The Judy Room's 2015 Year in Review

The Judy Room - 2015 Year In Review 2
Contents Foreword Anniversaries Auctions Media Interviews A Look Back Coming Soon Stats Acknowledgments
CONTENTS
FOREWORD ..............................3
ANNIVERSARIES .......................4
AUCTIONS .............................23
MEDIA ..................................36
INTERVIEWS ..........................41
A LOOK BACK .......................54
COMING SOON ....................57
STATS ...................................58
ACKNOWLEDGMENTS ..........60
Original cover art for this Year in
Review designed by Raphael Geroni,
designer of the wonderful “The
Wizard of Oz: The Official 75th
Anniversary Companion.” Check
out is latest Judy Garland project at:
www.raphaelgeroni.com/the-films-of-
judy-garland Thank you Raphael!

FOREWORD2015 was a an interesting year for Judy Garland
fans. Auctions were big news again, with some
great Garland items on the block. Auctions have
become more popular than ever as collectors
and fans sell off parts or all of their collections.
It’s big business, too, what with the high prices
that some items are sold for making the film
memorabilia market quite lucrative for auction
houses.
There were some anniversaries in 2015 that are
well worth noting, anniversaries of milestones
in Judy’s career and in the home media market
They’re included here.
In the world of home media there weren’t as
many major Garland releases as we’ve been used
to in the past. But there were still some releases
to get excited about. The U.S. release of the
2014 “Swan Songs, First Flights” 3-CD set is
worth noting. As is Judy’s return to vinyl with
three LP reissues.
My new blog series “The Judy Garland Wars
- or - How I survived the wacky world
of Judy Garland Fandom” premiered on
March 2nd at The Judy Garland News & Events
blog. The series is a semi-satirical look at
my observations and experiences ever since
becoming a part of the online “community” in
1995. I had hoped to get a new chapter out each
month, but that didn’t pan out. One of my goals
for 2016 is to get a new chapter out every month
or two.
2016 will most likely be another good year for
Garland collecting and for Garland related
events. We have the “Judy Sings Harold Arlen”
2-CD set to look forward to, with its release of
the previously lost complete version of “Lose
That Long Face” from A Star Is Born.
So, here’s to a great year for collectors, fans,
and admirers of the woman still considered The
World’s Greatest Entertainer!
Sincerely,
Scott Brogan
The Judy Room

4The Judy Room - 2015 Year In Review
ANNIVERSARIES
Anniversaries and milestones are usually celebrated in five year increments.
A good example are the 70th and 75th anniversaries of The Wizard of Oz
as celebrated by Warner Bros. and Warner Home
Video. You can bet they’ll re-release that Blu-ray
boxed set again, with new collectibles, when the
80th anniversary comes around.
This section of The Judy Room’s 2015 Year in
Review focuses on some of the important milestone
anniversaries of 2015.
Enjoy!

1935 - 80 years ago
1935 was a major milestone year for Judy. There were
two main events that would shape her future forever: Her
audition and first contract with MGM; and the death of her
father, Frank Gumm. Even with that tragic event, there is
much to celebrate. Take a look.
March 29th: Judy’s first studio recordings. 12-year-old Judy
cut three test records for Decca Records, one with her sisters,
“Moonglow,” and two solos: “Bill” and a medley of “On The Good
Ship Lollipop/The Object of My Affection/Dinah.” All three with
mother Ethel accompanying them on the piano.
The tests were rejected and thought lost for over 70 years when
the two solos were discovered and released on the 2010 4-CD
set “Judy Garland Lost Tracks 1929-1959.” The recordings were
remastered and re-released in 2015 on the CD “Judy Garland
The Best of Lost Tracks 1929-1959.” Details of that release
on page 38. “Moonglow” is still lost.
These are the only surviving recordings of Judy as she sounded
before she signed with MGM and was tutored by Roger Edens. They’re
a revelation. Judy is lacking a little polish, but it’s all there: The vibrato,
the energy, that gorgeous tone. It’s no wonder that when she auditioned at
MGM that September, everyone went wild! After that audition, Judy made two
more tests for Decca on November 27th: “All’s Well” and “No Other One.”
Those were rejected as well and are still lost.
The photo at the far right is Judy in Chicago in 1934 posting as she did when
singing “Bill” as part of the Garland Sisters’ act. Above is the label of the Decca
test record of “Bill.”
continued

1935 - 80 years ago
March 7th to 13th: Judy and her sisters, as “The Garland Sisters,” appeared at the Paramount
Theater in Los Angeles, California. They were earning $110 a week at the time, quite a sum in
the middle of the Depression. They also earned their fifth review in “Variety” which raved about
Frances (Judy). The reason this event is listed here is because it resulted in the only known
photograph of the sisters in performance on stage and of a theater marquee featuring “The
Garland Sisters.”
Later that summer, on August 12th,
the sisters made their last appearance on
film which was also their last professional
appearance as a trio. They were on location
in Santa Barbara filming the short subject
La Fiesta de Santa Barbara in which they
sang “La Cucaracha.” The Technicolor short
was Judy’s first appearance in a color film
and first MGM film, predating her audition
with the studio by one month. The film
was independently produced but released
by MGM as an MGM short. It’s also Judy’s
only color film until The Wizard of Oz four
years later. Click here to watch the sisters
perform in this film.
Photos at left and above right: The sisters
in performance at the Paramount and the
marquee.
Photo at lower right: The sisters in La Fiesta
de Santa Barbara.
continued

September 13th: Judy successfully auditioned for MGM. She sang “Zing! Went The Strings Of My
Heart” and “Eili, Eili.” Judy’s father, Frank Gumm, took her to the audition because mom Ethel was on an
errand when the call came in. Frank took Judy “as is” without making her up as Ethel would have done.
Judy’s soon-to-be musical mentor Roger Edens took over on the piano after Frank’s abilities proved to be
negligible. Edens later said he knew within a few bars of music that Judy was a one-of-a-kind major talent.
September 16th: MGM ordered its legal department
to prepare a standard seven year contract for Judy to
commence on October 1st. Judy would be paid $100
per week, with options every six month to renew or be
let go for the first year, then once a year for the next
six. The contract was approved on September 27th
at the Los Angeles Superior Court. Judy was a minor
so Frank and Ethel accompanied her to the courthouse
to sign the papers. An MGM photographer took the
first official studio photo of Judy at this event, the
photo is shown at left.
Judy spent her first weeks working with Roger
Edens on her vocal style. She sang at the half time
of a USC football game at the Los Angeles Coliseum.
While singing “Fight on for Good Old USC” she was
interrupted midway through the song when the team
raced out early and the cheering crowd drowned out her voice. Some sources have this event taking place
at USC and not the Coliseum.
October 26th was Judy’s national radio debut on the NBC Radio show “The Shell Chateau Hour”
hosted by MGM star Wallace Beery. Although she was thirteen Beery gave her age as twelve. She sang
“Broadway Rhythm.” A recording of this performance survives and can be downloaded here.
Photo above: Judy on her way to MGM in October 1935.
1935 - 80 years ago
continued

November 17th: Judy’s father, Frank Gumm, died of spinal meningitis. The previous
night, November 16th, Judy made her second appearance on the NBC Radio show “The
Shell Chateau Hour.” Host Wallace Berry told the audience that because of her appearance
on the show in October she was signed to a contract with MGM. The MGM myth-making
publicity machine was already spinning tales about Judy, as they did for all of their stars.
Before the performance, Judy was told that Frank would be listening from his hospital bed.
She sang a very heartfelt “Zing! Went The Strings Of My Heart.” Instead of going to Frank’s
hospital bedside MGM whisked Judy to the La Monica Ballroom in Santa Monica. She
was not present when her father passed. This performance was also recorded and can be
downloaded here. It’s the earliest known
recording of Judy singing what was not only
her audition song for the studio but also a
staple of her live performances for the rest of
her live.
Frank’s death was, as Judy’s later noted,
“the most terrible thing that ever happened
to me in my life.” Judy felt that Frank was
the only person from whom she received
unconditional love and support. It left a
huge hole that some speculate never completely healed. Most likely they’re right. Surely her life at MGM would
have been different if Frank had lived and been able to stand up for her once her schedule became grueling and
detrimental to her health.
Photo above: The Gumm family on vacation in Los Angeles in 1927. Left to right: Virginia, Frank, Frances
(Judy), Ethel, and Mary Jane.
Photo at right: A shot from Judy’s first studio portrait session at MGM. Some sources state that this took place
on November 6th while others place it as having taken place on “mid-November” after Frank’s death.
1935 - 80 years ago
continued

1945 - Hollywood’s Golden Girl
The big anniversary in 1945 is Judy’s June 15th marriage to Vincente Minnelli. He had
guided her through Meet Me In St. Louis in 1943/44, still a big hit in 1945, her guest
appearance in Ziegfeld Follies (released in 1946), and her first
solely dramatic role in The Clock. It premiered on May 25th.
The marriage is worth noting for two reasons:
1) Minnelli was, at least in the beginning, a calming influence
on Judy and the right man for her at that time. Their
collaborations brought out the best in her on screen.
2) The union gave us Liza! Judy’s first child, Liza Minnelli,
was born March 12, 1946. Judy was pregnant with Liza while
filming her guest spot in Till The Clouds Roll By in late 1945.
Her guest appearance was directed by her husband, Vincente,
of course. Judy is glowing and radiant in her numbers and
scenes, displaying a confidence and total command of her
talents that only a star
of her caliber could
display. Judy was truly
Hollywood’s “Golden
Girl” who not only
could do it all but also
seemed to have it all.
continued

