Podcasts about Artie Shaw

On the May 23 edition of the Music History Today podcast, the Doors premiere, two legendary albums are released, and two groups break up. Also, happy birthday to Jewel, Maxwell, and Artie Shaw.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

M

Ava Gardner lived a dazzling yet complicated life. She was a timeless beauty, a fierce spirit, and one of Hollywood's most unforgettable icons. From her humble beginnings in rural North Carolina to becoming an MGM starlet and international sensation, Ava's journey was anything but ordinary. We explore her rise to fame, the roles that defined her, and her tempestuous relationships with legends like Mickey Rooney, Artie Shaw, and Frank Sinatra.

This episode was originally released on 9/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 83, we focus the radio industry of the 1930s and 40s—especially on the career of David Sarnoff, as RCA's network, NBC begins to lose its grip on the top spot in the broadcasting industry while they introduce Television. We'll also focus on the introduction of new talent to the industry, and the CBS talent raids of 1948-1949. Highlights: • David Sarnoff announces the birth of TV at The 1939 World's Fair 
• Edwin Howard Armstrong Invents FM 
• Television Experiments in the 1920s and 1930s 
• Sarnoff and Armstrong's Crumbling Friendship • How World War II Stopped Television's Commercial Expansion
 • William S. Paley's Plan to make CBS the #1 Network 
• The Rise of Arthur Godfrey 
• Sarnoff's Court Battles 
• The Death of Edwin Howard Armstrong
 • The CBS Talent Raids of 1948-49
 • Dean Martin and Jerry Lewis 
• The Simple Art of Macabre 
The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • The General: David Sarnoff & The Rise of the Communications Industry - by Kenneth Bilby • The Encyclopedia of Old-Time Radio - by John Dunning • Empire: William S. Paley & The Making of CBS - by Lewis J. 
 • The Museum of Broadcast Communications Encyclopedia of Radio - by Christopher H. Sterling • The Network - by Scott Wooley • As well as an article on Martin & Lewis from the August 2018 issue of SPERDVAC's Radiogram, by Michael Hayde

 Selected Music featured in today's Episode was: • Mr. Lucky, by Si Zentner • Begin the Beguine, by Artie Shaw and His Orchestra • Seance on a Wet Afternoon, arranged by John Barry

