Podcast appearances and mentions of bobby short

Episode 73: Keyon Harrold. Everywhere I turn, I see Keyon Harrold. He's widely regarded as one of the greatest trumpeters alive today, pushing the new jazz generation forward with power and soul. His solo album Foreverland was GRAMMY-nominated this year for Best Alternative Jazz Album, and his resume is stacked — Jay-Z, Common, Erykah Badu, Diana Ross, Mac Miller, Robert Glasper, the Count Basie Orchestra, Terrace Martin — and he played all the trumpet parts in the Miles Davis biopic Miles Ahead. Keyon is a dear friend and an incredible human being. He drops so much wisdom in this episode and truly inspired me with his words. I hope you enjoy my conversation with the great Keyon Harrold. ‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. (0:02:09) LIVING ROOM SET WITH RONALD BRUNER JR (0:05:35) MEETING TERRACE MARTIN AND ROBERT GLASPER AT JAZZ CAMP AT 15 YEARS OLD (0:08:03) SNOOPADELICS, SPUT, TERRACE, KAMASI WASHINGTON, KEYON (0:08:55) COMMON (0:09:47) SNOOPADELICS, TOURING WITH SNOOP (0:12:26) BOBBY SHORT (0:12:37) COUNT BASIE ORCHESTRA (0:14:11) ERYKAH BADU, MARY J. BLIGE, MAXWELL (0:15:05) CIRQUE DU SOLEIL, MICHAEL JACKSON IMMORTAL WORLD TOUR WITH GREG PHILLINGANES, JONATHAN MOFFETT (0:16:07) JAY-Z, G-UNIT (0:17:19) PRODUCING (0:18:35) KEYON'S SOUND, PERSONAL PROJECTS (0:20:00) MILES DAVIS FILM (0:20:31) "THE MAGICIAN", SIGNING TO SONY (0:22:08) ADVICE FOR MAKING A SOLO ALBUM (0:26:52) "FOREVERLAND" ALBUM, GRAMMY NOMINATION (0:30:15) "FIND YOUR PEACE" FROM "FOREVERLAND" (0:33:02) HOW TO BE THE BEST YOU (0:35:39) FATHERHOOD, KEYON HARROLD JR. (0:44:04) LIZZ WRIGHT (0:44:42) AJA MONET (0:45:13) MILES DAVIS BIOPIC, ROBERT GLASPER, DON CHEADLE (0:52:36) KEYON'S CIRCLE, – UP-AND-COMING TALENT (0:54:25) JOE LOVANO, LOVANO FAMILY (0:59:25) DIANA ROSS (1:03:49) MAC MILLER, ESTELLE (1:04:28) A THROUGH LINE FROM COLLABORATIONS (1:07:04) ANTARCTICA TRIP WITH SCOTT KELLY, CHARLIE DUKE, NEIL DEGRASSE TYSON (1:14:02) META RAY-BANS (1:16:02) AGAVE PLANT Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated!   Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Keyon: https://www.instagram.com/keyonharrold/ Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano

For this bonus episode, the Shakespeare and Company podcast welcomes Jeremy Pelt, renowned jazz trumpeter and author of Griot: Examining the Lives of Jazz Great Storytellers. In conversation with Alex Freiman, Pelt discusses the evolution of jazz, the influence of oral traditions, and the importance of documenting firsthand accounts from legendary musicians. Reflecting on his early days at Berklee, his experiences touring worldwide, and his deep reverence for jazz elders like Roy Haynes and Wayne Shorter, Pelt shares insights into both the triumphs and struggles of jazz musicians. He also addresses the debate over the term “jazz,” the intersection of jazz and hip-hop, and the ongoing challenge of preserving the music's integrity in an industry that often sidelines its true practitioners. Listen in for a compelling exploration of jazz history, culture, and the passion that fuels one of its modern torchbearers.*Jeremy Pelt has become one of the preeminent young trumpeters within the world of jazz. Forging a bond with the Mingus Big Band very early on, as his career progressed, Pelt built upon these relationships and many others which eventually lead to collaborations with some of the genre's greatest masters. These projects include performances and recordings with Cliff Barbaro, Keter Betts, Bobby "Blue" Bland, Ravi Coltrane, Frank Foster, Winard Harper, Jimmy Heath, Vincent Herring, John Hicks, Charli Persip, Ralph Peterson, Lonnie Plaxico, Bobby Short, Cedar Walton, Frank Wess, Nancy Wilson and The Skatalites, to name a few.Pelt frequently performs alongside such notable ensembles as the Roy Hargrove Big Band, The Village Vanguard Orchestra and the Duke Ellington Big Band, and is a member of the Lewis Nash Septet and The Cannonball Adderley Legacy Band featuring Louis Hayes. As a leader, Pelt has recorded ten albums and has toured globally with his various ensembles, appearing at many major jazz festivals and concert venues.Pelt's recordings and performances have earned him critical acclaim, both nationally and internationally. He has been featured in the Wall Street Journal by legendary jazz writer and producer, Nat Hentoff, and was voted Rising Star on the trumpet, five years in a row by Downbeat Magazine and the Jazz Journalist Association. Pelt is currently touring throughout the United States and Europe in support of his latest release, "Soundtrack".Alex Freiman is a guitarist, composer, and singer trained at the Berklee College of Music in Boston. Drawing from jazz, blues, soul, and funk, he masterfully blends these influences with energy and virtuosity, creating music that is both groovy and sophisticated. After collaborating with major figures on the French and international scenes, including Stéphane Belmondo, he released his debut album as a leader, Play It Gentle, in 2017. Recorded with Léon Parker (drums), Fred Nardin (organ), and special guest Stéphane Belmondo, this album reflects his passion for improvisation and sonic elegance. Constantly seeking innovation, he launched Alex Freiman & The Hot Sauce, an explosive project where jazz, funk, soul, and hip-hop intertwine. His EP In The Beginning (September 2024) marks the start of a new musical era, followed by the singles We Are One (January 2025), featuring rapper Tiemoko, and This Is The Hot Sauce (March 2025), affirming his vibrant and innovative musical identity. In 2025, Alex Freiman continues his groove exploration with a new album and fresh collaborations. Alex Freiman & The Hot Sauce will also be performing in Paris and across France, delivering electrifying shows where improvisation and energy collide.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