1950 began in turmoil for Judy. She was in the final months of filming
Summer Stock which was a difficult shoot. She finished the film in
February then came back on March 15th to pre-record “Get Happy” which
was a last minute “payoff” number that the film needed for its “show within
a show” finale section. Judy was trimmer than in the rest of the film and
audiences immediately thought the number was an outtake from an earlier
film. It wasn’t.
When the film opened in August, it was after her much publicized suicide
attempt on June 19th. In the interim, Judy had gone on a vacation after
completing Summer Stock but was called back to the studio to replace June
Allyson in Royal Wedding. It was too much for her. Although this wasn’t
her first suicide attempt, it was the first to make headlines. Contrary to
what MGM assumed, the news only endeared Judy to the public more than
before. The public and the critics showered praise on Judy’s performance in
the film, proving that they loved her regardless of her personal issues.
Judy and MGM mutually parted ways on September 29th, just a tad
over fifteen years after her audition in 1935. The studio had actually been
considering keeping Judy under contract in spite of the recent drama. She
was still trending as popular and Summer Stock was a hit. It’s a testament
to her talent and the love of her audiences that after all that came before in
1950 she was still one of the studio’s biggest stars.
Thanks to his kindness of heart Bing Crosby re-presented Judy publicly
on his radio show several times in late 1950. She dazzled with her full
throated “Rock-A-Bye Your Baby With A Dixie Melody.” The song became a
showstopper in her concerts for the rest of her life.
Judy completed the year performing the role of “Alice Adams” in the play of
the same name on the NBC Radio show “The Theater Guild On The Air” and
recreating her role of “Dorothy” in the radio adaptation of The Wizard of Oz
on Christmas day.
1950 - A Time Of Change
1950 was a turning point for Judy. She gave us the iconic “Get Happy,” a number that still inspires performers today.
It was also the year in which she left MGM seemingly a “has-been.” Nothing could be further from the truth!
continued

2015 was the 60th anniversary of two milestones in Judy’s career: Her first album for Capitol Records
(and her first official studio “album” of the LP era), “Miss Show Business” and her very first television
appearance, the 90 minute special premiering CBS-TV’s new program “The Ford Star Jubilee.”
The TV special aired on September 24, 1955 from 9:30 - 11:00 p.m. Eastern Standard Time “live” and
in color. It was broadcast in kinescope on the West Coast. A black and white kinescope survives and has
been available on videotape and DVD. It’s the only filmed record of Judy singing “Over the Rainbow” as
she sang it in concert.
The Capitol album was released two days after the broadcast on September 26th and was a soundtrack
of sorts to the special, with most of the songs on the LP having been featured in the show. All are studio
recordings made on August 25th,
29th, & 30th and September 1st
and 2nd.
The album was re-released in 2015
in both vinyl (see page 39) and
HD Digital (see page 40). The HD
Digital version is remastered and
sounds better than ever. The vinyl
was also remastered and sounds
good although not as great as the
HD remaster.
Photo at left: TV Guide’s write-up
on the show.
Photo at right: Capitol Records ad
for the TV special and album.
1955 - Miss Show Business
continued

Another turning point year of milestones, 1960 set Judy
on the path to incredible success and adoration as the
biggest star on the planet. She really was “The World’s
Greatest Entertainer” and a true living legend.
1960 began with Judy recuperating from her bout with hepatitis. She was
released from Doctor’s Hospital in New York on January 5th and returned
home to California to rest. Just a few days prior she had signed a contract
with Random House to write her autobiography, collaborating with Fred
Finklehoffe. Finklehoffe had written the screenplays for some of Judy’s best
films, including Meet Me In St. Louis and For Me And My Gal.
By late spring Judy proved the doctors wrong in their prognosis that
she would “never work again.” It was the beginning of her early 1960s
renaissance. In April her first work after release
from the hospital was to record the song “The Far
Away Part Of Town” for the Columbia film Pepe.
Judy didn’t appear in the film. Her vocal was used
for a dance scene featuring Shirley Jones and Dan
Dailey. It was nominated for the Oscar for “Best
Song.”
On June 8, 1960 Judy began work on her next
Capitol album, “Judy: That’s Entertainment!”
with the recording of “How Long Has This Been
Going On?”; “Yes”; and “It Never Was You.” The
next day Judy recorded “If I Love Again”; “Who
Cares?”’ “Puttin’ On The Ritz”; “Just You, Just Me”’ and “Down With Love.”
On June 17th Judy completed album by recording “That’s Entertainment!”;
“Old Devil Moon”; “I’ve Confessed To The Breeze”; and “Alone Together.”
1960 - New Beginnings
continued

The album was released on October 31st and is considered by most to be
one of her very best albums. Many list it as their all-time favorite. Judy’s
rest period gave her voice a chance to relax and you can certainly hear it on
this album.
Judy was seen very healthy and happy that summer when she performed
at a Democratic fund raiser for her friend John F. Kennedy (footage of this
appearance still exists) before going
to London where she would be in
the recording studio again, this
time recording what would become
known as “The London Sessions.”
On August 2nd at 7 p.m., Judy
arrived at the EMI studios in
London for the first of five sessions
for a planned two-record set
presenting many of her greatest
hits recorded in stereo for the first
time. On this date she recorded:
“Chicago”; “Do It Again”; “Lucky
Day”; and “Stormy Weather.”
Conducted by Norrie Paramour, the
recording sessions were nothing less than electric. As with the recording of
“Judy: That’s Entertainment!” Judy was happy, healthy, and in phenomenal
voice. On August 3rd she recorded: “I Happen To Like New York”;
“Swanee”; “You’ll Never Walk Alone”; and “Why Was I Born?” August 4th:
“The Man That Got Away”; “Come Rain Or Come Shine”; “San Francisco”;
and “Over The Rainbow.” August 5th: “Medley: You Made Me Love You/
For Me And My Gal/The Trolley Song”; “You Go To My Head”; “Happiness
Is A Thing Called Joe”; and “Rock-A-Bye Your Baby With A Dixie Melody.”
August 8th: “Judy At The Palace” medley; “I Can’t Give You Anything But
Love”; “After You’ve Gone”; “It’s A Great Day For The Irish.”
The tracks were held
for release first due to
the recent release of the
“That’s Entertainment!”
album, and then due to
the incredible success of
the label’s recording of
Judy’s historic concert
at New York’s Carnegie
Hall. That concert was
even more electric than
these recording sessions
and included many of
the same songs as these
sessions.
In 1962 Capitol released
a compilation album
titled “The Garland
Touch” that included,
without explanation, six of “London Sessions” tracks: “Lucky Day”; “I
Happen To Like New York”; “Judy At The Palace” medley; “Happiness Is A
Thing Called Joe”; “You’ll Never Walk Alone”; and “It’s A Great Day For The
Irish.” Some fans initially thought the recordings might have been from the
Carnegie Hall concert without the applause, maybe from a different night.
continued

All of the tracks were released on a two record set titled “Judy in London”
released by the Capitol Records Club in 1972. That release was not a general
release being available to club members only. The same holds true for the
1978 “special markets” release of the tracks, also titled “Judy in London.”
In 1991 Capitol
finally released the
complete album to
the general public as
the third CD of their
deluxe 3-CD boxed
set “Judy Garland:
The One And
Only.” They were
newly remastered and
were such a hit that in
1992 Capitol released
them as a stand-alone
CD titled the same
as they had been in
the boxed set: “The
London Sessions.”
Some of the
recordings would
be included in a few
compilations as well
as some previously
unreleased alternate
takes. Alternates
of “Happiness Is
A Thing Called Joe” and “Why Was I
Born?” were first released on June 27,
2006 on the Capitol Records single
CD “The Essential Judy Garland.”
Alternates of “Stormy Weather” and
“Over The Rainbow” premiered on the
February 20, 2007 EMI Records Ltd.
3-CD set “The Very Best Of Judy
Garland: The Capitol Recordings
1955 - 1965.” All of these alternates
were remastered and included on the
October 11, 2011 First Hand Records
deluxe 2-CD set “The London Studio
Recordings 1957 - 1964.” As an
added bonus, that release premiered
additional alternates of:
“Stormy Weather” and
“Why Was I Born?” as well
as previously unreleased
alternates of “Lucky Day”;
“After You’ve Gone”; “It’s A
Great Day For The Irish”; and
“You’ll Never Walk Alone.” If
you’re looking for the most
complete representation of
“The London Sessions” as
well as all of Judy’s other
recordings made at the
Capitol/EMI Studios in
London, then this First Hand
continued

Records release is what you want. The other two releases from 2006 and
2007 are fantastic compilations as well that both feature other treasures.
Not one to keep still for very long, Judy followed those August 1960
recording sessions with her very first two-act solo concert on August 28,
1960 at the London Palladium. This was the first known, two-act, solo,
one-woman concert by a female pop vocalist. While it’s a format that seems
standard today, it was groundbreaking at the time. Judy came up with the
program of songs herself, remarking in 1962, “I figured out my program
myself on the inside of a pack
of matches.” She also selected
her clothes and allegedly even
helped design the lighting. This
concert is also notable as it’s the
beginning of Judy’s legendary
1960/1961 concert tour, the apex
of which was her appearance at
Carnegie Hall in 1961, thankfully
recorded and preserved by Capitol
Records. It’s hard to believe that
just eight months prior she was
told she’d never work again. Talk
about the strength of recuperative
powers!
Judy reprised her new show at the Palladium on September 4th, then took
it to The Palais de Chaillot in Paris for two nights (October 5th & 7th),
then back to England for an October 16th engagement at The Leeds Odeon
Theater in Leeds, then The Birmingham Odeon Theater in Birmingham
on October 23rd followed by a quick jaunt to Wiesbaden, Germany on
October 26th for the “Koncert For Kennedy” (her friend again, John F.
Kennedy). Whew!
Hopscotching around Europe, Judy appeared at: The Olympia Theater,
Paris, France (October 28th & 29th - the 28th concert was recorded for
radio broadcast released on the November 23, 1994 CD “Judy Garland
à Paris” re-released in 2005); Frankfurt, Germany (November, two
concerts, locations and dates
unknown); The De Montford Hall,
Leister, England (November
15th); The London Palladium (The
Royal Variety Show, December
1st); The Free Trade Hall,
Manchester, England (December
4th); The Tuschinski Theater,
Amsterdam, The Netherlands
(December 10th, broadcast and
issued on budget LPs in the 1970s
and 80s then on CD in 1996 then
remastered and re-released on
November 12, 2012 by First Hand
Records as “The Amsterdam
Concert December 1960”).
Judy spent the rest of the year in London with her family. She signed a new
contract with Freddie Fields Associates to manage her career and spent time
socializing while the press linked her name to various projects. In the next
several years Judy achieved a level of success and a varied body of work
arguably unmatched in show business history.
continued

