Podcast appearances and mentions of Bobby Vinton

We're nearly halfway to the weekend! The guys talk a little about the upcoming draft, celebrate Bobby Vinton's birthday, and chat a bit about Wink Martindale's death. The guys talk about the popularity of The Savannah Bananas, and a Quick Poll asks the question: Would you wear the clothes you slept in to the store? You may be surprised by the results! The hour wraps with a firm stance against dunk tank participation. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor

My co-host today is Foster Kid advocate and mentor Amira Therese, With Foster Fierce Alum, Host of Interview with a Foster Kid.  You can watch at Youtube Interview with a foster Kid podcast on YouTube or listen on spreaker  Interview with a foster kid podcastAn excellent Podcast!National Eggs Benedict day.  Entertainment from 1982.  Lincoln freed all the slaves in Washington DC, LSD invented, Texas City explosion.  Todays birthdays - Wilber Wright, Charlie Chaplin, Pope Benedict 16, Bobby Vinton, Dusty Springfield, Gerry Rafferty, Ellen Barkin, Dave Pirner, Martin Lawrence, Selina, Akon.  Madam Tussaurd died.Intro - God did good - Dianna Corcoran  https://www.diannacorcoran.com/ Eggs Benedict song - FNAF Sister Location RapBenny and the Jets - Elton JohnA very special love song - Charlie RichBlue velvet - Bobby VintonI only want to be with you - Dusty SpringfieldStuck in the middle with you - Steelers WheelRunaway train - Soul AsylumBidi Bidi Boom Boom - SelenaDon't matter - AkonExit - Never have I ever - Elyse Saunders   https://www.elysesaunders.com/ countryundergroundradio.comHistory and Factoids website

Avui hem tornat a reunir a l'estudi un pare i un fill dedicats a la m

Earlier this year, the world lost a giant. We here at ATTT HQ are big fans of artists. Artists, complicated and strange so they may seem, are the lifeblood of creativity and man-and-woman-made joy on this bleak planet of ours. In the realm of film & television, David Lynch is in the pantheon of artistic creators, especially when you consider how expertly he incorporated music in his output. Here in Top Ten Songs From The Works Of David Lynch, we're joined by longtime friend of the pod, the immaculate Matt Dinan. We had a blast going through The Master's catalog and highlighting some of our favorite Lynchian musical moments. Picks 10-6 are revealed here in Part 1. If you've never seen the trailer for Matt's indie short film After The Flesh, give it a look see:https://www.youtube.com/watch?v=APlUmuDuqs4And don't forget to visit the LA Frankenstein YouTube channel for general Dinan-ness:https://www.youtube.com/@LA_FrankensteinWe've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. The great David Daskal made his return April 1st. No Foolin'!Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Frank starts the show like he always does on Fridays: With Ask Frank Anything.  Frank talks about a number of topics including decreased demand for snacks for March Madness, indecent exposure, a new effective way to get to sleep and much more. Frank starts the third hour with denunciations for the week. He then is joined by stand-up comedian Fred Rubino to talk about the news of the day. Frank wraps up the show giving a tribute to radio talent George Weber. He later talks with Dr. Geoffrey Roberts, a historian, biographer, political commentator and author, whose latest book is “ Stalin's Library: A Dictator and His Books”. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun.  In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump. Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Les disques de décembre pour en finir avec 1964 et 1974   The Beatles – She’s a woman The Beatles – I feel fine Bobby Vinton – Mr. Lonely Les Barbouzes George Harrison – Bye Bye, Love Love – Be... Continue Reading →

Ce 16 janvier, Marjorie Hache nous propose deux heures de Pop Rock Station riches en découvertes et classiques intemporels. David Bowie brille avec "Ashes to Ashes", Nine Inch Nails impressionne avec "Closer", et La Mano Negra ravive la nostalgie. Côté nouveautés, Heartworms fascine avec "Glutton For Punishment", et Soccer Mommy touche avec "Salt In Wound". L'album de la semaine met en avant les Lambrini Girls et leur énergie punk rock. En live, Eric Clapton bouleverse avec "Tears In Heaven". La reprise marquante est "Personal Jesus" réinterprétée par No One Is Innocent. Un hommage est également rendu à David Lynch avec "Blue Velvet" par Bobby Vinton, tiré de la bande originale du film culte. La playlist de l'émission : Franz Ferdinand - Hooked Limp Bizkit - Rollin' (Air Raid Vehicle) Bobby Vinton - Blue Velvet Moon Martin - Bad News Heartworms - Jacked Gorillaz - Clint Eastwood Marvin Gaye - What's Going On Lambrini Girls - Filthy Rich Nepo Baby Mano Negra - Soledad Soccer Mommy - Salt In Wound David Bowie - Ashes To Ashes Fontaines D.C. - Bug No One Is Innocent - Personal Jesus Garbage - Stupid Girl Air - Cherry Blossom Girl The Horrors - Trial By Fire Norman Greenbaum - Spirit In The Sky The Afghan Whigs - I'm Her Slave Eric Clapton - Tears In Heaven (Live - Unplugged) Motörhead - Ace Of Spades Nine Inch Nails - Closer Ela Minus - Upwards Joy Division - Love Will Tear Us Apart Pulp - Born To Cry Santigold - Say Aha Neu - Hallogallo

Retrocedemos sesenta años en el tiempo en busca de singles que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU en diciembre de 1964. Cuatro nombres se reparten el top 1 en las cuatro semanas del mes. The Zombies se unen a las bandas de la Invasión Británica.Los girl groups y el soul se mantienen como estilos en alza. Beach Boys y Jan and Dean resisten con el sonido de la Costa Oeste y aparecen The Gestures como una de las primeras bandas de garaje que se cuela en las listas de éxitos.(Foto del podcast; The Zombies en 1964)Playlist;(sintonía) TRAVIS WAMMACK “Scratchy” (top 80)LORNE GREENE “Ringo” (top 1)BOBBY VINTON “Mr lonely” (top 1)THE SUPREMES “Come see about me” (top 1)THE BEATLES “I feel fine” (top 1)THE ZOMBIES “She’s not there” (top 2)THE ROLLING STONES “Time is on my side” (top 6)HERMAN’S HERMITS “I'm Into Something Good” (top 13)THE FOUR TOPS “Without the one you love (Life's not worth while)” (top 43)JOHNNY RIVERS “Mountain of love” (top 9)THE NEWBEATS “Everything’s alright” (top 16)THE BEACH BOYS “Dance dance dance” (top 8)JAN and DEAN “Sidewalk surfin’” (top 25)THE FOUR SEASONS “Big man in town” (top 20)THE GESTURES “Run run run” (top 44)THE RONETTES “Walking in the rain” (top 23)THE JEWELS “Opportunity” (top 64)MAJOR LANCE “Somettimes I wonder” (top 64)THE DRIFTERS “Saturday night at the movies” (top 18)Escuchar audio

John Catsimatidis and Greg Kelly cover a wide array of topics, including an in-depth conversation about U.S. politics, President Trump, and Governor Abbott's stance on immigration. They discuss Eric Adams' potential run for mayor, the situation in the Middle East, and the future of New York City. The conversation also includes personal anecdotes about their interactions with high-profile individuals like Donald Trump, Bill Clinton, and Bobby Vinton. John shares stories from his diverse career, from aviation to the oil industry, and his commitments to charitable activities. The episode concludes with reflections on maintaining quality of life and the importance of community support during the holidays. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:05:41 - C'est une chanson - par : Frédéric Pommier - Jusqu'au 24 novembre, elle joue "Le sourire de Darwin" à la Scala à Paris, spectacle qu'elle donnera ensuite en tournée. Au micro de Frédéric Pommier, Isabella Rossellini évoque "Blue Velvet", la chanson qui a donné son titre au film de David Lynch dans lequel elle tient l'un des rôles principaux.

Stanley Robert Vinton is an American former singer and occasional teen-idol actor.

