Podcasts about Benny Goodman

El 13 de junio 1986 murió Benny Goodman,  clarinetista de jazz estadounidense, conocido como El rey del swing, es uno los máximos exponentes del estilo jazzístico junto con Glenn Miller y Count Basie.

On the June 13 edition of the Music History Today podcast, a couple of trials end, a couple of legends pass away, and Paula Abdul debuts. Plus, members of the groups Smash Mouth, Weezer, and Heart celebrate birthdays.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/musichistorytoday⁠Resources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.comResources for substance abuse issues - https://988lifeline.orghttps://www.samhsa.gov/find-help/helplines/national-helpline

In Episode Six, Dave Reis speaks with internationally renowned, award-winning jazz musician and centenarian, Terry Gibbs, via Zoom from Australia! Terry Gibbs, was born Julius Gubenkon in 1924. The renowned American jazz vibraphonist and band leader is 101 years old! According to his Wikipedia page, Gibbs has performed or recorded with many of the greatest names in Jazz, including  Tommy Dorsey, Chubby Jackson, Buddy Rich, Woody Herman, Benny Goodman, Alice Coltrane, Louie Bellson, Charlie Shavers, Mel Tormé, and Buddy DeFranco to name just a few. "I am the oldest bebopper alive!” proclaims 93-year-old Terry Gibbs, according to an article in Jazz Times, "This forefather of the jazz vibraphone may well be right; age-wise he beats out his closest competitors, including Roy Haynes (92), Jimmy Heath (91), Lee Konitz (90) and Sheila Jordan (89). Certainly, few musicians of any age can top his ability to whip up a storm of excitement on his instrument." The Artist Index's jazz documentarian and Jazz Podcast Series host, Dave Reis, spent nearly 26 years as a Jazz radio show host, among his many other accomplishments. He was one of the original longtime DJs who worked at the former WUSM, which became radio station WUMD, 89.3 FM, on the University of Massachusetts Dartmouth campus. Dave Reis, AKA David Domingo Reis, began as our guest on In-Focus Podcast 154 and In-Focus Podcast 181. He returns once again as the host of our first-ever ten-part jazz podcast series underwritten by the Fiber Optic Center. There is no better host for this series than Dave Reis, a walking, talking jazz encyclopedia and local legend himself. Dave grew up surrounded by and hanging around with many of the jazz greats he will be presenting his ten-part Jazz Podcast Series underwritten by the Fiber Optic Center. Podcasts are also available on your favorite media app, including Amazon Music / iHeart Radio / Libsyn / Podcast Page / Spotify / WebPlayer, and APPLE PODCASTS   Please consider donating whatever you can to help and assure us in our mission to continue documenting the legacies of South Coast Artists. If you would like to be a guest on The Artists Index or have a suggestion, please let us know!

On the May 30 edition of the Music History Today podcast, Diana Ross enters rehab, the Beatles start work on a new album, and there are two Jerry Garcia-related events to talk about. Also, happy birthday to Benny Goodman, Wynonna Judd, Idina Menzel, and Tom Morello.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 

Classical meets jazz. Featuring: John Kirby Sextet, George Gershwin, James P. Johnson, Duke Ellington, Carl Maria von Weber, Benny Goodman, Sergei Rachmaninoff, Art Tatum, Fats Waller. Music: Mr. Haydn Gets Hip, Beethoven Riffs On, Rhapsody in Blue, You've Got To Be Modernistic, excerpt from Black, Brown, and Beige, excerpt from Invitation to the Dance, Let's Dance, Rhapsody on a Theme of Paganini (Var. 15), Honeysuckle Rose.

Songs include: Second Hand Rose by Fannie Brice, Your Feets Too Big by Thomas "Fats" Waller, The Hand of Fate by Eddie Fischer, Sugar Foot Stomp by Benny Goodman, Careless Hands by Mel Torme and Pig Foot Pete by Dolly Dawn. 

GI Jill dedicates the show to the Navy. Benny Goodman plays, Honeysuckle Rose. A news item about new radios for St Alvins Hospital. Skinny Ennis plays, Bugle Call Rag. Bing…

The commission for a new Clarinet Concerto from the great American composer Aaron Copland came from a rather unlikely source: Benny Goodman, the man known as the King of Swing. Goodman was one of the most famous and important jazz musicians of all time, but in the late 1940s, swing music was on the decline, and bebop had taken over. Goodman experimented with bebop for a time but never fully took to it in the way that he had so mastered swing. Goodman then turned towards the classical repertoire, commissioning music from many of the great composers of the time, such as Bela Bartok, Darius Milhaud, Paul Hindemith, Francis Poulenc, and of course, Aaron Copland. Copland eagerly agreed to the commission, and spent the next year carefully crafting the concerto, which is full of influences from Jazz as well as from Latin American music, perhaps inspired by the four months Copland spent in Latin America while writing the piece. What resulted from all this was a short and compact piece in one continuous movement split into two parts. With an orchestra of only strings, piano, harp, and solo clarinet, Copland created one of the great solo masterpieces of the 20th century. It practically distills everything that makes Copland so great into just 18 minutes of music. Today on the show we'll talk about the difficulty of the piece, something that prevented Benny Goodman from performing the concerto for nearly 2 years, as well as the immense difficulty of the second movement for the orchestra. We'll also talk about all of those quintessentially Copland traits that make his music so wonderful to listen to, and the path this concerto takes from beautiful openness to jazzy fire. Join Us!  Recording: Martin Frost with the Norwegian Chamber Orchestra Pedro Henrique Alliprandini dissertation: https://getd.libs.uga.edu/pdfs/alliprandini_pedro_h_201812_dma.pdf