There have been quite a
few Judy Garland “after
life career” milestones.
“After life career” means
highlights that happened
after Judy passed away in
1969. Almost immediately
after her death various
projects celebrating her
or immortalizing were
announced, including
several biographies. In
1974 MGM released
That’s Entertainment!
a surprise hit
documentary film
celebrating the golden
age of MGM musicals. Of
course, Judy was front
and center. Its enormous
success surprised
everyone and did
much to bring renewed
interest to Judy’s film career. A sequel, That’s
Entertainment Part 2, followed in 1996. The
movies reminded film goers of Judy’s amazing
film achievements while introducing her to their
children and grandchildren. The soundtrack
albums for the films were also extremely popular.
Those albums complemented the
special two-record sets that MGM
Records had begun reissuing in
1973.
The following year, 1975, saw three
major books about Judy: “Judy”
by Gerold Frank; “Rainbow: The
Stormy Life of Judy Garland”
by Christopher Finch; and “Judy
Garland” by Anne Edwards.
There would be other books and
albums but what really changed
things was the home media
“revolution” in the 1980s. For the
first time, the public could buy
or rent their favorite films in an
affordable format. This created
a new market for classic films.
Judy’s films were quite popular and
gave fans a chance to see films they
might never would have, or they
might have to wait for an obscure
3 a.m. showing of a bad print split up by endless
infomercials. The Wizard of Oz, Meet Me In St.
Louis, and Easter Parade were the first three
Garland films released in the new medium, as
they have been in every new format since.
By 1995 VHS and laser discs ruled the home
video market, and compact discs had taken
over as the audio format of choice. Rhino
Records released no less than six Judy Garland
soundtrack CDs and three soundtrack CD boxed
sets. This was the start of several years of newly
restored and remastered classic film soundtracks
and compilations from the label.
The following pages highlight the best of the
home media releases in 1995. It’s hard to believe
that it’s already been twenty years!
1995 - Home Media Renaissance
continued

Originally scheduled for a 1994 release but held until 1995, this amazing laser
disc boxed set is still the best home video presentation of Judy’s MGM years.
The set featured three films: The Harvey Girls; The Pirate; and Summer Stock,
but the real icing on the cake were the extras. Not only were there previously
unseen shorts (including the recently discovered Bubbles from 1930 - that’s
the reason for the set’s delay) but there were hours upon hours of alternate
audio. The alternate audio tracks featured the pre-recording sessions for the
three films listed above, plus most of Judy’s other films for the studio. A real
treasure! For more information, click here to see The Judy Garland Online
Discography’s page for complete details about the set.
continued

All three of the That’s Entertainment! films received the boxed set
treatment in 1995 on laser disc, VHS and CD. The laser set featured all
three films plus an extra disc with even more numbers, including the stereo
versions of “Do The La Conga” (Strike Up The Band - 1940); “Bombshell
From Brazil” (Babes on Broadway - 1941); and stereo excerpts from The
Wizard of Oz (1939). Alternate audio tracks featured recording sessions
from many MGM musicals including Judy’s 1936 short Every Sunday.
Click here for complete details at The Judy Garland Online Discography.
The 6-CD boxed set from Rhino Records was similar in content to the laser
disc set in that it featured the complete soundtracks to all three films plus
a disc of extras. Many tracks were remixed into stereo from the surviving
recording session’s multiple “angles.” The set was reissued in 2006 with
previously unreleased performances including the complete outtake of
Judy’s “Buds Won’t Bud” from Andy Hardy Meets Debutante (1940).
Click here for complete details at The Judy Garland Online Discography.
Click here for complete details about the 2006 reissue.
continued

The 1990s and part of the 2000s were the heyday of CDs. In 1995 alone
no less than thirty CD releases of varying quality were released. The
CDs shown here are the more notable releases of 1995
(excepting the Rhino CDs featured on the following
pages).
Capitol Records’ “Judy Garland - 25th Anniversary
Retrospective” marked the 25th anniversary of Judy’s
death by bringing together a variety of Judy’s recordings
on one CD covering 1938 to 1965 and included
soundtrack, studio, and live performances.
“Spotlight on Judy Garland” is another Capitol
compilation, this time part of their “Great Ladies of
Song” series. The single CD has a nice selection of Judy’s
studio recordings for the label.
The Laserlight label released two Christmas themed CDs: “Christmas
Through the Years” is a nice compilation of Decca, MGM Records, and
TV performances.
“The Judy Garland Christmas Album” is comprised
of the soundtrack of the Christmas episode of Judy’s
1963/64 TV series “The Judy Garland Show.”
Laserlight also released a 5-CD set aptly titled “The
Judy Garland Show” that features a wide variety of
performances from Judy’s TV series.
Judy’s daughter Lorna Luft took the lead from Natalie
Cole’s hit “duet” of “Unforgettable” with her father, Nat
“King” Cole, and released an extended CD single of her
singing a “duet” with Judy’s Decca recording of “Have
Yourself A Merry Little Christmas.”
continued

Rhino Records released six CDs and three
CD sets of Judy’s MGM soundtracks in 1995.
These were newly restored, expanded CDs
featuring lavish booklets with great information
and photos. All featured previously unreleased
recordings, many in stereo for the first time.
They were a soundtrack collector’s dream come
true.
To promote the new series, the label put out a
promotional CD housed in a faux jewelry box
titled “Hollywood’s Most Precious Jewels.”
The accompanying booklet stated: From grand
musicals to sweeping epics to heart-pounding
suspense, the Turner Entertainment Company’s
library of
classic films
from the
M-G-M, RKO,
and Warner
Bros. studios
encompasses
the most
important and
beloved films
in Hollywood’s
history.
Now, the
soundtracks
to those landmark films are being released
through Turner Classic Movies Music
and Rhino Movie Music.
The label wasn’t kidding. In 1994,
Rhino provided CD soundtracks for
the MGM/UA special edition laser disc
releases of Meet Me In St. Louis and
Ziegfeld Follies. Those CDs were the
last official MGM Records soundtracks ever
released. Each disc carried the MGM logo,
not the Rhino Records logo, and had different
disc art than when released as part of the new
CD series on April 25, 1995. Easter Parade
was released on May 23rd; The Wizard of Oz
2-CD “Deluxe Edition” followed on July 18th;
the 4-CD set “Mickey & Judy: The Judy
Garland & Mickey Rooney Collection”
and the single CD “songs only” The Wizard
of Oz were both released on September 19th;
and finally the 6-CD boxed set of the That’s
Entertainment! films was released on October
24th (see page 18).
continued

The single CD “songs
only” The Wizard
of Oz released on
September 19th;
Easter Parade
released on May 23rd;
The Wizard of Oz
2-CD “Deluxe Edition”
released on July 18th.
continued

“Mickey & Judy: The Judy Garland & Mickey Rooney Collection”
4-CD set released on September 19, 1995

In addition to these wonderful lobby cards quite a lot of Judy Garland memorabilia was auctioned off in 2015 ranging
from the mundane to the fabulous. The following pages highlight these auctions.
In addition to these wonderful lobby cards quite a lot of Judy Garland memorabilia was auctioned off in 2015 ranging
from the mundane to the fabulous. The following pages highlight these auctions.
AUCTIONS

AUCTIONS - JULIEN’S JUNE 26 & 27
What’s left of Judy’s gorgeous white gown from The Harvey Girls
went up for auction last summer. According to Julien’s, the gown had
gone through several alterations after being worn by Judy in the film.
Obviously! Valued at two to four thousand, it sold for $10,240.00.
(Left) - This March 31, 1964 signed check accompanied
with a certificate of authenticity from Judy’s son Joe Luft
sold for $1,152.00.
continued

AUCTIONS - JULIEN’S JUNE 26 & 27
The painting on the left was supposedly “commissioned for the Streisand museum in San Francisco.” It sold for $1,600.00.
continued

AUCTIONS - BONHAM’S JULY 20
In conjunction with Turner Classic Movies, Bonham’s held a movie poster
auction that included these two Garland films. Above: A beautiful 1946
Belgian poster for The Wizard of Oz (unsold). Right: A 1950s Finnish poster
for A Star Is Born (sold for $312.00)
continued

AUCTIONS - BONHAM’S NOVEMBER 23
Bonham’s partnered with Turner Classic Movies to again provide
a fantastic auction filled with film memorabilia treasures of all
kinds.
The big item of the auction was this rare screen-used Dorothy
dress from The Wizard of Oz (1939).
Catalog description: Comprising a blue and white gingham
pinafore with a fitted bodice and a full skirt, two mother-of-pearl
buttons on the front and two on the back, with a hook-and-eye
closure at the back, bearing a bias label inscribed in script, “Judy
Garland,” and a short cream-colored cotton blouse with a high
neck, pale blue rickrack trim at the cuffs and neck, hook-and-eye
and snap closure at the back, reinforced shoulders, and a bias
label inscribed, “Judy Garland/4461.”
Provenance: Christie’s New York, Collectibles, September
30-October 1, 1981, lot 742, accompanied by a copy of the catalog.
This blouse and pinafore were retained by Kent Warner, the
costume collector employed by David Weisz Co. to help organize
the 1970 MGM Auction who subsequently cherry-picked many of
the best pieces for himself. He also took home a pair of the Ruby
Slippers which were sold in the same 1981 Christie’s auction
and subsequently resold in 2012 to the Academy of Motion
Picture Arts and Sciences. One of the very few complete Dorothy
costumes still in existence, and a true icon of classic Hollywood.
continued

Judy’s costume as “Hannah Brown” in the “It Only Happens When I Dance With You” number and sequence
from Easter Parade sold for $10,625.00.
Catalog description: Crepe evening gown with a pink v-neck bodice with ruched shoulders and faux-
pearl embroidery at the waist, with gathered panels of pink crepe extending over a long orange skirt.
The dress bears a green-lettered Metro-Goldwyn-Mayer label inscribed, “Ex. 3,” a bias label with the
typed inscription, “1418-4791 J. Garland,” and an MGM cleaning tag. Accompanied by a copy of the film.
Garland, playing Hannah Brown, wears this dress when Don Hewes (Fred Astaire) invites her to his
apartment for dinner and she sings “It Only Happens When I Dance with You.”
continued

