

Kingsley and her second husband, William Durney, left Hollywood for Carmel, California, where they started the Durney Vineyard brand winery. They were among the earliest vintners in the Carmel Valley Wine region when they planted their original vineyards in 1968, with the first wines being produced in 1976.

Dorothy Kingsley died of heart failure in 1997 in Monterey, California. She is buried in San Carlos Cemetery in Monterey, California

Filmography

Look Who's Laughing (1941, material for Edgar Bergen)

Here We Go Again (1942, material: Edgar Bergen)

Girl Crazy (1943, contributing writer, uncredited

Best Foot Forward (1943, contributing writer, uncredited)

Bathing Beauty (1944, screenplay)

Broadway Rhythm (1944, screenplay)

Easy to Wed (1946, adaptation)

A Date with Judy (1948, writer)

On an Island with You (1948, writer)

Neptune's Daughter (1949, writer)

Two Weeks with Love (1950, screenplay)

The Skipper Surprised His Wife (1950, writer)

Angels in the Outfield (1951, screenplay)

Texas Carnival (1951, screenplay, story)

It's a Big Country (1951, segment 7)

When in Rome (1952, writer)

Kiss Me Kate (1953, screenplay)

Small Town Girl (1953, screenplay)

Dangerous When Wet (1953, writer)

Seven Brides for Seven Brothers (1954, writer)

Jupiter's Darling (1955, writer)

Pal Joey (1957, screenplay)

Don't Go Near the Water (1957, writer)

Green Mansions (1959, writer)

Pepe (1960, writer)

Can-Can (1960, writer)

Half a Sixpence (1967, adaptation)

Valley of the Dolls (1967, screenplay)

Debbie Reynolds and the Sound of Children (1969, writer)

Bracken's World episode "Fade In" (1969, writer)

Bracken's World episode "The Stunt" (1969, writer)

Bracken's World episode "Fade-In" (1969, writer)

SOUND TESTED BUYER APPROVED

(the following is an example, not actual)

https://www.youtube.com/watch?v=5IOfMsbtQTA

WE ARE NO EXPERTS ON CYLINDERS OR THEIR CONDITION

OUR EQUIPMENT WORKS BUT THE QUALITY OF THE NEEDLE IS QUESTIONABLE

IF YOU HAVE ANY DOUBTS, DON'T BUY IT

BUY MORE THAN ONE AND SAVE ON SHIPPING

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FYI 

The Indestructible Record Company was an American record label that produced plastic cylinder records between 1907 and 1922.

The company was established by William Messer, who had worked with Thomas Lambert, the inventor of plastic celluloid cylinder records. In 1900, the records were made by the Lambert Company, but that company went bankrupt in early 1906 after Thomas Edison brought a suit against Lambert for patent infringement. Messer had been responsible for developing a means of mass-producing the Lambert cylinders using a steam press. In 1906 he set up the Indestructible Phonographic Record Co. in Albany, New York, to record and produce them.

The company was also known as the Albany Indestructible Record Company and acquired the patent rights held by Lambert. It produced celluloid cylinders in two-minute and, from 1909, four-minute versions, each having a cardboard core with metal reinforcing rings. Between 1907 and 1922, it produced 1,598 titles, almost all of which have survived. The cylinders are described as "rugged" and "practically immune to splitting".

From 1908 to 1912, the Indestructible Company's output was distributed by Columbia Records. After the arrangement with Columbia ended, the cylinders were sold directly by the firm as well as through Sears, Roebuck and Montgomery Ward retail stores. In 1917 the company was re-organized as the Federal Record Corporation of Albany, New York, which began disc record production in 1919 as the Federal label. After a factory fire in 1922, the company ceased making cylinders, and it formally closed down in 1925.

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Phonograph cylinders are the earliest commercial medium for recording and reproducing sound. Commonly known simply as "records" in their era of greatest popularity (c. 1896–1916), these hollow cylindrical objects have an audio recording engraved on the outside surface, which can be reproduced when they are played on a mechanical cylinder phonograph. In the 1910s, the competing disc record system triumphed in the marketplace to become the dominant commercial audio medium.

In December 1877, Thomas Edison and his team invented the phonograph using a thin sheet of tin foil wrapped around a hand-cranked, grooved metal cylinder. Tin foil was not a practical recording medium for either commercial or artistic purposes, and the crude hand-cranked phonograph was only marketed as a novelty, to little or no profit. Edison moved on to developing a practical incandescent electric light, and the next improvements to sound recording technology were made by others.

Following seven years of research and experimentation at their Volta Laboratory, Charles Sumner Tainter, Alexander Graham Bell, and Chichester Bell introduced wax as the recording medium, and engraving, rather than indenting, as the recording method. In 1887, their "Graphophone" system was being put to the test of practical use by official reporters of the US Congress, with commercial units later being produced by the Dictaphone Corporation. After this system was demonstrated to Edison's representatives, Edison quickly resumed work on the phonograph. He settled on a thicker all-wax cylinder, the surface of which could be repeatedly shaved down for reuse. Both the Graphophone and Edison's "Perfected Phonograph" were commercialized in 1888. Eventually, a patent-sharing agreement was signed and the wax-coated cardboard tubes were abandoned in favor of Edison's all-wax cylinders as an interchangeable standard format.

Beginning in 1889, prerecorded wax cylinders were marketed. These have professionally made recordings of songs, instrumental music or humorous monologues in their grooves. At first, the only customers for them were proprietors of nickelodeons—the first jukeboxes—installed in arcades and taverns, but within a few years, private owners of phonographs were increasingly buying them for home use. Unlike later, shorter-playing high-speed cylinders, early cylinder recordings were usually cut at a speed of about 120 rpm and can play for as long as three minutes. They were made of a relatively soft wax formulation and would wear out after they were played a few dozen times. The buyer could then use a mechanism which left their surfaces shaved smooth so new recordings could be made on them.

Cylinder machines of the late 1880s and the 1890s were usually sold with recording attachments. The ability to record as well as play back sound was an advantage of cylinder phonographs over the competition from cheaper disc record phonographs, which began to be mass-marketed at the end of the 1890s, as the disc system machines could be used only to play back prerecorded sound.

In the earliest stages of phonograph manufacturing, various incompatible, competing types of cylinder recordings were made. A standard system was decided upon by Edison Records, Columbia Phonograph, and other companies in the late 1880s. The standard cylinders are about 4 inches (10 cm) long, 2+1⁄4 inches (5.7 cm) in diameter, and play about two minutes of recorded material.

Over the years, the type of wax used in cylinders was improved and hardened, so that cylinders could be played with good quality over 100 times. In 1902, Edison Records launched a line of improved, hard wax cylinders marketed as "Edison Gold Moulded Records". The major development of this line of cylinders is that Edison had developed a process that allowed a mold to be made from a master cylinder, which then permitted the production of several hundred cylinders to be made from the mold. The process was labeled "Gold Moulded" because of the gold vapor that was given off by gold electrodes used in the process.

Originally, all cylinders sold needed to be recorded live on the softer brown wax, which wore out after as few as 20 plays. Later cylinders were reproduced either mechanically or by linking phonographs together with rubber tubes.

 

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