What is it about a swing rhythm that sets hearts a flutter? It's a universal truth. It may have started as an African secret formula, but it was co-opted and catapulted into white western culture by some hip caucasian standard bearers.Here we'll examine the psycho-physical connection through two seemingly unrelated musical delicacies: one by the undisputed titan of respectable jazz, and the other by a racially mixed group of Philadelphia teens who barely made it out before the doo-wop death spiral. Bongo Stomp, from 1962, by Little Joey and the Flips, doesn't even feature real bongos (the drummer Jeff Leonard is simulating the jungle signature on his toms). But, it definitely swings. The other showcases legendary stickman, Gene Krupa, who showed the world his undeniable big swinging dick energy. BENNY GOODMAN1938 was ground zero, the big bang, the crossroads of Jazz and its soon to be birthed step-child, Rock n Roll. Benny Goodman and his band played Carnegie Hall and made history. First as a cultural event, and later, when the live recording was released in 1950 as a double album which sold over a million copies. Bei Mir Bist Du Schöen is a defiantly wonderful conglomeration of Yiddish lyrics delivered by Martha Tilton- (remember, simultaneously, Hitler was ramping up his power in Europe) - and, an irresistible swing rhythm smoothly rendered - which breaks into a kind of super charged klezmer section. It must have been startling in 1938, and it hasn't lost its power to captivate almost 100 years later. LITTLE JOEY AND THE FLIPSBy 1962, Doo-Wop was about to be consigned to the dust bin of History, along with the crooners that had dominated the previous decade. The British Invasion was about to begin, which would turn the record business on its head. But, just prior to that cataclysm, Joseph Hall and his 4 Pendleton wearing compadres arrive, dip dip dipping their striped hearts out, and they release this anomaly on Joy Records, which makes it to 33 on the charts. This was followed by only a couple more tries… then, oblivion. Maybe it was that swinging “bongo” break that lifted the Frankie Lymon-esque knock-off to its catchy heights? 

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

It's April 2025 ... and that means it's national Jazz Appreciation Month here in the U.S.! Join host CH as she shares her own journey to not only coming to love the genre - particularly the classics and standards of the 1930s and 40s - but also how it has shaped her sense of musicianship when she resumed playing drums after a 10 year hiatus. She reflects on how the sounds of jazz surrounded her at a young age (even if she wasn't suuuuper interested at the time), and how her original love of playing pop/rock music evolved as her own musical leanings changed over time. She also reminds us of the importance of embracing music - no matter the genre - at any stage of life for the personal enrichment and inspiration it brings to us all.   Show Notes Jazz Appreciation Month (known as "JAM") runs from April 1 - April 30 in the U.S. It culminates with the international celebration of International Day of Jazz on April 30th. For those looking for more information and events that are scheduled for 2025, head over to the National Museum of American History, which founded JAM in 2001 (and of which is where CH pulled the quote that ended our episode). Additionally, CH highly recommends the Ken Burns PBS documentary film, "Jazz", for those looking for a comprehensive examination and tribute to jazz from its earliest origins up to present day. Some of the artists CH mentioned that played in her grandparent's house as she was growing up: Duke Ellington; Billie Holliday; Ella Fitzgerald; Glenn Miller; Benny Goodman; Frank Sinatra; Dean Martin; Nat King Cole. Additionally, her step-father was a fan of Brazilian jazz. The Los Angeles radio station CH also grew up listening to was 94.7 The Wave (now known as The Soul of Southern California). Previous episode mentions: Episode 20: Episode 62: Share the Chair - Tobi Stone (A Lifelong Journey of Jazz) Episode 25: Little Drummer Girl

On tonight's show: Benny Goodman, Let's Dance Chick Webb, I Ain't Got Nobody John Coltrane w Dinah Washington, Fast Movin' Mama Ahmad Jamal, Poinciana Stuff Smith, Dizzy Gillespie & Oscar Peterson, It Don't Mean a Thing (If It Ain't Got That Swing) Johnny Hodges, Early Morning Rock Clark Terry, C-Jam Blues Cal Tjader,  Descarga Cubana Ben Webster & Teddy Wilson, Stardust Ella Fitzgerald, Fine and Mellow Johnny Hodges & Gerry Mulligan, Back Beat Abbey Lincoln, Throw It Away Clark Terry and Bobby Brookmeyer, Bye Bye Blackbird

1 - Queen Bee Blues - Eddie "Cleanhead" Vinson - 19502 - Woodman, Spare that Tree - Bert Williams - 19133 - Ever Lovin Bee - Ace Brigode and his 14 Virginians – 19254 - They Cut Down the Old Pine Tree - Perry B. Lipson and Joe Rines and his Orchestra - 19325 - Deep Elm - Ben Pollack and his Orchestra – 19366 - Be My Little Babay Bumble Bee - Ada Jones and Billy Murray - 19127 - Bumble Bee Schottische - Whoopee John Polka Band – 19488 - Flight of the Bumble Bee (Rimsky Korsakov) - Harry James and his Orchestra – 19409 – Honeydew – Joseph C Smith Orchestra - 192010 - Leave my Honey Bee Alone - Merle Travis - 194811 - Buzzin' Round with the Bee - Lionel Hampton and his Orchestra – 193712 - We'll Find Our Shelter Before the Rain - George Beaver and the Carolina Collegians - 192913 - Bee Boogie Boo - Bob Mosely and the All Stars – 194514 - All the Bees are Buzzin Round My Honey - Janet Brace and The Glee Club with Johnny Long and his Orchestra - 194915 - Dance of the Honey Bees - Victor Orchestra – 191316 - Busy as a Bee (I'm Buzz, Buzz, Buzzin') - Helen Forrest with Benny Goodman and his Orchestra – 1939

This conversation was recorded during The Jazz Cruise earlier this year, and it featured a conversation between two of our longtime favorite performers – vocalist Catherine Russell and guitarist and vocalist John Pizzarelli, with Catherine taking on the interviewer role.  For the last few years, John and Catherine have been performing together in a project they call 'Billie and Blue Eyes,' spotlighting the music of Billie Holiday and Frank Sinatra. John talked about coming up in the jazz and music world and hanging (and playing) with legends like Benny Goodman, Les Paul, Joe Venuti, Zoot Sims, Slam Stewart, Clark Terry, George Shearing, and of course, his father Bucky. Plus, John shared some stories about working with pop icons James Taylor and Paul McCartney.