BAD MOON RISING Spooky season is upon us! That means it's time for the annual Halloween special of That Song From That Movie. This year we are tackling John Landis' cult classic An American Werewolf in London. We have not 1, not 2 but 3 different versions of "Blue Moon" by Bobby Vinton, Sam Cooke, and The Marcels respectively. Plus "Bad Moon Rising" by Creedence Clearwater Revival. (Are you spotting a theme?) Alex is from the future, Ben is the only person responding and Dietrich gets confused with Teen Wolf. Find us on Twitter, BlueSky, Instagram & Threads: @TSFTMpod Like, share and subscribe boo! Did you enjoy the episode? Then please consider leaving a FIVE STAR review wherever you get your podcasts. It means a great deal to us and makes it easier for other potential listeners to find us.  Want to support us further? You can do this on Patreon from £1 ($1.50) a month: https://Patreon.com/TSFTM or via our merch store: https://TeePublic.com/user/TSFTM Thank you! Timestamps:00:59 - Episode Explanation01:48 - Movie Discussion01:48 - Origin & Production09:49 - Bobby Vinton "Blue Moon" Discussion12:20 - "Bad Moon Rising" Discussion15:27 - Sam Cooke "Blue Moon" Discussion18:50 - The Marcels "Blue Moon" Discussion

In this episode the marvellous Mark Williams Zooms in from mid-Wales to regale us with tales from the heyday of the UK's underground press and his later involvement with the L.A. punk scene. We start in mid-'60s Newcastle – where our guest drummed with beat combo the Jailbirds – and move on to his days at the Birmingham Arts Lab via a flat above London's hallowed 2i's coffee bar. A return to the capital in late '68 brings Mark to the offices of leading underground paper International Times (a.k.a. it) and his irregularly-recompensed stint as the editor of its "Plug & Socket" music section. A weekend in the arms of Janis Joplin is among the highlights of his it tenure before he departs to launch the short-lived Strange Days – for which he was due to interview Jimi Hendrix on the day after the guitarist died. It being 50 years since the first Knebworth festival, we revisit that Allmans-headlined "Bucolic Frolic" and discuss the phenomenon of such gatherings. Jumping forward five years, we hear about our guest's years in Los Angeles and his work with Slash (the publication and the label) – the Germs connection leading into clips from a 1983 John Tobler audio interview with Joan Jett. Finally we hear about the 1981 launch of Felix Dennis' splendidly opportunistic New Music News and Mark's memories of editing his hilarious pal Tom Hibbert. Mark talks us out with quotes from newly-added library pieces about teen heartthrob Bobby Vinton (1962), the broken-through Doors (1967), infamous Stone/Beatles lawyer/manager Allen Klein (1969) and southern-soul Mecca Muscle Shoals (1970)... after which Jasper wraps up the episode with his thoughts on militant (and prescient) rappers Dead Prez (2003) and the enduring influence of Chic (2021). Many thanks to special guest Mark Williams. Pieces discussed: Janis Joplin: Janis, Jimi Hendrix, The Rolling Stones: Free Concerts,When the Allman Brothers Band Headlined the First Knebworth, Cancel the inquest: the festival she lives, Knebworth: Great music but a non-event, Letter from Britain, L.A. Punk: Pogo-ing On The Fault Line, Joan Jett audio, It's Tom Hibbert's World, Bobby Vinton, The Doors, Allen Klein, Muscle Shoals, Alabama, Dead Prez and The Chic Effect.

Welcome to the Instant Trivia podcast episode 1168, where we ask the best trivia on the Internet. Round 1. Category: Finish The Line 1: The Beatles:"Yesterday all my troubles seemed...". so far away. 2: Francis Scott Key:"Oh! Say, can you see...". By the dawn's early light. 3: President Bush:"Read my lips...". no new taxes. 4: Clark Gable in "Gone with the Wind": "Frankly, my dear...". I don't give a damn. 5: Your mom:"Penny wise...". pound foolish. Round 2. Category: My Tv Dads 1: James Gandolfini led 2 types of families, each with their own unique sets of problems, on this HBO drama. The Sopranos. 2: In "Two and a Half Men", he was just Duckie playing Alan Harper, dad to the half-man. (Jon) Cryer. 3: On this show, Will moved in with his Auntie Viv and Uncle Phil, parents to Hilary, Ashley, Nicky and dance master Carlton. The Fresh Prince of Bel-Air. 4: Taiwanese immigrant Louis Huang makes a go of it in 1990s Orlando with his wife and 3 sons on this ABC sitcom. Fresh Off the Boat. 5: His 2017 Emmy award as dad and son on "This Is Us" was his second in two years--for your information, the "K" is for Kelby. (Sterling K.) Brown. Round 3. Category: Let'S Play Clue 1: This murder weapon could also light up the table in the dining room. Candlestick. 2: In the 1985 film based on Clue, this "Rocky Horror" actor played Wadsworth the butler. Tim Curry. 3: It's the main claim to fame of Anthony E. Pratt, a fire warden in Leeds, England. He invented the game ("Cluedo"). 4: He's the only academic among the 6 suspects. Professor Plum. 5: In the U.S. version, the game of Clue starts when this man is found dead in his mansion. Mr. Boddy. Round 4. Category: National Velvet. With Velvet in quotes 1: Bobby Vinton revived this Tony Bennett song and took it to No. 1 in 1963. Blue Velvet. 2: "Dark" mixed drink of stout beer and champagne. Black Velvet. 3: Holy Roman emperor Charles V spoke of power as "An iron hand in" one of these. a velvet glove. 4: Classic songs by this '60s band include "Venus in Furs" and "All Tomorrow's Parties". The Velvet Underground. 5: 1989 Czechoslovakian uprising that led to democratic elections. the "Velvet Revolution". Round 5. Category: Soft Rock 1: This French-Canadian woman topped the adult contemporary charts with "The Power Of Love" and "All By Myself". Céline Dion. 2: Putting the "easy" into easy listening, Lionel Richie sang, "That's why I'm easy, I'm easy like" this. Sunday morning. 3: Now known as Yusuf Islam, he embarked on the Peace Train Tour in 2014. Cat Stevens. 4: In the '80s this duo had a string of hits beginning with "Lost In Love" and "All Out Of Love". Air Supply. 5: Seals and Crofts made us feel fine with this tune, "blowing through the jasmine in my mind". "Summer Breeze". Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

National Eggs Benedict day.  Entertainment from 1982.  Lincoln freed all the slaves in Washington DC, LSD invented, Texas City explosion.  Todays birthdays - Wilber Wright, Charlie Chaplin, Pope Benedict 16, Bobby Vinton, Dusty Springfield, Gerry Rafferty, Ellen Barkin, Dave Pirner, Martin Lawrence, Selina, Akon.  Madam Tussaurd died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Eggs Benedict song - FNAF Sister Location RapI love Rock & Roll - Joan Jett & the BlackheartsThe clown - Conway TwittyBirthdays - In da club - 50 Cent     http://50cent.com/Blue velvet - Bobby VintonI only want to be with you - Dusty SpringfieldStuck in the middle with you - Steelers WheelRunaway train - Soul AsylumBidi Bidi Boom Boom - SelenaDon't matter - AkonExit - Its not love - Dokken    http://dokken.net/

Join us on a sonic journey as Tommy Kennedy takes us from the electric buzz of a Bob Dylan fandom to the psychedelic swirl of becoming a Grateful Dead convert. The episode kicks off with Tommy's rich storytelling, painting the scene of his first Grateful Dead concert where the air was thick with excitement and faces were adorned with vibrant paints. His tales extend beyond the music, revealing the tapestry of experiences that hooked him into the Dead's unique culture, and how one album, "Wake of the Flood," served as the catalyst for this transformation. We navigate through Tommy's recollections of the contrast between East and West Coast Dead shows, the ingenuity of sneaking an ice chest into venues, and the community spirit that saw him through an incredible 187 concerts.As the conversation unfurls, we find ourselves reflecting on the broader picture of music appreciation, evoking memories of a time when ticket prices were a fraction of today's costs and each venue had its own distinct atmosphere. We share laughs over a Bobby Vinton concert and wax nostalgic about the Grateful Dead's dual drummers and the shift in their performance sound. The episode culminates with a heart-to-heart about I Hike for Mental Health www.hikeformentalhealth.org, a nonprofit co-founded by Tommy after a chance encounter that married his love for hiking with a cause close to his heart. We examine how hitting the trails can be a balm for the mind and the critical importance of mental health research and trail preservation, efforts that Tommy's organization champions. A touching tribute to Brent, the "new guy" who left an everlasting imprint on the Grateful Dead, rounds out our discussion. His legacy, like the music of the Dead, continues to resonate with fans old and new, a testament to the enduring power of community and song.This episode is sponsored by ShakedownTshirts.com with unique lot-style T-shirts and gifts for Grateful Dead, Phish, Zappa, Panic, and more. All US orders over $35 Ship Free. Use code "Lot20" for 20% off any order.Summer Tour - The Game | Kickstarter Launch Date May 12!www.summertourthegame.com Support the show

Your Humble Host is here with a Great Gildersleeve from February 13, 1952. In today's show it seems Bullard (Gildy's bad neighbor) has gotten word that GIldersleeve it toting an engagement ring about town. Bullard assumes the worst and thinks it's meant for his sister, Paula! Now Bullard must spring into action. But we're always here to lend a helping hand with these delicate matters and to do that we've got Perry Como, Peggy Lee, Bing Crosby (with a really beautiful song), Helen Ward, Bobby Vinton, K.D. Lang & Ella Fitzgerald.