Lucille Bremer’s “Rose” costume from Meet Me In St. Louis sold for $1,375.00.
Catalog description: Edwardian style dress with a high-necked yellow top with ribbon stripes on the
neck, bodice, and sleeves and a cluster of yellow silk flowers sewn to the neck with a black velvet
waistband and a long green tiered skirt with a cluster of green velvet bows in the back, bearing a bias
label inscribed in black ink, “Lucille Bremer 7607-1317.” Accompanied by a still from the film. Bremer
plays Rose Smith, the older sister of Esther Smith (Judy Garland), in this musical about a family living
in St. Louis at the time of the 1904 World’s Fair. Bremer wears this dress under her winter coat in the
scene in which the family builds snowmen. Provenance: Julien’s Auctions, Icons & Idols, November 9,
2012, lot 688.
continued

Munchkin soldier costume, wall torch, and promotional brochure from The Wizard of Oz.
Catalog descriptions:
Munchkin soldier: Green, yellow and beige felt jacket with puffed sleeves,
woven metal trim, and tails. Bearing a label inscribed in black ink, “Bill
Giblin length 47 Chest 30.” Accompanied by a copy of the film. Provenance:
Purchased by the consignor at the 1970 MGM
auction and/or tag sale. Sold for $12,500.00.
Torch: Wall-mounted torch with detachable
basket. These torches are visible on the walls
in the Wicked Witch’s castle in The Wizard of
Oz, as well as in scenes in Ben-Hur (1959).
Accompanied by copies of both films. Length:
approximately 50 in. Sold for $16,250.00.
Brochure: Entitled That Wonderful Wizard
of Oz!, issued by W.R. Ferguson, Manager of
Exploitation, September, 1939, as part of the
M-G-M Bi-Weekly Co-operative Campaign
Service, 4 pp, folding out into a poster. This
brochure, sent to movie theater owners after the film’s release,
describes MGM’s many initiatives to promote The Wizard of Oz, including a van touring the
country with ponies and a carriage from the film and children dressed as the lead characters,
which will “set off from the theater, visiting patients convalescing in hospitals, shut-ins, etc.,”
which they believe to have “Great local tie-up and merchandising angles!” It also includes
many photos of displays at theaters and department stores and press coverage, and an
Acknowledgments section thanking theater owners who made a special effort to promote the
film. The brochure closes, “Great Work, M-G-M Showmen! / Now-- Send Us Your Exploitation
/ Campaigns on ‘The Women’!” An extremely rare piece of ephemera relating to The Wizard of
Oz. Provenance: Preston Opportunities, MGM Treasure Auction, October 13, 2012, lot 384. 14
x 17 in.; folded out: 28 x 34 in. Sold for $3,125.oo.
continued

A Star is Born items: Costume sketch, George Cukor’s
script, and note from Ira Gershwin.
Catalog descriptions: Script: Mimeographed manuscript,
screenplay by Moss Hart, 110 pp, October 7, 1953, housed in
yellow Warner Bros. wrappers, bound in tan calfskin cover with
“George Cukor” stamped in gilt on the cover. Two pages annotated
in red pencil, and song titles inscribed in ink by Cukor to page 54
(“Born in a Trunk”) and page 59 (“Here’s What I’m Here For”).
Together with a black and white photograph of Cukor directing
Judy Garland in Star is Born, matted and framed. Director Cukor’s
personal copy of the
script of his first color
musical, starring Judy
Garland as a rising star
in love with a fading
matinee idol (James
Mason). Sold for $5,000.00
Costume sketch: Gouache and pencil on
illustration on board, inscribed in pencil at upper
left, “Judy Garland- Star is Born- / scene 55.”
Depicting Garland dressed in a long skirt and
shawl. Garland famously had Nyberg fired from A
Star is Born and replaced with Jean Louis, as she
felt that Nyberg’s costumes were not sufficiently
flattering to her figure. Sold for $400.00
Note: [Part of set of
books including] Lyrics
on Several Occasions
(NY: 1959), inscribed
with a sketch by Ira
Gershwin, with a
handwritten note signed
by Irving Berlin, gifting
the book to Cukor. Sold
for $5,250.00
continued

Letter to Judy from Bing Crosby. Sold for $2,750.00
Catalog description: Typed letter signed (“Bing”) on Crosby’s stationery, 1 p, Pebble Beach,
California, October 11, 1954, inscribed in red pencil “File J G Personal.” Crosby writes to thank
Garland for speaking well of him during an NBC radio program. He apologizes for having heard
it after its initial broadcast, joking that he missed the show because “it was at 3 p.m. on a Sunday
afternoon, and you know where I am likely to be at that time on that day – generally somewhere
around the 11th hole, trying to convert a high faded tee shot into a par 4.” Crosby was a well-known
golf obsessive, starting his own tournament in 1937.
Crosby is referencing the “Bing Crosby 20th Anniversary Tribute” show that aired on NBC Radio
on September 24, 1954. Judy sang “Swingin’ On A Star.” It’s notable as it was Judy’s last real
radio program. After this, Judy’s radio appearances would be comprised of basic interviews and
performances lifted from various recordings. The television age had taken over.
continued

AUCTIONS - BONHAM’S DECEMBER 10
Bonham’s had a small (for them) “Entertainment” auction on December 10. A
“Dorothy” blouse and a set of seven (two shown here) British lobby cards were the
only Garland items among the lots. Neither lot sold, although it’s not divulged
whether the items were withdrawn or simply did not meet the set reserve price.
continued

AUCTIONS - JULIEN’S DECEMBER 16
Julien’s auctioned off several personal items of Judy’s, including two clothing
items and some music sheets. The following are the catalog descriptions and
sale prices.
Top right: A check written by Judy Garland to her hair stylist, Orval Paine, for
$745.00. The check is dated March 16, 1964, has notations inscribed to the verso,
and was gifted from Sid Luft. Sold for $640.00
Bottom right: A musical arrangement for the song “Never Will I Marry”
and marked at the upper left “Judy Garland.” The undated arrangement is
handwritten in an unknown hand, three-hole punch bound with string, stamped
on the back with the title of the song and marked in an unknown hand “Never
Will I Marry (reconstructed).” Sold for $768.00
Below: A Judy Garland signed check dated December 31, 1963, in the amount of
$175.03 paid to Schwab’s Pharmacy, drawn from a City National Bank of Beverly
Hills account. Housed in a frame with a black and white image of Garland. Gifted
to the consignor from Sid Luft. Sold for $896.00

AUCTIONS - JULIEN’S DECEMBER 16
Below: A Judy Garland stage worn hat. The Worth & Worth hat was worn by Garland during her 1967
show at the Palace Theatre in New York City in a performance with her children, Joe and Lorna Luft,
of the song “Me and My Shadow.” The hat band is stamped “Haentze Theatrical Hat Co. Philadelphia.”
Size 6 3/4. A link to an online image is available upon request. Sold for $1,280.00.
Top right: A pair of Judy Garland’s high heeled pumps made by Salvatore Ferragamo, in gold fabric,
size 6 1/2. Provenance Lot 113O, “Judy Garland Treasured Memorabilia and Art,” C.B. Charles
Galleries, Beverly Hills, November 27, 1978. Sold for $1,600.00.
Below right: A group of six lyric sheets used by Judy Garland. The first is for the song “Who Are You
Now?” with handwritten notations at the top, including “CBS solo,” and other handwritten notations
within the score. The second is “You’ll Never Walk Alone.” The third is “When Your Lover Has Gone”;
handwritten at the top of the sheet is
“Judy Garland.” The fourth is also
marked “Judy Garland” at the top of
the first page; the sheet is “I Love You”
by Cole Porter. The fifth is the lyric
sheet for “Here’s What I’m Here For.”
The sixth and final sheet is for the
song “Love of My Life,” marked “Judy
Garland show” at the top of the first
page. Gifted to the consignor from Sid
Luft. Sold for $1,024.00.

MEDIA

BLU-RAY & DVD
The only major Blu-ray release of the year
was the November 24, 2015 release by Kino
Video of A Child Is Waiting, Judy’s 1963
drama co-starring Burt Lancaster. The
new HD transfer allows the film to sparkle
like never before and includes an audio
commentary by Tom Charity, author of “John
Cassavetes: Lifeworks.” It’s not one of Judy’s
most well known roles but it’s another of her
great performances. This was Judy’s last
dramatic film.
Judy is featured heavily in the That’s
Entertainment! films and she steals the show with
her “(Dear Mr. Gable) You Made Me Love You” in
her first MGM feature film, Broadway Melody of
1938 (1937).
Warner Home Video continued their budget
re-releases of catalog DVDs (minus any second
“extras” discs) with these two boxed sets, both
released on December 1, 2105.
continued