No one made New Yorkers feel better than Bobby Short. For 36 years there was no more quintessential New York experience than seeing him perform at the Café Carlyle, and Scott Asen remembers the great man on the occasion of what would have been his 100th birthday. Then Elena Clavarino reports on another side of living in Manhattan: losing a place you love. For more than 20 years, En Japanese Brasserie has served amazing food and attracted a Who's Who of New York's arts scene, from Lou Reed to Yoko Ono to Q-Tip. Now, however, it is closing—and not by choice. Finally, Linda Wells joins us to reveal everything new in the world of beauty and wellness.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Our tribute to the "King of Café Society" includes indelible performances of material by Cole Porter, Rodgers and Hart, Noël Coward and more.

John Pizzarelli, Bobby Short and Mose Allison. All will be revealed on The Hot Box #114!

En el audio de hoy discutiremos de las vicisitudes que acarrean la planificación de una boda en los tiempos que corren.  Música: You made me love you by Henry James; I've head that song before by Henry James; I'm in love again by Bobby Short.  Página de Isabel: www.isabel19.com  

BINGE WORTHY LINK: Something came from Baltimore - YouTube Laurie Greene Bio: Laurie Greene is a Professor of Anthropology at Stockton University in New Jersey, where she has taught since 1968. She is the founder of the LGBTQ+ Youth Safe Space Initiative at Stockton and and an advocate in the local LGBTQ+ community. She is also the author of queer erotic poetry published in literary journals and a number of other works on phenomenology, most recently Teaching Contemporary Yoga: Physical Philosophy & Critical Issues (Routledge 2022), and Drag Queens and Beauty Queens: Contesting Femininity in the World's Playground (Rutgers 2020). She has three perfect adult children and two spoiled cats who run the home she lives in in Ventnor, New Jersey. Her favorite color is the rainbow. Tom Gouker: SCFB is found on:  Youtube, Itunes, Anchor, Spotify, Amazon Podcasts,  Google Podcast, Overcast, Breaker, Castbox, Radio Public, Podbay,  Stitcher....and more! Tom Gouker is also featured on a limited-run podcast about the Beatles  called, "The Beatles Come To America",  Join Tom and the "Beatle Guru"  Brooke Halpin as we chat about the US Album Releases of the Beatles  ("65", "Yesterday & Today" and "Hey Jude"...they are all there.) Series: "Kinda Free, Kinda Wow" Table 1. "Charlie" by Revlon a. Alex Wagner - MSNBC Bobby Short - Miss Otis Regets Topics: Building Relationship, Co-Dependence, World Travel 2. Alanis Morissette @ Starbucks Bobby Short - I Can't Get Started "This is Vancolour" with host Mo Amer chats with Harrison Mooney Topics: World Traveler, Alanis Morrissette, Dionne Warwick, The Gay Gift 3. $64,000 Question Bobby Short - I Ain't Got Started Topics: Zoom Meetings, Pandemic, AIDS PTSD, Lesbian Hate, The Gay Handbook, The Mandingo Effect 4. Dipping My Foot in the Pool What Does It Mean Woke? USA Today Bobby Short - Losing My Mind Topics: Gay Bars, Activism, Alarmist, Transgender Issues, Group Dynamics 5. Things Do Not Happen Over Night The Conservatives Try to Define Woke - The Daily Show Bobby Short - Heebie Geebies Topics: Activism 101, Rainbow Marketing, Romance, Pop Tarts, Homophobia 6. "Charlie's" 20 Point Profile More Proof Woke Culture is Garbage Daily Wire & Ben Shapiro Bobby Short - I've Got Your Number Topics: Nearing, Stigma, Drag Queens, Trans Message, Breathe is Spiritual 7. History of New York Ave Psychology Demystified - Psychology Made Simple Bobby Short - I Happen to Like New York Topics: Marriage for Healthcare, Co-Parents, New York Ave, Will & Jada, Pink Pass 8. They Play Country Music What is Woke? Woke Culture Explained by Social Science School Bobby Short - Isn't it Romantic Topic: No Gays in the Casino, Local Cheerleaders, Our Shithole 9. Revlon Today Bobby Short - Our Love is Here to Stay Topics: College Debt, Stop the Steal, Stockton University 10. I Think I Know What Woke Is? Bobby Short - Send in the Clowns Conservative - Pronouns The Daily Show Topics: Happy Spinsters, Housing Crash, Health Insurance 101, Interesting People 11. Shelly Hack Elon Musk Explains the Woke Mind Virus Bobby Short - Manhattan Topics: Holding People Accountable, Helplessness & Hand Guns, Anthropology 12. Hustler's Listen to Rap Music Bill Maher Loves Elon Musk Bobby Short - Isn't It Romantic Topics: Anthropology, Gay Travel, Honey Davenport, MAGA 13. Show Us Your Shoes Woke Mind Virus - House MD with Karl Penn - The Daily Show Bobby Short - Real Live Girl Topics: Miss America, Gay AC, Show Us Your Shoes, Miss'D America 3.0 14. Bobby Short Bobby Short - I Get a Kick Out of You Topics: AIDS, Gay Alliance Beef, Full Circle, Goodbye --- Send in a voice message: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/message Support this podcast: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/support