The above title does not do Dan Swift justice. Dan also has his own podcast, successful Youtube channel and he has released seven music albums. Talk about being unstoppable! I met Dan when I appeared as a guest on his podcast, Time We Discuss and I knew he would contribute to a fascinating story here.   Dan grew up with an interest in music. For a time he thought he wanted to write music for video games. Along the way he left that idea behind and after graduating from college he began working at designing websites. He has made that into his fulltime career.   As he grew as a website designer and later as a supervisor for a school system coordinating and creating the school sites Dan took an interest in accessibility of the web. We talk quite a bit about that during our time together. His observations are fascinating and right on where web access for persons with disabilities is concerned.   We also talk about Dan's podcast including some stories of guests and what inspires Dan from his interviews. I hope you enjoy this episode as much as I.       About the Guest:   Originally wanting to write music for video games or become an audio engineer, Dan Swift graduated from a small Liberal Arts college with a degree in Music Composition (Bachelor of Arts) and Music Recording Technology (Bachelor of Music).  Dan went on to release seven EP albums between 2003 and 2024. Most recently, "Parallels" dropped on Leap Day, 2024.  Dan has always had a passion for shaking up genres between Eps writing classical, electronic, and modern rock music.   While creating music has always been a passion, Dan took a more traditional professional path as a web developer. While on this path, Dan had a lot of experience with accessibility standards as it relates to the web and he values accessibility and equity for everyone both inside and outside the digital workspace. Having received his MBA during COVID, Dan went on to a leadership position where he continues to make a difference leading a team of tech-savvy web professionals.   In early 2024, I created a podcast and YouTube channel called "Time We Discuss" which focuses on career exploration and discovery. The channel and podcast are meant for anyone that is feeling lost professionally and unsure of what is out there for them. Dan feels that it is important for people to discover their professional passion, whatever it is that lights them up on the inside, and chase it. So many people are unfulfilled in their careers, yet it doesn't have to be this way.   When not working, Dan enjoys spending time with his wife and three kids. They are a very active family often going to various extracurricular events over the years including flag football, soccer, gymnastics, and school concerts.  Dan's wife is very active with several nonprofit organizations including those for the betterment of children and homelessness.  Dan enjoys playing the piano, listening to podcasts, and listening to music.  Dan is very naturally curious and is a slave to a train of never-ending thoughts.   Ways to connect with Dan:   Time We Discuss on YouTube Time We Discuss on Spotify Time We Discuss on Twitter/X Time We Discuss on Instagram Time We Discuss on BlueSky   Time We Discuss Website Dan Swift Music Website   About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/   https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi everybody. Welcome once again. Wherever you may be, to unstoppable mindset, I am your host, Mike hingson, sometimes I say Michael hingson, and people have said, Well, is it Mike or Michael? And the answer is, it doesn't really matter. It took a master's degree in physics and 10 years in sales for me to realize that if I said Mike Hingson on the phone, people kept calling me Mr. Kingston, and I couldn't figure out why, so I started saying Michael Hingson, and they got the hinckson part right, but it doesn't matter to me. So anyway, Mike hingson, or Michael hingson, glad you're with us, wherever you are, and our guest today is Dan Swift, who has his own pine podcast, and it was actually through that podcast that we met, and I told him, but I wouldn't do it with him and be on his podcast unless he would be on unstoppable mindset. And here he is. Dan is a person who writes music, he's an engineer. He does a lot of work with web design and so on, and we're going to get into all that. So Dan, I want to welcome you to unstoppable mindset. We're really glad you're here.   Dan Swift ** 02:25 Michael, it's a pleasure to be here. Thank you so much for inviting me. I am. I'm super excited.   Michael Hingson ** 02:30 Well, looking forward to getting to spend more time with you. We did yours time to discuss, and now we get this one. So it's always kind of fun. So, and Dan is in Pennsylvania, so we're talking across the continent, which is fine. It's amazing what we can do with electronics these days, telling us not like the good old days of the covered wagon. What can I say? So, So Dan, why don't you tell us a little bit about kind of the early Dan, growing up and all that.   Dan Swift ** 02:57 Oh, geez. How far   Michael Hingson ** 02:58 back to go? Oh, as far as you want to go,   Dan Swift ** 03:02 Well, okay, so I am, I am the youngest of five. Grew up just outside of Philadelphia as being the youngest. You know, there are certain perks that go along with that. I get to experience things that my parents would have previous said no to the older siblings. And you know how it is with with, you know, if you have more than one kid, technically, you get a little more relaxed as you have more but then I also had the other benefit of, you know, hearing the expression, there are young ears in the room, I will tell you later. So I kind of got some of that too. But I grew up outside of Philadelphia, had a passion for music. Pretty early on. I was never good at any sports. Tried a number of things. And when I landed on music, I thought, you know, this is this is something that I can do. I seem to have a natural talent for it. And I started, I tried playing the piano when I was maybe eight or nine years old. That didn't pan out. Moved on to the trumpet when I was nine or 10. Eventually ended up picking up guitar, bass, guitar, double bass revisited piano later in life, but that's the musical side of things. Also, when I was young, you know, I had a passion for role playing games, Dungeons and Dragons, was really big when I was a teenager, so I was super excited for that. Yeah, that's, that's kind of those, those memories kind of forced me, or kind of shaped me into the person that I am today. I'm very light hearted, very easy going, and I just try to enjoy life.   Michael Hingson ** 04:30 I played some computer games when computers came along and I started fiddling with them, the games I usually played were text based games. I've never really played Dungeons and Dragons and some of those. And I I'm sure that there are accessible versions of of some of that, but I remember playing games like adventure. You remember? Have you heard of adventure? I have, yeah. So that was, that was fun. Info con made. Well, they had Zork, which was really the same as adventure, but they. At a whole bunch of games. And those are, those are fun. And I think all of those games, I know a lot of adults would probably say kids spend too much time on some of them, but some of these games, like the the text based games, I thought really were very good at expanding one's mind, and they made you think, which is really what was important to me? Yeah, I   Dan Swift ** 05:21 completely agree with that too. Because you'd be put in these situations where, you know true, you're trying to solve some kind of puzzle, and you're trying to think, Okay, well, that didn't work, or that didn't work, and you try all these different things, then you decide to leave and come back to and you realize later, like you didn't have something that you needed to progress forward, or something like that. But, but it really gets the brain going, trying to create with these, uh, come up with these creative solutions to progress the game forward. Yeah, which   Michael Hingson ** 05:43 and the creative people who made them in the first place? What did they? Yeah, they, I don't know where they, where they spent their whole time that they had nothing to do but to create these games. But hey, it worked. It sure. Did you know you do it well. So you went off to college. Where'd you go? Sure,   Dan Swift ** 06:02 I went to a small liberal arts college, Lebanon Valley College in Pennsylvania. It's near, it's near Hershey. It was, it was weird in that my the entire school was about half the size of my entire high school. So that was very, very weird. And then you talk to these other people. And it's like, my high school was, you know, very large by comparison. But for me, it was like, well, high school, that's what I knew. But yeah, it was I went to, I went to 11 Valley College near Hershey. I studied, I was a double major. I studied music composition and music recording,   Michael Hingson ** 06:35 okay, and, oh, I've got to go back and ask before we continue that. So what were some of the real perks you got as a kid that your your older siblings didn't get?   Dan Swift ** 06:45 Oh, geez, okay. I mean,   Michael Hingson ** 06:49 couldn't resist, yeah, probably, probably   Dan Swift ** 06:51 some of the more cliche things. I probably got to spend the night at a friend's house earlier than my oldest brother. For instance, I know my parents were a little more concerned about finances. So I know my oldest brother didn't get a chance to go away to college. He did community college instead. And then, kind of, my sister was a very similar thing. And then once we got, like, about halfway down, you know, me and my two other brothers, we all had the opportunity to go away to college. So I think that was, that was definitely one of the perks. If I was the oldest, I was the oldest, I probably wouldn't have had that opportunity with my family. Got   Michael Hingson ** 07:24 it well, so you went off and you got a matt a bachelor's in music, composition and music recording. So that brought you to what you were interested in, part, which was the engineering aspect of it. But that certainly gave you a pretty well rounded education. Why those two why composition and recording? Sure.   Dan Swift ** 07:43 So if we talk about the music first at that time, so this is like the the late 90s, early 2000s any kind of digital music that was out there really was, was MIDI based, and anyone that was around that time and paying attention, it was like these very like, like that music kind of sound to it. So there wasn't a whole lot going on with MIDI. I'm sorry, with music as far as how great it sounded, or I shouldn't say, how great it sounded, the the instruments that are triggered by MIDI, they didn't sound all that great. But around that time, there was this game that came out, Final Fantasy seven, and I remember hearing the music for that, and it was all, it was all electronic, and it was just blown away by how fantastic it sounded. And And around that time, I thought, you know, it'd be really cool to get into writing music for video games. And that was something I really kind of toyed with. So that was kind of in the back of my head. But also, at the time, I was in a band, like a rock band, and I thought, you know, I'm going to school. They have this opportunity to work as a music engineer, which is something I really wanted to do at the time. And I thought, free studio time. My band will be here. This will be awesome. And it wasn't until I got there that I discovered that they also had the music composition program. It was a I was only there maybe a week or two, and once I discovered that, I was like, Well, this is gonna be great, you know, I'll learn to write. Know, I'll learn to write music. I can write for video games. I'll get engineering to go with it. This is gonna be fantastic. Speaking   Michael Hingson ** 09:07 of electronic music, did you ever see a science fiction movie called The Forbidden Planet? I did not. Oh, it's music. It's, it's not really music in the sense of what what we call, but it's all electronic. You gotta, you gotta find it. I'm sure you can find it somewhere. It's called the Forbidden Planet. Walter pigeon is in it. But the music and the sounds fit the movie, although it's all electronic, and electronic sounding pretty interesting.   Dan Swift ** 09:37 Now, is that from, I know, like in the 50s, 60s, there was a lot of experiments. Okay, yeah,   Michael Hingson ** 09:45 yeah, and, but again, it fit the movie, which was the important part. So it certainly wasn't music like John Williams today and and in the 80s and all that. But again, for the movie, it fit. Very well, which is kind of cool. Yeah,   Dan Swift ** 10:02 I'll definitely have to check that out. I remember when I was in school, we talked about like that, that avant garde kind of style of the the 50s, 60s. And there was a lot of weird stuff going on with electronics, electronic music. Um, so I'm very curious to see, uh, to check this out, yeah, yeah.   Michael Hingson ** 10:14 You have to let me know what, what you find, what you think about it, when you get to chance to watch it, absolutely or actually, I I may have a copy. If I do, I'll put it in a dropbox folder and send you a link. Fantastic. So you graduated. Now, when did you graduate?   Dan Swift ** 10:32 Sure, so I graduated in 2003 okay,   Michael Hingson ** 10:35 so you graduated, and then what did you do? So,   Dan Swift ** 10:41 backing up about maybe 612, months prior to that, I decided I did not want to be a I didn't want to write music for video games. I also did not want to work in a recording studio. And the reason for this was for music. It was, I didn't it was, it was something I really, really enjoyed, and I didn't want to be put in a position where I had to produce music on demand. I didn't want to I didn't want to do that. I didn't want to lose my hobby, lose my passion in that way. So I decided that was out. And then also, when it came to working in a studio, if I wanted to be the engineer that I really wanted to be, I would have to be in a place where the music scene was really happening. So I'd have to be in like Philadelphia or Los Angeles or Nashville or deep in Philly or something like that. And I do not like the cities. I don't feel comfortable in the city. So I was like, that's not really for me either. I could work in like a suburb studio. But I was like, not, not for me. I don't, not for me. So when I graduated college, I ended up doing freelance web work. I had met through, through a mutual friend I was I was introduced to by a mutual friend, to a person that was looking for a new web designer, developer. They lost their person, and they were looking for someone to take over with that. And at the time, I did a little bit of experience doing that, from when I was in high school, kind of picked it up on the side, just kind of like as a hobby. But I was like, Ah, I'll give this a shot. So I started actually doing that freelance for a number of years after graduation. I also worked other jobs that was, like, kind of like nowhere, like dead end kind of jobs. I did customer service work for a little bit. I was a teacher with the American Cross for a little bit, a little bit of this and that, just trying to find my way. But at the same time, I was doing freelance stuff, and nothing related to music and nothing related to technology,   Michael Hingson ** 12:29 well, so you learned HTML coding and all that other stuff that goes along with all that. I gather, I   Dan Swift ** 12:35 sure did, I sure didn't. At the time, CSS was just kind of popular, yeah, so that. And then I learned, I learned JavaScript a little bit. And, you know, I had a very healthy attitude when it when it came to accepting new clients and projects, I always tried to learn something new. Anytime someone gave me a new a new request came in, it was like, Okay, well, I already know how to do this by doing it this way. But how can I make this better? And that was really the way that I really propelled myself forward in the in the digital, I should say, when it comes to development or design.   