TRACK LISTING:
Bill (O. Hammerstein II/J. Kern)
Medley: On The Good Ship Lollipop (S. Clare/R.A. Whiting)/The Object Of My Affection (J.
Greer/C.H. Poe/P. Tomlin)/Dinah (S.M. Lewis/J. Young/H. Akst)
Broadway Rhythm (A. Freed/N.H. Brown)
Franklin D. Roosevelt Jones (H.J. Rome)
Comes Love (S.H. Stept/C. Tobias/L. Brown)
Minnie From Trinidad (R. Edens)
Over The Rainbow ( Y. Harburg/H. Arlen)
On The Sunny Side Of The Street (D. Fields/J. McHugh)
Zing! Went The Strings Of My Heart (J. Hanley)
The Boy Next Door (H. Martin/R. Blane)
Speak Low (O. Nash/K. Weill)
The Trolley Song (H. Martin/R. Blane)
Long Ago (And Far Away) (I. Gershwin/J. Kern)
I May Be Wrong (But I Think You’re Wonderful) (H.Ruskin/H. Sullivan)
I’ve Got The Sun In The Morning (I. Berlin)
(I’m In Love With) A Wonderful Guy (O. Hammerstein II/R. Rodgers)
Mean To Me (R. Turk/F.E. Ahlert)
My Ship (Has Sails That Are Made of Silk) (I. Gershwin/K. Weill)
Look For The Silver Lining (B.G. De Sylva/J. Kern)
Who? (O. Harbach/O. Hammerstein II/J. Kern)
The Man That Got Away (I. Gershwin/H. Arlen)
The Land Of Let’s Pretend (G. Clarke/H. Akst)
BONUS TRACKS:
On Revival Day (A. Razaf)*
Goody Goodbye (J. Cavanaugh/N. Simon)
Ding, Dong, The Witch is Dead (E. Y. Harburg/H. Arlen)*
Over The Rainbow (E. Y. Harburg/H. Arlen)*
The Stars And Stripes Forever (J.P. Sousa)*
*First time on CD
Audio Restoration and Remastering by Peter Rynston of Tall Order Mastering and John
H. Haley of Harmony Restorations LLC, except tracks 1, 2, 22, 23, 24, 25, 26, 27 by John
H. Haley alone. Tracks 1, 2, and 22 are used with the kind permission of DOREMI/
HALLOW
Judy Garland: The Best of Lost Tracks 1929-1959
November 20, 2105 from JSP Records
This highlights CD is all newly remastered – all the featured
tracks sound better than ever before, as do the new-to-CD bonus
tracks. The tracks sound great and the line-up makes for an en-
joyably unique listening experience.
Purchase this new CD here.
You can still purchase the original 2010 4-CD “Lost Tracks”
set here.
CD
continued

UME (Universal Music Enterprises) partnered with Hits Magazine to release new limited edition vinyl-only re-releases of
three of Judy’s classic Capitol Records LPs. Released on 180-gram vinyl, these are the first Judy Garland vinyl records to be
released in years.
There was a limited vinyl release in 2013. On April 19, 2013 Watertower Music re-released the out-of-print Rhino Records
version of the soundtrack to The Wizard of Oz on green vinyl but that was a limited edition version only available in stores on
“Record Store Day.” That vinyl release, minus the green colored vinyl, was made available on Amazon on October 16, 2015.
Excepting the fact that the audio has been remastered, these three new releases are exact duplicates of the original LPs in the
song line-up and cover & back cover artwork. Yes, that means that the Palladium double LP kicks off with “The Man That Got
Away” after the “Overture” just as it did on the original album.
Miss Show Business
October 2, 2015
Originally released in 1955
New liner notes by Lorna Luft
Judy at Carnegie Hall
October 2, 2015
New liner notes by Terrence McNally
Judy Garland and Liza Minnelli “Live”
at the London Palladium
September 25, 2015,
New liner notes by Liza Minnelli
JUDY RETURNS TO VINYL!
continued

DIGITAL
The Warner Bros. “Archive Collection” series continued reissuing copies of out-of-print Rhino Records
CDs with this October 16, 2015 digital-only re-release of the 1995 Rhino 2-CD “Deluxe Edition” of The
Wizard of Oz soundtrack.
Unfortunately, being a copy of the Rhino set, the all-mono soundtrack still has that very low fidelity. Plus,
that loud “where” in the second chorus of “Over the Rainbow” is still there, a flaw in the remastering that
now goes back 20 years. One would think it would have been fixed by now. This soundtrack practically
begs for a remastering. The iTunes download comes with a very low resolution PDF booklet copy of
the original print booklet that accompanied the CD set in 1995 but with different cover and back cover
artwork reflecting the new label’s theme. The cover art (see here) is the same design as the 2013 green
vinyl release. That vinyl release was made available on Amazon on October 16, 2015 minus the green
colored vinyl.
2015 saw the first ever HD release of a Garland album with the August 7, 2105 release of Judy’s first album for Capitol
Records, 1955’s “Miss Show Business.” The HD version was mastered by Robert Vosgien, Senior Mastering Engineer at
Capitol Studios and it sounds great. That old sounding “flat” mono is gone. This is a “must have” for sure!
Click here to purchase and download this HD version.
Click here to read the ARSC review of the release by Lawrence Schulman.
This review includes lots of great information about the release and the HD remastering.
Check out all of Watertower’s Warner Archive
releases here.

INTERVIEWS
RICK SMITH ... Page 42
STEVIE PHILLIPS ... Page 47
DARREN STEWART-JONES ... Page 51

INTERVIEW WITH RICK SMITH
Rick Smith is a long-time record collector. He has stated about his “Lose That
Long Face” lacquer featuring Judy Garland and Monette Moore that “These
acetates are the kind made of an aluminum core with a durable black lacquer
coating, not the ones made of soft wax or brittle shellac. I’m a longtime collector
of 78 rpm records, and I know how to care for them… As far as I know, these
Warner Bros. acetates are the only pre-recordings from “Star” to have survived.
So it’s very fortunate that this different version of that number happened to be
one of the survivors… I still find it hard to believe what I’ve found and that I
get to play a part in its rediscovery. Thanks again for helping to get this music
to people who will appreciate and enjoy it… The release of the Decca tests on
CD was big news for anyone who loves classic musicals, and especially for Judy
Garland’s many fans. The fascinating story of how those recordings were found
is amazingly similar to how I acquired these acetates from A Star Is Born.
When I read the liner notes in the set I bought, I would never have imagined
history could repeat itself like this — much less with me playing a role in their
rediscovery.”
Read the press release about the upcoming “Judy Garland Sings Harold Arlen”
CD featuring this rare recording – with the complete track listing – here.
The Judy Room: When did you acquire the “Lose That Long Face” lacquer?
Could you describe the circumstances how you acquired it?
Rick Smith: In early 2014 I made contact with a lady in California whose
grandmother had bought Judy’s house on Rockingham Drive in the 1960’s. Judy
had left what the granddaughter called “a lot of junk” in the attic, where it sat
for decades. The family didn’t get around to clearing out the attic until about
10 years ago. They sold what they could, kept a few souvenirs for themselves,
and threw away the rest. Then about 3 years ago they found a few other items,
including this group of records. The lady said they were big, black records of
Judy singing, but she didn’t know anything about them because they had no
labels. She thought they might have been privately recorded, but she wasn’t
sure. I hesitated to buy them, but I decided that even if the music was nothing
special, this was something that had belonged to Judy. She held it in her hands
and thought it was important enough to keep in her home. It would be a tangible
connection to my favorite entertainer, and that alone would be enough to make
it worth the amount the owner was asking. So I took a deep breath and placed a
large bid, which narrowly won the auction.
JR: When you listened to the record for the first time, did you immediately
realize you had a collector’s item?
RS: When the records arrived, I
immediately recognized that they
were film studio acetates, like the
practice record Judy plays at the
beginning of the “Someone At Last”
number. I expected they would be
the same songs I’d been listening to
for years on the Columbia Records
soundtrack album. The first record
I played had Judy’s soliloquy at the
beginning of “Born In A Trunk,” and
the other side was the first portion
of that same sequence. Again, this
music was already quite familiar
to me. The next record I played was “Lose That Long Face,” and sounded the
same as the soundtrack. Then, about halfway through the song, I heard Judy
singing lyrics I’d never heard before! I like to think I’m something of an expert
about her studio recordings, and this was brand new to me. I turned and stared
at my turntable as a chill went down my spine and my heart started pounding.
I couldn’t believe what I was hearing, so I played it again and again while
listening closely. There was absolutely no doubt I’d stumbled onto something
very special.
JR: How did you learn about the historic importance of the lacquer?
RS: I wanted to educate myself by getting as much information about this
Originally published on December 14, 2015
by JudyGarlandNews.com continued

song as possible. I checked the indexes of all my books about Judy, then I did
an online search for anything I could learn. The first thing I found was Scott
Brogan’s excellent review of the Blu-ray issue of “A Star Is Born,” and that
gave me exactly the information I was looking for. I scrolled down to read what
he’d written about the disc of extra material, and that explained everything.
He wrote, among a number of other things, about some silent footage of an
early version of “Lose That Long Face” on this disc: “We get a peek at the early
version, for which the audio doesn’t survive…” When I saw this, I shouted at my
computer, “Yes it does, and I’ve got it!”
JR: Did you ever consider contacting Warner Bros. about your discovery?
RS: Yes, that was one possibility I considered. I thought about that disc of extra
material with a brief clip of that early version. I thought about how wonderful it
would be if my track could be matched to that silent film. Then we’d have a new
Technicolor production number from Judy’s greatest film. Perhaps that could’ve
been included in updated Blu-ray reissue, and how wonderful that could be! But
my daydream came to a screeching halt when I remembered reading about how
some studios have confiscated rare material from collectors in the past, usually
prints of film that the studios no longer have. If something like that happened,
this amazing music might disappear into the studio’s archives, and never see the
light of day again. I wanted this music to be shared with the people who would
appreciate it, and not to be lost all over again. There was no way I was going to
let that happen, so I decided to look for another way to share my discovery. Sixty
years in hibernation were long enough, and I wanted to make this music public.
JR: “Lose That Long Face” is a perfect fit for Judy Garland Sings Harold Arlen.
How did that come about?
RS: After I had a fuller understanding of what I had and how important this
music was, the next step was to find the best way to share it with the people
who would enjoy it as much as I did. I feel it’s wrong for people who own rare
material to keep it to themselves, or use it to impress their friends without
considering how much it would be appreciated if they shared it with the public.
My first thought was to contact Ron Haver, but I knew he was no longer living,
so I wasn’t sure what to do. Then I remembered Scott Brogan’s wonderful
website, “The Judy Room,” which I’ve enjoyed for years. I knew the site had a
Facebook page, so I contacted him in his capacity as its webmaster. I sent him a
private message, telling him about my discovery and gave him my email address.
We began corresponding last summer, and he put me in touch with Larry
Schulman, who had produced the CD set with the Decca tests. I already had this
set in my own collection, so I knew I was in good hands. When he told me about
his plans to issue a set of Judy’s performances of Harold Arlen songs, I felt this
was the perfect vehicle for my discovery to be shared.
JR: Do you have other Garland items that might be rare?
CLICK HERE or on the image above to watch the teaser video for the upcoming
“Judy Garland Sings Harold Arlen” 2-CD set that includes a clip of the previously
lost extended version of “Lose that Long Face” from A Star Is Born.
continued