Jeremy Pelt has become one of the preeminent young trumpeters within the world of jazz. Forging a bond with the Mingus Big Band very early on, as his career progressed, Pelt built upon these relationships and many others which eventually lead to collaborations with some of the genre's greatest masters. These projects include performances and recordings with Cliff Barbaro, Keter Betts, Bobby "Blue" Bland, Ravi Coltrane, Frank Foster, Winard Harper, Jimmy Heath, Vincent Herring, John Hicks, Charli Persip, Ralph Peterson, Lonnie Plaxico, Bobby Short, Cedar Walton, Frank Wess, Nancy Wilson, and The Skatalites, to name a few. Pelt frequently performs alongside such notable ensembles as the Roy Hargrove Big Band, The Village Vanguard Orchestra, and the Duke Ellington Big Band, and is a member of the Lewis Nash Septet and The Cannonball Adderley Legacy Band featuring Louis Hayes. As a leader, Pelt has recorded ten albums and has toured globally with his various ensembles, appearing at many major jazz festivals and concert venues. Pelt's recordings and performances have earned him critical acclaim nationally and internationally. He has been featured in the Wall Street Journal by legendary jazz writer and producer, Nat Hentoff, and was voted Rising Star on the trumpet, five years in a row by Downbeat Magazine and the Jazz Journalist Association. Pelt is touring throughout the United States and Europe in support of his latest release, "Soundtrack". In this episode, Jeremy shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

The Humble King of Café Society gets the full treatment; choice cuts, some rare, all well-done, from the likes of Stephen Sondheim, Cy Coleman, and Burt Bacharach.  

Welcome to Season Four of Countermelody! My long-time listeners know a few things things about the podcast. First, the most important quality in a singer is not voice, but communicative skills. Second, I have posted episodes in the past on singers that I dub “voiceless wonders,” artists whose primary virtue is exactly that ability to convey the meaning of the words. Third, though the music I play is primarily opera and so-called classical music, I often explore genres that move outside of those boundaries. Fourth, from the very beginning of my podcasting career, I have made it a point to highlight the careers of artists of color as well as queer artists. Throughout this season of the podcast, I will also be focusing on great singers in their later years. All these aspects are in evidence in today's subject: Mabel Mercer (1900-1984), the doyenne of cabaret. Born to a teenage mother of Welsh heritage whose father was an itinerant African American musician, Mercer first pursued a career in British music hall. From there, she made her way to Paris, where she soon became a fixture at a nightclub run by her pal Bricktop (AKA Ada Smith). As WWII loomed on the horizon, she made her way, with the help of her friend (and possible lover) the wealthy and eccentric lesbian Joe Carstairs, to New York, where she soon established herself at the pinnacle of cabaret culture by virtue of her impeccable diction, intimacy of delivery, sense of story-telling, and unbounded repertoire of upwards of a thousand songs. Most of Mercer's recordings represent the artist well into her middle age, when her once beautiful soprano voice had become little more than a croak. And yet, perched regally on a chair at the Café Carlyle and other nightclub venues, she gave definitive performances of nearly every song she touched. The episode offers a hint of the interpretive depth displayed in repertoire ranging from the traditional Great American Songbook (especially the songs of Cole Porter) through Joni Mitchell and Paul Simon. Guest artists heard include Kaye Ballard, Bobby Short, and Julie Wilson, as well as Bricktop and Madame Spivy, both nightclub hostesses and close friends of Mercer's who were celebrated performers themselves. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

A New Year Celebration at the Cafe Carlyle with Bobby Short.

Season Three of Countermelody begins with a potpourri episode of some of my favorite crooners of color. I begin with an example of Bert Williams, the first African-American superstar, and offer a few other examples of important precursors, but I focus on the heyday of the crooner, from the 1940s through the early 1960s, including such honey-voiced singers as Billy Eckstine, Johnny Mathis, Nat King Cole, Ray Charles, Sammy Davis, Jr., Johnny Hartman, Lou Rawls, Brook Benton, and Arthur Prysock. Since I apply the term “crooner” fairly loosely, I am also able to present singers from outside the traditional repertoire of the standard crooner, including Josh White, Leslie “Hutch” Hutchinson, Harry Belafonte, Barry White, Bobby Short, and Lamont Dozier. The episode concludes with a tribute to Broadway baritones of color and with a stunning live performance of Jackie Wilson singing “Danny Boy” in honor of my birthday. Vocal guest stars include Miriam Makeba, Linda Ronstadt, and Mabel Mercer. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

This week Ken welcomes actor Anne Dudek (Mad Men, House, Friends) to the show. Ken and Anne discuss The Book Group, being a theater actor, multi cam sitcoms, Friends, bloopers, Head of the Class, Robin Givens, being miserable under contract, the changing nature of celebrity, how late night shows are irrelevant, Patch on Days of our Lives, casually wearing a boa constrictor, Soaps, And Now the Screaming Starts, Too Scared to Scream, Golden Girls, Murder She Wrote, Anne's Murder She Wrote Fan Fiction, 227, being isolated via media, Family Ties, Rags to Riches, Baby Jessica, the greatness of Angela Lansbury, "Mom" names, retro shows, The Wonder Years, Happy Days, what kids watch today, political divisions, could Family Ties be made today?, blaming Newt Gingrich, The Company of Wolves, guest starring, having two careers, being a movie actor or a TV actor, Magnum P.I., DRUGS, Just say No, being terrified of drugs, urban legends, school yard scare stories, The Long Hot Summer, Hardhat and Legs, Ruth Gordon, Bobby Short playing himself, the harshness of TV Guide, local MTV rip offs, This Old House, computer aided hose repair, being an architects, The Imposter, talking your way into a High School Principal position, Anthony Geary, and staging your childhood murder mysteries as an adult.