GGACP celebrates the birthday of Emmy and Tony-winning actor-singer Hal Linden (b. March 20) by revisiting this interview from 2016. In this episode, Hal joins Gilbert and Frank for a look back at his long and varied career (including work in sitcoms, on Broadway and in nightclubs) and reveals why “Barney Miller” was considered the most authentic of all cop shows. Also, Hal covers Benny Goodman, backs up Perry Como, shares the screen with Harry Morgan and cuts the rug with Donald O'Connor. PLUS: Cab Calloway! Eddie “The Old Philosopher” Lawrence! “Godzilla vs. the Sea Monster”! The Chinese Bing Crosby! And Hal salutes the late, great Abe Vigoda! Learn more about your ad choices. Visit megaphone.fm/adchoices

ESTÁNDARES SEMANALES.-Tin Roof Blues.-VINILOS MÍTICOS DEL JAZZ..La historia de Benny Goodman.--JAZZACTUALIDADJOVEN BIG BAND SEDAJAZZ-IN BLOOM La historia de Benny Goodman es una película biográfica musical estadounidense de 1956, protagonizada por Steve Allen y Donna Reed , escrita y dirigida por Valentine Davies y estrenada por Universal-International . La película fue concebida como una continuación del éxito de Universal de 1954, La historia de Glenn Miller , que narra la vida de un popular director de orquesta.El joven Benny Goodman recibe clases de clarinete clásico de un profesor de música de Chicago. El director de orquesta Kid Ory le aconseja tocar el género musical que más le guste. Benny comienza su carrera profesional uniéndose a la banda itinerante de Ben Pollack . Más tarde, en Nueva York, donde su nueva banda recibe una tibia acogida, Benny conoce al amante del jazz John Hammond y a su hermana Alice. Lo invitan a la majestuosa casa de los Hammond para interpretar el Concierto para clarinete de Mozart . Alice teme que se sienta incómodo, pero su interpretación es impecable y Benny agradece su preocupación. Las actuaciones de Benny en un popular programa de radio los sábados por la noche hacen que Fletcher Henderson se ofrezca como voluntario para hacer algunos arreglos. En la costa oeste, el comienzo temprano del programa ha convertido la música de Benny en una sensación entre las generaciones más jóvenes. Forma un cuarteto con Gene Krupa en la batería, Teddy Wilson al piano y Lionel Hampton al vibráfono . El romance con la chica de sociedad Alice es desconcertante para la madre de Benny, pero para cuando su hijo toca en el Carnegie Hall , todo está bien y la Sra. Goodman ha invitado personalmente a su futura nuera a sentarse a su lado. Concierto en directo grabado el dia 22 de Julio de 2024 dentro de las sesiones organizadas por el colectivo Sedajazz en el centro cultural La Rambleta en Valencia. Una big band con un objetivo claro: aprender y enriquecerse de repertorios de las historicas orquestas de Jazz y de nuevos compositores y arreglistas. La Jove Big Band Sedajazz reúne jóvenes de distintas edades que se expresan con sus instrumentos y forman una unidad donde todos tienen su espacio. El repertorio combina standards y arreglos de grandes exitos de la historia del Jazz, bandas sonoras, funk, rock y latin jazz. Han colaborado musicos como Jesus Santandreu, Joe Magnarelli, Perico Sambeat, Chris Cheek, Rex Richardson, Toni Vaquer, David Pastor, Sole Jimenez, Andrea Motis, Rita Payes, Domisol Sisters, Vicente Macian, Pedro Iturralde, Voro Garcia, Toni Belenguer, Alexey Leon, Miquel Alvarez, Joan Saldana y Pepe Zaragoza entre otros. Actuaciones destacadas: Festival de Jazz de Valencia, Club Jamboree, Jazz a poqueta Nit Altea, Festival de trompeta en Maspalomas, Ciclo Conciertos Caja Burgos, Festival Jazzing Barcelona, Clasijazz Almeria, Festival Mar i Jazz, Sala Mutant Valencia, Festival Jazz Teruel, Festival Jazz Villareal, Festival big band Priego Cordoba, Concierto Benefico Payasospital Palau de les Arts, Cinema Jove Torrent, Porta Ferrada Girona, Ses Figuretes Ibiza, Dia Internacional del Jazz Alfafar, Jimmy Glass, festival El desenjazz Lliria, Teatro Principal Valencia, Auditorio Almeria, Palau de les Arts Valencia, Asejazz Sevilla, Festival Jazz Cadiz, Palau de la Musica Valencia. Han grabado varios discos: Sedajazz kids band, Groowin Up, Rumbo a New Orleans, Ramonets amb Sedajazz Kids Band, Mutant, Eclectic, y ahora In Bloom. Su repertorio incluye arreglos de Perico Sambeat, Fco. Blanco Latino, Dizzie Gillespie, Duke Ellington, Don Ellis, Jesus Santandreu, Toni Vaquer, Juan Saus, Martina Sabariego, Pau Baena, Santi Navalon. Proyectos realizados: Brasiliana (musica brasileña), Toni Vaquer (Louis Cole, Nirvana, Radiohead), Andrea Motis (Standards), Rita Payes (Cancionero Latino), conciertos para lindy hop, musica de la movida valenciana de los 80s con arreglos originales. Músicos Ximo Reillo y Samu Gil: Saxo Alto Selamawit Giner: Saxo y Clarinete Luis Coronado: Saxo Tenor Aurora Blanco: Saxo Baritono y Voz Josep Peiro, Oscar Lujan, Guillermo Cotanda, Pablo Martinez y Hugo Coronado: Trompetas Hadriel Benedito, Angel Ballester, Joan Fernandez y David Marti: Trombones Martina Sabariego: Contrabajo Pau Montalt: Bateria Miquel Alcaina: Percusion Latina Pau Baena y Nur Elmanchoud: Piano Venus Benedito y Naila Ferrandis: Voz Raquel Marti, Alba Gimeno, Aleksandra Bester: Violines Nehir Acansu y Marc Vidal: Violas Irene Simbor: Violonchelo Fco. Angel Blanco Latino: Direccion Featuring: Juan Saus (Saxo Alto) Creditos Diseño Grafico: Cristina Duran Sonido: Vicente Sabater Asistente de Sonido: Iñaki Ariste Asistente Produccion: Pedro Gallego Temas 1. Harlem air Shaft (Duke Ellington) 03:11 2. La Puerta (Luis Demetrio) 03:36 3. In Bloom (Nirvana) 08:59 4. La Muerte Despierta (Lucia Fumero) 07:45 5. Mean To Me (Fred E. Ahlert) 03:23 6. Whiplash (Justin Hurwitz) 11:45 7. F it up (Louis Cole) 05:54 8. Deseo Salvaje (Eddie Palmieri) 03:07 9. Too Darn Hot (Cole Porter) 04:24 10. Carinhoso (Pixinguinha) 06:36 11. The Evil Morty (Kazu Makino, Amedeo Pace, Simone Pace.) 08:09 12. Nobody else for me (Jerome David Kern) 03:51 13. Over The Rainbow (Harold Arlen) 05:31 14. Flor de Lys (Djavan) 04:25

