206:, where Goldsteinn and Gluck soon began peddling their tunes. They had little success and Bobb decided to move back to Philadelphia to concentrate on mastering the craft of theatre songwriting. Within a year, he had created a body of original material and recorded a revue of topical sketches and songs called "Present Tense" (with songs by Goldsteinn and sketches by
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group called The Joy of Six. The group made its first stage appearance in front of an audience at The
Harmony Sweepstakes Southern California Regionals and won First Prize. The group was offered thousands of dollars in bookings, but the women decided that they did not want to spend their lives on the
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During this time, Goldsteinn participated in a number of small projects as a favor to friends and acquaintances (including a brief co-venture with the pioneering gay adult magazine publisher Don
Embinder), but he was making a concerted effort to stay out of the entertainment business and intended to
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album, originally designed to be the cover of the
Lonesome Cowboys LP. This record was to contain a dozen new compositions, all ‘inspired’ by the title song, but the label went under before the project could be completed and released. Finally, Goldsteinn ran the Lightworks equipment as the mise en
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to brand a new line of youthful cosmetics. While the line featured a handful of products that were imagined and created without
Goldsteinn's input, the Rubenstein Company allowed him to produce a radio commercial that was an audio counterpart of the psychedelic posters announcing the contemporary
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explained that "Bob
Goldstein has managed to put into workable form something that lots of people have been reaching for... The problem for a long time has been to appeal to more than one of the senses at the same time") and the presentation became a continual happening, held both in New York City
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In 1987, Goldsteinn was summoned back to New York for family reasons and, at the suggestion of
Johnson Burtt, a future business partner, decided to re-enter the industry. That year, he was invited to join the board of directors at Theatre Off Park, which produced shows like "Mademoiselle Colombe"
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In 1997, during his time at the homestead, Goldsteinn had a chance encounter with Albert Marcus, who would later become his best friend, business partner, and collaborator. Together, the two have started Take-Home Tunes, The
Adaption Agency and The Roger Edens Foundation. In 2007, Goldsteinn and
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By 1990, Goldsteinn became dissatisfied with work in New York and decided to return once again to
California. In Los Angeles, he began an entertainment company, gOLDbURTT Media, with his former neighbor, Johnson Burtt. The company was initially confronted with failure, when it was removed from a
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studio, Bob created an environmental visual jukebox that illustrated music by surrounding the spectator with manually synchronized light effects, slides, films, moving screens, and curtains of light under mirror balls that kept the room in spin. Word soon spread about the show's pioneering style
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the night of the
Hollywood Christmas Parade, is presented in a landscape format, where the words "Hollywood" and "Boulevard" are placed atop one another to spell out the word "OLD" with the letters that they share in common (a subcutaneous nod to the history of a street that rivals Broadway in
558:, reported that "for two hours, curtains of lights move back and forth, screens roll up and down, mirrored balls revolve overhead, images appear and fade, blending into one another, music plays and there is both beauty and humor with a Goldstein concert of his own songs at the end."
433:. The Lightworks-inspired set included 70,000 hand-painted bulbs that “dimmed up and dimmed down to the groovy beat of records played by a full-time dee-jay” and was called a “courageous” departure from the traditional Christmas Trees and Santa Clauses of holiday decorations by the
747:’s ‘White Christmassing.’ For the 2008 edition of the event, The Foundation commissioned an original song to celebrate the evening entitled “We:HYMN ‘White Christmas.’” The song was imagined as a companion piece to "White Christmas" to stand in for its original verse intro.