RS: I have a few other rare Garland recordings, including a radio program of
Judy performing with Danny Kaye and Lauritz Melchior which I believe has not
been heard since it was recorded during WW2. It’s a funny skit with songs about
wartime inconveniences, and I hope it can eventually, be made available to the
public. Last year I acquired an interesting item that had been in the personal
collection of Hugh Martin. It was a recording of “Boys and Girls Like You and
Me” that was recorded at MGM in December 1943 for Judy’s film “Meet Me In
St. Louis,” but cut from the final release print. It’s somewhat different from the
Decca recording, and as far as I know it’s never been available to the public.
I also have a couple of other studio acetates from “A Star Is Born” from the
group of records my discovery came from. They’re different parts of “Born In A
Trunk,” and basically the same as what’s in the Columbia Records soundtrack
album. But they begin with Ray Heindorf shouting “One, two!” before the
orchestra begins playing, which is fun to hear. They also include a series of
clicks that serve as a cue for Judy, signaling a change in the music’s tempo.
JR: You are surely aware of
Cynthia Meader, who owns
Garland’s 1935 Decca tests, and
how her name has now become
part of the history of them. With
the release of the “Lose That Long
Face” lacquer, your name too
becomes part of its history. How
do you feel about that?
RS: Me, a part of history? That’s
hard for me to imagine, but then
I still can’t believe I was the one
who made this amazing discovery.
I’m honored to play a part in
getting it released, and I like
to think of it as a present from
Judy to a very dedicated fan.
I’m glad this wonderful music is being heard at last by her other fans, and by
everyone who appreciates classic musicals from Hollywood’s “Golden Age.” By
my standards, this is one of the biggest things that ever happened to me, and I
couldn’t be happier to have participated in the release of this set.
JR: You are clearly passionate about Judy Garland. What do you like about her?
Did you ever see her in concert?
RS: I was only 10 years old when Judy’s spirit moved on, so I never got to
see her in concert. My first exposure to Judy came when “The Wizard of Oz”
was shown every year on television in the 1960’s. My first-grade class play
was “Oz,” and I played the part of the talking apple tree, so that was an early
connection. I wanted the part of the Wicked Witch of the East but lost interest
when I learned I wouldn’t get to wear red and white striped stockings! I gained
a greater appreciation of her artistry as an adult. As a gay man, I can identify
with Dorothy Gale’s dissatisfaction with her drab surroundings, and wishing for
a safe, happy place “where there isn’t any trouble.” I especially admire Judy’s
strength and resilience because
she never stopped trying to be
happy, and at the same time she
allowed us to see her vulnerability.
She was down many times in her
life, but never out.
JR: You are a longtime collector
of 78 rpm records. How did this
passion begin? And what kind of
records do you collect? How large
is the collection?
RS: I can’t remember a time
when I didn’t love records! I
started collecting them before I
was old enough to go to school,
and I always had a record player.
Details of the lacquer playback disc for “Lose That Long Face”
continued

I would estimate I have about 4,000 records in my collection, including lots of
45’s and LP albums. But my chief interest is collecting 78 rpm records, with about
2,000 of them at present. I have several areas I particularly enjoy collecting,
such as the Spoken Word category, including speeches by famous people, comedy
routines, and advertising records. I have a special passion for records with
speeches by royalty, with about 70 of these rare discs in my collection. I also have
a number of Edison cylinders, but I don’t have a machine to play them on. These
players are especially temperamental and have many parts; working machines are
very expensive. A special area I have a passion for is “Personality” 78s; recordings
by famous people who didn’t usually make a lot of recordings. I have records
by famous songwriters like Irving Berlin, Cole Porter, Harold Arlen, George M.
Cohan, and George Gershwin, performing their own compositions. These records
are very few in number, and incredibly scarce. I have 78s by actors like Walter
Pidgeon, Pola Negri, Rudolph Valentino, Sophie Tucker, Mae West, and a few
Broadway stars. Fred Astaire is another favorite subject, along with Fanny Brice
and even Marlon Brando. And then there are my Judy Garland records, which are
among my proudest possessions.
JR: How long have you been collecting Judy Garland records? Please describe
your Garland collection.
RS: My first Garland records were LPs like “Judy at Carnegie Hall,” the double
albums of her Decca recordings from the 1930’s and 40’s, and reissues of songs
from her MGM films. I enjoyed them so much I started buying every Garland
record I could find, with the goal of collecting everything she ever recorded. And
then there are my Judy Garland 78’s. Earlier this year I completed a project I’ve
been working on for about 35 years, which was to acquire at least one copy of
each of Judy’s 78 rpm records. There were over 100 of them, including albums
with 3 to 5 records in them, plus foreign pressings of her American recordings.
One by one, I started buying them whenever I could find them and quickly
acquired the more common Decca 78s. Then I worked on the rarer items like “I’m
Just Wild About Harry,” which was never released in the US; only in England. I
found a usable copy of her only V-Disc, “I May Be Wrong,” and the pair of singles
she recorded for Columbia Records in 1953. Her Decca recording of “I Wish I
Judy and Harold Arlen, October 15, 1967
Click here to check out The Judy Room’s Extensive Spotlight
on A Star Is Born.
continued

Were In Love Again” was especially difficult to locate, but I managed to track
down a nice copy about 6 months ago. It was a happy day when I finally found
the last 78 that had been hiding from me; the UK pressing of a Capitol Records
disc, “Just Imagine,” which I bought from a gentleman in Wales. I was relieved
when it survived the transatlantic trip intact and had withstood the tender care
of the USPS. Like all 78 rpm collectors, I’ve received my share of broken records
due to mishandling and poor packing. It’s always a disappointment when that
happens, but it goes with the territory. But fortunately, not this time.
JR: Besides your interest in Garland and collecting, tell us about yourself.
RS: There’s really not much to tell. My family moved around a lot while I was
growing up; I was born in California and lived in several towns in Ohio, mostly
in Newark. I’ve lived all my adult life in Atlanta, which is a wonderful place
and I love it here. During my working years I was a pharmacy technician and
foreign language interpreter, but now I’m enjoying retirement. In addition to
record collecting, I enjoy surfing the Internet and I have fun collecting paper
money from around the world, and films on home video. I’m single for now, and
I live in a tall apartment building with my feline companion, “Cleocatra.” I was
privileged to serve two terms as Secretary of my building’s Resident Association,
and when our President became incapacitated, I was appointed Acting President
for the remainder of her term. I feel it’s important that we give something
of ourselves for the benefit of others, and I enjoyed serving my community.
I’ll continue to enjoy listening to Judy’s recordings, watching her films and
television performances, and reading books about her as they’re written. And
why? There’s something about her that I can’t put into words, so I’ll leave that to
people who are more eloquent and better informed than me. In the meantime,
I’m putting another Garland record on my turntable, and I’ll dream of a place
“where there isn’t any trouble.” Thanks for reading, and best wishes.
© 2015 Scott Brogan, The Judy Room & Judy Garland News & Events
Read the press release about the upcoming “Judy Garland Sings Harold Arlen”
CD featuring this rare recording – with the complete track listing – here.
Click here to check out The Judy Garland Online Discography’s Page on “Judy
Garland Sings Harold Arlen.”

INTERVIEW WITH STEVIE PHILLIPS
Stevie Phillips’ new book, “Judy & Liza & Robert & Freddie & David &
Sue & Me…: A Memoir” has caused quite a stir in Garfandom and become
somewhat controversial. Here at The Judy Room and Judy Garland News
& Events, we like to hear from everyone, including those who’s opinions or
viewpoints might not be “popular.” Everyone has a story, and everyone should
have a chance to give their side of their story. We’re happy to give Ms. Phillips
a chance to answer some questions and address some of the controversies
surrounding her new book. Thank you Ms. Phillips!
Stevie Phillips began working for Freddie Fields and David Begelman at
Music Corporation of America (MCA) under the glare of legendary über-agent
Lew Wasserman. When MCA blew apart, Fields and Begelman created Creative
Management Associates (CMA), now International Creative Management,
and Phillips went along, becoming head of the theater and the motion picture
department. Fields convinced Judy Garland to come on board, and Phillips
became, as she puts it, “Garland’s shadow,” putting out fires — figurative and
literal — in order to get her to the next concert in the next down-and-out town.
In her new tough-talking memoir, “Judy & Liza & Robert & Freddie & David &
Sue & Me..: A Memoir” (St. Martin’s Press, 2015), Phillips paints a portrait of a
Garland that was at times a nightmare. Phillips says, “She became my teacher,”
showing her “how to” and “how not to” live. As an agent, Phillips represented
Garland’s fiercely talented daughter, Liza Minnelli, as well as Robert Redford,
Paul Newman, Henry Fonda, George Roy Hill, Bob Fosse, Cat Stevens, and
David Bowie. She produced multiple award-winning Broadway shows – among
them, Doonesbury, Loose Ends, The Best Little Whorehouse in Texas, and Open
Admissions – and film productions, and counted her colleague, the legendary
agent Sue Mengers, among her closest confidantes. She lives in New York City.
The Judy Room: Your memoir describes painful personal memories of Judy
Garland, but also shows great respect for her work. Overall, which weighs more:
her memory or her talent?
Stevie Phillips: I wrote a chapter in the book entitled “Sometimes”. It’s still
the word that best sums up my feelings. Sometimes it’s the awful things that
happened that weigh most heavily, and sometimes I remember a voice that was
liquid magic, that could wrap itself around any note and engage your sympathy.
It’s never all one or the other.
JR: Why did you wait so long to publish your memoir?
SP: I started it over many times, and put it away often, sometime for years. First
it was going to be a screenplay, then a novel, and finally a memoir. And time has
a way of collapsing. Suddenly I’m 79 and I don’t know how I got here so fast.
JR: Are there things about Garland that, for whatever reason, you left out?
SP: I told about the things that impacted me. Yes, of course, I left things out
that were not a part of my growth, but they were mostly more of the same rather
than anything different.
Originally published on July 19, 2015
by JudyGarlandNews.com continued