Nuevo capítulo de esta colección en donde recordamos canciones que alcanzaron su máximo puesto en listas estadounidenses hace exactamente 60 años. Todo lo que escuches estaba entre lo más vendido de enero de 1964, lo que nos permite ver la variedad de estilos que compartían espacio en la música popular de aquellos días. Playlist;(sintonía) DUANE EDDY “The son of rebel rouser” (top 97)BOBBY VINTON “There! I've said it again” (top 1)THE MURMAIDS “Popsicles and icicles” (top 3)NINO TEMPO and APRIL STEVENS “Whispering” (top 1)BETTY EVERETT “You’re no good” (top 51)THE EXCITERS “Do-Wah-Diddy” (top 78)THE RAINDROPS “That boy John” (top 64)THE ORLONS “Bon doo wah” (top 55)MARTHA and THE VANDELLAS “Quicksand” (top 8)THE SUPREMES “When the lovelight starts shining through his eyes” (top 23)THE MIRACLES “I’ve gotta dance to keep from crying” (top 35)JAN AND DEAN “Drag City” (top 10)THE TRASHMEN “Surfin’ bird” (top 4)SHIRLEY ELLIS “The Nitty Gritty” (top 8)TRINI LOPEZ “Kansas City” (top 10)FATS DOMINO “Who cares” (top 63)BARBARA LEWIS “Snap your fingers” (top 71)BRENDA LEE “As usual” (top 12)RAY CHARLES “That lucky old Sun” (top 20)Escuchar audio

What's up, dudes?The 61st Annual Macy's Thanksgiving Day Parade was held on November 26, 1987, in New York City, and shown to viewers live on NBC and CBS that same day from 9 a.m. to 12 noon EST, with the NBC broadcast being hosted by Willard Scott and Mary Hart. The participating celebrities included the likes of Rita Coolidge, The Oak Ridge Boys, Bobby Vinton, Phylicia Rashad, Judy Kaye and Jill Schulz. The weather for the 1987 Macy's Thanksgiving Day Parade proved to be picture perfect for the several thousand participants that brought the 61st "Holiday Treat for Children Everywhere" to life. The 2.1-million spectators that lined the streets took a course in balloon watching as 10 giant balloons flew above them, four of which were new - Spider-Man, Ronald McDonald, Snoopy, and Snuggle. The debutants joined the balloon versions of Garfield, Woody Woodpecker, Superman, and a myriad of other helium giants. Following the Albertville High School Aggie Band's entrance into the concrete canyons was a cavalcade of merry marchers, fantasy floats and comical clowns. The hit musical, Les Misérables, performed a number for the NBC telecast, and Rita Coolidge sang "Your Love Is Lifting Me Higher" from high atop the Turkeyfloat. Jim Henson and Willard Scott were also honored with a Macy's-sanctioned Rollie Award - Henson for 11 years of Muppet participation in the Parade, with Willard's Rollie for seven years of Parade participation. Patrick Swayze trotted down Broadway on his very own Arabian stallion, and Bobby Vinton rode--or flew, rather--an airplane float from Trans World Airlines. Capping off the morning of fantasy-filled fun was Santa Claus, as always, who wished everyone a happy holiday season from his snow goose sleigh to start the 1987 holiday seasonCheck us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

De ROBERT FISHER, ANDY WARHOL, FELLINI y ANGEL NIETO a JUAN XXIII, MAFALDA, TWIGGY o el lanzamiento de BARBIE De QUEEN, MAROON 5 y POLICE a BOYZ II MEN, PROCOL HARUM, los TEEN TOPS, FOUR SEASONS y la ORQUESTA ARAGON De DONNA SUMMER a BOBBY GENTRY, OLGA GUILLOT  y LULU De DAVID BOWIE y BILLIE JOEL a BOBBY VINTON, CHAYANE y JUAN GABRIEL De “LOS DUKES DEL PELIGRO” al “INVESTIGADOR SUBMARINO” --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

Arrancamos el mes recordando lo que triunfaba en EEUU sesenta años atrás, en octubre de 1963. El Billboard Hot 100 era la lista de éxitos más importante e influyente del planeta, con una gran variedad de estilos musicales que iban a apareciendo, mutando o desapareciendo.Playlist;(sintonía) THE BUSTERS “Bust out”BOBBY VINTON “Blue velvet”THE RONETTES “Be my baby”JIMMY GILMER and THE FIREBALLS “Sugar shack”ROY ORBISON “Mean woman blues”ROY ORBISON “Blue bayou”THE ESSEX “A walking miracle”THE SURFARIS “Point panic”JAN and DEAN “Honolulu Lulu”THE DOVELLS “Betty in Bermudas”THE ORLONS “Crossfire”THE TYMES “Wonderful! Wonderful!”STEVIE WONDER “Workout Stevie workout”JACKIE WILSON “Baby get it (and don’t quit it)”LITTLE JOHNNY TAYLOR “Part time love”LONNIE MACK “Wham!”THE IMPRESSIONS “It’a allright”THE DRIFTERS “I’ll take you home” Escuchar audio

Hey all you freaky deaky movie fans, remember that freaky deaky movie that's named after this song? We do to! And we talk about it! In this episode! We also talk about seeing Run The Jewels, a certain movie that shall not be named, and a songwriter who is a pathological liar.

The Last Man on Earth (1964)   The Last Man on Earth is a 1964 post-apocalyptic science fiction horror film based on the 1954 novel I Am Legend by Richard Matheson. The film was produced by Robert L. Lippert and directed by Ubaldo Ragona and Sidney Salkow, and stars Vincent Price and Franca Bettoia. The screenplay was written in part by Matheson, but he was dissatisfied with the result and chose to be credited as "Logan Swanson". William Leicester, Furio M. Monetti, and Ubaldo Ragona finished the script.  The Last Man on Earth was filmed in Rome, with scenes being completed at Esposizione Universale Roma. It was released in the United States by American International Pictures. In the 1980s, the film entered the public domain. MGM Home Video, the current owners of the AIP film catalog, released a digitally remastered widescreen version of the film on DVD in September 2005.   I Am Legend (2007)   I Am Legend is a 2007 American post-apocalyptic action thriller film loosely based on the 1954 novel of the same name by Richard Matheson. Directed by Francis Lawrence from a screenplay by Akiva Goldsman and Mark Protosevich, the film stars Will Smith as US Army virologist Robert Neville. It is set in New York City after a virus, which was originally created to cure cancer, has wiped out most of mankind, leaving Neville as the last human in New York, other than nocturnal mutants. Neville is immune to the virus, and he works to develop a cure while defending himself against the hostile mutants. It is the third feature-film adaptation of Matheson's novel following 1964's The Last Man on Earth and 1971's The Omega Man.   Opening Credits; Introduction (.37); Background History (29.11); The Last Man On Earth (1964) Film Trailer (30.43); The Original (33.43); Let's Rate (55.39); Introducing the Double Feature (1:27.22); I Am Legend (2007) Film Trailer (1:30.10); The Attraction (1:32.44); How Many Stars (2:14.10); End Credits (2:322.03); Closing Credits (2:32.41)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  Mr Lonely by Bobby Vinton.  Taken from the album Roses are Red.  Copyright 1962 Epic Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