Benny Goodman Music Festival 46-07-01 Ep001 Somebody Stole My Gal

La cuestión de quién era el “mejor”, Ellington o Lunceford, se convirtió en un tema de conversación serio en círculos de moda, tanto en Norteamérica como en Europa. "Hace dos semanas, dejé la decisión en sus manos. Hasta ahora, varios han hablado, y han nombrado sólo a Duke Ellington y Jimmie Lunceford. Benny Goodman no ha sido considerado, ni ninguna otra banda negra". Franklyn Frank, Amsterdam News. Con José Manuel Corrales.

The Quadraphonnes, Portland’s all-women sax quartet, will perform the music of the eccentric artist Moondog at the Alberta Rose Theater on March 7. Moondog was a blind street musician in New York City who worked with some of the biggest names in music in the mid-20th century, including Philip Glass, Leonard Bernstein, Charlie Parker and Benny Goodman. We’ll hear more about the show and get an in-studio performance from the quartet: Mieke Bruggeman on baritone saxophone, Chelsea Luker on alto and soprano saxophone, Michelle Medler on tenor saxophone, and and Mary-Sue Tobin on alto and soprano saxophone.

Rebecca and Tori chat the MCU's One Shots. We discuss how they connect with the movies and television shows, plugging some plot holes and setting up what at the time were future properties.MusicApache Rock Instrumental by Sound Atelier licensed through Jamendo Music.The Epical Trailer: Music by Dmitrii Kolesnikov free on PixabaySing Sing Sing: by Benny Goodman free on Internet ArchiveSound EffectsRecord Scratch: Sound Effect free on PixabaySourcesA guide to Marvel's One-shot short films | SYFY WIRENew Rockstars | Marvel One-Shots Breakdown! Coulson Return? ("Consultant" & "Funny Thing Happened...) | YouTubeSean Chandler Talks About | Every Marvel One-Shot Ranked! (MCU Short Films) | YouTubeMarvel Gives Disappointing Update on Chris Hemsworth's Team Thor ShortsScreenRant | Marvel One Shots Explained

Music includes: Scrapple From the Apple by Charlie Parker, Lover by Stan Kenton, Easy Living by Billie Holiday, Shake That Thing by Turk Murphy, I Want To Be Loved by Benny Goodman and Boogie Woogie Stomp by Albert Ammons and Pete Johnson. 

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.  

Playlist: Benny Goodman plays, Let's Dance. Henry Bussi plays, Hurry Home. Erskine Hawkins plays, Tuxedo Junction. Maxine Sullivan sings, Cow Cow Boogie.

1 - Luna Morena - Manolo Caracol2 - Guter Mann im Mond (Good Man in the Moon) - Rosita Serrano with Kurt Hohenberger mit seinem Solistenorcherster - 19403 - Der Wanderer an den Mond (Schubert) - Heinrich Schlusnus (baritone) with Franz Rupp (Piano) – 19284 - Forunderlige Måne (Mysterious Moon) - Hans Kurt med Sven Gyldmarks tonefilm orkester - 19435 - Shining Moon - Kirilloff's Russian Balalaika Orchestra6 - Luna Amiga - Eduardo Chavez y su Orquesta Tropical Beachcombers7 - Destination Moon - Nat King Cole – 19508 - Nnammurate D'a Luna - Carlo Buti con l'Orchestra Ferruzzi – 19419 - Luna Lunera - Gregorio Barrios con Osvaldo Norton y su Orquesta – 194810 - Under Fiesta Stars - Phil Brito with Al Donahue and his Orchestra - 194111 - Shake Down the Stars - Helen Forrest with Benny Goodman and his Orchestra – 194012 - Stars - Isham Jones Orchestra – 192113 - Silver Stars - Paul Specht and his Hotel Astor Orchestra - 192214 - Message from Mars - Sidney Phillips and his Orchestra - 193715 - Mambo from Mars - Alfredito and His Orchestra – 195516 - That Lucky Old Sun - Frankie Laine with Harry Geller and His Orchestra – 1949