JR: You were no longer personally involved
with her when she died, and you mention her
death after the fact. What was your reaction
when you learned she died?
SP: I was incredibly saddened but certainly
not surprised.
JR: Garland died broke. How is it possible
for a woman so rich in talent to have wound
up so poor after a 45-year career?
SP: She didn’t care about her money, and so
she didn’t take care of it. And then there were
the two awful men – David Begelman and Sid
Luft – that stole her money, spent her money,
and used her.
JR: Recently, there is a school of thought
which idolizes Garland and everything she did during her career. There is
another school which treats her as a human being, frailties and all. Where do
you stand?
SP: Clearly with the latter. She was not Dorothy Gale in real life. I tried to
humanize her.
JR: Fans have pooh-poohed your book for showing a negative side to Garland,
and for revealing intimate details, including sexual, that might better be left
unsaid. They even doubt the accuracy of your memories. What do you say to
them?
SP: They are entitled to believe what they wish, and if they’re comfortable
disliking the book and me, I’m okay with that. I told my own story, and I have
no regrets about that.
JR: Do you have anything nice to say about David Begelman or Sid Luft?
Not a thing.
JR: Nowadays stars take care of themselves. That is, they eat well, exercise, get
enough sleep. Why do you think Garland took such poor care of herself?
SP: Her addiction got in the way of her common sense and self concern.
JR: On a 1964 Jack Paar program, Garland said that “Things happen to me, or
I bring them on. I couldn’t care less.” In your opinion, did things happen to her,
or did she bring them on?
SP: Judy always had options. She made poor choices that contributed to terrible
results.
JR: Garland is often portrayed as a victim
– of her mother, Louis B. Meyer, husbands,
managers, the system. Is she at all to blame for
what happened to her?
SP: She was certainly victimized as a child
so far as I know. I wasn’t there. As a mature
adult, she always had the opportunity to grab
the reins and run her life. Either she wasn’t
capable (and I don’t believe that) or she chose
not to.
JR: Your memoir depicts a kind of permanent
anarchy as the norm in her life, a permanent
anarchy that she thrived on. In your opinion,
did she not grasp that this anarchy would be
her ruin? Or did she not care?
Begelman
continued

SP: It was both. There were times when I thought
she didn’t realize it and we talked about it, and it
was in those very moments she convinced me she
didn’t care.
JR: It has been stated that Garland’s short life
was a long suicide. Do you agree?
SP: I think the description is a little convenient,
but addiction is completely suicidal, in my
opinion. Having said that, I don’t think that she
wanted to die during the time I knew her. Had
that been her wish, she would not have called me
so often at three in the morning to come save her.
JR: You worked with Garland in the early 1960s,
when she was robust, and saw her for the last
time in 1967 at Liza’s wedding, where you state
you were shocked at how frail she had become.
It should be noted she looked healthy in 1967
compared to 1969, when she died. She seems to
have aged very quickly. Do you think she was
aware of her physical decline?
SP: Yes. She wasn’t stupid by any means.
JR: Composer John Meyer, who lived with
Garland in late 1968, has stated that when
Garland got up – usually in the afternoon –
her breakfast was vodka and Ritalin. Does this
surprise you?
SP: Yes. She had been told, when we were
together, that drinking high proof liquor would
kill her. Perhaps she had a hyper-extended
death wish toward the end.
JR: You saw Garland perform many times in
the early 1960s. Can you tell us what it was
like to see her on stage?
SP: It was magic. She could wring such
incredible meaning out of lyrics. I’ve never
again seen anyone capable of the same thing.
Her performances were deeply touching,
exciting, and delicious. So filled with the best
ingredients
.
JR: Your descriptions of Garland’s bloody
self-mutilations are shocking even to the most
hardened reader. In hindsight, would you say
there was self-hatred there, a desire to die, or
just a need to get attention?
SP: I’ve spent a hundred pages and 50 years
trying to understand it. When I first met her it
seemed like a great need to get attention, but
later on it had to have turned to something
more pitiful: wanting to die.
JR: You begin and end the memoir by talking
about Garland. Today, so many years after
her death, fans carry a passion for her that
is boundless. Why is it that she has haunted
your life, and that of others, to this day? Why
exactly was she so unforgettable?
March 3, 1967: Judy congratulates daughter Liza
Minnelli and her husband Peter Allen at their wedding.
continued

SP: I think because she was on screen the living incarnation of many of our
dreams. For a dreamer like me she was the epitome of all good things. I didn’t
want my dreams to decay. Who does?
JR: Do you think Garland was a strong woman?
SP: Absolutely not! To me, strong means wise, and self-protective.
JR: Garland thrived on chaos. Can one therefore conclude she had a happy life?
SP: Of course not. But there were many happy moments, and none of those
were chaotic.
JR: Christopher Finch, in his landmark 1975 biography of Garland, Rainbow,
writes about the end of her life as such: “Her behavior in this penultimate phase
of her life was so erratic that it’s easy to believe that her excesses […] may have
caused some kind of brain damage. We are no longer talking about someone
who is driven to bizarre behavior by the circumstances of her life; we are talking
about someone who at times was probably certifiably insane.” Do you agree?
SP: I wasn’t there at the very end. I’m glad of it. I couldn’t have watched it
without trying to change it, which had never been possible when I was there.
JR: By the way, have you ever drunk Liebfraumilch, Garland’s favorite white
wine?
SP: I have and I hated it.

Darren Stewart-Jones was made in
England and exported to Canada at a young
age. He is a longtime Judy Garland fan. His
original songs, At The Opera, Just Like Judy
and The Ballad of Judy Garland are available
on iTunes, as are his renditions of Santa
Baby and Let It Snow. His one-act play, The
Judy Monologues, is based entirely on
rare voice recordings made by Garland in
the mid-1960s. His short play, Ramblings
of a Middle Aged Drag Queen, is set in a
Toronto gay bar in the 1990s. Sherlock &
Watson: Behind Closed Doors imagines a gay
relationship between the famous detective
and his trusted sidekick. Darren is a member
of the Playwrights Guild of Canada. He is
also the Artistic Director of Gay Play Day, an
annual festival of LGBTQ theatre in Toronto,
Ontario.
The Judy Monologues is a one-act play based entirely upon rare voice
tapes recorded by Judy Garland in the mid-1960s for her never-written
autobiography. Conceived and directed by Darren Stewart-Jones, the original
production featured vintage film clips of Garland from MGM’s Till the Clouds
Roll By. The Judy Monologues premiered at Buddies in Bad Times Theatre
in Toronto, Ontario in September 2010 and subsequently played The Pearl
Company in Hamilton, Ontario. Performed by three male actors as a tribute
to Garland’s influence on the gay community, the original cast featured Philip
Cairns, Ryan Fisher and Darren Stewart-Jones. Nigel Gough (1982–2010)
was the understudy. A Garland lookalike, Kimberly Roberts, also appeared in
silent vignettes. An abridged version of the play was performed in London,
Ontario as part of the London One Act Festival in April, 2011. Philip Cairns
won Best Actor at the festival’s awards ceremony. The play also received two
additional awards – special mentions for the concept and the audio/visual
content. The Judy Monologues was performed at the 2012 Toronto Fringe
Festival. Michael Hughes replaced Ryan Fisher in his role. A revamped version
of The Judy Monologues was performed
at the 2013 Hamilton Fringe Festival as a
one-woman show, with Elley-Ray Hennessy
portraying Garland to rave reviews. The Judy
Monologues will be performed at the 2015
SpringWorks Festival in Stratford, Ontario.
Check out: thejudymonologues.blogspot.com
and the show’s Facebook Page
The Judy Room: The tapes Judy Garland
made in the hope of publishing a biography
are not always “the best of Judy Garland.” Do
you think they are an accurate depiction of
her?
Darren Stewart-Jones: I believe the tapes
are an accurate depiction of Garland at a
certain time in her life.
JR: Many admirers of Garland may not want to see her through tapes for which
she was not always sober or coherent. What do you say to those who might
criticize you for your choice of sources?
DS-J: We use what I believe are the best bits of the recordings. This piece of
theatre celebrates Garland. Audiences leave with a respect for her talent and
an insight into what it might be like to be one of the most famous people on the
planet and an understanding of the kind of stress that level of fame might have
on an individual.
JR: The double CD Judy Garland Speaks!, on which The Judy Monologues are
based, is a bootleg never meant for public consumption. Garland herself would
most certainly never have approved its public release. Did you have any moral
qualms in using source tapes meant to remain private?
DS-J: I would argue that the tapes were recorded as notes for a potential
INTERVIEW WITH DARREN STEWART-JONES
continued
Originally published on April 17, 2015
by JudyGarlandNews.com

autobiography, so she must
have expected that someone,
somewhere would hear them. The
fact that they exist as archives to
this day is fascinating to me.
JR: In his 2000 biography Get
Happy, Gerald Clarke, like you,
doesn’t wear rose-tinted glasses
in dealing with his subject. Do
you think that so many years after
her death, the public is entitled
to know everything about Judy
Garland? Or do you believe she
should be depicted in her best
light?
DS-J: I think many of us are
intrigued by celebrity. Personally, I enjoy biographies written about individuals
who reach the pinnacle of their chosen field as Judy obviously did. I am
interested in what makes someone like Garland so unique. What is behind the
genius and the talent?
JR: At your blog, you state that the play was written “as a tribute to Garland’s
influence on the gay community.” In a recent New York Times article by Robert
Leleux, he states that Judy’s influence on gays today is over. Is “Judyism” dead
or alive?
DS-J: The original version of the play was performed by three male actors
(including myself) in a gay theatre in Toronto, so in that sense it was a tribute.
I think gay men have always had a fascination with female Icons. I was born the
same month and year that Garland died, so she wasn’t exactly current when I
was growing up but I was immediately drawn to her talent and to her life story
when I discovered her. I believe all of the great performers continue to influence
future generations, gay or straight.
JR: On the source tapes, Judy depicts herself as a victim. She also states that
“being Judy Garland is quite a chore.” Do you think gays are victims? Do you
think being gay is a chore?
DS-J: I don’t consider myself as a victim or my sexuality as a chore. Life in
general is probably easier for straight people but I came out at a very young
age and luckily, have managed to surround myself with supportive individuals.
I am also a white male so I have never personally experienced race or gender
inequality.
JR: Do you think straight audiences can appreciate Judy Garland, and your
play?
DS-J: The audience members I most enjoy meeting are the ones who know
nothing about Judy other than that she was the girl in The Wizard of Oz. This
play is an educational experience for many who come to see it. Remember, the
monologues are interpolated with film footage of Garland from her Hollywood
heyday. Several audience members haven’t previously seen the clips we use nor
do they know anything about her
personal life prior to seeing the play.
JR: The play has been performed by
three male actors, and more recently
by a female actress. Do you prefer
males or a female to play Garland?
Why?
DS-J: The initial version of the
play (with three actors) was more
of a workshop. I was still trying to
figure out how to use the material
most effectively. I then had the good
fortune of meeting Elley-Ray (who
plays Judy) while working with her
on another project. She is one of
Toronto’s finest actresses. As a vocal
continued