Jackie and Greg visit the seemingly sleepy town of Lumberton for David Lynch's BLUE VELVET from 1986. Topics of discussion include the film's contrasting tone, the dream-world Norman Rockwell façade vs. the festering insects underneath, how it's maybe Lynch's most coherent vision, and where it fits in with the rest of his films.#69 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#85 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Alexa is joined by Michele Weir, a renowned figure in vocal jazz education and arranging. Michele is the founder of the online school Music Habit and the creator of the app ScatAbility. Additionally, she has written several books on jazz, so who better to talk you through the topic of how to sing and teach this genre? KEY TAKEAWAYS Jazz is a diverse genre with various styles and sub-genres. New Orleans jazz originated in the early 20th century and features collective improvisation. Bebop, which emerged in the 1940s, is known for its complex harmonies, fast tempos and intricate improvisations. Cool Jazz developed in the late 1940s and 1950s, and has a more relaxed and laid-back style, emphasising controlled emotions and intricate arrangements. Contemporary jazz, a diverse category that encompasses various modern jazz styles and fusions with other genres, represents the evolving nature of jazz music. In identifying jazz music, several key elements stand out. The rhythmic style, particularly the swing feel, is a defining characteristic. Singers need to develop their rhythmic sense and feel the groove to deliver jazz convincingly. Additionally, jazz singers must master the art of putting lyrics in rhythm to sound conversational, especially in swing. Another indication of jazz interpretation is when the performer adds improvisation to the melody, showcasing their creativity and spontaneity. In jazz, singers alter notes and melodies to match the lyrics' subtext, using vocal phrasing and melodic variations to convey storytelling and emotions. This improvisational approach allows for unique expressions and deeper connections with the song's meaning. In jazz, ghost notes and articulation add depth and complexity to the music. Ghost notes are subtle, muted tones that enhance the groove, while articulation techniques bring out emotion, expressiveness and individuality in performances. Learning jazz piano benefits jazz singers by deepening their musicianship, improving improvisation, and enhancing timing and phrasing. This knowledge enables more expressive performances and better collaboration with accompanists. Overall, it makes jazz singers more versatile and engaging performers. Scatting is a more organic vocal improvisation technique using nonsensical syllables. A teacher helps by introducing scat patterns, practising rhythm and pitch and helping the singer make up their own rhythms. BEST MOMENTS ‘No two jazz singers are alike' ‘Jazz comes in different packages, it's not always about a well trained voice' ‘Phrasing is a bigger deal in jazz than it is in other styles' ‘I want to be leader of the band so I need to talk to them in the musical language they understand'   EPISODE RESOURCES Website: Michele Weir: https://www.micheleweir.com Music Habit: https://www.musichabit.com Relevant Links & Mentions: Artists mentioned: Joni Mitchell; Louis Armstrong; Benny Goodman; Count Basie; Charlie Parker; Dizzy Gillespie; Miles Davis; Ella Fitzgerald; Nat King Cole; Sarah Vaughan; Carmen McRae; Nancy Wilson; Mel Tormé; Gretchen Parlato; Bob Dylan ScatAbility App: https://apps.apple.com/gb/app/scatability/id966549564 The work of Judy Niemack: http://www.judyniemack.com/ The work of Bob Stoloff: https://www.bobstoloffmusic.com/ Darmon Meader: https://darmonmeader.com/ New York Voices: https://newyorkvoices.com/ Jazz Voice: https://www.jazzvoice.com/   ABOUT THE GUEST Michele Weir is widely distinguished for her work in vocal jazz education and arranging. She served as vocal producer and contributing arranger for the Manhattan Transfer album, Chick Corea Songbook, and her vocal arrangements are performed by notable groups, including Swingle Singers and New York Voices, with instrumental works played by the Boston Pops, among others. Michele has delivered teaching and lecture presentations all over the world, and pioneered an educational path for vocal improvisers through the creation of her iOS app, ScatAbility. She is the author of several educational books in jazz. Her online school, MusicHabit, is a popular resource for jazz singers, pianists and educators. Michele's past performance ranges from headliner concerts at numerous educational festivals to touring internationally as pianist and vocalist with singer Bobby Vinton. Michele was a member of the Grammy-Nominated vocal group PM Singers and served as dubbing supervisor for the DreamWorks film Prince of Egypt in Mexico, Greece, Denmark, Portugal, Thailand and Japan. ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosThis show was brought to you by Progressive Media

Listeners Choice Month finishes off with The Gossip Columnist. I'm sorry... what? That's right, the 1980 TV pilot starring Canadian treasure Kim Cattrall and Robert Vaughan. The guys talk all about Cattrall's character getting name-dropped every 30 seconds, the egregious and pointless celebrity cameos, the Harvey Weinstein stand-in, The Littlest Hobo in Space and much more. Next week: Back to the regular routine with Paul Rudd's favourite movie! What We've Been Watching: Safe "WWF All-American Wrestling" (April 1990) Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Gossip Columnist stars Kim Cattrall, Robert Vaughan, Bobby Vinton, Dick Sargent, Joe Penny, Bobby Sherman and Martha Raye; directed by James Sheldon. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we welcome Doug Gabriel! Doug Gabriel's #1 Hits Tribute Show is everything the name implies and so much more! One of Branson's longest running and most successful entertainers, Doug Gabriel gives you everything he's got on songs that everyone knows and loves! Hits from today's artists, yesterday's hit-makers. Doug started singing at the age of two, and began using his God-given talent professionally at the age of twelve. Several years later he began touring and opening for many other stars like Marie Osmond, Roy Clark, Tony Orlando, Tanya Tucker, Bobby Vinton, Mel Tillis, The Gatlins, Moe Bandy, Ronnie McDowell This is an example of a man who never lost sight of making his professional dreams come true. Doug's talent, consistency, and his persistence made a diamond in the rough, a shining star. As a long-time favorite in Branson, it wasn't a stretch that in 1994 his own show was created, “The Branson Morning Show, starring Doug Gabriel.” His talent has made him Branson's Most Awarded Performer, and soon he began performing at night to the same ovations he got during the day. He remains very passionate about music and entertaining Branson audiences but, more than anything, he's passionate about family. Plus, Doug plays his World Famous Mufftar, a guitar made out of a 1969 Thunderbird muffler! He, and his family, are the 8th longest running act in the Branson area. This is due to his seemingly effortless talent, the quality of his show, and the altering of his show each year to keep things fresh. His talent and personal appeal will keep you coming back every time you are in Branson. Doug has a brand new location for his 2020 show, The Branson Famous Theatre! For more information, or to order tickets call the Branson Famous Box Office: 417-231-4999 or visit DougGabriel.com.

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, May 31, 2023, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 5:14 - "Arrogant Al" Entered the Fray! 5:45 - Our Shows on "Impact Radio USA" 11:55 - "Name That Tune" segment, wherein "Cannabis Carl" stopped in to guess/name the titles of three songs by Captain and Tennille. As always, Al provided the song details! 30:39 - Paul's Interview With Retired Teacher, Artist, and Author, CLAUDE B. LARSON 53:00 - LIVE SINGING Segment, wherein "Battling Bubba" and "Hicksville Harry", along with "Paranoid Pete" came in to sing, "On The Road Again", by Willie Nelson. As Al always says, what could possibly go wrong? 1:14:16 - Paul's Interview With Retired Attorney, Social Justice Advocate, Podcast Host, and Award-Winning Author, MARK M. BELLO 1:38:54 - "Name That Tune" segment, wherein "Operatic Olivier" stopped in to guess/name the titles of three songs by BOBBY VINTON. As always, Al provided the song details! 1:57:49 - Al's Traveling and Paul's Writing As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 2:00 p.m. and 8:00 p.m., and 5:00 am on the next day) Enjoy!