Spend a little time with this astonishing Coleman/Fields score. Performers include Gwen Verdon, of course, but also Shirley MacLaine, Bobby Short, Juliet Prowse, and Sammy Davis, daddy-o! Fun, laughs, good times!

BONUS EPISODE In this bonus live episode, artist Michael Smith talks about how to get creative with bad teaching evaluations. Season 3 coming soon! ABOUT THE GUEST Michael Smith’s recent solo exhibitions and performances include Museo Jumex, Mexico City; Yale Union, Portland, Oregon; Tate Modern, London; and Greene Naftali, New York; and the Institute of Contemporary Art, Philadelphia. His work is in the collections of the Blanton Museum of Art, The University of Texas at Austin; Inhotim Institute, Brumadinho; LWL Museum für Kunst und Kultur, Münster; Migros Museum für Gegenwartskunst, Zürich; Mumok, Vienna; Museion, Bolzano; Paley Center for Media, New York; Centre Georges Pompidou, Paris; and the Walker Art Center, Minneapolis. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE'S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund.  Producer: Devon Guinn  Creative Consultants: Aaron Dalton, Molly Donahue  Mixer: Andrew Litton  Visuals and Sounds: Joshua Graver  Theme Song: Jeff Hiller  Website: Itai Almor Media: Justine Lee Interns: Alara Degirmenci, Jonathan Jalbert, Jesse Kimotho Thanks: Jennifer Callahan, Nick Rymer, Sue Simon, Maddy Sinnock TRANSCRIPTION NEIL GOLDBERG: Hello, I'm Neil Goldberg, and this is She's A Talker. We recently finished our second season, and we'll be launching Season Three very soon. In the meantime, we thought as a bonus we'd share a live episode that was recorded with artist Mike Smith way back in the good old days of February, 2020. The event happened at the New York headquarters of the Skowhegan School of Painting and Sculpture. Skowhegan's primary program is an intensive summer residency up in Maine for sixty-five emerging visual artists from all over the world. And in 2015, I had the good fortune of being faculty there, and it was actually there that I took the first steps for what would become this podcast. I was inspired by all the experimentation happening, and I decided to play around with this collection of thoughts I'd jotted down on index cards for the past twenty years as the basis for some sort of performance work. So here we are. My guest, Mike Smith, was also faculty at Skowhegan a couple of years before me and has been a favorite artist of mine for years. He's recently shown work at the Tate Modern in London, and his work is also in the permanent collections of MoMA, the Walker Center, the Georges Pompidou Centre in Paris, and many other places. Here it goes. NEIL: Hi everybody. Thank you so much for coming. So, the premise of the podcast is I typically start with some recent cards, uh, before I bring on a guest. And I thought, uh, this is a recent one: seeing an unflushed toilet at an art school. Now, um, I teach at Yale and, uh, I try to like use the bathroom as far away from where I teach as possible. And I also like to try and mix it up a little bit. So, you know, every now and then I'll go into the basement. Other times I'll go to the second floor. Uh, keep them guessing. And there was a while, very recently at Yale, where every time I walked into a bathroom stall, there was an unflushed toilet full of shit. And I started to think like, okay, is this like a student's like art project? Um, but then beyond that, I really was cognizant of the impact it had on the crits I did later in the day, which is like, I found myself sort of evaluating everything I was seeing in relationship to the impact that seeing a unflushed toilet unexpectedly will have on you. Because think about it, that moment where you're kind of like, you open the stall door and there is the unflushed toilet. That is, I think, what we're all going for as artists. Um. Anyhow.  With all that in mind, I am so happy to have, as my guest, Michael Smith, who I have been a fan of for a very long time. I have actually had the experience, Michael, of going to your shows, and I will say that its impact on me was not unlike that of an unflushed toilet encountered by surprise. So, please welcome Michael Smith. NEIL: Hi, Michael, how are you?  MICHAEL SMITH: I'm okay. I guess I, I don't know if I should be flattered or - what I'm following in terms of the conversation or - NEIL: when in doubt, be flattered.  MICHAEL: Yeah. I have so much to say. I don't know if we'll be able to get to another card.  NEIL: I know, right? Well, what's your elevator pitch for yourself when you? When you encounter someone who doesn't know what it is you do, how do you succinctly describe what it is? MICHAEL: Well, it's usually layered. I usually, I mean, if it's a total stranger, I'll say I'm an artist. And then they say, "Oh, are you a painter?" And I say, no. And then sometimes I'll just cut to the chase and say I'm a performance artist. And then it doesn't go any further.  NEIL: Do you feel like that's accurate though? I mean, that doesn't feel to me like it encompasses the breadth of what you uh, do. MICHAEL: Well, when I first started performing or thinking about performing, I would tell people I was a comic. Because it was, I dunno, it was a little more interesting at parties or whatever. And also performance artist wasn't really part of the vocabulary then. Usually I'd say I'm a comic, and then they'd look at me and they said, "You haven't said anything funny." So, it was like, well, I didn't say I was funny, you know? So.  NEIL: Um, are your parents alive?  MICHAEL: No.  NEIL: When, when they were alive, what would they say that you did?  MICHAEL: My mother probably would say, Michael is Michael. And Michael -  NEIL: That is a full-time job, isn't it?  MICHAEL: Michael had such a sweet voice when he was a child. And my father said, I don't know what the hell he does, you know, he didn't know what it, yeah.  NEIL: Right. I didn't know you were Jewish until quite recently. You're like one of those stealth Jews, you know, Smith. Okay.  MICHAEL: I asked my father once what it was before Smith, and he, he said, Sutton.  NEIL: Sutton? That's like a wall that's been painted multiple times, like, okay, and what was it before Sutton? That's where it gets into like Schmulowitz or whatever. MICHAEL: That got too deep.  NEIL: Yeah, exactly.  MICHAEL: It was, yeah. It's opaque.   NEIL: And what's something on you - today, what's something you've found yourself thinking about? MICHAEL: Well, you know that card you first - NEIL: Oh yeah.  MICHAEL: That card you first brought up. I actually, I've been in my studio for, since '99. And I actually cleaned the toilet in the public bathroom for the, the building because it was just getting a little gross, so I thought I'd clean it.  NEIL: You just took that on yourself?  MICHAEL: I took it on.  NEIL: Wow.  MICHAEL: Yeah. I should also say that when I first came to New York, I was a professional cleaner.  NEIL: Really?  MICHAEL: Yeah. I was very good.  NEIL: I bet.  