January 16th 1938 is the date of the Benny Goodman concert at Carnegie Hall. This was the first concert given in the respectable concert venue by a swing band. We are very fortunate that the concert was recorded. Since the recording date was during the infancy of recording, the sound quality is not as good as today's recordings. The concert was originally issued in a two-LP gatefold album in 1950, the nearly forgotten documentation of this historic event quickly became Columbia's best-selling jazz release, a distinction it was to hold for decades to come. Although rumored among collectors for decades, the public had no way of knowing that two big band numbers had been excised from the commercial release and all subsequent reissues. The original concert was over two hours so I have picked some selected cuts from that night. Please visit this podcast at http://bigbandbashfm.blogspot.com

1 - Bounce Me Brother with a Solid Four - Ray Mc Kinley with Will Bradley and his Orchestra – 19412 - He's a Cousin of Mine - Miss Clarice Vance - 19063 - Boogie Woogie's Mother-In-Law - Buddy Johnson and his Band – 19414 – Bring It On Home to Grandma - Jones' Jazz Wizards - 19355 - I'm My Own Grandmaw - Esmereldy and her Novelty Band – 19486 - Your Mother's Son-In-Law - Billie Holiday with Benny Goodman and his Orchestra - 19337 - Old Uncle Ned - William Tuson – 19058 – Grandpa's Spells – Jelly Roll Morton and his Red Hot Peppers - 19269 - Swing, Swing Mother-in-Law - Jack Denny and his Orchestra – 193710 - Uncle Quit Work, Too - Lew Dockstader - 190611 - Aunt Patsy - Prince's Band – 191612 - My Mother-in-Law - Benny Bell – 194613 - Save Me Sister - Cab Calloway and his Orchestra - 193614 – Swing, Brother, Swing – Wingy Manone and his Orchestra – 193515 - Aunt Hagar's Blues - Jack Teagarden and The Modernaires with Paul Whiteman and his Swing Wing - 193816 - Peace Brother Peace - O'Neil Spencer with Willie Smith (The Lion) and his Cubs – 1937

This is episode 20 of Ben's radio show Red White Blues: an Anthology of America's Music (aired 14 November 2024 on Radio Buena Vida). We're able to share it because the music played is all non-commercial V-Discs taken from the Internet Archive: https://archive.org/details/V-discs1-991943-1944. On this episode, we look at the history of V-Discs and the rise of vinyl. In August of 1942, the American Federation of Musicians declared a strike: an all-out ban on members going into the studio and recording music. The strike was called to force the big three record companies to increase the royalty rate on recorded music paid to musicians, which had become a substantial part of music workers' business in an American culture structured around the production of consumer goods. The strike would last for two years, in which time no commercial records were made. But the US military and the big labels joined forces to create V-Discs (or Victory Discs)—non-commercial records for the enjoyment of the American soldiers and staff stationed abroad. Records up to this point were made of a rationed material sorely needed in the production of armaments: shellac. With the US having an abundance of oil, the petroleum-based vinyl record came to prominence and it's been that way ever since. Oil-based plastic didn't just shape music manufacture in its own image, though—it shaped American consumerism, which undergirds the world as we know it through mass production and mass communication, the end result of which is masses. It's us. Tracks played (with V-Disc catalog numbers in brackets): 1. “Ain't Misbehaving & Two Sleepy People”, Fats Waller [32] 2. “There's Gonna Be A Hot Time In The Town Of Berlin”, Frank Sinatra [72]—with introduction from side A (“I Only Have Eyes For You”) 3. “Blues in Berlin”, Josh White [44] 4. “Pearl Harbor Blues”, Dr Clayton [82] 5. “Ring Dem Bells”, Duke Ellington and his Orchestra [37] 6. “Redman Blues”, Don Redman Orchestra [104] 7. “A Smooth One”, Benny Goodman, Cootie Williams, Charlie Christian et. al. [187] 8. “Jelly Jelly”, Earl Hines and His Orchestra [308] If you like the show, you can listen to every episode right here on SoundCloud or by following this link: https://soundcloud.com/spaghettiforbrains/sets/red-white-blues

This week we pay a birthday salute to Martha Tilton who was born on November 14th, 1915. After singing with the quartet Three Hits and a Miss, she joined the Myer Alexander Chorus on Benny Goodman's radio show, Camel Caravan. Goodman hired Tilton as a vocalist with his band in August 1937. She was with Goodman in January 1938, when the band performed at Carnegie Hall. She continued to appear as Goodman's star vocalist until the end of 1939. The program today has many of her recordings with the Goodman band and some released under her own name. I hope you enjoy this birthday salute to the late Martha Tilton. Please visit this podcast at http://bigbandbashfm.blogspot.com

 NBC WEAF Lets Dance - 1935-12-23  Benny Goodman and his Orchestra Congress Hotel Chicago

This week, we honor the year in music for 2008, along with Rock and Roll Hall of Fame class of 2008 inductee John Mellencamp. We also ask the question: is it cool to be inducted into the Rock and Roll Hall of Fame. Plus, our spotlight museum is the National Jazz Museum in New York City and Benny Goodman. 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 from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Music Playlist For this Podcast - youtube.com/playlist?list=PLSMDYrumQfYSldNiLrvbeBxEtrUxYrIFI National Jazz Museum - JMIH.org --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Original Release Date: March 30, 2023 Original Patreon Description: helllllooooOOOOOOO! It's a very special crossover with 2 Old Queens' Mark Rennie and John Flynn - on their show, they try to find the gayest movie of all time using an esoteric ranking system, so this month's bonus episode sees the 3 of us discussing their pick for the gayest horror movie ever made, Nightmare on Elm Street 2: Freddy's Revenge! We get into Benny Goodman pool parties, the cruelty of night detention, and the true nightmare on elm street: gin hangovers!! Plus much more, so don't miss out!