Michael Hingson ** 13:05 Okay, so you ended up really seriously going into website development and so on.   Dan Swift ** 13:15 I did. So I continued doing freelance. And then about five years after I graduated, I started working as an audio visual technician, and also was doing computer tech stuff as part of the role as well. And while I was there, I ended up developing some web applications for myself to use that I could use to interact with our like projectors and stuff like that. Because they were on, they were all in the network, so I could interact with them using my wait for it, iPod Touch, there you go. So that was, you know, I kind of like started to blend those two together. I was really interested in the web at the time, you know, because I was still doing the freelance, I really wanted to move forward and kind of find a full time position doing that. So I ended up pursuing that more and just trying to refine those skills. And it wasn't until about about five years later, I ended up working as a full time web developer, and then kind of moved forward from   Michael Hingson ** 14:09 there, iPod Touch, what memories? And there are probably bunches of people who don't even know what that is today. That   Dan Swift ** 14:16 is so true, and at the time that was cutting edge technology,   Michael Hingson ** 14:21 yeah, it was not accessible. So I didn't get to own one, because was later than that that Steve Jobs was finally kind of pushed with the threat of a lawsuit into making things accessible. And then they did make the iPhone, the iPod, the Mac and so on, and iTunes U and other things like that, accessible. And of course, what Steve Jobs did, what Apple did, which is what Microsoft eventually sort of has done as well, but he built accessibility into the operating system. So anybody who has an Apple device today. Troy actually has a device that can be made accessible by simply turning on the accessibility mode. Of course, if you're going to turn it on, you better learn how to use it, because the gestures are different. But it took a while, but, but that did happen. But by that time, I, you know, I had other things going on, and so I never did get an iPod and and wasn't able to make it work, but that's okay. But it's like the CD has gone away and the iPod has gone away, and so many things and DVDs have gone away.   Dan Swift ** 15:31 Yes, so true. So true. You know, just as soon as we start to get used to them   Michael Hingson ** 15:35 gone. I think there is, well, maybe it's close. There was a blockbuster open up in Oregon. But again, Blockbuster Video, another one, and I think somebody's trying to bring them back, but I do see that vinyl records are still being sold in various places by various people. Michael Buble just put out a new album, The Best of Buble, and it's available, among other things, in vinyl. So the old turntables, the old record players, and you can actually buy his album as a record and play it, which is kind of cool. Yeah, they've been   Dan Swift ** 16:07 very big with marketing, too. It's been kind of a marketing, I don't want to say gimmick, but in that realm, you kind of like, hey, you know, this is also available in vinyl, and you try to get the people that are like the audio files to really check it out. I never really took the vinyl personally, but I know plenty of people that have sworn by it. Well,   Michael Hingson ** 16:25 I've heard a number of people say that the audio actually is better on vinyl than typical MP three or other similar file formats. Yep,   Dan Swift ** 16:35 yep. I had a friend growing up, and actually, I shouldn't say growing up, so I was already, like, in college or post college, but a buddy of mine, Craig, he was all about vinyl, and he had, he had the nice, the amplifier, and the nice, I think even, like, a certain kind of needle that you would get for the record player. And you know, you'd have to sit in the sweet spot to really enjoy it, and and I respect that, but um, for me, it was like, I didn't, I didn't hear that much of a difference between a CD and vinyl. Um, not very. Didn't have the opportunity to AB test them. But now I will say comparing a CD to like an mp three file, for instance, even a high quality mp three file, I can tell the difference on that Sure. I would never, you know, I'd use the MP threes for convenience. But if I were to have it my way, man, I'd have the uncompressed audio, no doubt about it, yeah,   Michael Hingson ** 17:27 wave forms, yep, yep, yeah. Obviously that's that's going to give you the real quality. Of course, it takes a lot more memory, but nevertheless, if you've got the space it, it really makes a lot of sense to do because mp three isn't going to be nearly as high a level quality.   Dan Swift ** 17:43 Absolutely, absolutely true. And that the way I rationalize it to myself. It's like, well, if I'm going to be though in the car or probably walking around and listening to music, I'm going to be getting all kinds of sounds from outside. Anyway, it kind of offsets the poor quality of the MP justify it.   Michael Hingson ** 17:56 That's true. Well, you know when and mp three is convenient if you want to put a bunch of stuff in a well on a memory card and be able to play it all, because if you have uncompressed audio, it does take a lot more space, and you can't put as much on a card, or you got to get a much bigger card. And now we're getting pretty good sized memory cards. But still, the reality is that that for most purposes, not all mp three will suffice.   Dan Swift ** 18:26 That is true. That is true. And I think too, you have a that the next battle is going to be mp three or a streaming,   Michael Hingson ** 18:33 yeah, yeah, that's going to be fun, isn't it? Yeah? Boy. What a world well. So one of the things I noticed in reading your bio and so on is that you got involved to a great degree in dealing with accessibility on the web. Tell me about that.   Dan Swift ** 18:55 Absolutely. Michael, so I've very strong opinions of accessibility. And this really comes back to, you know, I was, I was at my job, and I was only there as a full time developer. I wasn't there all that long, maybe a year, maybe two, and my supervisor came over to me and she said, you know, we want to start to make things more accessible. And this is like, this is like, 1012, years ago at this point, and I was like, okay, you know, and I did my little bit of research, and there wasn't a whole lot going on at the time. I don't think WCAG was a thing back then. It may have been. I can't remember if 508 was a thing at the in the Bible. It was okay, yeah. So I was doing my research, and, you know, you learn about the alt tags, and it's like, okay, well, we're doing that, okay. Then you learn about forms, and it's like, okay, well, they need to have labels, okay, but, but the turning point was this, Michael, we had a person on staff that was blind, and I was put in touch with this person, and I asked them to review like, different, different web applications. Applications we made, or forms or web pages. And the one day, I can't remember if he volunteered or if I asked, but essentially the request was, can this person come into our physical space and review stuff for us in person? And that experience was life changing for me, just watching him navigate our different web pages or web applications or forms, and seeing how he could go through it, see what was a problem, what was not a problem, was just an incredible experience. And I said this before, when given the opportunity to talk about this, I say to other developers and designers, if you ever have even the slightest opportunity to interact with someone, if they if, if you meet someone and they are using, let me, let me rephrase that, if you have the opportunity to watch someone that is blind using a navigate through the web, take, take that opportunity. Is just an amazing, amazing experience, and you draw so much from it. As a developer or designer, so very strong opinions about it, I'm all about inclusivity and making things equal for everyone on the web, and that was just my introductory experience about a dozen years ago.   Michael Hingson ** 21:07 And so what have you done with it all since? Sure, so   Dan Swift ** 21:11 with our website, we went from having about a million success criterion failures, and we've gotten it all the way down to, I think my last check, I think was maybe about 10,000 so it was huge, huge change. It's hard to get everything as because as content changes and newspaper, as new pages come online, it's hard to keep everything 100% accessible, but we know what to look for. You know, we're looking for the right contrast. We're looking for, you know, the all tags. We're looking for hierarchy with the headers. We're making sure our forms are accessible. We're making sure there aren't any keyboard traps, you know, things that most people, most web visitors, don't even think about, you know, or developers even thinking about, until you know, you need to think about them   Michael Hingson ** 22:00 well and other things as well, such as with other kinds of disabilities. If you're a person with epilepsy, for example, you don't want to go to a website and find blinking elements, or at least, you need to have a way to turn them off, yeah.   Dan Swift ** 22:13 Or or audio that starts automatically, or videos that start automatically, yeah, yeah.   Michael Hingson ** 22:19 So many different things, or video that starts automatically, and there's music, but there's no audio, so you so a blind person doesn't even know what the video is, yes, which, which happens all too often. But the the reality is that with the Americans with Disabilities Act, it's it's been interesting, because some lawyers have tried to fight the courts and say, well, but the ADA came out long before the internet, so we didn't know anything about the internet, so it doesn't apply. And finally, the Department of Justice is taking some stands to say, yes, it does, because the internet is a place of business, but it's going to have to be codified, I think, to really bring it home. But some courts have sided with that argument and said, Well, yeah, the ADA is too old, so it doesn't, doesn't matter. And so we still see so many challenges with the whole idea of access. And people listening to this podcast know that, among other things I work with a company called accessibe. Are you familiar with them? I am, Yep, yeah, and, and so that's been an interesting challenge. But what makes access to be interesting is that, because it has an artificial intelligent widget that can monitor a website, and at the at the low end of of costs. It's like $490 a year. And it may not pick up everything that a body needs, but it will, will do a lot. And going back to what you said earlier, as websites change, as they evolve, because people are doing things on their website, which they should be doing, if you've got a static website, you never do anything with it. That's not going to do you very much good. But if it's changing constantly, the widget, at least, can look at it and make a lot of the changes to keep the website accessible. The other part of it is that it can tell you what it can't do, which is cool,   Dan Swift ** 24:16 yeah, that's a really good point. You know, there's a lot of tools that are out there. They do monitor the stuff for you, you know, like we on our on our site, we have something that runs every night and it gives us a report every day. But then there are things that it doesn't always check, or it might, it might get a false positive, because it sees that like, you know, this element has a particular color background and the text is a particular color as well. But there's, you know, maybe a gradient image that lies between them, or an image that lies between them. So it's actually okay, even though the tool says it's not, or something like that. So, yeah, those automated tools, but you gotta also look at it. You know, a human has to look at those as well.   Michael Hingson ** 24:52 Yeah, it's a challenge. But the thing that I think is important with, well, say, use accessibe. An example is that I think every web developer should use accessibe. And the reason I think that is not that accessibe will necessarily do a perfect job with with the access widget, but what it will do is give you something that is constantly monitored, and even if it only makes about 50% of the website more usable because there are complex graphics and other things that it can't do, the reality is, why work harder than you have to, and if accessibility can do a lot of the work for you without you having to do it, it doesn't mean that you need to charge less or you need to do things any different, other than the fact that you save a lot of time on doing part of it because the widget does it for you. Absolutely, absolutely.   Dan Swift ** 25:47 That's that's a really, really good point too, having that tool, that tool in your tool belt, you know, yeah,   Michael Hingson ** 25:55 yeah. And it makes a lot of sense to do. And there are, there are people who complain about products like accessibe, saying artificial intelligence can't do it. It's too new. You gotta start somewhere. And the reality is that accessibe, in of itself, does a lot, and it really makes websites a lot better than they otherwise were. And some people say, Well, we've gone to websites and accessibe doesn't really seem to make a difference on the site. Maybe not. But even if your website is pretty good up front and you use accessibe, it's that time that you change something that you don't notice and suddenly accessibe fixes it. That makes it better. It's an interesting discussion all the way around, but to to deny the reality of what an AI oriented system can do is, is really just putting your head in the sand and not really being realistic about life as we go forward. I think that is   Dan Swift ** 26:52 so true. That is so true, and there's so many implications with AI and where it's going to go and what it will be able to do. You know, it's just in its infancy, and the amount of things that that the possibilities of what the future is going to be like, but they're just going to be very, very interesting.   