MICHAEL: Mike the Wipe. I was originally I, I was, I originally was going to be a house - well, I was going to, I advertised in the New York Times, "Mr. Smith will cook and clean." And no one wanted me to cook, you know, just wanted me to clean. NEIL: So many follow-up questions, Mike. Um, shall we move on to the cards? You don't have a choice at this point. We're all in. Uh, this card says: There are no friendly reminders. You know, like, I feel like, is there anything more passive aggressive than someone's like, just a friendly reminder.  MICHAEL: That's like, if they, if they preface what they're going to say with that, yeah. That would be horrible.  NEIL: But they do all the time.  MICHAEL: Really?  NEIL: Yeah. Or in an email - friendly reminder. How many, I mean, haven't you? I've probably gotten a friendly reminder in the last week.  MICHAEL: I guess FYI is not a friendly reminder, huh?  NEIL: No, FYI can be pretty passive aggressive too, but I use it a lot  MICHAEL: BTW?  NEIL: That's fine. Yeah. I dunno.  MICHAEL: So, I have a feeling I probably do it, but I'm not aware of it.  NEIL: Of a friendly reminder?  MICHAEL: Yeah.  NEIL: Hmm. So you're not bothered by it? MICHAEL: Probably, yeah.  NEIL: Probably not bothered by it?  MICHAEL: Probably bothered by it. Yeah, I am. I get bothered by people easily. And I had something really good to say, but I've, I've already forgotten it.  NEIL: I'm excited for the rest of this conversation, Mike. This is, um.  MICHAEL: I'm still thinking about that dirty toilet.  NEIL: We could go back to that anytime you want. NEIL: Uh, this card says: Things that are lost but you know will turn up. Talk to me.  MICHAEL: Well, I, I was with a friend the other day, and, um, I, I said, Oh, I don't, I don't recognize that person. I said, I'm not good with faces. And then she mentioned the name and I said, no, I'm, I don't recognize the name. I'm not good with names. And she said. Mike, what else is there besides faces and names? So anyways, I just wait until it comes, you know, it just till, the name comes, I just wait and wait. And in the morning, I figure, after looking at all those places for the keys or whatever, I'll eventually find it. And then I'll look in the unlikely places and I find it. NEIL: What are the unlikely places in your life for keys?  MICHAEL: You know where I've been to keeping them lately? On my front door. So I go outside and they're always there now, so yeah. That's where I seem to keep them.  NEIL: That is really, why don't we all just keep them there?  MICHAEL: Right. I trust my neighbors, evidently.   NEIL: We just very recently got a knock on the door from our neighbor Arlene. A shout out to Arlene if you're listening, and I know you're not, but, um, bless Arlene who very aggressively knocked on our door. She kind of is like policing the hall in a very loving way, but authoritative. And I left the keys in the door. And um, you could tell Arlene lived for this moment. The keys, they're in the door! You know, it's like, and uh, and then of course I have to like reciprocate with like, um, thank you so much. Oh God. Wow. How did we do that? Thank you, Arlene.  MICHAEL: I have - the person that polices our place, uh, has a Trump hat.  NEIL: Oh no. I don't know if I could deal with that.  MICHAEL: He is taking over the recycling, which is great, but he's got it under lock and key, literally under lock and key. So you go downstairs to get rid of your bottles and stuff. And it takes a lot longer. So then everybody just leaves it down there.  NEIL: Every now and then, forgive me, is there like a, an immigrant child in there as well?  MICHAEL: Oh, there's not an immigrant child, but there is something I think it, I realized it bothers him, that people pick through the garbage and it's mostly like, you know...  NEIL: The people who shouldn't be here. From the shithole countries. MICHAEL: Yeah. So I thought about that later and then I just didn't want to think about it anymore cause I was getting all upset.  NEIL: Um, have you had a political conversation with him or?  MICHAEL: I don't go there. Yeah, he's on, he's a little unstable and he asked, one time he asked me if I wanted to take something outside.  NEIL: Oh, he asked you if you want to, I thought, take something outside like garbage. MICHAEL: Right.  NEIL: But no, he wanted to take a discussion outside.  MICHAEL: Yeah.  NEIL: Wow. I'm gay enough that I have never had that conversation, you know? Uh, or if it is, it's like, it's nasty and it's happened a long time ago and it wasn't a fight. Um, wow. Okay. I'm glad that worked out okay. Uh, this card says: Read my - MICHAEL: Can I be, can I, I had a hard time reading that, kind of, reading them.  NEIL: Yeah. Well.  MICHAEL: Your penmanship is like...  NEIL: Well, I always say if my, if my handwriting were a font, it would be called Suicide Note, so I'm...  MICHAEL: Not judging. I just said I had a hard time, you know, deciphering it at times.  NEIL: Yeah. Read my course evaluations at my funeral. That's what that says.  MICHAEL: Oh, well, I was thinking that when, when I do pass, I would like to get ahead of the thing and have people send out a, uh, an announcement saying, if you happen to be in the neighborhood, you know, come to my show, I'll be like, you know -  NEIL: I'll be here for eternity. MICHAEL: Um, class evaluations. Yeah. I love my class evaluations and I save them and I, I find them very funny. One, I actually made a poster and it was, uh, it was, "I'm not sure if I agree with the way Professor Smith teaches this class. He called my work crap and he called us idiots. This is a waste of my time and money." I was very happy with that.  NEIL: And you made that into a poster?  MICHAEL: I made it into a poster.  NEIL: Do you, do you have any other ones that come to mind? I bet you get great course evaluations.  MICHAEL: Some are good. But like I, I forget them, you know, um, I get them, I still get them handwritten. You're supposed to, a lot of people just go online, but I always, I always hand them out and, and I, I have to leave the room and I always say to them, before, "My livelihood and my future is dependent on how you judge me. And I'm so sorry, I meant to bring the donuts. We'll get to that." NEIL: Huh? See, I try to be real coy about it. Like, you know, they make me do this and, you know, try and like keep it open to, um, other than positive feedback. But obviously it's a desperate wish for approval. MICHAEL: Yeah. I, I always tell them I care deeply for them too, when I'm, yeah. You know, I care deeply for all of you.  NEIL: See, you can,  MICHAEL: One thing - I, one of my students who I happen to, like, he-  NEIL: Happen to like. Whatever.  MICHAEL: He came up to me and he said, you know, Mike, even when we're watching videos in the dark, we always know what you're thinking. We can always read you.  NEIL: Wow. That's a scary thought.  MICHAEL: It is. Cause I'm, I have no filter with, you know, I, I just, it, it comes out, I just sort of convey it with my face.  NEIL: See, I find you, because there is a kind of like genial neutrality, you know, like the, the idea of like quote unquote resting bitch face. You have kind of like resting, mm, bemused face. Um, I find it actually kind of opaque. I wish I knew what you were thinking.  