Roy Burns was an American born drummer and percussion manufacturer who sadly passed away back in 2018. He would have been 89 years old this week, so to celebrate all things Roy and thank him for years of personal inspiration I decided to use an unpublished/archived interview that I had done with him many years ago for episode #58 of the podcast. Roy was the second person to grace the cover of the world famous Modern Drummer magazine and rose to fame playing with artists like Benny Goodman and Woody Herman before eventually becoming the house drummer for television standards like the Tonight show and the Merv Griffin Show. Eventually (in 1980) after leaving the Tonight show, he went on to start the Aquarian drum head company alongside Ron Marquez. A true inspiration to myself and many others throughout the years, I hope that you enjoy this episode. And, if you do, please leave us a rating, review, follow and/or share, thank you. For all things Roy Burns please search Roy Burns across google and other social platforms. For all things Aquarian related, please visit - www.aquariandrumheads.com For all things Travis Marc and/or Musicians-Mentor related, please visit - www.musicians-mentor.com For information on Soundbrenner products and discounted prices across their website please visit - https://www.soundbrenner.com/pages/affiliate-travis-marc?srsltid=AfmBOoqNWAxEbCUsvFspJwHdoUuQAdejYfVf-uSGEzrg0yk03GpcBgkA --- Support this podcast: https://podcasters.spotify.com/pod/show/musiciansmentor/support

When you attended high school, did you have a music program? If so, were you enthusiastic about playing what was selected for you? In the early days of music tuition, chances are you had to play dull tunes that were in line with your limited abilities...on a recorder. Within 3 or so months of picking up an instrument, could you play tunes made famous by, say, Glenn Miller and Benny Goodman? No? The girls (and a boy) at Yamakawa High School did.   Welcome to episode 122 of See Hear Podcast.   Kerry was unavailable, but Tim and myself carried on to discuss the 2004 film “Swing Girls”, directed by Shinobu Yaguchi. Beat for beat, this is the same film as Yaguchi's 2001 film “Waterboys”, but replacing a group of inept boys learning synchronised swimming with a group of inept girls learning to play jazz and form a swing band. A jazz version of School of Rock? It seems similar on the surface, but these kids are motivated differently to learn their music.....their only drive IS the music, not to win a competition. They learn to love swing jazz (essentially, it's pop music) and realise it's not – as they first surmise – for “brandy snifters”. Cards out on the table – we adore this film. We look at its universality (Japanese school kids playing a distinctly American art form), how a film with no villains or conflict can still be compelling, and mostly we celebrate a love of music. Tim rightly compares this film to an earlier one we discussed about a love of music for its own sake but the style was vastly different – home is here your musical interests lie.....the rest is detail. Swing Girls is available in full to watch on Youtube at: https://www.youtube.com/watch?v=aEz_TNtkCRc&t=381s If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). You can also download from the website at https://seehearpodcast.blogspot.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you attended high school, did you have a music program? If so, were you enthusiastic about playing what was selected for you? In the early days of music tuition, chances are you had to play dull tunes that were in line with your limited abilities....on a recorder!!!!! Within 3 or so months of picking up an instrument, could you play tunes made famous by, say, Glenn Miller and Benny Goodman? No? The girls (and a boy) at Yamakawa High School did.   Welcome to episode 122 of See Hear Podcast.   Kerry was unavailable, but Tim and myself carried on to discuss the 2004 film “Swing Girls”, directed by Shinobu Yaguchi. Beat for beat, this is the same film as Yaguchi's 2001 film “Waterboys”, but replacing a group of inept boys learning synchronised swimming with a group of inept girls learning to play jazz and form a swing band. A jazz version of School of Rock? It seems similar on the surface, but these kids are motivated differently to learn their music.....their only drive IS the music, not to win a competition. They learn to love swing jazz (essentially, it's pop music) and realise it's not – as they first surmise – for “brandy snifters”. Cards out on the table – we adore this film. We look at its universality (Japanese school kids playing a distinctly American art form), how a film with no villains or conflict can still be compelling, and mostly we celebrate a love of music. Tim rightly compares this film to an earlier one we discussed about a love of music for its own sake but the style was vastly different – home is here your musical interests lie.....the rest is detail. Swing Girls is available in full to watch on Youtube at: https://www.youtube.com/watch?v=aEz_TNtkCRc&t=381s If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). You can also download from the website at https://seehearpodcast.blogspot.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Benjamin David Goodman was an American clarinetist and bandleader knows as the "King of Swing".

Born on November 2, 1908, this trumpeter, despite the brevity of his career and his all-too-short life, remains one of the most compelling trumpet players in the history of music. Do you know who it is? If I said his initials were BB and his first name was not Bix then you would say I was speaking of the great Bunny Berigan. Today we pay a birthday salute to one of the most exciting trumpet players in Big Band history. We'll start with a couple numbers by Benny Goodman and then a couple by Tommy Dorsey. All of these have great solos by Bunny. Then we'll play some of the sides he recorded with his own band. I hope you enjoy this look at the music and career of the late Bunny Berigan. Please visit this podcast at http://bigbandbashfm.blogspot.com

