Podcast appearances and mentions of Alfred Newman

This week we discuss Foreign Correspondent, Hitchcock's spy movie set at the outbreak of World War II and released only shortly after. This is Hitchcock's second American movie.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A United Artists Picture. Produced by Walter Wanger, directed by Alfred Hitchcock. Screenplay by Charles Bennett and Joan Harrison with dialogue by James Hilton and Robert Benchley. Starring Joel McCrea, Laraine Day, Herbert Harshall, George Sanders, Albert Bassermann, Edmund Gwenn, and Robert Benchley. Cinematography by Rudolph Mate. Music by Alfred Newman. Editor Dorothy Spencer.Ranking: 14 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Foreign Correspondent got 2,052 ranking points.

Jason Fraley interviews Oscar-nominated composer David Newman, who conducts “Matilda: In Concert” live with the NSO Pops at the Kennedy Center this Friday and Saturday, including a special Q&A with Danny DeVito and Mara Wilson. He reflects on his career from “The Mighty Ducks” to “The Sandlot,” from “Tommy Boy” to “The Nutty Professor,” from “Anastasia” to “Ice Age,” as well as his favorite film scores by his legendary father Alfred Newman, brother Thomas Newman and cousin Randy Newman. (Theme Music: Scott Buckley's "Clarion")

Dana and Tom with 13x guest, Kieran B (Host and Creator of the Best Picture Cast; @bestpicturecast) discuss the adaptation of John Steinbeck's famous novel, The Grapes of Wrath (1940) for its 85th anniversary: directed by John Ford, written by Nunnally Johnson, ainematography by Gregg Toland, music by Alfred Newman, starring Henry Fonda, John Carradine, and Jane Darwell.Plot Summary: The Grapes of Wrath, directed by John Ford and based on John Steinbeck's novel, follows the Joad family, struggling to survive during the Great Depression. After being evicted from their Oklahoma farm, they journey west to California in search of work and a better life. Led by Tom Joad (Henry Fonda), the family faces hardship, exploitation, and disillusionment as they encounter the harsh realities of migrant labor. Despite suffering immense loss, their resilience endures, with Ma Joad (Jane Darwell) embodying the family's unwavering hope. The film is a poignant exploration of poverty, injustice, and the strength of the human spirit.Guest:Kieran B (10x Member Club)Host and Creator of the Best Picture Cast; @bestpicturecast on X, IG, Letterboxd - BPC, Letterboxd - PersonalPrevious Episodes: Cat on a Hot Tin Roof (1957), Lost in Translation (2003), Gran Torino (2008), Stalag 17 (1953), Shane (1953), A Fistful of Dollars (1964), The Best Years of Our Lives (1946) Revisit, 12 Angry Men (1957) Revisit, The Shawshank Redemption (1994) Revisit, Saw (2004), Up in the Air (2009), Bad Day at...

This week on the pod, It's Dave's Birthday! We celebrate by drinking and discussing “All About Eve.” The random year generator spun 1950, so we'll give you some context of what was happening in the film year and world events before our featured conversation, Joseph Mankiewicz's masterpiece starring Bette Davis and Anne Baxter. We open the episode with Dave's mini-review of “Kraven the Hunter”, discussing the state of movie studios, and a fun voicemail from some podcast friends. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 10:19 “Kraven the Hunter” mini-review” + Gripes; 29:51 1950 Year in Review; 50:16 Films of 1950: “All About Eve”; 1:29:27 What You Been Watching?; 1:46:01 Next Week's Movie Announcement Additional Cast/Crew:  Aaron Taylor-Johnson, J.C. Chandor, Ariana DeBose, Russell Crowe, Christopher Abbott, George Sanders, Mary Orr, Celeste Holm, Gary Merrill, Hugh Marlowe, Gregory Ratoff, Barbara Bates, Marilyn Monroe, Thelma Ritter, Edith Head, Alfred Newman, Milton R. Krasner, Darryl F. Zanuck. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

Dana and Tom discuss The Diary of Anne Frank (1959): directed by George Stevens, written by Frances Goodrich and Albert Hackett, music by Alfred Newman, starring Millie Perkins, Joseph Schildkraut, and Shelley Winters.Plot Summary: "The Diary of Anne Frank" is a poignant film adaptation of the stage play based on the iconic diary written by Anne Frank, a Jewish girl who, along with her family and a few others, hid from the Nazis in an attic in Amsterdam during World War II.The film portrays the daily struggles, fears, and hopes of the occupants as they try to evade discovery by the Nazis while enduring the harsh realities of confinement. Through Anne's eyes, viewers witness her coming of age amidst the turmoil of war, grappling with typical teenage issues while also confronting the atrocities of the Holocaust. The film, directed by Geroge Stevens, captures the resilience of the human spirit in the face of unimaginable adversity, ultimately leaving a profound and lasting impact on audiences as they bear witness to one of the darkest chapters in history.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: https://www.ronnyduncanstudios.com/post/the-diary-of-anne-frank-1959For the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

Garrett Chaffin-Quiray and Ed Rosa embrace a soap opera in the sky.***Referenced media:“Airplane!” (Jim Abrahams, David Zucker, and Jerry Zucker, 1980)“Zero Hour!” (Hall Bartlett, 1957)“One on Top of the Other” (Lucio Fulci, 1969)“Stunt Rock” (Brian Trenchard-Smith, 1978)“The Twilight Zone” (Rod Serling, 1959-1964)“An Officer and a Gentleman” (Taylor Hackford, 1982)“All the President's Men” (Alan J. Pakula, 1976)“Hud” (Martin Ritt, 1963)“Cool Hand Luke” (Stuart Rosenberg, 1967)“M*A*S*H” (Robert Altman, 1970)“Patton” (Franklin L. Schaffner, 1970)“Zabriskie Point” (Michelangelo Antonioni, 1970)“The Boys in the Band” (William Friedkin, 1970)“The Ballad of Cable Hogue” (Sam Peckinpah, 1970)“The Liberation of L.B. Jones” (William Wyler, 1970)“Woodstock” (Michael Wadleigh, 1970)“Waterloo” (Sergei Bondarchuk, 1970)“Hi, Mom!” (Brian De Palma, 1970)“Greetings” (Brian De Palma, 1968)“A Man Called Horse” (Elliot Silverstein, 1970)“Let It Be” (Michael Lindsay-Hogg, 1970)“Beneath the Planet of the Apes” (Ted Post, 1970)“Cotton Comes to Harlem” (Ossie Davis, 1970)“The Out-of-Towners” (Arthur Hiller, 1970)“Watermelon Man” (Melvin Van Peebles, 1970)“Two Mules for Sister Sara” (Don Siegel, 1970)“Crimes of the Future” (David Cronenberg, 1970)“Beyond the Valley of the Dolls” (Russ Meyer, 1970)“Catch-22” (Mike Nichols, 1970)“Myra Breckinridge” (Michael Sarne, 1970)“Perry Mason” (Gail Patrick Jackson, 1957-1966)Audio quotation:“Airport” (George Seaton, 1970), including “Airport Love Theme”, “Airport (Main Title)”, “Joe Patroni Plane or Plows?”, “Ada Quonsett, Stowaway”, “Inez-Lost Forever”, and “Airport (End Title)”, written by Alfred Newman, https://www.youtube.com/watch?v=IBQzJzvVCvI&list=PLkAUJkbhd-RhBK5_wKcr55aTy2erljUve&index=1Trailer for re-release of “Stunt Rock” (Brian Trenchard-Smith, 1978), https://www.youtube.com/watch?v=4OkXef2leWA

Back in 2021, while Cinesamples was recording their Industry Brass libraries at the Alfred Newman Scoring Stage, Mike Patti sat down with American composer and conductor David Newman to talk about his career, what it was like to get started in the industry back then, how music transformed film way back in the 1930s (and saved King Kong), and how technology is transforming film music today. Newman's experience both as a prolific composer and as the son of Alfred Newman (one of film music's most iconic figures) gives him a unique long-view perspective on the past, present, and future of music in the world of movies, and he shares it all with us here. So pop on your headphones, press play, and enjoy this incredible conversation with David Newman. Get 30 Days of Musio Absolutely Free

At the beginning of 2023, businesses were facing the possibility of rising inflation, a recession, and workforce shortages. Then, the tech business community added some spicy Artificial Intelligence into the chaos soup. While the Bitcoin Bros were trying to pass themselves off as ChatGPT prompt writing gurus (making $100K or more), sales teams were tasked with using AI tools to identify prospects. 2023 was an unhealthy serving of fear mixed with technology, creating a cold-call gazpacho that pushed prospects away from the table. All of us were being inundated with offers to connect, followed by a relentless flow of sales pitches. I can tell you one thing that changed. People are tired of talking on and with computers. While companies scrambled to integrate AI into everything, people craved personal, face-to-face, human interaction. Although we all want and need new business, that is only a portion of what effective marketing needs to focus on. I call them the Four Pillars of Profits or the Four Horsemen of the A-profit-lypse (a play on words with Apocalypse). Each of these deserves a different strategy and different context. Paying clients Past clients Prospects Partners “We are living in a world today where lemonade is made from artificial flavors and furniture polish is made from real lemons.” – Alfred Newman .In this episode... We will discuss two groups of four parts of B2b marketing... that could help lead to future success. Want To See How To Market BETTER? - Click Here

Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 2️⃣✖1️⃣ 0️⃣ | EVA AL DESNUDO Dirigida y guionizada por Joseph L. Mankiewicz, cuenta la historia de la joven Eva, que aspira a convertirse en actriz y triunfar en los escenarios, se las ingenia para introducirse en un grupo de actores de teatro y hacerse amiga y confidente de la famosa y veterana actriz Margo Channing, gran dama de la escena neoyorquina. El deseo de actuar y los celos la consumen hasta el punto de comenzar a traicionar a sus compañeros en su escalada hacia el éxito. Ella halaga, atrae, seduce, pero también pisotea a todo el que se cruza en su camino: escritores, directores, productores. Protagonizada por Bette Davis y Anne Baxter, con música de Alfred Newman y fotografía (B&W) de Milton R. Krasner, pasa a la historia como uno de los grandes clásicos. ¿Te has parado a pensar en cómo escribe Mankiewicz sus personajes femeninos?. ¿Conocías la pelea de Bette Davis con el edadismo?. ¿Sabías que había intérpretes que se odiaban en el reparto de este film?. ¿Es realmente el personaje principal tan malo? Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a Eva al Desnudo. SECCIONES ▪️ Contexto ▪️ Los personajes femeninos de Mankiewicz ▪️ Bette Davis y el edadismo ▪️ Intérpretes que se odian ▪️ ¿Es realmente el personaje principal tan malo? ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/2x10-podcastwood-eva-al-desnudo/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023

Un procédé immersif unique au monde, une révolution technologique qui va, pendant une dizaine d'années, offrir aux compositeurs hollywoodiens l'occasion de faire entendre leur musique comme jamais auparavant. Bienvenue dans l'histoire du Cinerama en compagnie de Philor l'historien !

Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 2️⃣✖0️⃣4️⃣ | LAS UVAS DE LA IRA Dirigida por John Ford, gionizada por Nunnally Johnson adaptando la novela homónima de John Steinbeck. Musicalizada por Alfred Newman y fotografiada por Gregg Toland. Las Uvas de la Ira es una producción de Darryl F. Zanuck para 20th Century Foxy está protagonizada por Henry Fonda , Jane Darwell, John Carradine, Charley Grapewin, Dorris Bowdon, Russell Simpson y O.Z. Whitehead. Las Uvas de la Ira nos narra la historia de Tom Joad (Henry Fonda) regresando a su hogar tras cumplir condena en prisión. Pero la ilusión de volver a ver a los suyos se transforma en frustración al ver cómo los expulsan de sus tierras. Para escapar al hambre y a la pobreza, la familia no tiene más remedio que emprender un larguísimo viaje lleno de penalidades con la esperanza de encontrar una oportunidad en California, la tierra prometida. ¿Sabías que está basada en una historia real?. ¿Conoces cómo fue la adaptación al cine?. ¿Qué sabes sobre su edición de sonido?. ¿Es una película antisistema? Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a Las Uvas de la Ira. SECCIONES ▪️ Contexto ▪️ Adaptación de la novela de John Steinbeck ▪️ Injusticia y deshumanización (psicología de la película) ▪️ El remake fallido de Spielberg ▪️ ¿Es impulsora del cine social? ➖➖➖➖➖➖➖➖➖➖➖➖ ⚠️ Este programa forma parte del evento: DIRIGIDO POR JOHN FORD (de IniciativasPod) “Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Podcastwood se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Just Live It, El Piscinazo, Tiempo de Culto, Sagas podcast, La Camarilla, Filosofipods, +QCine, Policías Pelis, Café con Podcast, Críticas sobre la marcha, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast, Destino Arrakis y La Taberna del Irlandés. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico. ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/2x04-podcastwood-las-uvas-de-la-ira/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023

”No matter what I ever do or say, Heathcliff, this is me – now – standing on this hill with you. This is me, forever.”My, My, My... Those Heights, They Are A-Wuthering...Adapting Emily Brontë's novel for the big screen isn't an easy task, but it's one that many people have taken on as “Wuthering Heights” has been adapted for the big or small screen over 30 times. And that doesn't even take into account the operas, plays, musicals, radio adaptations, and more. As popular as the novel is, it's a challenging one, and that's certainly on display with William Wyler's 1939 adaptation. It used less than half the chapters and hence modified many elements for the ending. Still, it works. In fact, we might even feel it works better than the novel. Join us – Pete Wright and Andy Nelson – as we wrap up our 1940 Academy Award Best Picture Nominee series with a conversation about Wyler's 1939 film Wuthering Heights.Here's a hint at what we talk about.There's a lot left out, but the book is a challenging read and we feel that this adaptation captures the essence of the tragic romance, leaving out a lot of the more complex elements that work well on the page but not so much on the big screen. It's still not our favorite, but with director Wyler helming it, we find plenty to connect to.The performers are all delivering big but portrayals that work well with this big romance. Laurence Olivier and Merle Oberon may not have gotten along on set but they work well as Heathcliff and Cathy. We also love David Niven and Geraldine Fitzgerald. In the scope of adaptation, the film leaves in some of the framing device that's quite important for the novel. Here, we're not so sure it's needed. In fact, it largely feels like an unnecessary appendage. The cinematography by Gregg Toland paired with Wyler's effective direction bring life to the film. The black-and-white cinematography is full of darks and lights. It certainly deserved its Oscar win. And Alfred Newman's beautiful score brings the tragic romance elements to the story right to the forefront. These elements all buoy the film for us, which otherwise may not be our cup of tea as much as some of the other Best Picture nominees. Speaking of, we do walk through the 10 nominees and debate which we'd pick to win. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTranscriptTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Wuthering Heights(01:34) - Wuthering(02:38) - The Book(04:09) - Brontë Sisters(05:00) - Initial Thoughts(09:11) - Adapting It(11:56) - Laurence Olivier as Heathcliff(15:44) - Cathy and Isabella(18:21) - Framing Device(22:22) - William Wyler(28:52) - Scripting(32:45) - Who's Our Protagonist?(33:51) - Merle Oberon(35:11) - Geraldine Fitzgerald(36:11) - Flora Robson(36:48) - David Niven(39:24) - Gregg Toland(45:36) - Alfred Newman's Score(47:15) - 1940 Academy Awards(58:17) - Credits(59:13) - Other Adaptations(01:01:49) - Awards(01:03:33) - The Box Office(01:04:16) - Last Thoughts(01:04:38) - Coming Next Week • Anna and the King of Siam(01:07:38) - Letterboxd(01:09:09) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

”No matter what I ever do or say, Heathcliff, this is me – now – standing on this hill with you. This is me, forever.”My, My, My... Those Heights, They Are A-Wuthering...Adapting Emily Brontë's novel for the big screen isn't an easy task, but it's one that many people have taken on as “Wuthering Heights” has been adapted for the big or small screen over 30 times. And that doesn't even take into account the operas, plays, musicals, radio adaptations, and more. As popular as the novel is, it's a challenging one, and that's certainly on display with William Wyler's 1939 adaptation. It used less than half the chapters and hence modified many elements for the ending. Still, it works. In fact, we might even feel it works better than the novel. Join us – Pete Wright and Andy Nelson – as we wrap up our 1940 Academy Award Best Picture Nominee series with a conversation about Wyler's 1939 film Wuthering Heights.Here's a hint at what we talk about.There's a lot left out, but the book is a challenging read and we feel that this adaptation captures the essence of the tragic romance, leaving out a lot of the more complex elements that work well on the page but not so much on the big screen. It's still not our favorite, but with director Wyler helming it, we find plenty to connect to.The performers are all delivering big but portrayals that work well with this big romance. Laurence Olivier and Merle Oberon may not have gotten along on set but they work well as Heathcliff and Cathy. We also love David Niven and Geraldine Fitzgerald. In the scope of adaptation, the film leaves in some of the framing device that's quite important for the novel. Here, we're not so sure it's needed. In fact, it largely feels like an unnecessary appendage. The cinematography by Gregg Toland paired with Wyler's effective direction bring life to the film. The black-and-white cinematography is full of darks and lights. It certainly deserved its Oscar win. And Alfred Newman's beautiful score brings the tragic romance elements to the story right to the forefront. These elements all buoy the film for us, which otherwise may not be our cup of tea as much as some of the other Best Picture nominees. Speaking of, we do walk through the 10 nominees and debate which we'd pick to win. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTranscriptTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Wuthering Heights(01:34) - Wuthering(02:38) - The Book(04:09) - Brontë Sisters(05:00) - Initial Thoughts(09:11) - Adapting It(11:56) - Laurence Olivier as Heathcliff(15:44) - Cathy and Isabella(18:21) - Framing Device(22:22) - William Wyler(28:52) - Scripting(32:45) - Who's Our Protagonist?(33:51) - Merle Oberon(35:11) - Geraldine Fitzgerald(36:11) - Flora Robson(36:48) - David Niven(39:24) - Gregg Toland(45:36) - Alfred Newman's Score(47:15) - 1940 Academy Awards(58:17) - Credits(59:13) - Other Adaptations(01:01:49) - Awards(01:03:33) - The Box Office(01:04:16) - Last Thoughts(01:04:38) - Coming Next Week • Anna and the King of Siam(01:07:38) - Letterboxd(01:09:09) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

Today we present another ALL REQUEST SHOW on THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon in April 2021, we've offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. If you want to participate in future all-request shows, please head over to our Patreon page, and join the community in any tier that is $5 USD/month or above. Once you do so you will be able to participate in all upcoming all-request programs. For this all-request show, and in honour of the release of the fifth and presumably last Indiana Jones adventure, INDIANA JONES AND THE DIAL OF DESTINY, I asked my patrons to select cues from action/adventure films with only one rule... no Indiana Jones tracks. Participants included Victor Field, Glenn McDorman, Will Welch, Don Mase, Carl Wonders, Stacy Livitsanis, Jérôme Flick, Al Brown, Deniz Çağlar, Lee Wileman, Jochen Stolz, Max Hamulyak, Angela Rabatin and Joe Wiles. They requested tracks from such composers as Basil Poledouris, Jerry Goldsmith, James Horner, John Debney, Joe Hisaishi, Craig Safan, Ludwig Goransson, John Williams, Andrew Lockington, Hans Zimmer, James Newton Howard and Alfred Newman. This was once again a fantastic show to produce and I want to thank those who participated. Again, for those that didn't get a chance to send in a request and want to be a part of the next all-request program sometime this summer, we'd love to have you join the CINEMATIC SOUND RADIO PODCAST Patreon family. But don't feel like you have to join. I'm not forcing anyone to join. Remember this podcast will always be free to listen to but if you want to support the program and join the community we've formed on Patreon then we'd love to have you. Enjoy the show! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet, Nathan Blumenfeld, Daniel Herrin —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Shh! Don't tell Mom the babysitter's DEAD-EXCITED to be joined by renowned film composer, David Newman! (Say What?! *faints*) This week, AW and Spencer are enthralled by this magical maestro's menagerie of movie scores including Matilda, Serenity, The Nutty Professor, The Mighty Ducks, The Sandlot, and heaps more favourites! This week we're getting our Kix with their album 'Hot Wire', before leaping into West Side Story to find out about Dave's orchestral contributions to Steven Spielberg's stunning 2021 film version in this epic episode!Plus, we chat the Newman family, Musical versions of David's movies, seeing Hendrix live, and heaps more!David on Twitter: https://twitter.com/dnewmanm5Matilda in Concert w/ David Newman, Danny DeVito, and the New Jersey Symphony - https://www.njsymphony.org/events/detail/matilda-in-concertSpencer on Twitter: https://twitter.com/SpencerSher_ Charlie/Tarzan/Hunchback tickets: https://www.tuacahn.org/Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 ***** ★ Support this podcast on Patreon ★

Dr Alfred Newman may be the most notorious scientific racist in New Zealand history. His 1882 paper "A study of the causes leading to the extinction of the Māori" was so extreme that it scandalised not just Māori, but also New Zealand's wider scientific community. So what can Newman's story tell us about the history of scientific racism in Aotearoa?