Michael Hingson ** 27:05 I interviewed someone, well, I can't say interview, because it's conversation. Well, I had a conversation with someone earlier on, unstoppable mindset, and he said something very interesting. He's a coach, and specifically, he does a lot of work with AI, and he had one customer that he really encouraged to start using chat GPT. And what this customer did, he called his senior staff into a meeting one day, and he said, Okay, I want you to take the rest of the day and just work with chat, G, P, T, and create ideas that will enhance our business, and then let's get together tomorrow to discuss them. And he did that because he wanted people to realize the value already that exists using some of this technology. Well, these people came back with incredible ideas because they took the time to focus on them, and again, they interacted with chat, GPT. So it was a symbiotic, is probably the wrong word, but synergistic, kind of relationship, where they and the AI system worked together and created, apparently, what became really clever ideas that enhanced this customer's business. And the guy, when he first started working with this coach, was totally down on AI, but after that day of interaction with his staff, he recognized the value of it. And I think the really important key of AI is AI will not replace anyone. And that's what this gentleman said to me. He said, AI won't do it. People may replace other people, which really means they're not using AI properly, because if they were, when they find that they can use artificial intelligence to do the job that someone else is doing, you don't get rid of that person. You find something else for them to do. And the conversation that we had was about truck drivers who are involved in transporting freight from one place to another. If you get to the point where you have an autonomous vehicle, who can really do that, you still keep a driver behind the wheel, but that driver is now doing other things for the company, while the AI system does the driving, once it gets dependable enough to do that. So he said, there's no reason for AI to eliminate, and it won't. It's people that do it eliminate any job at all, which I think is a very clever and appropriate response. And I completely agree   Dan Swift ** 29:29 with that, you know, you think of other other technologies that are out there and how it disrupted, disrupted different industries. And the one example I like to use is the traffic light, you know. And I wonder, and I have no way of knowing this. I haven't researched this at all, but I wonder if there was any kind of pushback when they started putting in traffic lights. Because at that point in time, maybe you didn't have people directing traffic or something like that. Or maybe that was the event of the stop sign, it took it took away the jobs of people that were directing traffic or something like that. Maybe there was some kind of uproar over that. Maybe not, I don't know, but I like to think that things like that, you know. It disrupts the industry. But then people move on, and there are other other opportunities for them, and it progresses. It makes society progress forward.   Michael Hingson ** 30:06 And one would note that we still do use school crossing guards at a lot of schools.   Dan Swift ** 30:11 That is so true, that is true. Yeah, yeah. And especially, too, like talking about idea generation. I was talking to ginger. I forgot her last name, but she's the the president of pinstripe marketing, and she was saying that her team sometimes does the same thing that they they use chat GBT for idea generation. And I think, let's say Ashley, I think Ashley Mason, I think was her name, from Dasha social. The same thing they use, they use a chat GPT for idea generation, not not necessarily for creating the content, but for idea generation and the ideas it comes up with. It could be it can save you a lot of time. Well,   Michael Hingson ** 30:48 it can. And you know, I've heard over the last year plus how a lot of school teachers are very concerned that kids will just go off and get chat GPT to write their papers. And every time I started hearing that, I made the comment, why not let it do that? You're not thinking about it in the right way. If a kid goes off and just uses chat GPT to write their paper, they do that and they turn it into you. The question is, then, what are you as the teacher, going to do? And I submit that what the teachers ought to do is, when they assign a paper and the class all turns in their papers, then what you do is you take one period, and you give each student a minute to come up and defend without having the paper in front of them their paper. You'll find out very quickly who knows what. And it's, I think it's a potentially great teaching tool that   Dan Swift ** 31:48 is fascinating, that perspective is awesome. I love that.   Speaker 1 ** 31:52 Well, it makes sense. It   Dan Swift ** 31:55 certainly does. It certainly does. And that made me think of this too. You know, there's a lot of pushback from from artists about how that, you know, their their art was being used, or art is being used by AI to generate, you know, new art, essentially. And and musicians are saying the same thing that they're taking our stuff, it's getting fed into chat, GPT or whatever, and they're using it to train these different models. And I read this, this article. I don't even know where it was, but it's probably a couple months ago at this point. And the person made this comparison, and the person said, you know, it's really no different than a person learning how to paint in school by studying other people's art. You know, it's the same idea. It's just at a much, much much accelerated pace. And I thought, you know what that's that's kind of interesting. It's an interesting   Michael Hingson ** 32:45 perspective. It is. I do agree that we need to be concerned, that the human element is important. And there are a lot of things that people are are doing already to misuse some of this, this AI stuff, these AI tools, but we already have the dark web. We've had that for a while, too. I've never been to the dark web. I don't know how to get to it. That's fine. I don't need to go to the dark web. Besides that, I'll bet it's not accessible anyway. But the we've had the dark web, and people have accepted the fact that it's there, and there are people who monitor it and and all that. But the reality is, people are going to misuse things. They're going to be people who will misuse and, yeah, we have to be clever enough to try to ferret that out. But the fact of the matter is, AI offers so much already. One of the things that I heard, oh, gosh, I don't whether it was this year or late last year, was that, using artificial intelligence, Pfizer and other organizations actually created in only a couple of days? Or moderna, I guess, is the other one, the COVID vaccines that we have. If people had to do it alone, it would have taken them years that that we didn't have. And the reality is that using artificial intelligence, it was only a few days, and they had the beginnings of those solutions because they they created a really neat application and put the system to work. Why wouldn't we want to do that?   Dan Swift ** 34:23 I completely agree. I completely agree. And that's, again, that's how you move society forward. You know, it's similar to the idea of, you know, testing medicine on or testing medications on animals. For instance, you know, I love animals. You know, I love dogs, bunnies. I mean, the whole, the whole gamut, you know, love animals, but I understand the importance of, you know, well, do we test on them, or do we press on people, you know, you gotta, or do you not test? Or do just not you like you gotta. You gotta weigh out the pros and cons. And they're, they're definitely, definitely those with AI as well.   Michael Hingson ** 34:56 Well, I agree, and I. With animals and people. Now, I mean, as far as I'm concerned, we ought to be doing tests on politicians. You know, they're not people. Anyway. So I think when you decide to become a politician, you take a special pill that nobody seems to be able to prove, but they take dumb pills, so they're all there. But anyway, I'm with Mark Twain. Congress is at Grand Ole benevolent asylum for the helpless. So I'm an equal opportunity abuser, which is why we don't do politics on unstoppable mindset. We can have a lot of fun with it, I'm sure, but we sure could. It would be great talk about artificial intelligence. You got politicians. But the reality is that it's, it's really something that that brings so much opportunity, and I'm and it's going to continue to do that, and every day, as we see advances in what AI is doing, we will continue to see advances and what is open for us to be able to utilize it to accomplish, which is cool. I   Dan Swift ** 36:04 completely agree. Completely agree. Yeah,   Michael Hingson ** 36:06 so it'll be fun to see you know kind of how it goes. So are you, do you work for a company now that makes websites? Or what is your company that you work for? Do, sure.   Dan Swift ** 36:16 So I'm still in the education space, so I'm still, I'm like, in a state school managing a team of web professionals.   Michael Hingson ** 36:23 Okay, well, that's cool. So you keep the school sites and all the things that go along with it up at all that   Dan Swift ** 36:31 is correct. And we have lots of fun challenges when we start to integrate with third parties and got to make sure they're accessible too. And sometimes there's dialog that goes back and forth that people aren't happy with but, but it's my job to make sure, that's one of the things that we make sure happens, especially since I'm sure you've been following this. There's the Department of Justice ruling back in April, but I think it's anyone that's receiving state funding, they have to be. They have to follow the WCAG. Two point, I think, 2.1 double A compliance by April of 26 if you are a certain size, and my my institution, falls into that category. So we need to make sure that we were on the right path   Michael Hingson ** 37:06 well. And the reality is that has been around since 2010 but it took the the DOJ 12 years to finally come up with rules and regulations to implement section 508. Yep, but it's it's high time they did and they do need to do it for the rest of the internet, and that's coming, but people are just being slow. And for me personally, I think it's just amazing that it's taking so long. It's not like you have to redesign a box, that you have to go off and retool hardware. This is all code. Why should it be that difficult to do? But people throw roadblocks in your way, and so it becomes tough. Yeah, it's   Dan Swift ** 37:47 interesting, too. I remember reading this article, oh, gosh, this is probably, this is probably about a dozen years ago, and it said that, you know, the original web was 100% accessible, that it was just, you know, just text on a page pretty much. And you could do very, very simple layouts, you know, and then it got more convoluted. People would start doing tables for layouts, and tables within tables within tables, and so on and so forth. Like the original web it was, it was completely accessible. And now with, with all the the interactions we do with with client side scripting and everything like that, is just, it's a mess. If   Michael Hingson ** 38:19 you really want to hear an interesting thing, I like to look and I've done it for a long time, long before accessibe. I like to explore different sites and see how accessible they are. And one day I visited nsa.gov, the National Security Agency, which, of course, doesn't really exist. So I could tell you stories, but I went to nsa.gov, and I found that that was the most accessible website I had ever encountered. If you arrow down to a picture, for example, when you arrowed into it, suddenly you got on your screen reader a complete verbal description of what the picture was, and everything about that site was totally usable and totally accessible. I'd never seen a website that was so good contrast that with and it's changed. I want to be upfront about it, Martha Stewart Living. The first time I went to that website because I was selling products that Martha Stewart was interested. So I went to look at the website. It was totally inaccessible. The screen reader wouldn't talk at all. Now, I've been to Martha Stewart since, and it's and it's much more accessible, but, but I was just amazed@nsa.gov was so accessible. It was amazing, which I thought was really pretty cool. Of all places. You   Dan Swift ** 39:41 know, it's interesting. Before I started my my YouTube channel and podcast, I actually thought about creating a channel and or podcast about websites that are inaccessible, and I thought about calling companies out. And the more I thought about it, I was like, I don't know if I want to make that many people angry. I don't know if that's a   Michael Hingson ** 39:58 good idea. I'm. Would suggest going the other way, and maybe, you know, maybe we can work together on it. But I would rather feature websites that are accessible and tell the story of how they got there, how their people got there. I would think that would be, I hear what you're saying about making people angry. So I would think, rather than doing that, feature the places that are and why they are and and their stories, and that might help motivate more people to make their websites accessible. What do you think about that as an idea?   Dan Swift ** 40:28 I actually thought about that as well, and I was going backwards between that and and the other the negative side, because I thought, you know, bring that to light. Might actually force them to like by shedding light on it, might force them to make their site more accessible, whether what or not or not, no, but I definitely thought about those two sites.   Michael Hingson ** 40:45 Yeah, it's, it's, it's a challenge all the way around. Well, what was the very first thing you did, the first experience that you ever had dealing with accessibility that got you started down that road.   Dan Swift ** 40:58 I think it was like I said, when I work with that, that blind person, when I, when I first had that opportunity to see how he used the different web applications, we had the different web pages, and he was using a Mac. So he was using VoiceOver, he was using the, I think it's called the rotor menu, or roto something like that. Yeah, yep. So then after that happened, it was like, whoa. I need to get them back so I can, like, learn to use this as well and do my own testing. So the IT department had an old I asked them. I said, Hey guys, do you have any any old MacBooks that I can use? I was like, it can be old. I just need to test it. I need to, I need it to test for accessibility on the web. They hooked me up with an old machine, you know, it wasn't super old, you know, but it was. It worked for me. It gave me an opportunity to do my testing, and then I kind of became like the person in the department to do that. Everyone else, they didn't have the interest as much as I did. They recognized the importance of it, but they, they didn't have the same fire on the inside that I had, so I kind of took that on, and then like that. Now that I'm in the position of leadership, now it's more of a delegating that and making sure it still gets done. But I'm kind of like the resident expert in our in our area, so I'm still kind of the person that dives in a little bit by trying to make my team aware and do the things they need to do to make sure we're continuing, continuing to create accessible projects. You   Michael Hingson ** 42:20 mentioned earlier about the whole idea of third party products and so on and and dealing with them. What do you do? And how do you deal with a company? Let's say you you need to use somebody else's product and some of the things that the school system has to do, and you find they're not accessible. What do you do?   