MICHAEL: You know what? A lot of times nothing. I get the feeling I'm not answering the, I'm not answering these cards very, uh.  NEIL: Do you need me to take care of you a little bit right now in terms of - I think you're doing a phenomenal job. You know, this is a fucked up, um, project, by the way, because everyone, like I, I once was doing an iteration of it and this kind of high powered curator said to me, did I do okay, or did I do it right? And I wanted to say like, you did, there's no way of not doing this right, but let's talk about why you've never put me in a show. But that's a different story. The faces of spectators at art world performances. The dutifulness and absence of pleasure. We've all seen this like documentation of a performance at an art event and you see like the spectators, like-  MICHAEL: I often say to my, uh, um, to myself and sometimes my students, where's the joy? Looking for the joy. You're talking about pleasure. I'm looking for the - all the time, I'm wondering about that.  NEIL: Where's the joy? Yeah. I'm stealing the hell out of that for any teaching I do. And also, that would be my teaching evaluation for like 95% of the art I see. I mean, it can be art about, um, Auschwitz and you can still appropriately ask the question, where's the joy? Don't you think? Provocative question.  MICHAEL: Um. NEIL: What was the question?  MICHAEL: No, no, no. I thought I'd get some room tone. You know, we start with the toilet and then we put, where's the joy with Auschwitz. You know, this is- NEIL: This is like a balanced meal or something. I'll take the toilet, joy, and Auschwitz. Well, we'll have to talk about what constitutes dessert within that.  NEIL: Uh, okay. Let's try this: The brutality of a memorial service having a duration. MICHAEL: All right. Are you, a duration, like a time limit or like, um, it doesn't end?  NEIL: You answer it however you want.  MICHAEL: Well, I, I, I think brevity can be good, you know, um, and I don't think I need to go to a durational memorial. I may have misunderstood the question or, not the question, the card. I have been in position where I've, I've helped organize them in a, you know, like emceed them. So you get a little nervous, you know, so you want to keep it like, it becomes like a fucking variety show. NEIL: Exactly. That is so true. Memorial services are a variety show.  MICHAEL: I don't know if that's appropriate. You know?  NEIL: What should it be instead?  MICHAEL: Well, it can, I guess it, it should be kind of free-flowing and with me at the helm, it's not going to be free-flowing. NEIL: Because you keep it, you keep it moving? MICHAEL: I try to, yeah.  NEIL: That's a lot of responsibility. I've never, I, I've done, I, I seem to be the person who you will call to do the slide show for your loved one's memorial. I've done a number of them.  MICHAEL: That's a lot of work.  NEIL: It is. And you can't complain about it. Uh, you know.  MICHAEL: And also you have to be in touch with people to get that material.  NEIL: That I - that I have subcontracted and, you know, but even so, it's a lot of work. And you do not want to fuck that one up. Um. But see, for me, I love the idea of durational, like for those of our listeners who don't know, there's a terminology within the art world of durational art, and to me that is like the height of decadence. Like we have such a surplus of time, you know, that we're going to make art from that surplus or something. You know what I mean?  MICHAEL: I have a, getting back to my students, I have a, um, a three-hand rule.  NEIL: Oh, let's hear it.  MICHAEL: Um, well, if some of the, when I'm covering some work like early seventies, you know, and you kind of get the idea after like five minutes and it goes on. If, if one person, three people raised their hand, we'd go onto the next video.  NEIL: I am learning so much today.  MICHAEL: But I don't think you can do that in memorial service. I don't think that'll, I don't think that'll work, no. NEIL: Oh, that's funny.  MICHAEL: How surprised would they be if you, you mentioned that in the beginning of the memorial? NEIL: Yeah, listen, not to create pressure, but it's kind of like the Apollo where you get the hook. MICHAEL: How am I doing, how am I doing? Yeah. Right.  NEIL: Okay. A bad X you would take over a good Y. So, for me, perpetually, my example is I would take a bad episode of RuPaul's Drag Race over a good Godard movie. So, what's a bad X you would take over a good Y?  MICHAEL: Well, I'm of the school that something bad can have lots of charm. There's something redeeming about it. Where there's something is overly so good, like a certain kind of Broadway kind of, um...  NEIL: Careful.  MICHAEL: Yeah. Well, you understand a certain kind of large delivery or something. A certain styling, a certain song-styling. Um, oh, I'm going to lose the whole audience on this reference. NEIL: Go for it. You have me.  MICHAEL: Okay. The, the, the Bobby Short commercial singing Charlie. I would, I will always cringe at that one. And then I would much rather take a bad public access, uh, commercial than that.  NEIL: There's a fragrance that's here to stay and they call it Charlie. NEIL: Um, so Mike, uh, what is it that keeps you going? MICHAEL: Uh. Hm. I don't know what's keeping me going right now. Um, that's a big one. Um, I, you know, when I was lot younger and doing my work, I, you know, and reinventing the wheel, you know, reinventing the wheel and stuff, I was very excited. But I don't, I wonder what, what keeps me going? No one knows. No one knows. Looking for the joy.  NEIL: On that note, thank you to all of you for being here. Thank you, Mike, for coming to this live taping. Thank you to everyone at Skowhegan. Sarah, Katie, Kris, Carrie, Paige, everyone else. Um, now, this series is made possible with generous support - thank you Jesus - for Still Point Fund. Oh, Siri, something set Siri off. That's, that's my husband, Jeff. Um, oh, sorry. I know, you know, it's interesting. One of the cards I have is every time I stub my toe, I look for someone to blame. And it's often Jeff. And, um, so. Uh, the calls are coming from inside the house. The house being my subjectivity. Let's do that again cause this is important. This series is made possible with generous support from Still Point Fund. Devon Guinn is our producer. Molly Donahue and Aaron Dalton are our consulting producers. Justine Lee handles social media. Our interns are Alara Degirmenci, Jonathan Jalbert, Jesse Kimotho, and Rachel Wang. Our card-flip beats come from Josh Graver. And my husband, Jeff, sings the theme song you're about to hear. And he's going to perform it live. He's a professional. JEFF HILLER: She's a talker with Neil Goldberg. She's A Talker at Skowhegan. She's A Talker, it's better than it sounds. NEIL: Thank you, everybody. Thanks everyone for listening to this bonus episode. Keep your eyes open for She's A Talker, Season Three, coming soon. And in the meantime, be well.