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, May 31, 2023, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 5:14 - "Arrogant Al" Entered the Fray! 5:45 - Our Shows on "Impact Radio USA" 11:55 - "Name That Tune" segment, wherein "Cannabis Carl" stopped in to guess/name the titles of three songs by Captain and Tennille. As always, Al provided the song details! 30:39 - Paul's Interview With Retired Teacher, Artist, and Author, CLAUDE B. LARSON 53:00 - LIVE SINGING Segment, wherein "Battling Bubba" and "Hicksville Harry", along with "Paranoid Pete" came in to sing, "On The Road Again", by Willie Nelson. As Al always says, what could possibly go wrong? 1:14:16 - Paul's Interview With Retired Attorney, Social Justice Advocate, Podcast Host, and Award-Winning Author, MARK M. BELLO 1:38:54 - "Name That Tune" segment, wherein "Operatic Olivier" stopped in to guess/name the titles of three songs by BOBBY VINTON. As always, Al provided the song details! 1:57:49 - Al's Traveling and Paul's Writing As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 2:00 p.m. and 8:00 p.m., and 5:00 am on the next day) Enjoy!

De MAROON 5, GO GO'S, KRIS KROSS o U2 a LITTLE RICHARD, SIMON & GARFUNKEL o ELVIS PRESLEY De WHITNEY HOUSTON o PAUL McCATNEY  a BOBBY VINTON, JACKSON 5 o RAY CHARLES De la ORQUESTA ARAGON con el CHA CHA CHA, el ritmo ORQUIDEA de HUGO BLANCO al “BOOGALOO” del SEXTETO JUVENTUD o el ROCK con LOS IMPALA De CHERRY NAVARRO o NANCY RAMOS a JUAN GABRIEL, OSCAR DE LEON, MIRLA o BOB MARLEY Del “MASAJE SENSUAL” o GRAHAM HILL a la aparición de IRON MAN --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

De BEATLES, THREE DEGREES, SUPREMAS, HERB ALPERT, FOUR SEASONS a REEL 2 REEL De WHITNEY HOUSTON, CARL DOUGLAS, HALL & OATES, RAY CHARLES,BOBBY VINTON, ELVIS PRESLEY, INI KAMOZE, GILBERT O'SULLIVAN a BOLLY PAIL y MARVIN GAYE,... De CHERRY NAVARRO, LA MUSICA DISCO, LOS DINAMICOS, STEAM,... De "CASADO CON HIJOS", "EL PADRINO", "LAWRENCE DE ARABIA" a VALENCIA CAMPEON,...Y MUCHO MAS! --- Support this podcast: https://anchor.fm/genteenambiente/support

As broadcast November 25, 2022 with like...all the feels.  Tonight we are joined by River Westin, a brilliant young artist out of New York whose latest album The Honeymoon Suite really captured our attention in the lead-up to release last Friday.  A scintillating yet slow motion collection of tunes inspired by lo-fi, classic jazz standards, and ballads, this album is the pop classics of the 50's & 60's (and even earlier) for a new generation of inclusive listener and a bit of a reclamation project for the LGBTQ community.  That is, the record aims to make the songs of Sinatra and the like about love again, but with no exclusion or bigotry but with a stated LGBTQ twist that includes love for all.#feelthegravityTracklist (st:rt)Part I (00:00)Cleo Sol – 23 Billie Eilish - Billie Bossa NovaRicky Rosen - HomeGalimatias - BlowbackBacao Rhythm & Steel Band - XxplosiveRiver Westin - Made in the ShadeRiver Westin - Cinema Part II (34:02)Nat King Cole - The Very Thought of YouBobby Vinton - Blue VelvetThe Flamingos - Mio AmoreRicky Nelson - AgainThe Drifters - Up on the RoofBen E. King - Spanish HarlemEtta James - Stormy WeatherFrank Sinatra - That's Life Part III (61:55)River Westin – Pink Velvet Julie London – I'm In The Mood For LovePaul Anka – Put Your Head On My ShoulderFrank Sinatra – Autumn In New YorkBen E. King – Moon RiverRitchie Valens – We Belong TogetherBobby Vinton – Mr. Lonely Part IV (94:33)River Westin – Flowers Joey Pecoraro – Your EyesArlo Parks – Green EyesLaufey – Like the MoviesLana Del Rey – How to disappearHarry Styles – Music for a Sushi RestaurantNovember Ultra – soft & tender 

ALGUNAS DE LAS MEJORES BANDAS: POLICE, BEATLES, MEAT LOAF, YES, BEACH BOYS, MONKEES, SPENCER DAVIS, MITCH RYDER,... ALGUNOS DE LOS MEJORES INTERPRETES: BEYONCE, ROD STEWARD, STEVIE WONDER, ELVIS PRESLEY, DIANA ROSS& SUPREMES, DIONNE WARWICK, PETER CETERA, ELTON JOHN, BARRY WHITE, BILLY JOEL, McCARTNEY, MICHAEL JACKSON, TAYLOR SWIFT, BOBBY VINTON, AZNAVOUR, TRINI LOPEZ,... ALGUNOS DE NUESTRO MEJORES INTERPRETES: MARIA TERESA CHACIN, ROBERTO CARLOS, HUGO BLANCO, TITO RODRIGUEZ, ENRIQUE IGLESIAS, DAIQUIRI, GRAN COMBO, LUIS MIGUEL, ENRIQUE GUZMAN, INDIOS TABAJARAS, RITA PAVONE, GLORIA ESTEFAN,... ALGUNOS DE NUESTRO MEJORES RECUERDOS: "ANGELES DE CHARLIE", "RAICES", "INFIERNO EN LA TORRE", "OO7", ... --- Support this podcast: https://anchor.fm/genteenambiente/support

De MEGHAN TRAINOR, SHAKIRA, SUPREMES, BOBBY VINTON a ENRIQUE IGLESIAS, TITO RODRIGUEZ, FRANCO DE VITA, ROY ORBISON,... De DEODATO, HOMBRES G, PRINCE, VIRGINIA LOPEZ y CELIA CRUZ a MIRIAM MEKEBA, HUGO BLANCO, ILLAN, JUAN LUIS GUERRA,... De MICHAEL JACKSON, ELVIS PRESLEY, CREAM. BEATLES y ROLLING STONES a DAVID BOWIE, DONNA SUMMER, TRAVOLTA, SANDRO,... De "LOS LOCOS ADAMS", "LA JAULA DE LAS LOCAS" a "CRASH", "MISION IMPOSIBLE". BATMAN, "MISERIA": STEPHEN KING,... Y MUCHO MAS!!!!!!! --- Support this podcast: https://anchor.fm/genteenambiente/support

Estos son algunos de los artistas del programa de hoy, para que bailes y cantes con ellos: Maroon 5, Boyz II Men, Carlos Santana, Orquesta Aragon, Las 4 Monedas, Richie Ray, Bobby Cruz, 4 Seasons, Little Richard, Chuck Berry, Stand Getz,... Paul Anka, Enrique Guzman, Elvis Presley, Lulu, Bobby Vinton, Bee Gees, Mina, Three Dog Nigth, Moody Blues, Procol Harum, Madonna, Mariah Carey, Lucho Gatica, Ray Charles, Eric Clapton, Diana Ross, Queen,.... y muchos mas!; ademas de las PELICULAS MAS TAQUILLERAS, PROGRAMAS DE TV, IDOLOS DEPORTIVOS, BEST-SEL;LERS,... de la SEGUNDA SEMANA de OCTUBRE en diferentes años y décadas --- Support this podcast: https://anchor.fm/genteenambiente/support

“GENTE EN AMBIENTE” en la SEGUNDA HORA, disfruta de LO MEJOR de la PRIMERA SEMANA DE OCTUBRE en 1963, 73, 83, 93, 2002, 2003,… (en diferentes días). Baila con GRAND FUNK, LAS 4 MONEDAS, HOT BUTTER y sus COTUFAS,…CANTA con BOBBY VINTON, MANA, MARIAH CAREY, BONNIE TAYLOR, SMOKEY ROBINSON,. CARPENTER, M. JACKSON, CARPENTERS, NILSSON, SANDRO,… los IDOLOS DEPORTIVOS, NOVELAS,… y mucho mas! Te invito a SUSCRIBIRTE! --- Support this podcast: https://anchor.fm/genteenambiente/support