01. ID - ID 02. Timmy Trumpet & Azteck & Darren Styles ft. Jordan Shaw - Dance Tonight [SMASH THE HOUSE] 03. Masked Wolf - Astronaut In The Ocean (Josh Peters Remix) [ELEKTRA] 04. Macklemore & Ryan Lewis ft. Ray Dalton - Can't Hold Us (HBz Remix) [MACKLEMORE] w/ Dimitri Vegas & Like Mike vs. Ummet Ozcan - The Hum (Andres Fresko & Skellism Remix) [SMASH THE HOUSE] 05. Eminem - Lose Yourself [SHADY] w/ Felguk - Galaxy Traveller (Neelix Rip Off Remix) [SPINTWIST] 06. Timmy Trumpet ft. Savage - Freaks (Vocal Mix) [HUSSLE] w/ Timmy Trumpet - Freaks (W&W Bigroom Edit) [MAINSTAGE/HUSSLE] 07. Knock2 - dashstar* (VIP) [NIGHT MODE] 08. Eliminate - Weeble Wobble (VIP) [DISCIPLE] 09. Drake & 21 Savage - Rich Flex (BeatBreaker VIP Remix) [FREE/OVO] 10. Armin van Buuren & Timmy Trumpet - Anita [ARMADA] w/ Steve Aoki & Timmy Trumpet & DJ Aligator - The Whistle [DIM MAK/SINPHONY] 11. Bruno Mars vs. Alan Walker & Sabrina Carpenter & Farruko - On My Way To The Moon (Da Tweekaz Mashup) [MER/ELEKTRA] 12. MAKJ & Timmy Trumpet ft. Andrew W.K. - Party Till We Die (Dr Phunk Remix) [SPINNIN'] w/ Justus - Forever Alive [SPINNIN'] 13. Timmy Trumpet & Krunk! vs. Lockdown vs. Broken Minds & Anime - Al Pacino vs. Freakshow vs. Absolute Power (Timmy Trumpet Mashup) [SPINNIN'] 14. Skrillex & Alvin Risk - Fuji Opener [OWSLA] 15. J Balvin & Skrillex vs. 2 Unlimited vs. Valentino Khan - In Da Getto vs. Get Ready For This vs. Deep Down Low (JVH Remix) 16. The Kid LAROI & Justin Bieber - Stay (Dimatik & Twisted Melodiez Remix) [FREE/COLUMBIA] 17. Vini Vici & Sub Zero Project - ID (Maximum Power) 18. Alfred Newman - 20th Century Fox Fanfare [20TH CENTURY] w/ MAKJ & Lil Jon - Let's Get F*cked Up (Zatox Hardstyle Bootleg) [FREE/ULTRA] 19. Zombie Nation - Kernkraft 400 (Alex Prospect & Jakka-B Flip) [FREE/GIGOLO] 20. Capital Cities - Safe And Sound (Parametricz Hardstyle Bootleg) [CAPITOL] 21. Hardwell & Timmy Trumpet & Maddix - Revolution [REVEALED] 22. Avicii & Nicky Romero ft. Noonie Bao - I Could Be The One (ID Remix) [UMG] 23. Carnage ft. Timmy Trumpet & KSHMR - Toca (KRVNK LAB Hardstyle Bootleg) (Intro) [ULTRA] 24. Sonny Fodera & Dom Dolla - Moving Blind (Eric Sidey Remix) [SOLOTOKO/SWEAT IT OUT!] w/ Mau P - Drugs From Amsterdam (Acappella) [REPOPULATE MARS] 25. The Elite - Royals [DWX COPYRIGHT FREE] Tinie Tempah on Stage 26. Timmy Trumpet ft. Tinie Tempah - ID (Live) 27. Blasterjaxx & Timmy Trumpet - Narco (ID Remix) [MAXXIMIZE] 28. JVKE - Golden Hour [AWAL] w/ JVKE - Golden Hour (Illenium & Nurko Remix) [AWAL]

Today you get to enjoy the fourth show programmed by one of our patrons from the CONDUCTOR TIER over at our Patreon page.  In this tier, which is $10 USD ($14.50 CAN), donors get all of the benefits of lower tiers PLUS they earn the opportunity to program their very own personal one-hour(ish) show once a year. Victor Field, a long-time fan of the show, took advantage of this opportunity and this is the show that he put together for us to enjoy! So, how did Victor get into soundtrack collecting? This is what he had to say... I was born in England but my dad moved us to his home country of Barbados in 1976. I spent my childhood and teen years there before coming back to England to live in 1993. One of first album purchases was TVT's double album "Television's Greatest Hits". I think it was I didn't want to be listening to what everyone else around me was, I'm still kicking myself that I was so late to discover taping from the TV. I once asked my dad why we never went to see "Star Wars" (I refuse to call it "Star Wars: A New Hope") in the cinema? He said I never asked! Although I did go to see "The Empire Strikes Back" and "Return Of The Jedi". I haven't seen any of the Special Editions. As with all of the Patreon Playlist shows, this one is a varied and eclectic program featuring music from various eras of film and TV.  You'll hear selections from Basil Poledouris, Alfred Newman, Jerry Goldsmith, Dave Grusin, Barry Grey, Derek Wadsworth, Danny Elfman, Craig Safan, Bruce Broughton, Alan Silvestri, James Newton Howard, John Williams, and Brad Fiedel. Enjoy the podcast, and thanks for all of your efforts in curating this playlist, Victor! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Spoilers! goes back. WAY back. To 1931. It's Charlie Chaplin in CITY LIGHTS! Pappy hosts Stevie, Josh & Brett! ************** A hapless but resilient tramp (Charlie Chaplin) falls in love with a blind flower girl (Virginia Cherrill) on the tough city streets. Upon learning that she and her grandmother are to be evicted from their home, the tramp undertakes a series of attempts to provide them with the money they need, all of which end in humiliating failure. But after a drunken millionaire (Harry Myers) lavishly rewards him for saving his life, the tramp can change the flower girl's life forever. Release date: March 7, 1931 (USA) Director: Charlie Chaplin Music composed by: Charlie Chaplin, José Padilla, Alfred Newman, Arthur Johnston Screenplay: Charlie Chaplin, Harry Crocker, Harry Carr, Harry Clive Producer: Charlie Chaplin Box office: 4.25 million USD (worldwide rentals)

Synopsis On today's date in 1994, at Orchestra Hall in Chicago, the Chicago Symphony and conductor Daniel Barenboim gave the world premiere performance of Partita by the American composer Elliott Carter, specially commissioned in honor of the composer's 85th birthday. It was a major work, and a major occasion – but, as the Chicago Tribune's music critic John von Rheim put it, that date “will forever be known as the Night the Lights Went Out on Elliott Carter.” Just as the orchestra was playing the final pages of Carter's complex score, the house lights went out. The audience gasped. The orchestra stopped playing. Not sure what to do, the audience started applauding. Then, after a moment or two the lights came back on. After breathing a sigh of relief, Barenboim and the orchestra prepared to pick up where they had left off – and then the lights went out again! Turning to the audience, Barenboim quipped, "It's a good thing we and Mr. Carter are not superstitious." Well, eventually the lights came back on – and stayed on, enabling the Orchestra to finish the premiere of Carter's Partita. But, perhaps as a kind of insurance policy – later on Barenboim and the Chicago Symphony also made a live recording of the new work. Music Played in Today's Program Elliott Carter (1908 – 2012) Partita Chicago Symphony; Daniel Barenboim, conductor. (live recording) Teldec CD 81792 On This Day Births 1653 - Italian composer Arcangelo Corelli, in Fusignano (near Imola); 1820 - Belgian composer Henri Vieuxtemps, in Verviers; 1862 - English composer Edward German (Jones) in Whitechurch; 1887 - Finnish composer Leevi Madetoja, in Oulu (Uleaborg); 1920 - American composer Paul Fetler, in Philadelphia; 1926 - Austrian composer Friedrich Cerha, in Vienna; 1926 - American composer Lee Hoiby, in Madison, Wis.; Deaths 1732 - French composer and organist Louis Marchand, age 63, in Paris; 1841 - Italian composer and guitarist Ferdinando Carulli, age 70, in Paris; 1924 - Finnish composer Oskar Merikanto, age 55, in Hausjärvi-Oiti; 1970 - American composer and conductor Alfred Newman, age 69, in Los Angeles; 1982 - American Jazz composer and pianist Thelonious Monk, age 64, in Englewood, N.J.; Premieres 1728 - Handel: opera “Siroe, re di Persia” (Cyrus, King of Persia), in London at the King's Theater in the Haymarket (Gregorian date: Feb. 28); This was the first Handel opera with a libretto by Metastasio; 1792 - Haydn: Symphony No. 93, conducted by the composer, at the Hanover-Square Concert Rooms in London; 1855 - Liszt: Piano Concerto No. 1 in Eb, in Weimar, with the composer as soloist and Hector Berlioz conducting; 1859 - Verdi: opera "Un Ballo in Maschera" (A Masked Ball), in Rome at the Teatro Apollo; 1889 - Franck: Symphony in d, in Paris; 1901 - Mahler: oratorio "Das Klagende Lied" (Song of Lamentation), in Vienna, with composer conducting; 1904 - Puccini: opera “Madama Butterfly,”in Milan at the Teatro alla Scala; 1914 - Ernst von Dohnányi: "Variations on a Nursery Song" for piano and orchestra, in Berlin, with the composer as soloist; 1927 - Deems Taylor: opera "The King's Henchmen," at the Metropolitan Opera in New York; 1943 - Copland: "Music for Movies," at a Town Hall Forum concert in New York City; 1947 - Copland: "Danzón Cubano" (orchestral version), by the Baltimore Symphony; 1948 - David Diamond: Violin Sonata No. 1, at Carnegie Hall in New York, by Joseph Szigeti (violin) and Josef Lhevinne (piano); 1952 - Henze: opera "Boulevard Solitude," in Hanover at the Landestheater; 1961 - Elie Siegmeister: Flute Concerto, in Oklahoma City; 1977 - Elliott Carter: "A Symphony of Three Orchestra," by the New York Philharmonic, Pierre Boulez conducting; 1982 - George Perle: "Ballade" for piano, at Alice Tully Hall in New York, by Richard Goode. Links and Resources On Carter