397 - Jack Phillips Jack Phillips is a songwriter, a singer and a recording artist. He joined us to talk about his album Café Nights in New York, an album that was influenced in short by many nights of listening to the late great Bobby Short singing at the Cafe Carlyle in New York City. The album features the late Eddy Davis and Conal Fowkes from the Eddy Davis New Orleans Jazz Band featuring Woody Allen. This was originally broadcast on the radio. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

Here's our nightlife show tunes pub crawl with the best practioners of the cabaret arts: Bobby Short, Mabel Mercer, Steve Ross, Eric Comstock and Barbara Fasano and more.

Look around, look around: it's autumn in the greatest city in the world. New York in a melancholy mood--songs performed by Ethel Merman, Lin-Manuel Miranda, Bobby Short, Mel Tormé and more.

Edited by Thomas Lahren (https://www.thomaslahrenmusic.com/) Aaron and Drew sat down for a lengthy discussion with legendary composer, arranger, saxophonist, and educator Andy Farber, who has been a leading writer in the NYC and international jazz scene for many years. His many collaborations include Wynton Marsalis, Jon Hendricks, Shirley Horn, Bobby Short, Michael Feinstein, Catherine Russell, Frankie Laine, Alan Harris, Cynthia Scott, Billy Stritch, B.B. King, Ray Charles, and more. He has also composed music for a number of film and media projects, including Star Trek Continues. Find out more about Andy at his website: www.andyfarber.com

Edited by Thomas Lahren (https://www.thomaslahrenmusic.com/) Aaron and Drew sat down for a lengthy discussion with legendary composer, arranger, saxophonist, and educator Andy Farber, who has been a leading writer in the NYC and international jazz scene for many years. His many collaborations include Wynton Marsalis, Jon Hendricks, Shirley Horn, Bobby Short, Michael Feinstein, Catherine Russell, Frankie Laine, Alan Harris, Cynthia Scott, Billy Stritch, B.B. King, Ray Charles, and more. He has also composed music for a number of film and media projects, including Star Trek Continues. Find out more about Andy at his website: www.andyfarber.com

Around the world with this great songwriter: bon voyage and sing along with Barbra Streisand, Frank Sinatra, Bobby Short, Fred Astaire and many more to various ports of call.