Dan Swift ** 42:42 So a lot of times, what will happen, I shouldn't say a lot of times. It's not uncommon for a department to make a purchase from a third party, and this is strictly, I'm talking in the web space. They might, they might make a purchase with a third party, and then they want us to integrate it. And this is a great example I had. It was actually in the spring the this, they had essentially a widget that would be on the on their particular set of pages, and there was a pop up that would appear. And don't get me started on pop ups, because I got very strong opinion about those. Me too, like I said, growing up, you know, late 90s, early 2000s very, very strong opinions about pop ups. So, but, but I encountered this, and it wasn't accessible. And I'm glad that in the position I'm in, I could say this unit, you need to talk to the company, and they need to fix this, or I'm taking it down. And I'm glad that I had the backing from, you know, from leadership, essentially, that I could do, I can make that claim and then do that, and the company ended up fixing it. So that was good. Another example was another department was getting ready to buy something. Actually, no, they had already purchased it, but they hadn't implemented it yet. The first example that was already implemented, that was I discovered that after the fact. So in the second example, they were getting ready to implement it, and they showed us another school that used it also a pop up. And I looked at it on the on the other school site, and I said, this isn't accessible. We cannot use this. No. And they said, Well, yes, it is. And I said, No, it isn't. And I explained to them, and I showed them how it was not accessible, and they ended up taking it back to their developers. Apparently there was a bug that they then fixed and they made it accessible, and then we could implement it. So it's nice that like that. I have the support from from leadership, that if there is something that is inaccessible, I have the power to kind of wheel my fist and take that down, take it off of our site. Do   Michael Hingson ** 44:31 you ever find that when some of this comes up within the school system, that departments push back, or have they caught on and recognize the value of accessibility, so they'll be supportive.   Dan Swift ** 44:45 I think the frustration with them becomes more of we bought this tool. We wish we had known this was an issue before we bought I think it's more of a like like that. We just wasted our time and money, possibly. But generally speaking, they do see the. Value of it, and they've recognized the importance of it. It's just more of a when others, there's more hoops everyone has to go through.   Michael Hingson ** 45:05 Yeah, and as you mentioned with pop ups, especially, it's a real challenge, because you could be on a website, and a lot of times A pop up will come up and it messes up the website for people with screen readers and so on. And part of the problem is we don't even always find the place to close or take down the pop up, which is really very frustrating   Dan Swift ** 45:30 Exactly, exactly the tab index could be off, or you could still be on the page somewhere, and it doesn't allow you to get into it and remove it, or, yeah, and extra bonus points if they also have an audio playing or a video playing inside of that.   Michael Hingson ** 45:44 Yeah, it really does make life a big challenge, which is very, very frustrating all the way around. Yeah, pop ups are definitely a big pain in the butt, and I know with accessibility, we're we're all very concerned about that, but still, pop ups do occur. And the neat thing about a product like accessibe, and one of the reasons I really support it, is it's scalable, and that is that as the people who develop the product at accessibe improve it, those improvements filter down to everybody using the widget, which is really cool, and that's important, because with individual websites where somebody has to code it in and keep monitoring it, as you pointed out, the problem is, if that's all you have, then you've got to keep paying people to to monitor everything, to make sure everything stays accessible and coded properly, whereas there are ways to be able to take advantage of something like accessibe, where what you're able to do is let it, monitor it, and as accessibe learns, and I've got some great examples where people contacted me because they had things like a shopping cart on a website that didn't work, but when accessibe fixed it, because it turns out there was something that needed to be addressed that got fixed for anybody using the product. Which is really cool.   Dan Swift ** 47:07 Yeah, that's really neat. I definitely appreciate things like that where, you know, you essentially fix something for one person, it's fixed for everyone, or a new feature gets added for someone, or, you know, a group of people, for instance, and then everyone is able to benefit from that. That's really, really awesome. I love that type of stuff.   Michael Hingson ** 47:22 Yeah, I think it's really so cool. How has all this business with accessibility and so on affected you in terms of your YouTube channel and podcasting and so on? How do you bring that into the process? That's that's   Dan Swift ** 47:37 really, really good question. I am very proud to say that I take the time to create transcripts of all my recordings, and then I go through them, and I check them for for accuracy, to make sure that things aren't correct, things are incorrect. Make sure things are correct, that they are not incorrect. So I'll make sure that those are there when the when the videos go live, those are available. Spotify creates them automatically for you. I don't know that you that I have the ability to modify them. I'm assuming I probably do, but honestly, I haven't checked into that. But so that's that's all accessible. When it comes to my web page, I make sure that all my images have the appropriate, you know, alt tags associated with them, that the the descriptions are there so people understand what the pictures are. I don't have a whole lot of pictures. Usually it's just the thumbnail for the videos, so just indicating what it is. And then I just try to be, you know, kind of, kind of text heavy. I try to make sure that my, you know, my links are not, you know, click here, learn more stuff like that. I make sure or they're not actual web addresses. I try to make sure that they're actual actionable. So when someone's using a screen reader and they go over a link, it actually is meaningful. And color contrast is another big one. I try to make sure my color contrast is meeting the appropriate level for WCAG, 2.1 double A which I can't remember what actual contrast is, but there's a contrast checker for it, which is really, really helpful   Michael Hingson ** 49:00 well. And the other, the other part about it is when somebody goes to your website again, of course, accessibility is different for different people, so when you're dealing with things like contrast or whatever, do people who come to the website have the ability to monitor or not monitor, but modify some of those settings so that they get maybe a higher contrast or change colors. Or do they have that ability?   Dan Swift ** 49:28 I They do not have that ability. I remember looking into a tool a while ago, and it was and actually, you know, at the school, we thought about developing a tool. It would be like a widget on the side that you could adjust on different things like that. You could do, you could remove images, you could remove animation, you could change color, contrast, that sort of thing. And it just be like a very predefined kind of kind of settings. But in my research, I found that a lot of times that causes other problems for people, and it kind of falls into the the arena of. Um, separate but equal. And there's a lot of issues with that right now in the accessibility space when it comes to the web. So for instance, there was a company, I forget what the company name was, but they had one of their things that they did was they would create text only versions of your pages. So you'd contract with them. They would they would scrape the content of your site. They would create a text version, text only version of your pages. So if people were using a screen reader, they could just follow that link and then browse the text only version. And there was litigation, and the company got sued, and the the person suing was successful, because it was essentially creating a separate argument.   Michael Hingson ** 50:34 And that's not necessarily separate, but equal is the problem, because if you only got the text, pictures are put on websites, graphs are put on websites. All of those other kinds of materials are put on websites for reasons. And so what really needs to happen is that those other things need to be made accessible, which is doable, and the whole web con excessive content. Accessibility Guidelines do offer the the information as to how to do that and what to do, but it is important that that other information be made available, because otherwise it really is separate, but not totally equal at   Dan Swift ** 51:11 all. That's absolutely true. Absolutely true. Yeah. So it   Michael Hingson ** 51:15 is a, it is something to, you know, to look at well, you've been doing a podcast and so on for a while. What are some challenges that someone might face that you advise people about if they're going to create their own podcast or a really productive YouTube channel,   Dan Swift ** 51:31 be real with yourself with the amount of time you have to dedicate to it, because what I found is that it takes a lot more time than I originally anticipated I thought going in, I thought, you know, so I typically try to record one or two people a week. When I first started out, I was only recording one person. And usually I would do, you know, record one day, edit the next day, you know, do the web page stuff. I would go with it, you know, I can knock it out in like an hour or two. But I wasn't anticipating the social media stuff that goes with it, the search engine optimization that goes with it, the research that goes with it, trying to so if I'm if I'm producing a video that's going to go on YouTube, what's hot at the moment? What are people actually searching for? What's going to grab people's attention? What kind of thumbnail do I have to create to grab someone's attention, where it's not clickbait, but it also represents what I'm actually talking to the person about, and still interesting. So it's a lot of a lot of that research, a lot of that sort of thing. It just eats up a lot a lot of time when it comes to like the transcripts, for instance, that was those super easy on their number of services out there that created automatically for you, and they just have to read through it and make sure it's okay. I know YouTube will do it as well. I found that YouTube isn't as good as some of the other services that are out there, but in a bind, you can at least rely on YouTube and then go and edit from that point. But yet, time is definitely a big one. I would say, if anyone is starting to do it, make sure you have some serious time to dedicate several, several hours a week, I would say, upwards, you know, probably a good, you know, four to 10 hours a week is what I would estimate in the moment. If you're looking to produce a 30 minute segment once or twice a week, I would estimate about that time.   Michael Hingson ** 53:11 Yeah, one of the things I've been hearing about videos is that that the trend is is clearly not to have long videos, but only 32nd videos, and put them vertical as opposed to horizontal. And anything over 30 seconds is is not good, which seems to me to really not challenge people to deal with having enough content to make something relevant, because you can't do everything in 30 seconds exactly,   Dan Swift ** 53:41 and what I found too. So this was very this was a little bit of a learning curve for me. So with, with the YouTube shorts that you have, they have to be a minute or less. I mean, now they're actually in the process of changing it to three minutes or less. I do not have that access yet, but it has Go ahead, yeah, yeah. Yeah, so. But what I'm finding Michael is that the people that so I might create this a great example. So I was interviewing a comedian in New York City, Meredith Dietz, awesome, awesome episode. But I was talking to her about becoming a comedian, and I made about four different shorts for her from her video, and I was doing a new one each week to kind of promote it. And the videos, for me, they were getting a lot I was getting anywhere between maybe 315 100 views on the short for me, that was awesome. For other people, you know, that might be nothing, but for me, that was awesome. But what I found was that the people that watch the shorts aren't necessarily the same people that watch the long form videos. So I'm or, or I might get subscribers from people that watch the shorts, but then they're not actually watching the video. And in the end, that kind of hurts your channel, because it's showing, it's telling the YouTube I'm gonna use air quotes, YouTube algorithm that my subscribers aren't interested in my content, and it ends up hurting me more. So anyone that's trying to play that game. And be aware of that. You know, you can't get more subscribers through shorts, but if you're not converting them, it's going to hurt you.   Michael Hingson ** 55:05 I can accept three minutes, but 30 seconds just seems to be really strange. And I was asked once to produce a demonstration of accessibe on a website. They said you got to do it in 30 seconds, or no more than a minute, but preferably 30 seconds. Well, you can't do that if, in part, you're also trying to explain what a screen reader is and everything else. The reality is, there's got to be some tolerance. And I think that the potential is there to do that. But it isn't all about eyesight, which is, of course, the real issue from my perspective. Anyway.   Dan Swift ** 55:41 Yeah, I completely agree. I think what YouTube is trying to do, and I believe in getting this from Tiktok, I think Tiktok has three up to three minutes. Actually, there might be 10 minutes now that I think about it, but, but I think they're trying to follow the trend, and it's like, let's make videos slightly longer and see how that goes. So be very curious to see how that all pans out.   Michael Hingson ** 55:58 Well. And I think that makes sense. I think there's some value in that, but 30 seconds is not enough time to get real content, and if people dumb down to that point, then that's pretty scary. So I'm glad to hear that the trend seems to be going a little bit longer, which is, which is a good thing, which is pretty important to be able to do. Yeah, I completely   Dan Swift ** 56:21 agree. Because like that, the trend right now, it's, you know, people, they want stuff immediately, and if you don't catch them in 10 seconds, they're swiping onto something else, which is which is very challenging, at least, especially for me and what I do. Who's   Michael Hingson ** 56:32 the most inspiring guest that you've ever had on your podcast?   Dan Swift ** 56:37 Michael, this is a good one. This is a good one. So the video for Ashley Mason. She is a social media marketing she created a social medi