Synopsis On this day in 1946, Igor Stravinsky conducted the New York Philharmonic in the first performance of his Symphony in Three Movements, a work inspired in part by World War II newsreels. “Each episode in the Symphony,” Stravinsky wrote, “is linked in my imagination with a specific cinematographic impression of the war. But the Symphony is not programmatic. Composers combine notes—that is all. How and in what form the things of this world are impressed upon their music is not for them to say.” What Stravinsky did say was that images of goose-stepping soldiers influenced its first movement, and its third movement was inspired in part by newsreels of the victorious march of the Allies into Germany. The themes of middle movement, however, had nothing to do with the war, but consisted of bits and pieces Stravinsky salvaged from his unused and unfinished score for the 1943 movie The Song of Bernadette. The producers decided instead to go with a score by Alfred Newman, a more experienced film composer. To Stravinsky's embarrassment, Newman's score for The Song of Bernadette won an Oscar for the Best Film Score of 1943. But Igor needn't have felt too chagrined—his music may have failed in Hollywood, but it triumphed at Carnegie Hall. Music Played in Today's Program Igor Stravinsky (1882-1971) Symphony in Three Movements Berlin Philharmonic; Pierre Boulez, conductor. DG 457 616 Alfred Newman (1901-1970) Song of Bernadette National Philharmonic; Charles Gerhardt, conductor. RCA 184

Episode 88 The Theremin Part 1: From the Beginning to 1970 Playlist Leon Theremin, “Deep Night” (1930 Les Actualités françaises). Soundtrack from a short, early sound film of Leon Theremin playing an RCA production model Theremin. Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “Love (Your Spell is Everywhere)” (1930 Victor). RCA theremin, Zinaida Hanenfeldt; Victor Salon Orchestra conducted by Nathaniel Shilkret. The earliest records made with the Theremin were recorded in 1930 to highlight the release of the RCA Theremin. This was one of the first. This recording session dates from January 17, 1930 and was made in New York at the 28 West 44th St. studio. Billed as a recording of “Orchestra, with theremin soloist,” this was most likely made as a demonstration of the newly introduced RCA Theremin. Seven months later, Lennington Shewell (see next listing) took up making several demonstration records produced by his father, RCA VP G. Dunbar Shewell in the Camden, NJ recording studios. Lennington H. Shewell, “Dancing with Tears in My Eyes” (1930 Victor). Recorced on July 21, 1930, in Camden, NJ Studio 1. Theremin solo, Lennington H. Shewell; piano accompaniment, Edward C. Harsch. Noted as "R.C.A. theremin: Instructions and exercises for playing" and "G. Dunbar Shewell, present." Lennington H. Shewell, “In a Monastery Garden” from “Love Sends A Gift Of Roses” / “In A Monastery Garden” (1935 Victor). Shewell was an American pianist songwriter and Thereminist. He recorded several discs for RCA . Shewell was employed by RCA to travel around the USA demonstrating the Theremin as part of its marketing campaign. His father was George Dunbar Shewell, who was a vice-president of RCA for a time. Clara Rockmore, “The Swan” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Rockmore, of course, was the key master of the Theremin back in the 1930s and 40s, having originally learned from Leon Theremin himself. These recordings were later produced by the Moogs in the 1970s and feature some dazzling, virtuoso performances by Rockmore as she interprets many of her favorite classical works. “The Swan” was composed in by Camille Saint-Saëns (1983-1921) that was usually a showcase for a cellist and, with Rockmore's brilliant interpretation, became a much-loved work by Thereminists. Even Samuel Hoffman made a recording of it. Clara Rockmore, “Berceuse” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Here Rockmore interprets a piece by Pyotr Ilyich Tchaikovsky (1840-1893). Lucie Bigelow Rosen, “Concerto in F” b Mortimer Browning (1940, privately recorded practice session). Ms. Rosen recorded this rehearsal in preparation for a live performance. Of great interest is that you can hear her speaking at the beginning and end of the session, and her playing is quite sophisticated. Lucie Bigelow Rosen, “The Old Refrain” by Fritz Kreisler (circa 1940 privately recorded session). Another privately recorded session by Ms. Rosen. Miklós Rózsa, Suite from The Lost Weekend (excerpt) from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman. “This is a limited-edition recording, produced for the promotional purposes of the composer and is not licensed for public sale. The music was transferred to tape from the original acetate masters.” This was not a score released on a conventional soundtrack. This recording comes from a privately issued disc commissioned by the composer and I date it to around 1970. I wanted to include it because it a notably obscure soundtrack recording Theremin playing by Hoffman from the same era as the more famous and widely distributed Spellbound soundtrack. Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Lunar Rhapsody” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol). Hoffman, a foot doctor by profession, was one of the best-known Theremin players of his time. Not as persnickety as Rockmore about playing “spooky sounds,” he basically filled a gap in Theremin playing in popular music that Clara Rockmore refused to fill. He played one of the RCA production model Theremins from 1930. His most famous contributions included collaborations with Les Baxter, Miklos Rozsa, Harry Revel, and Bernard Herrmann, and his momentous movie music for Spellbound (1945) and The Day the Earth Stood Still (1951). He was initially a classically trained violinist, and at age 14 he began playing the violin professionally in New York City. By 1936, he had taken up the Theremin and begun featuring it in publicity for his engagements. He quickly gained notoriety using the electronic instrument and he became one of the world's most famous Theremin players. Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Radar Blues” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol). Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Fame” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances." Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Obsession” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances." Elliot Lawrence and His Orchestra, featuring Lucie Bigelow Rosen, “Gigolette” (1949 Columbia). An attempt to bring the Theremin into popular music, this recording by Elliot Lawrence and his Orchestra made at the Columbia 30th Street Studio in Midtown Manhattan features Lucie Bigelow Rosen. Ms. Rosen and her husband Walter were instrumental in providing offices for Leon Theremin to work in New York during the 1930s. The inventor personally made two instruments for her. She was a practiced enthusiast and did much concertizing with the Theremin from about 1935 to 1940. Samuel J. Hoffman, “Remembering Your Lips” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.” Samuel J. Hoffman, “This Room Is My Castle of Quiet” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.” Bernard Herrmann, Dr. Samuel J. Hoffman, “Gort,” “The Visor,” “The Telescope” from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman. Hoffmnan played one of the RCA production model Theremins from 1930 but by this time around 1950 had modified it to include an external speaker connection for improved recording of the instrument during studio sessions. Samuel J. Hoffman, “Moonlight Sonata” (Theremin Solo with Piano Accompaniment) (1951 Capitol). Eddie Layton, “Laura”, from Organ Moods in Hi-Fi (1955 Mercury). This song is noted as including the “Ethereal sound of the theremin.” Layton was a popular Hammond organ player, later on in his career he played the organ at old Yankee Stadium for nearly 40 years, earning him membership in the New York Sports Hall of Fame. This is his first album, one many, and is notable for using some early organ electronics. “It must be stated that all of the sounds in this album were created by Eddie Layton solely on the Hammond Organ including the rhythm sounds of the bass and guitar, by means of special imported electronic recording devices and microphones.” With the exception of the Theremin, I would add. An unknown Theremin model, most likely vacuum-tube driven, possibly an original RCA model. Monty Kelly And His Orchestra with Dr. Samuel J. Hoffman, “Blue Mirage” from “Blue Mirage”/ “That Sweetheart of Mine” (1955 Essex). Single release from this Orchestra led by Monty Kelly and featuring Hoffman on Theremin. Unknown Artist, “The Fiend Who Walked the West” lobby recording (1958). Theremin or musical saw? This is from an LP recording I have that was used in movie lobbies to entice people to come and see the horror film, The Fiend Who Walked the West (1958). Could this be a Theremin, or a musical saw? I think the latter. I have no information on who played the instrument, but it makes for some curious listening from days gone by while acknowledging one of the key sources of confusion for those who collect Theremin recordings. Sonny Moon And His Orchestra, “Countdown” from “Rememb'ring”/ “Countdown” (1958 Warner Brothers). A 45-RPM single from this short-lived group od the late 1950s. Includes an uncredited Theremin performance. Milton Grayson and Dr. Samuel J. Hoffman Theremin and Orchestra, “I Paid the Penalty” (1960 Royalty Recording Co.). A 45-RPM single about capital punishment. On one side of the record a San Francisco Attorney speaks about capital punishment. On the other side is this vocal by Grayson that dramatizes the subject. This appears to be some sort of public service announcement, but the disc itself bears no clues. This is the only release on this label. The vocal by Grayson is part sermon, part monolog, part song, with the threatening aura of the Theremin provided by Dr. Hoffman. It is undated, so I'm guessing around 1960 when Grayson was most active. Lew Davies And His Orchestra, “Riders in the Sky” from Strange Interlude (1961 Command). From the early sixties comes this wonderful amalgamation of exotica and space-age instruments. The Theremin is played by none other than Walter Sear, later the manager of the Sear Sound Studio in New York and an influential programmer (and sometimes player) of the Moog Modular Synthesizer. Several members of this band also became associated with the Moog Modular, including Bobby Byrne, Sy Mann, and producer Enoch Light. Bass, Bob Haggart, Jack Lesberg; Cimbalom, Michael Szittai; Drums, George Devens, Phil Kraus; Executive Producer, Enoch Light; French Horn, Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Ondioline, Sy Mann; Theremin, Paul Lippman, Walter Sear; Trombone, Bobby Byrne, Dick Hixon, Urbie Green. Yusef Lateef, “Sound Wave,” from A Flat, G Flat And C (1966 Impulse!). An innovative first from Mr. Lateef who foresaw the possibilities of the Theremin for new jazz. Lateef was known for his multi-instrumental talent on Tenor Saxophone, Alto Saxophone, Flute, Oboe and a variety of wooden flutes. Using the Theremin on this one track—I've never heard anything else he recorded with the Theremin—shows how a skilled jazz improviser can use the Theremin for self-expression. I would guess that this Theremin was made by Moog. Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson; Produced by Bob Thiele. Captain Beefheart And His Magic Band, “Electricity” from Safe as Milk (1967 Buddah). The Theremin in this case was played by none other than Samuel J. Hoffman using his souped-up RCA Theremin model Theremin. It was perhaps the last appearance on record by Hoffman, who died later in 1967. Apparently, the record company hated the track so much that it led to their being dropped from the label, at which point Frank Zappa came to the rescue. Fifty Foot Hose, “War is Over” (1967) from Ingredients (1997 compilation Del Val). Psychedelic rock group from San Francisco, formed in 1967, disbanded in 1970 and re-formed in 1995. Drums, Gary Duos; Guitar, David Blossom; Theremin, Electronics, Audio Generator, Siren, Cork Marcheschi. Recorded in 1966 in San Francisco. Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet Concept). Unknown Theremin player, although the producers at Cadet/Chess were known to add the instrument to a session, such as those by Rotary Connection. Recorded at Ter Mar Studios, Chicago, February 1968. The song was written by producer Richard Evans, then the go-to producer and de facto label head for Chess Records' jazz imprint Cadet. Perhaps he also played the Theremin, which was probably a Moog Troubadour. The First Theremin Era, “The Barnabas Theme from Dark Shadows" / “Sunset In Siberia” (1969 Epic). "Dark Shadows" was super-popular daytime drama about a vampire on ABC-TV. This record was not an official release of the television show, but an interpretation of the theme that is seldom heard. I thought it's exotic funky treatment was especially worth hearing. The soundtrack for the TV show also included Theremin, possibly played by composer Robert Cobert, but in its more traditional spooky role. This record was produced and arranged by Charlie Calello, a well-known producer who had worked with the Four Seasons (singing group) and later would produce such super stars as Frank Sinatra, Neil Diamond, Bruce Springsteen, Laura Nyro, and Barbra Streisand. Mutantes, “Banho De Lua (Tintarella Di Luna)” from Mutantes (1969 Polydor). Brazilian folk-rock-psychedelic group that featured the Theremin blended with many other instruments, both acoustic and electronic. Arranged by, Mutantes; Drums, Sir Ronaldo I. Du Rancharia; Theremin, electronic Instruments, Claudio Régulus. This innovative pop trio from Brazil also collaborated with other artists such as Caetano Veloso and Gilberto Gil and were threatened by the military government of Brazil. What Theremin did they use? Several Moog models would have been available, but they also may have built their own. One photo I've seen suggested that they built their own. Lothar and the Hand People, “It Comes on Anyhow” from Machines: Amherst 1969 (2020 Modern Harmonic). Live recording from 1969 featuring the Moog Modular Synthesizer played by Paul Conly and the Moog Theremin played by vocalist John Emelin. On this track, the synthesizer and Theremin sounds are intermingled, making it a fun challenge to distinguish between the two of them. Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin. Lothar and the Hand People, “Today Is Only Yesterday's Tomorrow” from Machines: Amherst 1969 (2020 Modern Harmonic). This track was recorded live in 1969. John Emelin starts by introducing the Moog Theremin, called “Lothar.” Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin. Opening background tracks: Bernard Herrmann, Dr. Samuel J. Hoffman, “Prelude, Outer Space” (excerpt), from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman. Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “(I'm a dreamer) Aren't we all?” (1930 Victor). “Orchestra, with theremin soloist.” Theremin, Zinaida Hanenfeldt. Recorded January 17, 1930 in New York at the 28 West 44th St. studio. Samuel J. Hoffman, “The Swan”( Saint-Saens) from “Moonlight Sonata” / “The Swan” (1951 Capitol). Arranged and performed on the Theremin by “Dr. Hoffman.” Orchestra and Chorus Under the Direction Of Leslie Baxter, Dr. Samuel Hoffman, “Struttin' with Clayton” from “Jet” / “Struttin' With Clayton” (1950 RCA Victor). Theremin, Dr. Samuel J. Hoffman. Miklós Rózsa, “Dementia” from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman. This podcast is not intended as a thorough history of the Theremin itself. There are many excellent resources that provide that, including my own book on the history of electronic music, the Bob Moog Foundation website, Albert Glinsky's wonderful book about Leon Theremin, and the entire Theremin World website that is devoted to everything Theremin. I urgently suggest that you consult those resources for more detail on the actual history of the instrument and the people behind it. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.