It's our eighth season on the air, so we polish up some buried treasure: great songs from forgotten musicals, tuneful charmers given their proper due, sung by Phil Silvers, Rose Marie, Robert Goulet, Bobby Short, Noël Coward and more.

In today’s episode, Sara and Matthew share a glass of champagne with Radha Arora (President of Rosewood Hotels & Resorts) to chat about having the “best job in the world” and how Bemelmans Bar has served as an inspiration for other bars in the company. They also discuss Rosewood Hotels around the world from Mayakoba to Montecito and the Crillon to the Carlyle….and the upcoming arrival of Rosewood Hong Kong later this year. We also hear from George Clooney, on how he discovered The Carlyle, why it feels like home and memories of seeing Bobby Short and Woody Allen play at Café Carlyle – all as told to Matthew in the upcoming documentary, Always at The Carlyle.

Join Sara and Matthew as they welcome the ever iconic Susan Lucci (Actress, TV Host, Author, best known for portraying Erica Kane on ABC's All My Children) for a chat about why she prefers bubbly, what she wishes her grandkids would call her, and her alter ego - Erica Kane! Plus, we get a sneak peek at the upcoming documentary, "Always at the Carlyle," and hear actress/singer Rita Wilson as she shares her story about a brief brush with The Carlyle legend, Bobby Short in the Disco Era!

Bernie Williams (former New York Yankee and four-time World Series champion turned Latin Grammy nominated guitar player) joins Matthew and Sara to chat about playing his first residency at Cafe Carlyle, what goes through his mind when he hits a home run and his self-described 'lamest line' he had in a Seinfeld episode when he appeared alongside Derek Jeter.  Additionally, hear one of the preeminent rock musicians of our time, Lenny Kravitz, share some of his early memories of listening to Bobby Short play at The Carlyle, as told to Matthew in the upcoming documentary, Always at The Carlyle. (Coming to theatres May 2018)

Bienvenidos al episodio número 21 de Mi Gato Dinamita, el podcast con edad suficiente para hacerse cargo de sus problemas legales. Duración total: 1:06:39.0:00:01-0:02:39 - Música: "I've Never Heard That Song Before", por Harry James & Helen Forrest.0:02:40-0:07:48 - Susanette y Guille nos dan la bienvenida con amenazas soeces. Se discute en detalle la terrible problemática de la pediculosis.0:07:49-0:09:42 - Disfrutamos el regalo de cumpleaños de Guille en la voz sensual de nuestra amiga la Dra. LaChotte.0:09:43-0:19:08 - Guille nos cuenta acerca de su afán de meter papelones en su vida profesional y parece que la luna en Leo y Plutón tienen algo que ver. Susanette afirma con ejemplos que no se queda atrás en el tema papelones. La conversación deriva en el anonimato de los analistas.0:19:09-0:22:30 - Música: "It Could Happen To You", por Diana Krall.0:22:31-0:27:55 - Entintado habla de cuerdas de violines y la historia de los Stradivarius.0:27:56-0:31:48 - Música: "Man of Constant Sorrow", por Alison Krauss & Union Station.0:31:49-0:38:48 - Susanette detalla su proyecto (no fantasía) de mudarse a New York con @killfonta y vivir una gran vida de lujo y arte. Se pasa sin solución de continuidad a hablar de Barbra Streisand e Yves Saint Laurent.0:38:49-0:42:02 - Pasando al apartado gastronómico, Guille comenta en detalle una receta para tarta de frutillas.0:42:03-0:56:35 - El mundo de los bienes raíces neoyorquinos deviene en una profunda discusión acerca de la filmografía de Woody Allen.0:56:36-1:00:11 - Música: "Lonesome Blues", por Woody Allen.1:00:12-1:04:28 - Una despedida endogámica con saludos a nuestros oyentes y amigos, sazonada por un llamado de Delia, la mamá de Susanette.1:04:29-1:06:39 - Música: "I'm In Love Again", de Cole Porter, por Bobby Short.Ilustramos este episodio como corresponde con la imagen del futuro palacete al que se mudará Susanette, junto a su Turner, su Stradivarius y Miró, el gato de @killfonta: Como siempre, podés disfrutar de este episodio online con el reproductor de acá arriba, bajártelo en formato .mp3 haciendo clic en donde dice "Download" o escucharlo en SoundCloud. Si querés suscribirte a este podcast con tu aplicación favorita, buscanos en iTunes o usá nuestro feed RSS.

We turn to the music of Coward and the short plays from 1936 that comprise "Tonight at 8:30," along with wistful and witty songs from the Coward songbook performed by the composer himself, Gertrude Lawrence, Bobby Short, Carmen McRae and others.

The groundbreaking musical by Rodgers and Hart is celebrated in various cast and studio recordings, along with vocal support from Chet Baker, Steve Lawrence, Patti LuPone, Ella Fitzgerald, and Bobby Short.

Some of Broadway's most impressive (and implacable) moms, with knock-out performances by, among others, Laura Benanti, Sherie Rene Scott, Bobby Short, Lea Michele, Audra McDonald, Robert Weede, and Liz Callaway.