This Saturday on Vintage Classic Radio's "Saturday Matinee", we start with the beloved "Our Miss Brooks" in the episode titled "Workhorse". Originally aired on November 7, 1948, the episode features the ever-humorous struggles of high school English teacher Connie Brooks as she juggles excessive workloads and the demands of her quirky colleagues and students at Madison High. The stellar cast includes Eve Arden as Miss Brooks, Gale Gordon as Principal Osgood Conklin, Richard Crenna as student Walter Denton, Jane Morgan as Mrs. Davis, and Jeff Chandler as biology teacher Mr. Boynton. Following is "The Phil Harris-Alice Faye Show" with the episode "How Long Genius Phil Goes Undiscovered", first broadcast on November 6, 1953. In this hilarious installment, Phil Harris worries about his unrecognized talents and contemplates a career that might better suit his self-declared genius, causing a typical uproar in his household. The episode features Phil Harris as himself, Alice Faye as his sensible and patient wife, with additional support from Elliott Lewis as Frankie Remley, Walter Tetley as Julius Abruzzio, and Robert North as Willie. We wrap up with a musical treat from the "Benny Goodman" concert in the episode titled "Madhattan Room". Dating back to November 6, 1937, this performance captures Goodman at the height of his popularity during the swing era, playing at the famous Madhattan Room in New York City. Benny Goodman leads the ensemble with his clarinet, and the show features vocal performances alongside classic instrumental numbers, providing listeners with a taste of a live 1930s big band jazz concert. Join us for this trio of classic entertainment that promises to bring laughter, nostalgia, and the unbeatable charm of early radio and music legends.

The focus of this edition is the career of Lena Horne, the African-American dancer, actress, singer, and civil rights activist. Her career spanned over 70 years, appearing on film, television, and theater. Born in 1917, Horne became a popular night club singer at the age of 16. She made her first movie appearance in 1935, which lead to many radio performances. Lena Horne is the winner of 4 Grammy awards, one Emmy award and many other accolades. We'll will hear the story of her life in a 1949 edition of Destination Freedom. Then Lena Horne performs in a starring role (Which was very rare during Jim Crow America) on the CBS Radio drama, Suspense in 1944. You will hear Lena sing with the legendary Benny Goodman band on the armed forces program Jubilee in 1946. Lastly, She appears on the radio show, Guest Star in 1947. More at KRobCollection.com

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.

Benny Goodman played a marvelous clarinet and his bands sold a ton of records while packing audiences into dance halls and Carnegie style halls. He was also enigmatic and frequently oblivious of his surroundings. Jerry Jerome, Sonny Igoe, Bucky Pizzarelli, Flip Phillips and Skitch Henderson share their memories of working with The King of Swing.

Raymond Barretto Pagan was born to Puerto Rican parents in New York on April 29, 1929. When he was barely four years old, his father decided to leave home and return to Puerto Rico. His mother settled in the South Bronx and raised her three children by herself. From an early age, Barretto was influenced by two styles of music: Latin and Jazz. During the day, his mother listened to the music of Daniel Santos, Bobby Capó, and the Los Panchos Trio. However, as Ray grew up, he fell in love with Machito Grillo, Marcelino Guerra, Arsenio Rodríguez, and the Jazz orchestra greats he heard on the radio; stars like Benny Goodman and Duke Ellington.When he turned 17, Barretto enlisted in the United States Army and was sent off to World War II. While stationed in Germany, he heard the song that changed his life: “Manteca” by Chano Pozo and the Dizzy Gillespie band. When he left the army, Barretto returned to New York and, influenced by the percussion instruments that his idol Chano Pozo dominated, he bought a bongo. But he wasn't satisfied with the sound, so he went out and spent 50 dollars on some tumbadors he saw for sale in a local neighborhood bakery. And that's how he took his first steps onto the nightclub music scene. His first recording was in 1953, with Eddie Bonnemere's Latin Jazz group at the Red Garter lounge in New York. In contrast to famous conga players of the time like Cándido Camero, Mongo Santamaría, and Patato Valdés –who started out with Afro-Caribbean rhythms and worked their their way up to Jazz– Barretto started out in the world of Jazz; it would be years before he would make a foray into other Latin rhythms.

2:45:57 – Frank in New Jersey, plus the Other Side. Topics include: Hemidawn's Gone Cyberpunk, Whychock completed, deep analysis, busy month, noise pollution, Deadpool & Wolverine (2024), popcorn, The Olympics, comic books, Nash the Slash Rises Again!, ANIMUSIC 3, hotel, vending machine, Trailer Park, Planta Queen, Sleep No More, Benny Goodman, Oscar Wilde, agent dream, The Exit […]

2:45:57 – Frank in New Jersey, plus the Other Side. Topics include: Hemidawn's Gone Cyberpunk, Whychock completed, deep analysis, busy month, noise pollution, Deadpool & Wolverine (2024), popcorn, The Olympics, comic books, Nash the Slash Rises Again!, ANIMUSIC 3, hotel, vending machine, Trailer Park, Planta Queen, Sleep No More, Benny Goodman, Oscar Wilde, agent dream, The Exit […]

Send us a Text Message.Grammy award winning pianist Bill Charlap has performed with many of the leading artists of our time including Phil Woods, Tony Bennett, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person. Born in New York City, Charlap began playing the piano at age three. His father was Broadway composer Moose Charlap, whose credits include Peter Pan, and his mother is singer Sandy Stewart, who toured with Benny Goodman, and was a regular on the Perry Como show. She earned a 1963 Grammy nomination for her recording of “My Coloring Book." In 2005, Charlap and Stewart released the acclaimed CD, Love Is Here To Stay (Blue Note).In 1997, Charlap formed his trio with bassist Peter Washington and drummer Kenny Washington, now recognized as one of the leading groups in jazz. In 2000, he was signed to Blue Note Records and received two Grammy Award nominations, for Somewhere: The Songs of Leonard Bernstein and The Bill Charlap Trio: Live at the Village Vanguard. He is known for his interpretations of American popular song.. Time magazine wrote, “Bill Charlap approaches a song the way a lover approaches his beloved…no matter how imaginative or surprising his take on a song is, he invariably zeroes in on its essence.” In 2016, Tony Bennett & Bill Charlap: The Silver Lining, The Songs of Jerome Kern, was awarded a Grammy for Best Traditional Pop Album. In April, the Bill Charlap Trio released, Notes from New York, their debut recording for the Impulse label. Alan Morrison's five-star review in Down Beat stated that the new recording is "a masterclass in class." In 2019, Charlap will be celebrating his 15th year as Artistic Director of New York City's Jazz in July Festival at 92Y. He has produced concerts for Jazz at Lincoln Center, New Jersey Performing Arts Center, Chicago Symphony Center and the Hollywood Bowl. Charlap is married to renowned jazz pianist and composer Renee Rosnes, and the two artists often collaborate in a duo piano setting. In 2010 Charlap and Rosnes released Double Portrait (Blue Note). Bill Charlap is currently the Director of Jazz Studies at William Paterson University in Wayne, New Jersey. https://www.billcharlap.com/ This Summer, Edna Golandsky, renowned pedagogue and leading expert on the Taubman Approach will release her first book with Amplify Publishing Group. Entitled ‘The Taubman Approach To Piano Technique: A Comprehensive Guide To Overcome Physical Limitations and Unlock Your Full Pianistic Potential.' Visit: www.ednagolandsky.com to learn more.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