In the immortal words of Monty Python and the Flying Circus, now for something completely different. This record was an unexpected find in my dad's collection, but it's obvious he played it frequently, telling by its condition. So get ready to head out to the middle of the Pacific Ocean for some quiet meditation at my favorite time of day with Volume 103: Hawaiian Sunset. Credits and copyrights Poly And His Hawaiian Ensemble – Hawaiian Sunset Label: Harmony (4) – HL 7114 Format: Vinyl, LP Country: Canada Released: 1958  Genre: Folk, World, & Country Style: Pacific Song Of The Islands Written by Charles E King The Moon Of Manakoora written by Frank Loesser (lyrics) and Alfred Newman (music) Hawaiian Paradise Owens music by Harry Owens Hawaiian Dreams By Poly The One Rose Lyon -  Written by Lani McIntire, Del Lyon Pagan Love Song written by Nacio Herb Brown and Arthur Freed Aloha Oe  Composed by Queen Lilluokalani I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

A Collection of Favorite Hawaiian Songs By by Dorothy Lamour; Dick McIntire And His Harmony Hawaiians; Del Lyon; Lani McIntire; Gordon Beecher; Johnny Noble; Alfred Newman; Frank Loesser; R. Alex Anderson Publication date 1943-10-26 --- Send in a voice message: https://anchor.fm/waldina/message

Min 5. EL FILTRO LUCHINI Superado el Puente de Todos los Santos, la actividad en las salas eclosiona con la entrada de una variadísima hornada de estrenos. Hasta el punto de que, en este capítulo, el reto será convertir el Filtro Luchini en una suerte de carrusel cinéfilo pàra analizar los diez títulos que ponemos en escena. Manda el cine español con las entradas de “Vasil”, “No mires a los ojos”, “13 exorcismos” y “El agua”. Decepciona la británica “La Forja de un campeón”, que se presumía el plato fuerte de la semana; sorprende para bien la francesa y violenta “¡Corten!”; nos descoloca el regreso de Iñárritu en “Bardo” y destacamos dos de las novedades más llamativas en plataformas, la segunda parte de “Enola Holmes” y “My Policeman”. Min 30: EL CIBRA DE LOS MOSQUETEROS Este viernes, 4 de noviembre, ha subido el telón en Toledo la 14ª edición de CIBRA, El Festival del Cine y la Palabra. Cumpliendo con la tradición de los últimos años, visita nuestros estudios el director del festival toledano, Gabriel Castaño, que nos desglosa las novedades y atractivos de esta prometedora edición. Preestrenos como “Mantícora”, de Carlos Vermut; “La Maternal” de Pilar Palomero; “As Bestas”, de Rodrigo Sorogoyen o “Reyes contra Santa”, de Paco Caballero. El Cibra contará este año con las presencias, entre otros, de Dani Rovira, Vicky Luengo, Aitana Sánchez-Gijón, Paco León, Elena Anaya o Rosa Montero. Min 50: BSO CINE DE CAPA Y ESPADA Y ya que el cartel de CIBRA 2022 apela al espíritu de equipo de Los Tres Mosqueteros, le hemos propuesto a nuestro experto en bandas sonoras un homenaje musical al cine de Capa y Espada. Y atención al menú que nos trae Ángel Luque, porque vamos a poder disfrutar de las joyas musicales que compusieron grandes maestros de la música de cine, como Max Steiner, Korngold, Alfred Newman, Victor Young o James Horner. Prepárate para revivir la magia del cine clásico de aventuras y para disfrutar de títulos como “Los Tres Mosqueteros”, “El Capitán Blood”, “Sacaramouche”, “El Signo del Zorro” o “La Mäscara del Zorro”.

Praised by American Record Guide as, "Energetic and exciting...", American composer Maria Newman has been commended and recognized by the U.S. Congress for her work in the field of original music composition, live performance, and recording. Newman's compositions have been performed and screened in such elite venues as Carnegie Hall, the Kennedy Center, the U.S. Capitol Building on Capitol Hill, the National Archives in Washington D.C., Hearst Castle Private Theater, the President's Own Marine Band Barracks, Nokia's NOVO Theatre, Heidelberg Castle, Brevard Center for the Arts, the Music Scoring Stages of 20th Century Fox, MGM, Paramount, Sony, Universal, and Warner Bros., among many others. Maria Newman has been featured in such spotlight one-on-one interviews paired with live concert performances as CBS Sunday Morning, National Public Radio's From the Top with Christopher O'Riley, andNPR's Performance Today. Additionally, her silent film scores are featured regularly on Turner Classics. Named a George Wellington Miles Scholar of Yale University, Newman is an elected member of the American Academic Music Honor Society, Pi Kappa Lambda.Maria Newman's original library of compositions have earned her accolades as an Annenberg Foundation Composition Fellow, a Mary Pickford Library Composition Fellow, a Sidney Stern Trust Composition Fellow, and as a Variety Music Legend. Her music is featured frequently on radio and television around the globe, and live-in-concert at numerous music festivals, chamber music series, and film festivals.      Maria Newman is Composer-in-Residence with the Malibu Coast Chamber Orchestra, SPaCE Salon Concerts Los Angeles, and the Malibu Coast Silent Film Orchestra. Fanfare Magazine has lauded Newman's compositions, hailing, “This is real genius.”  She has been celebrated by NPR's on-air icon of musical opinion, Jim Svejda, (Author and Host of The Record Shelf Guide to the Classical Repertoire) as, “Hugely musical, bewitching, witty, profound and playful, with an instantly recognizable and unusually appealing musical personality, Maria Newman is one of the most charming and distinctive composers of her generation.”  In the international spotlight, Maria Newman is the acclaimed viola soloist in Miklos Rozsa's Viola Concerto with the Nuremburg Symphony (Germany) on the GRAMMY Award-winning Symphonic Hollywood CD (Varese Sarabande label). She also appeared as the physical animation inspiration and violin soloist for the character of “The Grasshopper” in the 1996 Walt Disney release of Tim Burton's, James and the Giant Peach.Maria Newman is the youngest of 9-time Academy Award-winning composer Alfred Newman's seven children. She is the sister of film composers/conductors Thomas Newman and David Newman, and the cousin of Randy Newman. Maria Newman's recording studio is based in Malibu, California, designed by architect, Eric Lloyd Wright. Newman is married to American conductor and violist, Scott Hosfeld.

Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of “Heroes and Villains”. The box set The Smile Sessions  contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution".  The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer,  a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that  Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of  "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about  the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels  had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You'  made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics,  but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian.  Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable.  It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects,  some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex,  discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Vandaag neemt Ab je mee naar de familie Newman. Deze familie, gedomineerd door vader Alfred, was een ware filmmuziekdynastie. Samen met zijn broers, zijn zoons, zijn dochter en zijn neef componeerde hij filmmuziek! Zo zie je maar wat voor passie ouders kunnen overbrengen.. 

Thomas Newman uno de los más grandes compositores actuales de música de cine. Thomas, hijo del legendario Alfred Newman, es además sobrino de Lionel Newman y Emil Newman, pero hay no queda la cosa, su hermano es David Newman y para rizar el rizo, Randy Newman es su primo. El creador de bandas sonoras como: American Beauty, Wall-e, Skyfall, 1917, Erin Brockovich, El puente de los espias, Spectre, entre otras muchas. En este programa escucharás un sinfín de temas de la mayor representación posible de lo que ha realizado este señor, que ha tenido 14 nominaciones al Oscar y diferentes distinciones. Disfruta de este magnífico programa y saborea el final con Nacho Granda, el director del podcast Scores de cine, donde nos recomendará dos temas y explicará largo y tendido curiosidades y anécdotas de este señor.

Thomas Newman uno de los más grandes compositores actuales de música de cine. Thomas, hijo del legendario Alfred Newman, es además sobrino de Lionel Newman y Emil Newman, pero hay no queda la cosa, su hermano es David Newman y para rizar el rizo, Randy Newman es su primo. El creador de bandas sonoras como: American Beauty, Wall-e, Skyfall, 1917, Erin Brockovich, El puente de los espias, Spectre, entre otras muchas. En este programa escucharás un sinfín de temas de la mayor representación posible de lo que ha realizado este señor, que ha tenido 14 nominaciones al Oscar y diferentes distinciones. Disfruta de este magnífico programa y saborea el final con Nacho Granda, el director del podcast Scores de cine, donde nos recomendará dos temas y explicará largo y tendido curiosidades y anécdotas de este señor.

Legendary singer and vocal contractor talks her illustrious career in Hollywood working in choirs and as soloist for many film composers, including her work for John Williams on Amistad and other projects Hosted by Maurizio Caschetto Film score recordings in Hollywood are performed not just by hundreds of talented orchestra musicians, but they often feature the superb work of great vocalists, singers and choirs. Sally Stevens is perhaps the most famous and distinguished singer and vocalist who lent her beautiful voice to countless film and television soundtracks and studio recordings in Los Angeles. Her resume includes work for illustrious film composers including John Williams, Jerry Goldsmith, James Horner, Alan Silvestri, James Newton Howard, Danny Elfman, just to name a few, but also for some of the most famous names of the recording industry like Frank Sinatra, Nat King Cole, Burt Bacharach among others, in a career spanning five decades and thousands of performances. Under the banner name Hollywood Film Chorale, she contracted choirs and singers for successful films including Edward Scissorhands, Batman Returns, The Abyss, Forrest Gump, The Matrix Revolutions, Jurassic World, among others, and also on popular tv shows as The Simpsons and Family Guy. She also served as choral director of the Oscars broadcasts for over 20 years, the most recent being the 2018 Academy Awards. Sally's collaboration with John Williams started in 1997, when she was asked to be vocal contractor for the film Amistad, directed by Steven Spielberg. She also collaborated on such films as Minority Report (2002), War of the Worlds (2005), Munich (2005), Indiana Jones and the Kingdom of the Crystal Skull (2008) and Star Wars: The Force Awakens (2015). In this conversation, Sally Stevens reminisces about her glorious career as a singer and vocal contractor working in Hollywood, from his early days singing in the choir for Alfred Newman's How The West Was Won to the work as soloist for Lalo Schifrin, Jerry Goldsmith and other great composers. She also recollects her experience working as a vocal contractor for John Williams on Amistad and other projects involving choirs and vocal soloists, sharing her own unique insight and perspective on Williams' choral writing and the use of human voice. For more information and the list of music excerpts visit https://thelegacyofjohnwilliams.com/2022/04/01/sally-stevens-podcast/

Synopsis In Vienna, on today's date in 1907, the String Quartet No. 1 of the Austrian composer Arnold Schoenberg had its first performance by the Rosé Quartet, an ensemble headed by Arnold Rosé, the concertmaster of the Vienna Philharmonic and Gustav Mahler's brother-in-law. One eye-witness reported as follows: “Many found the work impossible, and left the hall during the performance, one rather humorously through the emergency exit. As the hissing continued afterward, Gustav Mahler, who was present, approached one of the unsatisfied and said: ‘You should not hiss!' – to which the unhappy audience member responded: ‘Don't worry – I hiss your symphonies, too!'" In 1936, Schoenberg was living in Los Angeles, where one of his students was the Hollywood composer Alfred Newman. Newman arranged to have all four of Schoenberg's Quartets recorded by the visiting Kolisch Quartet at the United Artists Studios in Hollywood. To do this, Newman had to first obtain permission from none other than film mogul Samuel Goldwyn himself. “And so,” recalled Newman years later, “a hack movie-musician, a movie producer, and a movie studio made possible the recording of four important modern compositions. Once in a while, you see, we CAN be unfaithful to the great god Profit.” Music Played in Today's Program Arnold Schoenberg (1874 — 1951) — String Quartet No 1, Op 7 (Kolisch Quartet) Music and Arts 1056

This week, we're talking to David Newman, son of acclaimed composer Alfred Newman and a proud member of a film music family that includes brother Thomas Newman and cousin Randy Newman. He's a prolific and legendary composer and conductor who's scored more than 100 feature films and television shows. You may know his work from films like Serenity, the live-action Scooby-Doo films, and most notably, his iconic score to Galaxy Quest.   But his latest project isn't to compose a new original score, but to play musical steward for Steven Spielberg and writer Tony Kushner's adaptation of one of the most celebrated musicals of all time -- Stephen Sondheim and Leonard Bernstein's West Side Story. Rather than reinterpret Bernstein's timeless score for Steven Spielberg and Tony Kushner's new adaptation of the film, Newman used his lifelong experience with the musical (and familiarity with the Bernstein estate) to craft something that fit Spielberg and Kushner's updates to the script, choreography, and story, while keeping the essential spirit of those classic tunes alive.   Today, Newman joins me to talk about his relationship to West Side Story, what they changed (and didn't change) in his new arrangement, and more.   You can find David Newman at their official website here.   West Side Story is currently playing in theaters; if you're vaxxed, boosted, masked, and feel comfortable going, please go for it. You can also listen to the soundtrack on your preferred music streaming service courtesy of 20th Century Music.

Our Interview with David Newman (2012-07-12)00:00 Musical Education01:14 Favourite instrument01:33 musical idols04:45 Film music collection07:22 Last soundtrack album purchased08:20 Composing: Craft or Art10:28 Inspiration12:53 The Best of Composing13:51 The Less Beautiful Aspects of Composing14:42 Favourite film16:07 The First Project17:11 The approach to scoring animated films18:41 Theme and/or atmospheric music20:28 Favorite Genre20:47 The question of time21:01 Are there any projects where you were unhappy with the working conditions or the 'end product' on your part22:21 Type of Director24:45 Anastasia29:35 SERENITY36:13 The Newman Family (Randy Newman, Thomas Newman, Alfred Newman, etc)40:04 Critters41:02 Danny de Vito42:39 The music of "Bill and Ted"45:35 The modern film industry46:16 Current projects47:02 Five TermsTranslated with www.DeepL.com/Translator (free version)

“We are living in a world today where lemonade is made from artificial flavors and furniture polish is made from real lemons.” -Alfred Newman   I am so excited about this- graceful disruptors in the CPG (consumer packaged goods) space!! You know I love my REAL natural CPG's, but they are oh-so-hard to come by! When I saw this product, I knew I had to have a conversation with them and luckily, I happen to know someone directly in the mix.  Sparkling water has been all the rage over the past 5+ years, with many debates around the “natural” flavoring. Yes, most of them are calorie free and the ingredients usually say, sparkling water and natural flavoring- not telling us much. The term “natural flavoring” can mean a lot and there are a lot of shades of grey here. Jump in on this convo to hear from Ted Grant, Co-Founder of Viveau, a sparkling mineral water with REAL ingredients. Ted is a longtime entrepreneur, Michelin-Star Chef,  and Dad… in the pursuit of real, good, food. Ted shares his journey, passion, and expertise around seeking real ingredients and the new age process of leading with the heart (instead of chasing profitable margins). The consumer is evolving and so are SOME businesses around us, Ted and Viveau are excellent examples of disruptors “questioning a better way”, living by it, and reaping the rewards from it. If you are an entrepreneur, foodie, chef, or anyone looking to change up the traditional ways of business/living, this one's for you. Enjoy!   Highlights: Graceful disruption. Sparking water and natural flavors not being so natural. Passion over paycheck, that leads to a paycheck. Building the right team and creating the right culture aka… The vibe attracts the tribe. Being in alignment with your personal and professional life. Grassroots to boardroom. Creative marketing strategy and evolution. Strategic partnerships. Health, wealth, and balance. Maybe a good cocktail recipe or two… :)   Viveau: Creating Viveau has always been about accelerating a real food movement for people and planet. That's why every ingredient comes from the earth, not the lab. No sugar added and no hard-to-pronounce chemicals or so-called “natural flavours". Just real ingredients for a beverage that's really refreshing.   A tale of two visionaries: One day at a vineyard in Annapolis Valley, Nova Scotia, two guys named Ted and Hanspeter were complaining they couldn't find any sparkling waters that used real ingredients. Instead, it seemed the industry was saturated with beverages filled with sugar, artificial preservatives, and “natural flavours"— which could mean anything from chemical additives to derived flavouring constituents.   As champions of the real food movement — with real lifetime expertise in the food and beverage world — Ted and Hanspeter became determined to challenge the lack of truth and transparency in the marketplace.  It was time to create the first Canadian-made sparkling water made with actual honest-to-goodness real fruit and the safest, highest-quality water possible.    The Founders:   Ted Grant, The Michelin-Star Chef Chef, gastronomy guru, and food product developer, Ted has worked on five continents supporting a variety of businesses and educational institutions with his vision, enthusiasm, and devoted work ethic.   Hanspeter Stutz, The Trailblazer A pioneer in the Canadian wine and cider landscape, Hanspeter is the founder of the renowned Grand Pré Winery. He brings an unparalleled enthusiasm to every project and every product he creates. www.DrinkViveau.com @drinkviveau     Connect with T&T: IG: @TurmericTequila Facebook: @TurmericAndTequila Website: www.TurmericAndTequila.com   Host: Kristen Olson IG: @Madonnashero Tik Tok: @Madonnashero Email: Info@KOAlliance.com Website: www.KOAlliance.com          