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

One-on-one pod today, Chris is in New York, and TJ is home in Glendale. We chat about local eatery "Muffin Can Stop Us," dining rules from The Financial Times, clarinetist stickman Artie Shaw, TJ bought a gavel for his wife, we analyze the emerging "pink collar" workers, Ashton Hall has taken over the world, Saratoga sales spikes, George Foreman Grill sales figures, Channing Tatum will no longer play fat roles, the Pop Tart and Toaster Strudel battle it out for breakfast supremacy, and we dive deep into the new Morgan Wallen single. twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of One Symphony, Devin Patrick Hughes sat down with Peter Drew, a symphonist and jazz composer, to discuss his diverse life journey and his debut symphony, Reminiscence. Drew, born in Europe and later a refugee in the United States, recounted his early musical awakenings. He was first intrigued by the sound of the harmonica his stepbrother gave him. However, his musical trajectory truly shifted when, around the age of eleven, he heard Toscanini conducting Beethoven's Ninth Symphony on the radio. This experience deeply resonated with him, particularly the Ode to Joy, which became the first tune he learned on the harmonica, despite not being able to read music. Although initially captivated by classical music and Beethoven, Drew's path to becoming a composer was far from traditional. He pursued various careers, including working in film distribution, catering, teaching film studies, and being a social studies teacher. Throughout these experiences, music remained a constant presence in his life; he would often "noodle around" on the clarinet. It wasn't until later in life that he began to seriously study music, taking lessons from clarinet players and exploring jazz. He eventually started arranging music and studying composers like Sibelius. When the conversation turned to his symphony, "Reminiscence," Drew emphasized the amalgamation of his varied musical tastes and life experiences. He described his influences as a "mélange" or "stew" ranging from the American Songbook to Carl Orff, Villa-Lobos, Beethoven, Brahms, Artie Shaw, and even global music like Songs of the Auvergne, Tuvan throat singing, and Raga. He explained that his compositional process often begins with a melody he likes, perhaps played on his clarinet. He then develops this initial phrase, ensuring a natural flow between musical ideas without dissonance, remaining within the realm of Romantic Classical music. Hughes inquired about the technical aspects of translating these diverse elements into a cohesive symphony, including orchestration. Drew admitted that while he can conceive melodies, he needed assistance with the intricate instrumentation for a large symphony orchestra. He collaborated with an orchestrator to achieve the desired sonic textures, ensuring that all the instrumental parts complemented each other. Regarding the upcoming performance and recording of Reminiscence by the Boulder Symphony, Drew expressed his hope that listeners would simply "enjoy yourself" and "have fun". He doesn't expect the audience to be intimately familiar with all his diverse musical influences, but rather to connect with the music on an emotional level in the same way he was first drawn to Beethoven. Drew believes that if the music sounds and feels good, it will be enjoyable to listen to. When asked about his late entry into composing a symphony, Drew, who is approaching 90, reflected that all his life experiences, both musical and non-musical, have informed his writing. He feels that composing, rather than performing, is his true strength and passion, representing an accomplishment after a lifetime of diverse pursuits. He finds satisfaction in creating music that others enjoy listening to and playing. When pressed for a favorite movement, Drew chose the third movement for its energy and the way all the musical elements come together. While acknowledging the profound impact of Beethoven on his early musical life, he noted that Reminiscence incorporates a wider range of influences, creating a unique sonic landscape.   Thank you for joining us on One Symphony. Special thanks to Peter Drew for sharing his music and story. Musical selections from today's episode:   “Hard Driver” from the album And What's More composed and arranged by Peter Drew. “Midnight Sun” from the album And What's More. Composed by Lionel Hampton, Sonny Burke, and Johnny Mercer. Arranged by Peter Drew, featuring Sachal Vasandani. Symphony No. 1 “Reminiscence” II. Pictures at an Album. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” I. Journey. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. “Slow Burn Blues” from the album And What's More composed by Peter Drew and featuring Wendy Gilles.  Symphony No. 1 “Reminiscence” IV. The Return. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” II. Bach to Back. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender.   For more information on Peter, see https://www.peterdrewmusic.com You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Special thanks to Parma Recordings for making this episode possible. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

A Funny MondayFirst a look at the events of the dayThen George Burns and Gracie Allen, originally broadcast March 17, 1941, 84 years ago, St. Patrick's Parade.  George tries to break up the "romance" between Gracie and Artie Shaw.Followed by A Day In The Life of Dennis Day,  originally broadcast March 17, 1948, 77 years ago, Baby Picture Contest. Dennis enters Mrs. Anderson's baby picture in a photo contest...and wins!Then Town Hall Tonight starring Fred Allen, originally broadcast March 17, 1937,  88 years ago, St Patricks Day Show.  The Mighty Allen Art Players do a hillbilly drama. Town Hall Varieties: Professor Quigley attempts to escape from a packing case again.Finally, Claudia, originally broadcast March 17, 1949, 76 years ago, Telling David.  Claudia has gotten a traffic ticket...or summons. David doesn't yet know. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

Author and journalist Michael Doyle's new book, Nightmare in the Pacific: The World War II Saga of Artie Shaw and His Navy Band (Univ. of North Texas Press, 2025) is an adventurous tale and a must read. Shaw, a leading big band leader into the early 1940s, joined the Navy a few months after Pearl Harbor. He formed a Navy big band of accomplished and to varying degrees roguish musicians and led them across the Pacific during the war, entertaining troops, finding trouble and dealing with grueling hardships. Michael Doyle joins us this week to give a preview of this book and musicians at war.Michael Doyle's website: www.doyleauthor.comYou can support Hooks & Runs by purchasing books, including books featured in this episode, through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandruns Hooks & Runs - www.hooksandruns.com Email: hooksandruns@protonmail.com Hooks & Runs on TwitterCraig on Bluesky (@craigest.bsky.social)Rex (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Hosts Emeriti:Andrew Eckhoff on Tik TokEric on FacebookMusic: "Warrior of Light" by ikolics (via Premium Beat)     This podcast and this episode are copyright Craig Estlinbaum, 2025.  

Jews have been a major presence in America's jazz, as musicians and as jazz facilitators, and in Kosher Jammers, Gerber tells that story with a rigour worthy of academia but with a feature writer's creative flair. Besides drawing on a plethora of second-hand sources, Kosher Jammers is absolutely packed with first-hand material, from interviews, phone calls and emails with jazz figures, Jewish and otherwise -- including possibly the last ever interview with swing era icon Artie Shaw. Among the many other interviewees are black jazz figures such as saxophonist Buddy Collette and the critic Stanley Crouch, as a key theme running through the book is the relationship between Jews and African Americans in jazz. The impact on jazz of tunes written by Jewish "Great American Songbook" composers such as George Gershwin, Harold Arlen and Johnny Green is also covered, And the book features an extensive study of the Jewish-jazz phenomenon, whereby musicians from Ziggy Ellman in the 1930s to contemporary artists, notably John Zorn, have sought to create jazz that draws on Jewish music influences and themes. Gerber drives home the point that, even had there never been a single Jewish jazz musician, Jews will still have contributed massively to the development of jazz in the United States, as managers, impresarios, venue owners, label founders and writers.

Features vintage recordings by Artie Shaw, Lionel Hampton and Freddie Slack.  We also hear an old ad spot from Feen-A-Mint. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

Las grandes Orquestas del mundo en escena, gracias a su conductor Carlos Bautista

In this episode we examine and listen to Disc #281 of the V-Disc Collection.  This V-Disc features vintage recordings by Major Glenn Miller's AAFTC Orchestra and Artie Shaw with his Orchestra along with his Gramercy Five.(E041) * The musical performances and recordings featured in this podcast are in the Public Domain.  Artists are credited within the podcast.

1939 as told through the Radio Broadcasts of the day!! The dreaded war finally begins with the German invasion of Poland. Neville Chamberlain is forced to grow a spine. Winston Churchill returns to Government. Franklin Roosevelt Hates War. And some Really Hot Swing Licks by Artie Shaw. FEATURING Mary Livingston Jack Benny Fibber McGee and … Continue reading When Radio Ruled Episode #108 1939 part 1 – The War Begins

Features vintage music by Gene Krupa, Artie Shaw and The Pied Pipers.  Ronnaldo plays a catchy Soundie by Skeets Tolbert. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

On tonight's show: Rex Stewart & His 52nd Street Stompers, Love In My Heart (a/k/a "Swing Baby Swing") Louis Armstrong and His All Stars, Muskrat Ramble (Live, 1947) Artie Shaw, Smooth 'n' Easy Ella Fitzgerald, Misty Roy Eldridge & Benny Carter, I Still Love Him So Betty Carter & Ray Bryant, Gone with the Wind Betty Carter, Let's Fall in Love The Chico Hamilton Trio (with Howard Roberts & Jim Hall), Blues on the Rocks Rosemary Clooney, Sophisticated Lady Wynton Kelly, Come Rain or Come Shine Johnny Hodges & Wild Bill Davis, Clementine Eddie Jefferson, I've Got the Blues (Lester Leaps In) Buddy Rich, Gee Baby, Ain't I Good to You Jimmy Scott, I'll Be Around Charlie Byrd, Favela

Lester Jay, Bosun Mate 2nd Class takes the helm of the DJ duties today. Lucky Millender plays, Jitters. A humorous news item of a sailor home on leave. Artie Shaw…

BUNNY BERIGAN “THE BERIGAN OCTET” New York, April 13, 1936A melody from the sky (cb vcl), I can't get started (bb vcl), A little bit later on (cb vcl), Rhythm saved the world (cb vcl)Bunny Berigan (tp,vcl) Artie Shaw (cl) Forrest Crawford (ts) Joe Bushkin (p) Tommy Felline (g) Mort Stuhlmaker (b) Stan King (d) Chick Bullock (vcl) BENNY MORTON “BENNY MORTON'S TROMBONE CHOIR” New York, May 30, 1944Liza, Once In A While, Where Or When, Sliphorn OutingBenny Morton, Vic Dickenson, Bill Harris, Claude Jones (tb), Johnny Guarnieri (p), Al Hall (b), Sid Catlett (d) COLEMAN HAWKINS “ALL AMERICAN FOUR” New York, May 29, 1944Don't Blame Me, Just One Of Those Things, Make BelieveColeman Hawkins (ts), Teddy Wilson (p), John Kirby (b), Sid Catlett (d) “J.C. Continue reading Puro Jazz 05 de noviembre, 2024 at PuroJazz.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Leader of the Pack by The Raveonettes (2024)Song 1: Here's to You by Just Jinger (1999)Song 2: Stardust by Hoagy Carmichael & Artie Shaw (1941)Song 3: Everyone Knows Everyone by The Helio Sequence (2004)Song 4: Funeral Home by Daniel Johnston (1990)Song 5: Ball and Chain by The Who (2019)Song 6: Shutterbugg by Big Boi (2010)Song 7: One Step Ahead of the Blues by J.J. Cale (1982)Song 8: It's the Hard-Knock Life by Aileen Quinn & Toni Ann Gisondi (1982)Song 9: Cliquot by Beirut (2007)Song 10: I Bought Me a Cat by Aaron Copland (1951)

Features vintage recordings by Artie Shaw, Kay Starr and George Hall.  Ronnaldo celebrates Halloween so be prepared to be frightened beyond belief. (Not really.  But you can expect some great music.)      Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

Great live shots of the Artie Shaw band featuring Bernie Privin, Chuck Peterson and John Best on trumpets, George Arus on trombone, Ronnie Perry or Georgie Auld on tenor sax, Bob Kitsis on piano, Al Avola on guitar, Sid Weiss on bass and George Wettling or Buddy Rich on drums with Helen Forrest and Tony Pastor on vocals. The real star is the leader, whose clarinet work here he never surpassed, --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Artie Shaw GI_Jive Featuring_Indian_Love_Call

Practically forgotten but possibly the best US service band in WWII, it was initially led by Artie Shaw in the Pacific Theatre, but when Shaw went home it was taken over by tenor saxophonist Donahue and brought to England for the last few months of the war. These recordings feature this crack unit on VDisc, AFRS transcriptions and a Jubilee broadcast with superb work by the leader, Ralph La Polla on clarinet, John Best on trumpet, Tak Takvorian on trombone and Rocky Collucio on piano. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Features vintage music by Artie Shaw, Les Brown and Glen Gray.  Ronnaldo plays another Soundie by The Dinning Sisters.  Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

In today's episode, we compare the careers of Benny Goodman and Artie Shaw, bandleaders and renowned clarinetists of the Big Band era. For more information on this episode, and to check out Four Seasons Theatre's 2024-2025 season announcement, visit fourseasonstheatre.com.