BAILA con nosotros "MACARENA" y el "BANG BANG" de JOE CUBA. Con FANIA, JUSTO BETANCOURT, GRAN COMBO y el ritmo COTUFAS (POP CORN), MAROON 5,... Con LAS 4 MONEDAS, FOUR TOPS, BEATLES, MONKEES, GRAND FUNK, CHICAGO,... CANTA con E.PRESLEY, M.JACKSON, ROBERTA FLACK, MARIAH CAREY, BOBBY VINTON, POLICE, DIANA ROSS, POLICE, CARPENTERS, MANA, SANDRO, EMMANUEL, AMANDA MIGUEL, JULIO IGLESIAS,... Yy muchos mas! --- Support this podcast: https://anchor.fm/genteenambiente/support

The paths of 56,000 exuberant music fans intersected in Queens, NY on August 15th, 1965, the night the Beatles played Shea Stadium and forever altered the arc of rock history. Present and accounted for were celebrities, writers, agents, producers, photographers, opening act performers, security guards, radio personalities, cameramen, and hordes of teaming, screaming fans. Among them: Whoopi Goldberg, Meryl Streep, Steven Van Zandt, future Beatle wives Linda Eastman and Barbara Bach; Bobby Vinton,  Ed Sullivan, Mick Jagger, Keith Richards, Felix Cavaliere, Marvin Gaye, and so many more. Their intersecting stories are woven together in Laurie Jacobson's Top of the Mountain: The Beatles at Shea Stadium. Laurie joins us with dishy details. Plus Weezy's media path complimented her physical journey as she read A Frog in the Fjord by Lorelou Desjardins and Names for the Sea by Sarah Moss. And Fritz is recommending 1861 by Adam Goodheart and Rumble: The Indians Who Rocked the World on Netflix.Path Points of Interest:Laurie JacobsonTop of the Mountain: The Beatles at Shea Stadium by Laurie JacobsonLaurie Jacobson's Author Page on AmazonThe Beatles at Shea on VimeoA Frog in The Fjord by Lorelou Desjardins Names for the Sea by Sarah Moss 1861 by Adam GoodheartRumble: The Indians Who Rocked the World

This week we welcome Doug Gabriel! Doug Gabriel's #1 Hits Tribute Show is everything the name implies and so much more! One of Branson's longest running and most successful entertainers, Doug Gabriel gives you everything he's got on songs that everyone knows and loves! Hits from today's artists, yesterday's hit-makers. Doug started singing at the age of two, and began using his God-given talent professionally at the age of twelve. Several years later he began touring and opening for many other stars like Marie Osmond, Roy Clark, Tony Orlando, Tanya Tucker, Bobby Vinton, Mel Tillis, The Gatlins, Moe Bandy, Ronnie McDowell This is an example of a man who never lost sight of making his professional dreams come true. Doug's talent, consistency, and his persistence made a diamond in the rough, a shining star. As a long-time favorite in Branson, it wasn't a stretch that in 1994 his own show was created, “The Branson Morning Show, starring Doug Gabriel.” His talent has made him Branson's Most Awarded Performer, and soon he began performing at night to the same ovations he got during the day. He remains very passionate about music and entertaining Branson audiences but, more than anything, he's passionate about family. Plus, Doug plays his World Famous Mufftar, a guitar made out of a 1969 Thunderbird muffler! He, and his family, are the 8th longest running act in the Branson area. This is due to his seemingly effortless talent, the quality of his show, and the altering of his show each year to keep things fresh. His talent and personal appeal will keep you coming back every time you are in Branson. Doug has a brand new location for his 2020 show, The Branson Famous Theatre! For more information, or to order tickets call the Branson Famous Box Office: 417-231-4999 or visit DougGabriel.com.

Anthony Vitti is a Professor at the Berklee College of music and was a founding member in creating the courses for Electric Bass at the school. Anthony attended Berklee College of Music from 1982-1986. He graduated with honors and went on to work towards his Masters degree in jazz performance at the University of Lowell. Antony Vitti had the opportunity to work with a very wide variety of artists such as, Sammy Davis Jr., Liberace,Rita Moreno, Bobby Vinton, George Burns, Nell Carter, Robert Klein, Jerry Lewis, The Platters, The Drifters, The Temptations and many more. Performances include Gregg Bissonett, Steve Smith (Journey), Toy Caldwell, Felix Cavalier, Carmine Apece (Rod Stewart),Blues Saracen, Boston, John Scofield, Gary Nicholson and many others. Anthony started his own company “DaaDoo Music” so he could control the content of his books and publish materials that he actually use in classes and lessons at Berklee College of Music.

Anthony Vitti is a Professor at the Berklee College of music and was a founding member in creating the courses for Electric Bass at the school. Anthony attended Berklee College of Music from 1982-1986. He graduated with honors and went on to work towards his Masters degree in jazz performance at the University of Lowell. Antony Vitti had the opportunity to work with a very wide variety of artists such as, Sammy Davis Jr., Liberace,Rita Moreno, Bobby Vinton, George Burns, Nell Carter, Robert Klein, Jerry Lewis, The Platters, The Drifters, The Temptations and many more. Performances include Gregg Bissonett, Steve Smith (Journey), Toy Caldwell, Felix Cavalier, Carmine Apece (Rod Stewart),Blues Saracen, Boston, John Scofield, Gary Nicholson and many others. Anthony started his own company “DaaDoo Music” so he could control the content of his books and publish materials that he actually use in classes and lessons at Berklee College of Music

Anthony Vitti is a Professor at the Berklee College of music and was a founding member in creating the courses for Electric Bass at the school. Anthony attended Berklee College of Music from 1982-1986. He graduated with honors and went on to work towards his Masters degree in jazz performance at the University of Lowell. Antony Vitti had the opportunity to work with a very wide variety of artists such as, Sammy Davis Jr., Liberace,Rita Moreno, Bobby Vinton, George Burns, Nell Carter, Robert Klein, Jerry Lewis, The Platters, The Drifters, The Temptations and many more. Performances include Gregg Bissonett, Steve Smith (Journey), Toy Caldwell, Felix Cavalier, Carmine Apece (Rod Stewart),Blues Saracen, Boston, John Scofield, Gary Nicholson and many others. Anthony started his own company “DaaDoo Music” so he could control the content of his books and publish materials that he actually use in classes and lessons at Berklee College of Music

R&SRNR_158 – “THE COMPLETE HIT SINGLES HISTORY OF THE CARPENTERS, PART 2” This is the second of two episodes spotlighting one of the most innovative and successful brother and sister acts in popular music history – Richard and Karen – the Carpenters. Our prior episode – show #157, covered the Carpenters music from the mid-1960s to 1974. Now, on this edition – show #158 – it's the remainder of their career. All their hit singles from 1975 to 1984 along with the original versions of those songs by other artists who inspired the Carpenters. We'll spotlight the Carpenters connections with Neil Sedaka, Andy Williams, Herman's Hermits, the Marvelettes, Bobby Vinton, and a group that came to be nicknamed “The Canadian Beatles” – can you guess who that band was? We'll identify them later in this podcast. Plus, the post-Carpenters collaborations – Richard's recording with Dusty Springfield and Karen Carpenter's solo album under the direction famed rock and roll producer, Phil Ramone.