coach, she is adept at mimicking people’s speech patterns and as an actress she
bares her soul as Garland. A local theatre critic called her “Garland reborn” in
his review of the play. You need to be at the top of your game to play Garland
convincingly.
JR: Did you see Peter Quilter’s End of the Rainbow with Tracie Bennett? If yes,
what did you think?
DS-J: I saw End of the Rainbow in the West End. I thought Tracie’s
performance was incredible. I really thought she was going to win the Tony
after being nominated for the Broadway run of the show. The year she was
nominated, the awards ceremony took place on the date of Judy’s birthday.
Unfortunately, she didn’t win but she’s a great performer nonetheless. I have
actually written a script for a musical about Garland myself. I’m hoping to
produce it in the near future.
JR: The tapes The Judy Monologues uses were made in the 1960s, when Judy
was not always in physically or financially good shape. Just like End of the
Rainbow, it concentrates on her anguish rather than her artistry. Why does her
decline seem to be of greater interest than her glory days?
DS-J: Any story has to have conflict in order to drive the plot and capture
an audience’s attention. Judy is quite angry and bitter during some of the
monologues but we also see her vulnerability, her intelligence, her love for her
children and especially her sense of humour.
JR: The play has been performed since 2010. What has been the public
reaction? Has it evolved since it first opened?
DS-J: Well, the fact that we are still performing the show five years later tells
me that people are still interested in this story. Every time I think I have put
it to bed, another opportunity to perform the play presents itself. Working
with Elley-Ray is a collaborative process. We change the script here and there
each time we go back to visit it. We have taken bits and pieces of the tapes and
merged them together to make the story more coherent. I am also adding more
film footage of Judy this time around.
JR: Has your perspective on Judy Garland changed since The Judy Monologues
first opened? How so?
DS-J: I am still in love with Judy as much as I ever was, if not more so.
JR: Since the play has been performed so far in Canada, do you find Canadians
have a different take on Garland than elsewhere?
DS-J: I think her appeal is universal. Our Ontario audiences have been great.
I’m looking forward to the show being performed internationally one day.
JR: Why do you think Judy Garland is remembered today, ninety-two years
after her birth and forty-five years after her death?
DS-J: If I knew the secret to that, I would bottle it. She had a gift. Perhaps it’s
as simple as that.

A Look Back
continued
The 2005 Year in Review was the second “year in review” put out by
The Judy Room. Just like the 2004 edition, it was a full color printed
single sheet, folded over and mailed out. It was free, but limited to a finite
number of copies. Those who didn’t get a printed copy could download the
high resolution PDF to save or print out themselves. It’s still available for
download here.
Just as it notes, 2005 was “another banner year.” The RIAA (Recording
Industry Association of America) inducted Judy’s Decca “Cast Album” of
songs from Meet Me In St. Louis into the Grammy Hall of Fame.
Two anniversaries were worth noting: The Judy Garland Database
turned 10 years old as did Scott Schechter’s “Garlands for Judy” fan
magazine. The Wizard of Oz received it’s first deluxe DVD treatment (see
next page) as did Easter Parade. Blu-ray had not yet become the media of
choice so DVDs were still big business.
Sadly it’s the year in which Judy’s third husband, and man whom she was
married to the longest, Sid Luft, passed away. It was also the year in which
Michael Shaw’s pair of original Ruby Slippers were stolen from the Garland
museum in Grand Rapids. They still have yet to be found.
It was also the year in which both The Judy’s Room’s new Judy Garland
Online Discography and The Judy Garland Message Board
debuted.
Enjoy this look back at what was happening in 2005!

The Judy Room - 2015 Year In Review 55continued

CLICK HERE to download the printable PDF

CLICK HERE or on the image above to watch the teaser video for the upcoming
“Judy Garland Sings Harold Arlen” 2-CD set that includes a clip of the previously
lost extended version of “Lose That Long Face” from A Star Is Born.
The only known major release as of the date of this publication is the
upcoming 2-CD set “Judy Garland Sings Harold Arlen.” Filled with
newly remastered (by John H. Haley) treasures and a few previously
unreleased tracks, this set is over two-and-a-half hours of Judy doing what
she did best: Singing songs composed by Harold Arlen.
Of particular note is the release of the complete “Lose That Long Face”
from A Star Is Born. 28 seconds of previously unheard music and lyrics
were thought lost for over 60 years. Thanks to Garland collector Rick
Smith’s generosity, this wonderful outtake can now be seen and heard in its
entirety.
The recordings of Judy’s appearance at an Arlen tribute event in 1968 have
also been newly remastered, properly, and are included here.
This is a must-have for all Garland and Arlen fans.
Coming Soon

STATS - blog
Over at the Judy Garland News & Events blog, the “Dorothy Costumes through the years” post was the most viewed entry for the third year in a row.
That’s followed by four entries in the “Judy Garland Wars” series that round out the top five viewed posts. The busiest day of the year was March 2nd, when
the “Wars” series first premiered.
The blog was viewed over 47k times, up from last year. The increase in views is no doubt due to the increase in posts. Looking at the map, you can see that
while most of the views came from North America and Europe, the blog was viewed on every continent (except Artica and Antarctica).
continued

STATS - website & social media
Traffic to The Judy Room website (www.TheJudyRoom.com) continued to climb in 2015. Visits to the site were 32,026; up from 23,896 in 2014. Total page
views were 69,298. That number is higher because page views are the total number of pages on the site that were viewed. That works out to an average of 2.16
pages viewed per visit. Naturally, some people looked at more pages than others while some people probably looked at the page they landed on and then moved on.
The visits were from 120 different countries. The map below shows all the countries going from lowest to highest visits. The list at the left shows every country
that visited the site, in descending order from most visits to least (just one).
At the end of 2015 the total “likes” of The Judy Room’s Facebook Page were just over
23,000 making it the most popular fan-run Garland page on Facebook.
The YouTube channel garnered 140,054 views. “It’s A Great Day For The Irish” was the most
popular video of 2015 with 22,362 views.
The Twitter account mirrors the Facebook Page and has its own share of mentions and re-
tweets.
United States
United Kingdom
Canada
Australia
Germany
Russia
France
Brazil
Japan
Spain
Netherlands
Italy
Poland
Israel
Denmark
Ireland
India
New Zealand
Belgium
China
Mexico
Argentina
Turkey
Malaysia
Sweden
Philippines
South Korea
Czech Republic
Kenya
Greece
Chile
Norway
Switzerland
Portugal
Bulgaria
Austria
Morocco
South Africa
Lithuania
Hong Kong
Taiwan
Finland
Thailand
Singapore
Ukraine
Romania
Colombia
Indonesia
Hungary
Mongolia
Peru
Pakistan
Iran
Puerto Rico
Serbia
Slovakia
Egypt
Croatia
Saudi Arabia
United Arab Emirates
Uruguay
Ecuador
Barbados
Slovenia
Venezuela
Vietnam
Iraq
Jordan
Macau
Qatar
Algeria
Belarus
Honduras
Lebanon
Sri Lanka
Nigeria
Tunisia
Trinidad & Tobago
Guatemala
Montenegro
Malta
Senegal
Azerbaijan
Bosnia & Herzegovina
Bangladesh
Bahrain
Bolivia
Kazakhstan
Mozambique
Suriname
El Salvador
Afghanistan
Armenia
Angola
Bermuda
Costa Rica
Cyprus
Estonia
Ethiopia
Georgia
Guam
Iceland
Cambodia
Kuwait
Laos
Monaco
Moldova
Mauritius
Maldives
Niger
Nicaragua
Oman
Panama
Paraguay
Réunion
Syria
Turks & Caicos Islands
Turkmenistan
Kosovo

In alphabetical order:
Aaron Pacentine
Bernie Slokov
Bobby Waters
Brian Stamp
Bruce Jasman
D.J. Schaeffer
Darren Stewart-Jones
David Alp
Deb Anderson
Dewey Mee
Doug Mezzacapo
Doremi Records
First Hand Records
Fred Hough
iCollector.com
Jay Scarfone
John H. Haley
JSP Records
Kurt Raymond
Lawrence Schulman
Les Pack
Liza Minnelli
Michael Siewert
Mark Milano
Peter Mac
Raphael Geroni
Randy Henderson
Randy L. Schmidt
Rick Smith
Sara Maraffino
Sharon Ray
Stan Heck
Steve & Rick
Stevie Phillips
Turner Classic Movies
Warner Home Video
William Stillman
WordPress
The members of:
The Judy Room’s Facebook Page
The Judy Room’s Facebook Group
And of course,
JUDY GARLAND
No one does any of this alone. I have so much respect and gratitude for everyone listed
here. Without you and your support & help none of this would have been possible.
Thank you!
Original cover art for this Year in Review
designed by Raphael Geroni, designer of the
wonderful “The Wizard of Oz: The Official 75th
Anniversary Companion.” Check out is latest
Judy Garland project at: www.raphaelgeroni.
com/the-films-of-judy-garland Thank you
Raphael!
ACKNOWLEDGMENTS

The Judy Room's 2015 Year in Review

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