Este especial está dedicado a uno de los géneros más clásicos del cine: el western o como decimos en España, las películas del Oeste o cine de vaqueros. Repasamos las principales características del género y le damos un breve repaso a su historia. Hablamos de John Wayne, el actor que mejor representa este cine, de la película ‘Grupo salvaje' de Sam Peckinpah o de la banda sonora de ‘La conquista del Oeste' compuesta por Alfred Newman. 

The music you remember from The Shawshank Redemption, American Beauty, Angels in America, Finding Nemo, 1917, and the James Bond films Skyfall and Spectre was all written by Thomas Newman. His father was the legendary film composer Alfred Newman (who won nine Oscars and composed the 20th Century Fox fanfare). His brother David is also a film composer, and his cousin is songwriter/composer/performer Randy. Thomas admires them all but still managed to find his own “voice.” Leonard and Jessie are unabashed admirers, all the more so after speaking with this gifted but unassuming musical talent.

Iedereen kent wel Alfred Newman's bekende Fox Fanfare, de muziek die hoort bij de bekende filmstudio. Daarnaast schreef hij de muziek voor de grote Hollywood Klassiekers The Robe (1953), The Diary of Anne Frank (1959) en How the West Was Won (1962). In dit tweede deel van een podcast-luik over de componisten in het Gouden Tijdperk van Hollywood, ontdekt Coen Haver samen met filmmuziekcomponist Matthijs Kieboom de invloed van Alfred Newman. Wat weinig mensen weten is dat Newman verantwoordelijk is voor het belangrijkste mechanisme in het synchroniseren van beeld en geluid, het zogeheten Newman System. De zogenaamde 'streamers' en 'punches' waarmee je het ritme en ijkmomenten in muziek aangeeft, wordt tot op de dag van vandaag gebruikt door componisten. Support the show: https://www.patreon.com/movieinsiders See omnystudio.com/listener for privacy information.

Distinguished author Steven C. Smith and composer & conductor William Stromberg discuss the lineage that connects John Williams and the great composers of the Golden Age of Hollywood, including Bernard Herrmann and Max Steiner John Williams is the film composer who, more than any other, was able to take the great tradition of the Golden Age of Hollywood's film music and revive it for modern audiences. Thanks to the impressive box office success of such films as Jaws, Star Wars, Close Encounters of the Third Kind and Superman, the late 1970s saw a resurgence of the classic symphonic film score as intended by the great composers of the Golden Age: Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Dimitri Tiomkin, Miklós Rózsa, Franz Waxman, were the forefathers of what is commonly referred as "the Hollywood sound", i.e. the lush, romantic orchestral vernacular in vogue during the 1930s, '40s and '50s, mostly based on the great tradition of Late Romantic symphonic music from Europe, of which all the aforementioned composers were all natural descendants. This type of vibrant, colorful and emotional musical accompaniment defined Hollywood's film music until the dramatic turn of the tide known as the end of the studio era in the early 1960s. John Williams restored almost single-handedly that tradition with a sincere, heartfelt homage to those musical stylings and a new renaissance of film music began. This is the starting point of this new episode of the Legacy Conversations series on The Legacy of John Williams podcast, featuring two very esteemed and distinguished special guests who are among the most respected authorities on the subject of classic film music: author Steven C. Smith and composer/conductor William T. Stromberg. Steven is an Emmy-nominated documentary producer, author, and speaker who specializes in Hollywood history and profiles of contemporary filmmakers. He is the author of two acclaimed biographies: Music by Max Steiner: The Epic Life of Hollywood's Most Influential Composer (Oxford University Press), and A Heart at Fire's Center: The Life and Music of Bernard Herrmann (University of California Press). William T. Stromberg is a respected composer and conductor working in the film music business since the late 1980s. Together with his artistic partner John W. Morgan, he produced an impressive amount of brand-new recordings of classic film scores from the Golden Age of Hollywood by Max Steiner, Bernard Herrmann, Erich Wolfgang Korngold, Franz Waxman, Dimitri Tiomkin and other illustrious composers, including premiere complete recordings of such iconic scores as King Kong, The Adventures of Robin Hood, Fahrenheit 451, The Egyptian. The profound expertise and knowledge of both Steven C. Smith and William Stromberg make them the ideal guests to talk about the lineage that connects John Williams to the great tradition of the Golden Age of Hollywood's film music, especially to composers like Max Steiner and Bernard Herrmann. For more information and the list of the musical excerpts featured in the episode, visit https://thelegacyofjohnwilliams.com/2021/06/10/steven-c-smith-william-stromberg-podcast

Hans Zimmer, John Williams en James Horner; allemaal zijn ze beïnvloed in klank en compositietechnieken door Erich Korngold, Max Steiner en Alfred Newman. In dit eerste deel van een tweeluik ontdekt Coen Haver samen met Radio 4 redacteur en presentator Pieter van Nes hoe deze grootheden te werk gingen en hoe hun werk nog altijd doorklinkt in de moderne filmmuziek. Ze beluisteren samen de mooiste hoofdthema's en leidmotieven uit onder meer The Adventures of Robin Hood (1938), King Kong (1933), Gone With the Wind (1939), The Terminal (2004), Titanic (1996) en Interstellar (2014). Een podcast over, maar vooral ook mét heel veel schitterende filmmuziek. Support the show: https://www.patreon.com/movieinsiders See omnystudio.com/listener for privacy information.

Legendary flutist talks her incredible career as a performing artist, the legacy of her own musical family, the phenomenal streak of work as a studio musician in Hollywood and her many collaborations with John Williams on such iconic scores as Hook, Jurassic Park, War Horse and many others. Flutist Louise Di Tullio is one of the true icons among the generation of musicians performing in the Los Angeles area who came on the scene between the late 1950s and early 1960s. In an amazing career spanning almost six decades, Louise performed both as a world-class classical player and studio musician, often in the position of principal flute, for countless film scores, recording projects and live performances. A native of Los Angeles, Louise Di Tullio comes from a family of very distinguished musicians who had incredible careers as classical players and studio musicians. Louise started to play flute at a very young age and soon began to take lessons to become a professional musician. Before reaching the age of 20, Louise joined the LA Philharmonic, playing piccolo in the flute section, following in the footsteps of her father and two uncles. After six years with the Philharmonic, she found success in all aspects of the recording world. Louise started to perform in Hollywood studio orchestras, mostly as a piccolo player, and was contracted regularly to play for big name film composers including Alfred Newman, Jerry Goldsmith, John Barry and of course John Williams.  Louise's first session with John Williams dates back in 1969 for the score for The Reivers. You can hear Louise's playing, often performing both delicate and virtuosic piccolo parts, on such iconic scores as The Towering Inferno, Jaws, Close Encounters of the Third Kind, The Fury, 1941 and E.T. The Extra-Terrestrial. In 1990, Louise inherited the first chair from Sheridon Stokes as principal flute for John Williams and from this moment onward her career as studio musician became the stuff of legend. As principal flute, Louise Di Tullio can be heard performing on many John Williams' scores since 1990, including Home Alone 1 and 2, Hook, JFK, Far and Away, Jurassic Park, Schindler's List, Rosewood, Seven Years in Tibet, A.I. Artificial Intelligence, Minority Report, Catch Me If You Can, War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull, The Adventures of Tintin, War Horse, and The Book Thief. Besides her work in countless John Williams' scores, Louise Di Tullio served as principal flute for many other great film composers, including Jerry Goldsmith, John Barry, James Horner, Lalo Schifrin, Bill Conti, James Newton Howard, Bruce Broughton, Danny Elfman, among others. Over the course of her extraordinary career, Louise performed on more than 1,200 motion pictures and tv films including some of Hollywood's biggest hits of the last 50 years. In this conversation, Louise reminisces for the first time since many years about the legacy of her extraordinary musical family, the first steps as a classical player, including performing under Igor Stravinsky. Louise talks extensively about her many years recording film scores with John Williams, from her first experiences playing piccolo on The Reivers and Jaws, to her playing as principal flute on scores like Hook, Jurassic Park and War Horse, recollecting many memories and sharing her point of view about the music and the art of Maestro John Williams. Visit https://thelegacyofjohnwilliams.com/2021/05/28/louise-di-tullio-podcast/ for more informations and the list of the musical excerpts featured in the episode.