Songs include: Smoke, Smoke, Smoke by Tex Williams, Smoke Dreams by Jo Stafford, Smoke Gets In Your Eyes by Artie Shaw and While a Cigarette Was Burning by Paul Whiteman. 

Artie Shaw 390819_-_Ritz_Carlton_Boston_MA

It's a double-up week here on Done and Dunne! In this first drop, we travel to the California home of Joanne Carson where Truman Capote spent his last days in August of 1984, forty years ago. Truman, infamous writer and collector of Swans, has some pretty epic stories in his last months, as told by his friends before his passing on August 25. Then, we drop in on Truman's first memorial service with mourners attached to Dominick Dunne in so any ways, including John Gregory Dunne, Joan Didion, Carol Marcus Matthau, Robert Blake, Artie Shaw and Christopher Isherwood. It's a whole hot mess, that leads into tomorrow's drop. There is always an investigation around this place.  All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to this four part series on songs of the 1920s. Today we cover songs from that decade that begin with the letter "E" and go all the way down to "M". I broke my rule for this series by playing two songs on the show recorded by Artie Shaw. I had already recorded the introductions when I discovered I did this but I am sure you won't mind because it is one of his best sides. I hope you enjoy this look back at some of the many hit songs from the 1920s. As usual the puzzle is back so get your thinking caps on. Please visit this podcast at http://bigbandbashfm.blogspot.com

Artie Shaw 390118_-_Hotel_Lincoln

Send us a Text Message.Boulder resident Jeremy Mohney has always had a passion for swing music. His grandfather often drove him around playing tapes of swing bands led by the likes of Glenn Miller, Tommy Dorsey, and Artie Shaw. He played in his school's jazz band, and he wanted to keep playing that music style once he left school. He's been gigging since his high school days in Boulder High, and he started The Jeremy Mohney Band over a decade ago as an outlet to consistently play.Among the people who have been involved in the band over the years are guitarist Chris Herbst, bass player Conner Hollingsworth, drummer Chris Carland, trumpet player Sonya Walker, guitarist, upright bassist, and vocalist Andrew Bonnis (currently based in Cleveland with his own solo career), bassist Hunter Roberts, guitarist and vocalist Greg Schochet (he and Mohney have played in each other's bands), Gypsy Swing Revue lead Elliot Reed, guitarist Dan Buller, drummer Greg Corcione, bassist and trombonist Gary Sloan, guitarist Alex Heffron, and bassist Will Kuepper, many of whom have been featured on Mohney's previous musical releases. The current lineup consists of Mohney, Cantor, Hollingsworth, and Carland. Thank you for listening to The Mountain-Ear podcast featuring the news and culture from peak to peak. If you would like to be featured in the podcast, contact the host at media@themountainear.com!SUBSCRIBE ONLINE and use the COUPON CODE PODCAST FOR A 10% Discount for ALL NEW SUBSCRIBERS https://www.themtnear.com/subscribe/ You can find us online by visiting https://www.themtnear.com/Find us on Facebook @mtnearShare this podcast around wherever you've found it or by sharing the link https://themtnearpodcast.buzzsprout.com/ or https://www.themtnear.com/the-mountain-ear-podcast/You can contact our editor at info@themountainear.com.Thank you for listening.

Artie Shaw 381202_-_Hotel_Lincoln

Artie Shaw Hotel_Lincoln

It's the 136th episode of the Truth About Vintage Amps podcast, where amp tech Skip Simmons fields your questions on all-things-tube amps!  Want to be a part of our show? Just email us a question or voice memo to podcast@fretboardjournal.com. Our sponsors: Emerald City Guitars, Amplified Parts, StewMac, and Grez Guitars. Don't forget, we have a Patreon page.  Some of the topics discussed this time around:  1:11 A Big Boy locomotive chugs through CA 3:42 What's on Skip's Bench: A Valco/National/Airline amp-in-case; a single-ended Soundmaster PA; a Premier Twin 8 10:55 Another round of TAVA shirts? (coming soon) 13:06 Milkman to produce a JBL K120 replica speaker (link); re-coning by Hempopotamus (and Weber) 16:56 The 2024 Fretboard Summit, featuring Blake Mills, Josh Scott (JHS), Colin Hay and so much more https://fretboardsummit.org (Aug 23-25, 2024 in Chicago) 20:29 The Davis Guitar Scene 20:51 Is there a new speaker comparable to the JBL D130F? Artie Shaw 22:43 VHT amps, redux; homemade cheese 28:05 Why did Leo use RCA plugs for his speaker jacks? 32:20 I miss lo-fi Skip; help me isolate the hum on my Magnatone 410 39:45 Favorite solder; avocado toast 43:26 Recommended movie: 'All That Is Sacred' featuring Tom McGuane, Jim Harrison, Jimmy Buffett, and vintage Key West (link) 44:58 Help me ground my Pepco Riviera 725 48:15 Does the phase inverter tube contribute gain? 49:47 AIMS amplifiers, redux; Don Randall 53:59 Skip (almost) fixes a church organ 1:00:03 Should I wax pot these old output transformers? 1:04:55 Why is there chicken wire in my amplifier? finding the outside foil on a cap Recorded July 25, 2024. 

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.William Joseph - A New Day；2.Glenn Miller,Artie Shaw,Tommy Dorsey - Sleepy Lagoon；3.Rachel's - Family Portrait；4.Dustin O'Halloran - Opus 23。

Jazz88's Peter Solomon spoke with filmmaker Brigitte Berman, whose 1985 documentary film "Artie Shaw: Time Is All You've Got" is being screened at the Heights Theatre on June 10th. After the film won an Oscar, Shaw sued Berman for a portion of the profits. Berman discusses Shaw's amazing musical accomplishments, his struggle to balance commercial success with artistic integrity and the challenges of dealing with his notoriously difficult personality.

This week I am continuing with part two of Big Band Remotes from World War 2 with two remotes from the Victory Parade of Spotlight Bands series. At the same time, however, I am having a birthday salute to a favorite bandleader of mine, the late Artie Shaw. Artie was born on May 23, 1910 and he also appeared on the Spotlight band program for five consecutive weeks in 1945. So to honor Artie I would like to play the first two programs in that series. The sound quality is very good and there are some exciting solos from trumpeter Roy Eldridge. I hope you enjoy this look back at some on location performances from the great Artie Shaw as we remember his birthday. Please visit this podcast at http://bigbandbashfm.blogspot.com

GEORGIA RADIO - Grammy®, AMA, ACM, and CMA award-winning country music singer and Grand Ole Opry member Crystal Gayle has joined forces with The Glenn Miller Orchestra for a new rendition of the classic “Sentimental Journey,” which is the first single from the new album on Hindsight Records, The Glenn Miller Orchestra: 80th Anniversary Of The Army Air Force Band which contains fifteen hits newly recorded with strings. Initially recorded by Doris Day and Les Brown, “Sentimental Journey” became a massive hit during World War II and continues to stand the test of time. Premiered by People.com, “Sentimental Journey” features the timeless vocals of Crystal Gayle combined with the unforgettable arrangements of The Glenn Miller Orchestra. The Glenn Miller Orchestra: 80th Anniversary Of The Army Air Force Band is available for pre-order and will be released on April 5th."I am honored and excited to be invited to sing "Sentimental Journey" with The Glenn Miller Orchestra," smiles Crystal Gayle. "I am a longtime fan of Glenn Miller and the big band era.""We are excited and pleased to present alongside Hindsight Records our new recording celebrating the 80th Anniversary of Glenn Miller's Army Air Force Band," shares Charles De Stefano, CEO of Glenn Miller Productions, Inc. "We are equally thrilled to have the wonderful Crystal Gayle join the Glenn Miller Orchestra on our recording of the great classic “Sentimental Journey.” We hope Glenn Miller Orchestra fans and Crystal's fans around the world enjoy this new dynamic recording."Between 1939 and 1942, Glenn Miller led The Glenn Miller Orchestra, which became one of the most recognized names globally during the “Swing” era. Boasting an unmatched series of chart-topping records, The Glenn Miller Orchestra surpassed the sales of Benny Goodman, Artie Shaw, Duke Ellington, Count Basie, Jimmie Lunceford, Tommy Dorsey, and Harry James combined. Throughout three and a half years, Miller produced 16 chart-toppers and 72 top-ten hits, including a remarkable 31 in 1940 alone and earning the first-ever gold record for “Chattanooga Choo Choo.” Miller's music not only defined the era of World War II but has endured as a timeless soundtrack, with bands carrying his legacy performing to enthusiastic crowds over the 80 years since his passing. Today, under the direction of Erik Stabnau, the current Glenn Miller Orchestra maintains a rigorous schedule, standing as one of the few full-time big bands still thriving in the contemporary music scene."Crystal Gayle and The Glenn Miller Orchestra are a natural together on "Sentimental Journey" - a trip back in time to revisit the sounds of the 1940s and the perfect introduction to The Glenn Miller Orchestra: 80th Anniversary Of The Army Air Force Band." - Erik Stabnau - Music Director for The Glenn Miller OrchestraTo purchase/stream, visit CGayleGlennMillerOrch.lnk.to/SentimentalJourneySupport this podcast at — https://redcircle.com/georgia-radio/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Between 1939 and 1942, Glenn Miller led The Glenn Miller Orchestra, which became one of the most recognized names globally during the “Swing” era. Boasting an unmatched series of chart-topping records, The Glenn Miller Orchestra surpassed the sales of Benny Goodman, Artie Shaw, Duke Ellington, Count Basie, Jimmie Lunceford, Tommy Dorsey, and Harry James combined. Throughout three and a half years, Miller produced 16 chart-toppers and 72 top-ten hits, including a remarkable 31 in 1940 alone and earning the first-ever gold record for “Chattanooga Choo Choo.” Miller's music not only defined the era of World War II but has endured as a timeless soundtrack, with bands carrying his legacy performing to enthusiastic crowds over the 80 years since his passing. Today, under the musical direction of Erik Stabnau, the current Glenn Miller Orchestra maintains a rigorous schedule, standing as one of the few full-time big bands still thriving in the contemporary music scene. The Glenn Miller Orchestra is celebrating the 80th Anniversary Of The Army Air Force Band. #orchestra #bigband #bigbandmusic #swingband #swingbandmusic #swingmusic #glennmiller #glennmillerorchestra #royalalberthall 