When Chris hears "Sing Sing Sing," he's instantly in his bedroom waking up to music and the smell of fresh cut grass. Chris Stone, a former Sony employee, has always harbored a profound love for music, a passion deeply rooted in his childhood. His thoughts on music and memories reflect a deep emotional connection to the songs he grew up listening to, on record, such as those by Benny Goodman and Louis Prima. His upbringing in a musically diverse environment not only shaped his musical tastes but also inspired his creative endeavors, including playing bass guitar and composing music. Full Show Notes

Songs include: On a Slow Boat to China, Song of the Volga Boatmen, Don't Give Up the Ship, Ferry Boat Serenade and Shrimp Boats.  Musicians include: Jo Stafford, Glenn Miller, Dick Powell, Benny Goodman, John McCormack and Moon Mullican. 

Seine ersten professionellen Auftritte als Musiker absolviert Benny Goodman in kurzen Hosen - und verdient so viel, dass sein Lehrer neidisch wird. Der Durchbruch für seine Swing-Musik kommt aber erst viel später. Von Thomas Mau.

Peter Tiehuis is one of the best guitarists in Holland. He's played and recorded with every big star in the Netherlands and many international stars including Benny Goodman, Dizzy Gillespie, Freddie Hubbard, Stan Getz, Tina Turner, Elvis Costello and Herbie Hancock.My featured song is “The Rich Ones”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Peter at:Peter Tiehuis Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Born in Brooklyn and raised in Massapequa, New York, Phantom grew up listening to his parents' jazz records and began playing drums by the age of ten. He took lessons with Mousie Alexander, who played with Benny Goodman, studying jazz and working through books by Jim Chapin and Ted Reed. By the late 1970s, he was playing in bands with his childhood friend, bassist Lee Rocker. They soon joined forces with guitarist Brian Setzer to form Stray Cats.[ When performing with Stray Cats, Phantom did not sit behind a standard drum kit like most drummers, but instead opted to play in a standing position with a minimalist set-up of bass drum, snare drum, hi-hat, and crash cymbal. During downtime from Stray Cats, Phantom played in swing, rockabilly, and jump blues combo The Swing Cats with Rocker and ex-Polecats guitarist Danny B. Harvey,[6] as well as rockabilly and glam rock project Phantom, Rocker & Slick with Rocker and guitarist Earl Slick.  In 1985, he appeared with Carl Perkins and a host of other musicians including Eric Clapton, George Harrison, Ringo Starr, Dave Edmunds and Rosanne Cash for Blue Suede Shoes: A Rockabilly Session in London, England. Phantom also played with Jerry Lee Lewis. He later formed Col. Parker with former Guns N' Roses guitarist Gilby Clarke, releasing the album Rock n Roll Music in 2001.[ Most recently, he has been involved in the eponymous roots-rock band Slim Jim's Phantom Trio; rock-and-roll supergroup Dead Men Walking with Kirk Brandon and Mike Peters, and Captain Sensible;[ and rockabilly supergroup The Head Cat with Danny B. Harvey and the late Motörhead vocalist and bassist Lemmy.  He also hosts the Rockabilly Raveup show on Little Steven's Underground Garage. In March 2023, Barnes announced the supergroup The Barnestormers, featuring Barnes, Cheney, Phantom with Jools Holland and Kevin Shirley. A self-titled album was released on 26 May 2023.     Some Things That Came Up:   -2:35 45 Years of The Stay Cats -3:30 Studying with Mousey Alexander  -3:50 Ted Reed and Jim Chapin books  -8:30 Carl Perkins, Bo Diddley, Eddie Cochran, Muddy Waters, Howlin' Wolf, Luis Jordan are           the roots -10:12 Origins of The Stray Cats  -14:00 Moving to London at 19 years old -16:00 Lemmy, Joe Strummer, and Chrissy Hyndes   were early believers -17:30 Ray Davies  -17:50 The Rolling Stones front row at a show helped the Stray Cats make national news -18:40 Arista Records and Dave Edmunds -19:00 A Top 10 hit!  -22:20 5 nights at The Roxy -25:45 Opened for The Stones in 1981, for FREE!  -29:20 Always creating with longtime friends  -32:00 Working with Harry Dean Stanton and Jules Holland -37:45 Getting the job on Little Steven's Underground on Sirius XM, every Sunday at 5 pm  -44:00 Climbing Mt. Everest and Mt. Kilimanjaro -54:00 One Man Show  -56:20 Jennie Vie with Courtney Love and Eagles of Death Metal -56:45 New drummer is Leah Bluestein    Follow:  www.slimjimphantom.com IG: @officialslimjimphantom       The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com