For Video Edition, Please and Subscribe here: https://youtu.be/TgHXlTydRGg http://www.richardglazier.com/ Classic Movies is pleased to announce that it will be screening “From Broadway to Hollywood,” the wildly entertaining concert and documentary created by pianist, raconteur, and cultural historian Richard Glazier, as part of the upcoming virtual TCM Classic Film Festival. In this one-of-a-kind program, Glazier weaves together rare interviews, dazzling piano performances, and insightful commentary to present a riveting look at the history of Broadway and Hollywood through music. Glazier was able to sit down with an incredible group of luminaries who share their unique perspectives about the composers and shows that defined this American art form. Some of the people who appear rarely gave interviews but were happy to talk to Richard about the momentous contributions they or their family members made. Broadway veteran Patricia Morrison (star of the original production of Kiss Me Kate who was personally chosen by Cole Porter for the role) • Composer and conductor David Newman (son of Alfred Newman, longtime head of the 20 th Century Fox Music Department and composer of over 200 film scores) • writer Daniel Selznick (son of famed producer David O. Selznick and grandson of MGM founder Louis B. Mayer). actor Efrem Zimbalist, Jr. (award-winning star of The F.B.I. and son of famed violinist Efrem Zimbalist) • Grammy Award-winning composer Lalo Schifrin (who wrote the “Theme from Mission Impossible” and many other well-known scores)

"The Mark of Zorro" is a 1940 film based on The Curse of Capistrano written in 1919 by Johnston McCulley. This film is the wrap-up in our tribute to Basil Rathbone. The film follows on the success of the 1920 silent movie "The Mark of Zorro" starring Douglas Fairbanks.Rouben Mamoulian directed the 1940 film and it garnered an Academy Award nomination for the musical score by Alfred Newman. Leading this swashbuckler is Tyrone Power as Don Diego Vega/Zorro the hero that brings about the downfall of a dictator. Linda Darnell is Lolita Quintero who falls in love with Zorro, the evil Captain Esteban Pasquale is played by Basil Rathbone and there is a cast of excellent performers. We hope you enjoy this action packed adventure.Check us out on Patreon at www.patreon.com/classicmoviereviews for even more content and bonus shows.

Calum and Chris discuss the nominees for 1955's Best Actress in a Leading Role, which were Susan Hayward (I'll Cry Tomorrow), Katharine Hepburn (Summertime), Jennifer Jones (Love Is a Many-Splendored Thing), Anna Magnani (The Rose Tattoo), and Eleanor Parker (Interrupted Melody). Susan Hayward: 03:30 - 14:17 Katharine Hepburn: 14:18 - 24:43 Jennifer Jones: 24:43 - 35:53 Eleanor Parker: 35:53 - 47:54 Anna Magnani: 47:54 - 58:32 Listener Questions: 58:32 - 1:17:43 Conclusions/Ranking: 1:17:43 - 1:22:15 Exit music: The original score from Love Is A Many-Splendored Thing (by Alfred Newman)

Esteemed violinist, pianist, conductor, arranger and composer of classical music,  Maria Newman, is part of the "musical Hollywood Newman family dynasty" which boasts a collective 92 Oscar nominations in music.  Joining husband and wife duo, Alison Pothier and Jules Williams in this episode of IBULIEVE, Maria shares about how growing up in a musical family shaped her life, and continues to shape her life, loves and BUliefs. The youngest daughter of Martha Louise Montgomery and 9-time Academy Award winning film composer, Alfred Newman ("Wuthering Heights", "The King and I", "Tin Pan Alley" ... and more ) ,  Maria is the Founder of the Malibu Friends of Music and Composer-in-Residence at the Montgomery Arts House for Music and Architecture (MAHMA) designed by Eric Lloyd Wright of the Frank Lloyd Wright family of architects.  She joins siblings, David Newman (film scorer, "Nutty Professor", "Ice Age", "Hoffa" ... ), Thomas Newman ( film scorer: "Finding Nemo", "The Shawshank Redemption", "Green Mile" ... ), her cousin, Randy Newman (composer: You've Got a Friend in Me from "Toy Story" ... ) and an extended family of cousins and uncles who have demonstrated the timeless power of music to inspire the world.    Links referenced in this episode:https://www.ibulieve.com/https://www.alisonpothier.com/https://www.juleswilliams.com/Guest Links:http://www.malibufriendsofmusic.org/http://www.malibufriendsofmusic.org/home/themontgomeryartshouse.htmlIBULIEVE Theme Song:Excerpt from the composition by Deepak RamapryianSupport the show (https://www.buymeacoffee.com/IBULIEVE)

Episode 7 - The month of February marks LGBT+ History Month in Scotland, and elsewhere. And so, we take a short detour away from our more usual wyrd history… to an LGBT+ history of Scotland. Listeners are advised that the commentary includes some content and language which they may find uncomfortable listening, reflecting attitudes and practices of earlier times. No offence or distress is intended. This is a safe place, for all, and we submit this episode with respect, for all. Regular listeners will be aware that this episode is somewhat different in form as well as content from previous episodes. Usually we like to employ our own sounds and compositions, however for this episode it felt appropriate to source music which reflected the time periods being spoken about, and to generally avoid emotive or creepy sound effects. Therefore, we'd like to acknowledge the pieces of music used and their performers. We would also like to to say that as far as possible we've tried to use music from the public domain, or which permits reuse. If we've erred here please let us know and we will be more than happy to make appropriate changes. This episode featured: Masculine women, feminine men, written by Jimmy Monaco and Edgar Lesie, performed by Frank Harris AKA Irving Kaufman. It featured multiple early and renaissance classical guitar pieces by Jon Sayles, which can be found at http://www.jsayles.com/familypages/EarlyMusic.htm it really is amazing the collection he's put together. There was selections from the Sonata of Scots Tunes by James Oswald, performed by Concerto Caledonia and David McGuinness. It featured Love Your Spell is Everywhere performed by Ben Selvin and his orchestra. And also Drink To Me Only With Thine Eyes by Alfred Newman and His orchestra And finally it featured Sun Disco by Cow&Lake, of which Andrew Cowan, who designed the Tales from Wyrd Scotland logo, was Cow, and Nick Cole-Hamilton was Lake. This episode was written and read by Gordon Stewart check out his blog: http://borderlandscotland.wordpress.com/ The episode was recorded, produced and radiophonically designed by Nick Cole-Hamilton: http://www.youbetterrun.media The Tales From Wyrd Scotland logo was designed by Andrew Cowan: http://andrewcowan.co/

In this episode, I explore the rich, melodic and memorable film music of Hollywood Golden Age composer Franz Waxman. Born in Germany in 1906, Waxman was known by his peers as the consummate musician, having studied music in Berlin while supporting himself by performing and arranging pop music of the day in local cafes. Waxman emigrated from Germany to the United States in the early 1930's, along with many talented artists, and became part of that first generation of brilliant musicians who developed and perfected the art of film scoring, alongside giants such as Max Steiner, Alfred Newman and Erich Wolfgang Korngold. I discuss Waxman's place in the early days of the new art form of music for motion pictures (the famed "Golden Age"), plus its development overall for some context, and his evolving style through the highlights during his career, including REBECCA, SUNSET BOULEVARD, THE SPIRIT OF ST. LOUIS and TARAS BULBA.   Connect with the podcast on Facebook and Twitter... www.facebook.com/ascoretosettle twitter.com/score2settlepod   Feel free to email the show at ascoretosettlepodcast@gmail.com 

In this episode, I talk about and present examples of the marvelous music of Elmer Bernstein, specifically his jazz-oriented scores, like THE MAN WITH THE GOLDEN ARM, and those in the "Westerns" genre, THE MAGNIFICENT SEVEN for example. Bernstein was part of the unofficial "second generation" of film composers, along with Alex North, Franz Waxman and others, following on from the "godfathers" of Max Steiner, Alfred Newman and Erich Wolfgang Korngold. He tackled pretty much every genre but there were distinct periods of his career when he was considered the "go-to" guy for jazz scores, then Westerns, then comedies, amid others. This is part of my ongoing "Listening To..." series of the show in which I examine various composers, whether presenting attributes of their overall style, focusing on particular genres or even a certain year of their career. This is not a comprehensive biography of Elmer Bernstein or his entire career, but more of a brief introduction for anyone who might be curious to learn about what to listen for. Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod Email the show at ascoretosettlepodcast@gmail.com  

We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles. About Nick Redman: London-born Nick Redman, one of Hollywood's leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals. As a consultant to the Fox Music Group (ongoing since 1993), he has developed and overseen Hollywood's most comprehensive film music restoration program, personally producing more than 500 albums featuring the music of Alfred Newman, Bernard Herrmann, Jerry Goldsmith, John Williams, Rodgers and Hammerstein, Alex North, Hans Zimmer, James Horner, Michael Kamen and many more. His productions of the “Star Wars Trilogy” were certified Gold by the RIAA. In 2007, he produced and directed Becoming John Ford, a feature-length documentary for Twentieth Century Fox, which premiered as a special selection at the Venice International Film Festival. The film details the creative and fractious relationship between the brittle, contentious director and his mentor / boss, studio chief Darryl F. Zanuck. In his capacity as a film historian, he has presided over commentaries for dozens of DVDs. As producer and director, he has provided special materials—documentaries and commentaries—for numerous titles including Sam Peckinpah's Legendary Westerns Collection, honored by Entertainment Weekly as the Number One DVD boxed set of 2006. In 2011, he co-founded the independent label Twilight Time which releases classic films licensed from 20th Century Fox, Columbia/Sony, and MGM/UA on DVD and Blu-ray. Nick has been a member of BAFTA Los Angeles for many years and has conducted numerous interviews for screening Q&A's and the Heritage Archive, including Michael Apted, Malcolm McDowell, Sir Ben Kingsley, Ian McShane, Tilda Swinton, Kevin Brownlow and Millicent Martin. About Brian Jamieson: Jamieson first entered the film industry with the New Zealand branch of Warner Bros. in 1977. He was later transferred to the United Kingdom. After his success publicizing Steven Spielberg's Close Encounters of the Third Kind and Peter Yates' The Deep, he was named the International Publicist of the Year. He moved to the United States in 1984. During the 1980s, he was in charge of all the company's theatrical marketing in Latin America, the Far East, South Africa, Europe, Australia and New Zealand; he was later promoted to head of International Marketing and Publicity, which made him responsible for home video marketing internationally. He also collaborated with Stanley Kubrick to promote Full Metal Jacket; they continued to work together until Eyes Wide Shut, Kubrick's last film before his death in 1999. The Times Colonist called Jamieson a “respected film preservationist”. In his work at Warner Home Video, Jamieson shepherded the restorations of numerous classical films. In 2002, Jamieson helped produce Charlie: The Life and Art of Charles Chaplin, with Richard Schickel, which was shown at the 2003 Cannes Film Festival. Two years later, he collaborated with Schickel to reconstruct The Big Red One, by Sam Fuller. The two readded 47 minutes of previously cut material.The reconstruction won several awards, including the Seattle Film Critics Awards and the Los Angeles Film Critics Association Awards. He later released a reconstruction of Sam Peckinpah's 1969 film The Wild Bunch.