Episode one hundred and thirty-one of A History of Rock Music in Five Hundred Songs looks at “I Hear a Symphony” by the Supremes, and is the start of a three-episode look at Motown in 1965. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Rescue Me" by Fontella Bass. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as too many of the songs were by the Supremes. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era. The Supremes biography I relied on most is The Supremes by Mark Ribowsky, which seems factually accurate but questionable in its judgments of people. I also used this omnibus edition of Mary Wilson's two volumes of autobiography. This box set contains everything you could want by the Supremes, but is extraordinarily expensive in physical form at the moment, though cheap as MP3s. This is a good budget substitute, though oddly doesn't contain “Stop in the Name of Love”. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hi, this is Andrew. Between recording this episode and it going live, three great musicians, two of whom have been the subject of episodes of this podcast, sadly died. We lost Don Everly, Charlie Watts, and Tom T. Hall, and I just wanted to acknowledge them and their contributions to music before the episode starts. They'll all be missed. [theme music] Just a brief note before we start to say that this episode contains brief mentions of eating disorders, so if that might be a problem for you, check the transcript to make sure it's safe. Thanks. We've spent much of the last few months looking at the intersections of three different movements, each of which was important -- the influence of the Beatles and to a lesser extent the other Merseybeat bands, the influence of Bob Dylan and the folk and protest movement, and the British R&B guitar bands who were taking their interpretation of the sound of Chess Records back to the USA. But of course, while these guitar bands were all influencing everyone, they were also being influenced by the growth of soul, and in particular by Motown, and Motown's groups were among the few American acts who managed to keep having hits during the British Invasion. Indeed, 1965 was as much of a creative and commercial peak for the label as for the white guitar bands we've been looking at. So for the next few weeks we're going to move over to Detroit, and we're going to look at Motown. And this week and next week we're going to continue our look at the Holland-Dozier-Holland collaboration, and at the groups they were writing for. So today, we're going to look at the Supremes, at the career of the only Black act to seriously challenge the Beatles for chart dominance in the sixties and at the start of the inter-group rivalries that eventually took them down. We're going to look at "I Hear a Symphony” by the Supremes: [Excerpt: The Supremes, "I Hear a Symphony"] When we last looked at the Supremes, they had just had their second number one single. After having spent years being called "the no-hit Supremes" and recording third-rate material like "The Man With the Rock and Roll Banjo Band", they'd been taken on by Holland, Dozier, and Holland, Motown's new star songwriting team, and had recorded two songs written and produced by the team -- "Where Did Our Love Go?" and "Baby Love" -- both of which had reached number one. But there were already tensions in the group. Most notably, there was the tension between Florence Ballard and Diana Ross. Ballard had always considered herself the lead singer of the group, and almost everyone who knew the group at the time agreed that Ballard was the better singer. But Berry Gordy, the owner of Motown, thought that Ross was the member of the group who had actual star potential, and insisted that she be the lead vocalist on everything the Supremes cut. At first, this didn't matter too much -- after all, no matter who the lead singer on the records was, they were having the huge hits they'd always dreamed of -- but it inevitably led to friction within the group. But in late 1964, at least, everyone was on the same page. Berry Gordy, in particular, was delighted by the group's continued success -- they had been the *only* act other than the Beatles or Bobby Vinton to have more than one number one on the pop charts in 1964 -- and by the end of the year, they had released their third, "Come See About Me". "Come See About Me" actually got released only a month after "Baby Love", before the latter had even reached the top of the charts, and it seems like a ridiculous idea to release another single so close to that one. But it came out so early to make sure the Supremes had the hit with it. Because a soundalike had come out on Wand Records even before the Supremes' single came out. A fourteen-year-old girl called Nella Dodds had decided that she could sing quite a bit like Diana Ross, and since the Supremes were the biggest female group in the country at this point, she had a chance at being a star, too. She'd auditioned for Wand by singing along with the whole of the first Supremes album, and Wand Records had decided that she sounded enough like Ross that it was worth a shot putting out a single by her. They chose "Come See About Me", which had been released as an album track on that album, and put out this: [Excerpt: Nella Dodds, "Come See About Me"] Dodds' version of the track was cut to be a soundalike, and was so similar to the Supremes version that it's actually quite easy to cut between the two records. You can hear the joins, but they're *spookily* similar: [Excerpt: The Supremes and Nella Dodds, "Come See About Me", alternating phrases] That wasn't the only time a Holland-Dozier-Holland production would be copied wholesale -- we'll hear another, slightly less blatant, example later this episode. As Dodds' single started to rise up the charts, Berry Gordy got furious. If the record sounded good enough to be a hit single, his label was going to have the hit with it, and so the Supremes' version of "Come See About Me" was rush-released. It went to number one, and Nella Dodds vanished into obscurity. The group having three number one hits in a row focused everyone's minds, and Gordy held a meeting with Holland, Dozier, and Holland, and told them that from that point on the Supremes had to be their number one priority. They should drop everything they were doing and concentrate on making Supremes hits while the Supremes were having their moment of success. And so of course they did just that -- and in January 1965 they recorded the album which would contain the Supremes' fourth number one in a row: [Excerpt: The Supremes, "Stop! In the Name of Love"] The story of how "Stop! In the Name of Love" was conceived tells us a lot about the kind of life that the people at Motown were living, now they were all successful and making a great deal of money. The way Lamont Dozier tells the story, his marriage had fallen apart, and he was sleeping with multiple women, some of whom thought they were the only one. Dozier would regularly head to a motel near Hitsville for some of these assignations, and one day while he was there with one of his women, another one tracked him down. The woman he was with made her escape, and Dozier tried to make excuses, claiming he had just got very tired at work and booked a motel room to have a rest so he wouldn't have to go all the way home. His girlfriend didn't believe this rather transparent lie, and started throwing things at him. Dozier started yelling at her to stop it, and eventually mangled the phrase "Stop in the name of the law", shouting instead "Stop in the name of love!" Dozier immediately saw this line as the basis of a song, and his burst of inspiration amused the woman, who started laughing. It defused the situation, and led to a hit record. [Excerpt: The Supremes, "Stop! In the Name of Love"] Indeed, Dozier wasn't the only one whose experiences made up part of the lyrics for the song. All three of Holland, Dozier, and Holland were having complex love lives and going through the breakup of their first marriages. Eddie Holland has said that he used his own experiences in that regard in writing the lyrics to that song. All three men were having affairs with multiple women, but two of those affairs were important in their working lives -- Brian Holland was dating Diana Ross, while Lamont Dozier was seeing Mary Wilson. According to Eddie Holland, Florence seemed to think that this meant that the  remaining members of their respective trios should also pair up, but Holland didn't think that he should get involved, given Florence's mental fragility and his own promiscuous nature. Both Lamont and Brian later split up with their respective Supremes partners, but luckily everyone was professional enough that they were all able to continue working together. After "Stop! In the Name of Love" came "Back in Your Arms Again", making five number ones in a row for the combination of the Supremes and Holland-Dozier-Holland. On top of this, Holland-Dozier-Holland were busily making hits for the Four Tops, who we'll hear more about next week, and for the Isley Brothers, as well as writing odd songs for other artists like Marvin Gaye. To put this into perspective, at this point the *only* act ever to have had five number ones in a row on the US charts was Elvis, who had done it twice. The Beatles were about to hit their fifth, and would eventually get to six number ones in a row -- they had eleven in the UK, but many more Beatles singles were released in the US than in the UK, so there were more opportunities to break the streak. That was the company the Supremes were in. It's important to stress how big the Supremes, Motown, and Holland-Dozier-Holland were in 1965. There were twenty-seven Billboard number one singles that year, and six of them were from Motown -- compared to five from the Beatles and two from the Rolling Stones. Of those six number one Motown singles, five of them were Holland-Dozier-Holland productions, and four were by the Supremes. Of course, number one records are not the only measure of success in the music industry, but they are definitely a measure. By that measure, the Supremes were bigger than anyone except the Beatles, but this led to a certain amount of dissatisfaction among the rest of the Motown acts. They were being told that a rising tide would lift all boats, but the way they saw it, everyone who wasn't a Supreme was being ignored, unless they were named Smokey Robinson or Marvin Gaye. The Vandellas, for example, thought that records like "Dancing in the Street", which made number two in the charts, could have easily made number one had they been given the same kind of promotion as the Supremes. This was, to them, particularly evident when it came to the first British tour of the Motortown Revue, in March 1965. While the various Motown acts were on tour in the UK, the opportunity came up to do a TV special for Granada TV, presented by Dusty Springfield, who was the driving force behind the special. Springfield was particularly an admirer of Martha and the Vandellas, and