IN: Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of Penzance and The Mikado are among the best known. Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion--fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humour and pathos.

Gilbert was born in London on 18 November 1836. His father, William, was a naval surgeon who later wrote novels and short stories, some of which included illustrations by his son. In 1861, to supplement his income, the younger Gilbert began writing illustrated stories, poems and articles of his own, many of which would later be mined as inspiration for his plays and operas, particularly Gilbert's series of illustrated poems, the Bab Ballads.  In the Bab Ballads and his early plays, Gilbert developed a unique "topsy-turvy" style in which humour was derived by setting up a ridiculous premise and working out its logical consequences, however absurd. Director and playwright Mike Leigh described the "Gilbertian" style as follows:  With great fluidity and freedom, [Gilbert] continually challenges our natural expectations. First, within the framework of the story, he makes bizarre things happen, and turns the world on its head. Thus the Learned Judge marries the Plaintiff, the soldiers metamorphose into aesthetes, and so on, and nearly every opera is resolved by a deft moving of the goalposts... His genius is to fuse opposites with an imperceptible sleight of hand, to blend the surreal with the real, and the caricature with the natural. In other words, to tell a perfectly outrageous story in a completely deadpan way.  Gilbert developed his innovative theories on the art of stage direction, following theatrical reformer Tom Robertson. At the time Gilbert began writing, theatre in Britain was in disrepute. Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or "entertainments", for Thomas German Reed.  At a rehearsal for one of these entertainments, Ages Ago, in 1870, the composer Frederic Clay introduced Gilbert to his friend, the young composer Arthur Sullivan. Over the next year, before the two first collaborated, Gilbert continued to write humorous verse, stories and plays, including the comic operas Our Island Home (1870) and A Sensation Novel (1871), and the blank verse comedies The Princess (1870), The Palace of Truth (1870) and Pygmalion and Galatea (1871).

Where did Gilbert go to school?

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IN: Alvis Edgar "Buck" Owens Jr. (August 12, 1929 - March 25, 2006) was an American musician, singer, songwriter and band leader who had 21 No. 1 hits on the Billboard country music charts with his band the Buckaroos. They pioneered what came to be called the Bakersfield sound, a reference to Bakersfield, California, the city Owens called home and from which he drew inspiration for what he preferred to call American music. While Owens originally used fiddle and retained pedal steel guitar into the 1970s, his sound on records and onstage was always more stripped-down and elemental. His signature style was based on simple storylines, infectious choruses, a twangy electric guitar, an insistent rhythm supplied by a drum track placed forward in the mix, and high two-part harmonies featuring Owens and his guitarist Don Rich.

Owens co-hosted a radio show called Buck and Britt in 1945. In the late 1940s he became a truck driver and drove through the San Joaquin Valley of California. He was impressed by Bakersfield, where he and his wife settled in 1951. Soon, Owens was frequently traveling to Hollywood for session recording jobs at Capitol Records, playing backup for Tennessee Ernie Ford, Wanda Jackson, Tommy Collins, Tommy Duncan, and many others.  Owens recorded a rockabilly record called "Hot Dog" for the Pep label, using the pseudonym Corky Jones because he did not want the fact he recorded a rock n' roll tune to hurt his country music career. Sometime in the 1950s, he lived with his second wife and children in Fife, Washington, where he sang with the Dusty Rhodes band.  In 1958 Owens met Don Rich in Steve's Gay 90's restaurant in South Tacoma, Washington. Owens had observed one of Rich's shows, and immediately went to speak with him. Rich started to play fiddle with Owens at local venues. They were featured on the weekly BAR-K Jamboree on KTNT-TV 11. Owens' career took off in 1959, when his song "Second Fiddle" hit No. 24 on the Billboard country chart. Soon after, "Under Your Spell Again" made it to No. 4 on the charts and Capitol Records wanted Owens to return to Bakersfield, California.  Owens tried to convince Rich to go with him to Bakersfield, but to no avail. Rich opted to go to Centralia College so that he could become a music teacher while tutoring and playing local venues, but after a year of college, he decided to drop out and join Owens in Bakersfield in December 1960.  "Above and Beyond" hit No. 3. On April 2, 1960 he performed the song on ABC-TV's Ozark Jubilee.

What started off his career?

OUT:
Owens co-hosted a radio show called Buck and Britt in 1945.