Between 1939 and 1942, Glenn Miller led The Glenn Miller Orchestra, which became one of the most recognized names globally during the “Swing” era. Boasting an unmatched series of chart-topping records, The Glenn Miller Orchestra surpassed the sales of Benny Goodman, Artie Shaw, Duke Ellington, Count Basie, Jimmie Lunceford, Tommy Dorsey, and Harry James combined. Throughout three and a half years, Miller produced 16 chart-toppers and 72 top-ten hits, including a remarkable 31 in 1940 alone and earning the first-ever gold record for “Chattanooga Choo Choo.” Miller's music not only defined the era of World War II but has endured as a timeless soundtrack, with bands carrying his legacy performing to enthusiastic crowds over the 80 years since his passing. Today, under the musical direction of Erik Stabnau, the current Glenn Miller Orchestra maintains a rigorous schedule, standing as one of the few full-time big bands still thriving in the contemporary music scene. The Glenn Miller Orchestra is celebrating the 80th Anniversary Of The Army Air Force Band. #orchestra #bigband #bigbandmusic #swingband #swingbandmusic #swingmusic #glennmiller #glennmillerorchestra #royalalberthall 

Features vintage music by Jan Savitt, Sister Rosetta Sharpe and Artie Shaw.  We listen to clips from a 1951 Educational Film called "Answering The Child's Why" and we also hear a Soundie by The Four Ginger Snaps. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

EPISODE 30 - “Robert Walker: Old Hollywood's Tragic Boy Next Door” - 04/08/2024 No one played sensitive, lost souls quite like ROBERT WALKER. However, he is best known for playing one of the most complicated, psychopaths in film history, Bruno Antony in ALFRED HITCHCOCK's masterpiece “Strangers On A Train” (1951). His journey from playing sensitive innocents to playing Bruno is reflective of his troubled, turbulent life, and the heartbreak from which he never recovered. This week, we'll discuss the artistry and the tragedy of this incredible actor. SHOW NOTES:  Sources: Star-Crossed: The Story of Robert Walker and Jennifer Jones (1986), by Beverly Linet; Portrait of Jennifer (1995), by Edward Z. Epstein; Showman: The Life of David O. Selznick (1992), by David Thomson; Hollywood On The Couch: A Candid Look at the Overheated Love Affair Between Psychiatrists and Moviemakers (1993), by Marc Green and Stephen Farber; “Biography of Robert Walker,” April 1951, Paramount Pictures;  “I Know Myself Now”, by Marva Anderson, July 1950, Movieland Magazine;  “Actor Walker Dies After Drug Dosage,” August 3, 1951, by Gladwin Hill, New York Times; “Robert Walker: A Great Star Lost,” August 15, 1999, by David Thomson, The Independent On Sunday (London); “An Affair to Forget?” March 1998, by Nick Clooney, American Movie Classics Magazine; “Utahn's Rising Career in Films Came to a Sudden Tragic End,” July 23, 1999, by E. Hunter Hale, Deseret News; “Robert Walker, Jr. ‘Star Trek' Actor and Son of Superstars, Dies at 79,” December 6, 2019, The Hollywood Reporter; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Strangers On A Train (1951), starring Robert Walker, Farley Granger, Ruth Roman, Leo G. Carroll, Pat Hitchcock, and Kasey Rogers; New Frontier (1939), starring John Wayne and Phylis Isley (Jennifer Jones); Dick Tracy's G-Men (1939), starring Ralph Byrd and Phylis Isley (Jennifer Jones); Winter Carnival (1939), starring Ann Sheridan, Richard Carlson, and Helen Parrish;  These Glamour Girls (1939), starring Lana Turner, Lew Ayres, Marsha Hunt, Ann Rutherford, Mary Beth Hughes, Richard Carlson, and Jane Bryan; Dancing Co-Eds (1939) staring Lana Turner, Richard Carlson, Ann Rutherford, Lee Bowman, and Artie Shaw; The Song of Bernadette (1943), starring Jennifer Jones, Charles Bickford, Vincent Price, Anne Revere, William Eythe, Lee J. Cobb, and Gladys Cooper; Bataan (1943), Staring Robert Taylor, George Murphy, Thomas Mitchell, Desi Arnaz, and Robert Walker; Madame Curie (1943), starring Greer Garson, Walter Pidgeon, Henry Travers, and Robert Walker; See Here Private Hargrove (1944), staring Robert Walker and Donna Reed; Since You Went Away (1945), starring Claudette Colbert, Jennifer Jones, Shirley Temple, Joseph Cotten, and Robert Walker; Thirty Seconds Over Tokyo (1944), starring Spencer Tracy, Van Johnson, and Robert Walker;  The Clock (1945), starring Judy Garland and Robert Walker;  Her Highness and the Bell Boy (1945), starring June Allyson, Hedy Lamarr, and Robert Walker;  The Sailor Takes A Wife (1945), starring June Allyson and Robert Walker;  Til The Clouds Roll By (1946); Robert Walker, June Allyson, Judy Garland, Kathryn Grayson, Van Heflin, Van Johnson, Lucille Bremer, Cyd Charisse, and Angela Lansbury; One Touch of Venus (1948), starring Robert Walker, Ava Gardner, Tom Conway, and Eve Arden; Please Believe Me (1950), starring Deborah Kerr, Robert Walker, Peter Lawford, and Mark Stevens; The Skipper Surprises His Wife (1950), starring Robert Walker and Joan Leslie; Vengeance Valley (1951), starring Burt Lancaster, Joanne Dru, and Robert Walker; My Son John (1952), staring Helen Hayes, Robert Walker, and Van Heflin; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis“Pssst. Hey, buddy – wanna buy a bridge? No? Well, how about a clarinet concerto, then?”As most of us know, the Brooklyn Bridge is not for sale, but this New York icon has reputedly been sold to many unsuspecting visitors. After its opening in 1883, Harper's Monthly wrote, “The wise man will not cross the bridge in five minutes, nor in 20, [but] will linger to get the good of the splendid view about him.” American composer Michael Daugherty did just that and came up with a concerto for clarinet and wind ensemble that premiered in Ann Arbor, Michigan, and then, on today's date, in 2005 was performed at New York's Carnegie Hall.“Like the four cables of webs of wire and steel that hold the Brooklyn Bridge together,” Daugherty says, “my ode to this cultural icon [in] four movements: East (Brooklyn and Brooklyn Heights); South (Statue of Liberty); West (Wall Street and the lower Manhattan skyline); and North (Empire State Building, Chrysler Building and Rockefeller Center). In the final movement, I imagine Artie Shaw, the great jazz swing clarinetist of the 1940s, performing in the once glorious Rainbow Room on the 65th floor of the Rockefeller Center.”Music Played in Today's ProgramMichael Daugherty (b. 1954): Brooklyn Bridge; Maureen Hurd, clarinet; Rutgers Wind Ensemble; William Berz, cond. Naxos 8.57252999

Features vintage recordings by Johnny Long, Artie Shaw and Glenn Miller.  Ronnaldo also plays a Snader Telescription by The Dinning Sisters. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

Well, this is week four and the last in the series The Complete RCA Victor Recordings of Artie Shaw. These recordings were made in the years of 1944 and 1945 when Artie was living in California after his discharge from the US Navy. After these recordings were made, Artie signed with the MusicCraft label and never recorder for RCA again. There are some great recordings here as Artie liked to make recordings out of the Great American Songbook. I hope you enjoyed this series and will tune in again for more music of the fabulous big bands. Please visit this podcast at http://bigbandbashfm.blogspot.com

Benny Goodman's orchestra was the first big band that I ever listened to. But I kept reading about his rival, Artie Shaw. So I bought a vinyl two record set called This is Artie Shaw. Well, I was just knocked out with those 1938 recordings. Today we will continue with part three of the Complete RCA Bluebird Recordings of Artie Shaw. We are now in Volume 5 which includes the period shortly before the start of World War II. Artie was in California during this time and was including a string section with his orchestra which gave the recordings a different sound. I hope you enjoy this set as we will be winding up this series next week. Please visit this podcast at http://bigbandbashfm.blogspot.com

Benny Goodman's orchestra was the first big band that I ever listened to. But I kept reading about his rival, Artie Shaw. So I bought a vinyl two record set called This is Artie Shaw. Well I was just knocked out with those 1938 recordings. Today we will continue with part two of the Complete RCA Bluebird Recordings of Artie Shaw. Some of the songs we will hear inclue Out of Nowhere, Day In, Day Out, Stardust, Summit Ridge Drive and others. We will also continue with our biography of Artie Shaw. These are some of the best big band songs from that era. I hope you enjoy Part Two of the Complete RCA Victor Recordings of Artie Shaw. Please visit this podcast at http://bigbandbashfm.blogspot.com

Records left off of previous podcasts, along with a tribute to musics whom we lost this year. Performers include: Sarah Vaughn, Frank Sinatra, Artie Shaw, Les Paul, Moriz Rosenthal, Dick "Two Ton" Baker, Blind Lemon Jefferson and Fred Astaire. 

Songs about the passing of time, including: Time Changes Everything, Every Night About This Time, Time After Time, Moonlight Savings Time, As Time Goes By and Time Waits For No One.  Performers include: Dooley Wilson the Ink Spots, Helen Merrill, Artie Shaw, Guy Lombardo, Frank Sinatra and Harry James.