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In 1962, Goldsteinn took a song called "India," which he had written as a high school student, and renamed it "Washington Square." He created a distinctive arrangement for the tune called "folk-dixie," an instrumental style that synthesized
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rock bills at various venues around the country. The radio spot featured spoken copy delivered over a singer and a music track, written by Bob
Kessler. This simultaneous combination of copy and song had never been done before. Bobb hired
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in 1982. While at Pierce, he studied music theory with the prolific composer, Rowan Taylor and was one of the winners of Radio KWST LA Soundtrack Record Competition with the song "San Fernando Valley Valerie" In 1980, Goldsteinn went to
399:, and said of his experience at L'Oursin: "After tuning my senses to the stunning melange of sights and sounds coming from every direction, I made a snap decision to stay there the rest of my life." Lightworks even inspired the term "
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In 1965, when the GoldeBriars disbanded, Goldsteinn turned his attention to further developing the field of "colour music." That year, he hosted a Christmas party for his friends, which he called "Bob Goldstein’s Lightworks." In his
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Goldsteinn's multimedia work was recognized as an important influence on art, cinema, advertising, fashion, and retail display. The first commercial application of the concept was designed and produced by Goldsteinn himself at
445:, raved about the “Chriscotheque” at Bendel's – calling it “the nouvelle spell of Christmas 1966”. Finally, Goldsteinn's identity as an important influence on the art world in general was solidified by his inclusion in
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the first movie directed by James Lapine. However, the company roared back immediately when Goldsteinn promoted "The Strippers' Hall of Fame"—a sensational reunion event featuring a collection of elderly
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and represented the first hyphenated arrangement in pop music. "Washington Square," as recorded by the Village Stompers, became a chart-topper across the world in 1963 and 1964, reaching No. 2 in the
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In 1972, Goldsteinn created a Lightworks retrospective entitled "The Strange Festival" that featured all of his sequences arranged into a narrative form, illustrating the central chapters of the
187:. Midway through the summer season of 1958, Goldsteinn discovered that his songs were being especially well received and decided to work as a solo songwriter after Tamiment. He moved to
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In the fall of 1968, Goldsteinn returned to songwriting and crafted the lyrics for "Canterbury Road" to a melody by Curt Boettcher and friends. The song was written for pop singer
168:. He began writing songs while still in junior high school and continued through college. In 1958, he won an audition to write songs and sketches at the Tamiment Playhouse in the
214:) and Allan Becker (the head of BMI's music theatre department) heard of Goldsteinn's work and invited him back to New York to join the first class of writers at the innovative
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was a while later (who had also met Leiber through John Gluck). Unfortunately, only one record from that period bears Goldsteinn's name: “The Other Girls” – the ‘B’ side of
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described 1998's "The IDES of March" as a production of "60 artists on four floors, filling the building with fresh art from New York, Brooklyn, Boston, and California."
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423:'s in New York in 1966. For that year's Christmas season, Goldsteinn designed a first-floor display based on the “Christmas on the Thames” scene in
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gOLDbURT Media was dissolved in 1993 due to financial and personal hardships that befell the company. That year, Goldsteinn was asked by
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615:, a hospice for homeless people with AIDS. “That's What Friends Are For” at the fabled Village Gate was an all-star evening of
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In 1995, Goldsteinn completed two high-profile art projects in quick succession. First, he designed the print teaser for "
516:, a track that is now known to be the first disco arrangement in music history. Goldsteinn also conceived the cover of
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During his first year back in New York, Goldsteinn was also heavily involved in the production of the 1st benefit for
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727:. In appreciation, Goldsteinn co-founded and co-curated a group art-show at their community center, ABC No Rio. The
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403:" — a word coined by Goldsteinn to describe the technical nature of his entertainment and popularized by articles in
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as the announcer. Unfortunately, the ad agency that handled the line had never heard of either Morrison or
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proclaimed that "'Lightworks' may well replace the discotheque, movies, TV, and everything else!", and the
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After returning to New York in 1960, Bobb continued working with John Gluck and the duo was discovered by
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488:" appeared. All master tape copies of "Canterbury Road" disappeared until 1990–1991, when an in-flight
60:
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A social encounter with songwriter John Gluck Jr. in 1959 led to Bobb's introduction to the legendary
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which prompted TV crews from around the world to descend en masse upon a dilapidated motel in the
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342:. Among his most significant lyrical contributions were "Sea of Tears," which he co-wrote with
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128:, June 10, 1936) is an American showman, songwriter, and artist. As a pop pioneer, he co-wrote
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by June 1964; it held the record for best-selling album and single until it was surpassed by
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of Leiber and Stoller Music. Goldsteinn and Gluck were signed on as staff writers, just as
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and while it was not formally released, Roy Hallee made a copy of the mix and took it to
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at his brother's house, but he decided to stay, as he had been embraced by the city's
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charts for six months. In Japan, the recording sold over 800,000 copies and earned a
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magazine referred to the parties as "the seedbed of new sound and light concept,"
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John S. Wilson, "Folk Music and Dixieland Jazz Blended in Popular Hit Record,"
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In 1974, Goldsteinn left for California in order to continue his education at
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In late 1964, Goldsteinn started managing, producing and co-writing for the
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road and disbanded after the San Francisco Finals were held a month later.
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on a number of projects. First, he wrote the title track to Warhol's movie
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1151:"The Hollywood Reporter 25th Annual Key Art Awards" Program, 1996, pp. 66
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community. The anarchists provided him with a room in a "homestead" as a
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499:. The song was finally released on a Lou Christie import album called
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453:'s "Expanded Arts Diagram" as an "Expanded Cinema" pioneer in 1989.
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688:, for which Goldsteinn was nominated for a Key Art Award from
288:- Best Instrumental Arrangement and Best Instrumental Theme.
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Richard Albarino, "Goldstein's LightWorks at Southhampton,"
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Freakshow: Misadventures in the Counterculture, 1959-1971
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Joseph Gelmis, "Modesty Blaise Previews in a Juke Box,"
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19 years later. In 1964, the song was nominated for two
1162:"Dreaming of Irving Berlin in the Season That He Owned"
849:. MetroLyrics. Archived from the original on 2013-06-25
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In 1997, Goldsteinn was invited back to New York for a
441:, a renowned retail display designer and a partner of
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In the following years, the song would be recorded by
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668:'s daughter, Faye, to manage and stage an all-female
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Between 1969 and 1972, Goldsteinn collaborated with
1027:"Various - Fluxus Anthology (Vinyl, LP) at Discogs"
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644:commission to orchestrate the domestic release of
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233:’ first 45 single, backed with “Tonight” from “
210:). At the same time, Bob Sour (the President of
739:Marcus became the producers of the 32 year-old
1059:Ernest Leogrande, "Merry Extended Christmas,"
925:Magazine, May 27, 1966, Vol. 60, No. 21, p. 73
191:shortly thereafter and became an assistant to
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527:scene in the opening scene of Warhol's film
179:At Tamiment, his sketch-writing partner was
698:' Street Sign". The billboard, unveiled by
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999:Eugenia Sheppard, "A New Fashioned Yule",
947:Eugenia Sheppard, "A Wham to the Senses,"
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456:The "Lightworks" name was appropriated by
880:Eugenia Sheppard, "A Wham to the Senses,"
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216:BMI Lehman Engel Musical Theater Workshop
1234:Singer-songwriters from New York (state)
1046:Michael Smith, "The Strange Festival,"
809:"Bonus Post: Back to Washington Square"
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272:Recording Industry Association of Japan
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913:, New York: Cooper Square Press, 2001.
897:, October 22, 1966. Year 239. No. 22.
619:featuring two dozen stars, including
595:do so until he felt ready to return.
1199:Singer-songwriters from Pennsylvania
1076:(in French). Classical-composers.org
990:, August 10, 1966. Vol. 213, No. 12.
778:Rex Weiner, "Bobb-ing and Weaving,"
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552:. Ernest Leogrande, writing for the
1138:Rex Weiner, "Bobb-ing an Weaving",
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893:Thomas Meehan, "The Wiggy Scene,"
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262:and holding the No. 1 spot on the
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1224:Los Angeles Pierce College people
1116:"Theatre Off Park [main]"
531:Stripper Jeri Miller attempts to
350:, and "Tell it to the Wind" with
1194:American male singer-songwriters
1074:"Rowan Taylor | Musicalics"
964:, September 1966, Vol. 63, No. 5
934:Ted James Jr., "Something New,"
465:to do the singing, and selected
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1095:"The L.A. Soundtrack - KWST"
156:Bobb Goldsteinn was born in
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358:"Lightworks" and Multimedia
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391:at L’Oursin. In 1966,
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335:(among many others).
231:Jay and the Americans
162:Overbrook High School
132:' international hit "
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847:"1964 Grammy Awards"
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430:Orlando: A Biography
160:, where he attended
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241:"Washington Square"
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572:Associates degree
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1171:. Retrieved
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