got Martha to duet with her on her own hit "Wishin' and Hopin'": [Excerpt: Dusty Springfield and Martha Reeves, "Wishin' and Hopin'"] Yet while all the acts on the tour -- the Vandellas, Stevie Wonder, the Miracles, and the Temptations -- got their moments in the spotlight on the show, the Supremes did seem to dominate it, with more songs than any of the other acts. This was partly just good sense -- Motown was only just starting to have a presence in the UK, and to the extent it did the Supremes were almost the only Motown artists that had made any impression on the public consciousness at all at this point -- but it was also because Berry Gordy was becoming increasingly infatuated with Diana Ross, and they finally consummated their relationship in Paris at the end of the tour. Now, it is important to note here that this is always portrayed in every book about the group or Motown as "scheming Diana Ross used her feminine wiles to seduce hapless Berry Gordy, who was helplessly under her spell.” That's certainly one way to look at it. Another way to look at it is that Berry Gordy was a thirty-five-year-old married man sleeping with an employee of his who had only just turned twenty-one, and who had been his employee for several years. I wouldn't mention any of this at all -- I despise the gossiping nature of much music writing -- except that it is impossible to read anything at all about the Supremes without getting a take on the group's career from this point on that has Ross using her sexuality to manipulate Gordy in order to fulfil her own scheming ambition. I think there's no question at all that Ross was ambitious, but I think most of the narrative about her is rooted in misogyny, and a very deep misunderstanding of the power dynamics in her relationship with Gordy. But there is absolutely no question that Gordy saw the Supremes as the most important act on Motown -- and that he saw Diana Ross as the most important part of the Supremes. And decisions made for the benefit of Ross were not always decisions that would benefit her colleagues. For example, at this point in time, the fashion was for women to be very curvy, rather than thin. Ross was extremely thin, and so the group's outfits were padded. This wasn't such a problem for Mary, who had her own issues about a lack of curves, but for Florence, who was bigger than the other two, it was humiliating, because it made her look bigger than she was, and there was no question of the padding being removed from her clothes -- the decisions were being made on the basis of what made Diana look good. Of course, fashions change, and with the rise of the supermodel Twiggy, suddenly a more emaciated look became popular, so the group were able to drop the padding -- but that still left Florence as the unfashionable-looking one. She became deeply insecure about this, though she would hide it with humour -- after Twiggy became popular, there was a scripted bit of the show where Ross would say "thin is in", and Florence ad libbed "but fat is where it's at!", and her ad lib became part of the routine. After the Supremes' run of five number one singles, it might have seemed that they were invulnerable, but in September 1965, "Nothing But Heartaches" came out, and it only made number eleven: [Excerpt: The Supremes, “Nothing But Heartaches”] For any other act, this would be a major hit, but for an act that had had five number one hits in a row, it was a failure, and it was treated as such, even though it sold over a million copies. Berry Gordy actually sent out a memo to all Motown creative staff, saying "We will release nothing less than top ten product on any artist: and because the Supremes' world-wide acceptance is greater than the other artists, on them we will only release number-one records". Of course, that was easier said than done -- every songwriter and producer wanted only to be making number one records, after all, but it's a symptom of the attitudes that were showing up at Motown by this point -- a number eleven hit for a group that two years earlier had been laughed at for being the "no hit Supremes" was now regarded as a failure to be punished, while major successes were just to be considered the norm. But it's also a tribute to how successful Holland, Dozier, and Holland were by this point that the next Supremes single was, once again, another number one hit. The inspiration for "I Hear a Symphony" came from Dozier thinking about how characters in films often had musical motifs on the soundtrack, and how ridiculous it would be if people in real life walked around with their own musical accompaniments. But it might also be that the writing trio had something else in mind. In August, just over a month before the recording of "I Hear a Symphony", a girl group called The Toys had released a single called "A Lover's Concerto": [Excerpt: The Toys, "A Lover's Concerto"] That song had been based on a piece of music usually incorrectly attributed to Bach, but actually by the Baroque composer Christian Petzold, and had been written by Sandy Linzer and Denny Randell, two writers who usually wrote for the Four Seasons, whose four-on-the-floor style was very similar to that of Holland, Dozier, and Holland. Linzer and Randell had even put in a little nod to the Supremes in the song. Compare the intro of the Toys record: [Excerpt: The Toys, "A Lover's Concerto"] With the intro from "Stop! In the Name of Love!": [Excerpt: The Supremes, "Stop! In the Name of Love!"] The section from eight through sixteen seconds on the Toys record is so close to the section from eleven through nineteen seconds on the Supremes one that you can play them almost together -- I had to do a tiny splice five seconds in here because the musicians on the Toys record don't have the perfect timing of the Funk Brothers and drifted by 0.1 seconds, but I hope you can see just how close those two sections are: [Excerpt: The Supremes and The Toys together] See what I mean? The Toys' record reached number two on the charts -- not a number one, but better than the most recent Supremes record. So it might well be that Holland, Dozier, and Holland were also thinking about the Toys' record when they came to make their new one -- especially since it had contained a little nod to their own work. And the odd thing about that section is it's not integral to the Toys record at all -- it's just there, I think, as a nod and a wink to anyone listening for it. Certainly, Holland, Dozier, and Holland were aware of the Toys record -- they had the Supremes cut a cover version of it for the I Hear a Symphony album. That album also contained the Supremes' version of the Beatles' "Yesterday" -- another hit which had, of course, referenced classical music, with its string quartet backing. One hit record referencing classical music might be a fluke, but two was a pattern, and so whatever the writers' later claims about the inspiration, it's reasonable to suspect that at the very least they were paying close attention to this pattern. The lyrics to "I Hear a Symphony" were written in a rush. The original plan had been for the group to release a song called "Mother Dear" as their next single, but then Brian Holland and Lamont Dozier came up with the track and title for "I Hear a Symphony", and knew it would be a winner. There was one problem, though -- the single needed to be out relatively quickly, and the Supremes were travelling to the UK in two days' time. When the instrumental track had been cut, Brian Holland phoned his brother, waking him up, and telling him they needed a set of lyrics for the very next day. Holland was actually already a little burned out that day -- he'd just been working on "Road Runner" by Junior Walker and the All-Stars, which was intended as the follow-up to their big hit "Shotgun": [Excerpt: Junior Walker and the All-Stars, "(I'm a) Road Runner"] At least, Holland says that was what he was working on, though it came out five months later – but Motown often delayed releases by minor acts. "Road Runner" was not normal Holland-Dozier-Holland material, it had been difficult to write, and not only that they'd discovered that Walker couldn't play the saxophone part in the same keys that he could sing the song, so they'd had to varispeed the track in order to get both parts down. Holland had had a tiring day, and had just gone to sleep when the phone had rung. Brian Holland had a copy of the backing track couriered over to Eddie in the middle of the night, and Eddie stayed up all night writing the lyrics, eventually finishing them in the studio while he was teaching Diana Ross the song: [Excerpt: The Supremes, "I Hear a Symphony"] Because it had to be recorded in such a hurry, the Supremes were in London when the mixing was finalised -- as was Berry Gordy, who normally ran Motown's quality control meetings, the meetings in which the executives and producers all checked all the work that was going out to make sure it met the company's standards. Normally, if Gordy was out of town, Brian Holland would take over the meeting, but a new Supremes single was important enough to Gordy that he made an international phone call to the meeting and listened to the record over the phone. Gordy insisted that the vocal was too high in the mix, but Brian Holland pushed back, and Gordy eventually agreed to let the record go out as it was, despite his reservations. He agreed that he had been wrong when the record went to number one. It wouldn't start another streak of number ones, but the next eight singles would all go top ten, and the group would have another six number ones, including a streak of four in late 1966 and early 1967. There were other records, as well -- Christmas singles (which don't tend to get counted as "real singles", because Christmas records got put on their own special charts), and promotional efforts, like "Things Are Changing For The Better". That was a song that Brian Wilson and Mike Love of the Beach Boys had originally written for the Ronettes, under the title "Don't Hurt My Little Sister", but while Spector had cut a backing track, the song hadn't been considered worth the Ronettes adding their vocals, and the Beach Boys had cut their own version as an album track: [Excerpt: The Beach Boys, "Don't Hurt My Little Sister"] But a year later, the Advertising Council wanted a public information song, to promote the Civil Rights Act of 1964 and the subsequent Voting Rights Act of 1965, two landmark acts that between them meant that for the first time discrimination against Black people wasn't legal. They turned to Spector to come up with something, and Spector, not wanting to waste a hit on them, came up with some new lyrics for the unused backing track, using the various slogans the Advertising Council wanted. Spector got his assistant Jerry Riopelle to finish the track off, and three versions were cut with different vocals over the same backing track. Riopelle produced a version with the Blossoms on vocals, another version was performed by the white pop group Jay and the Americans, and finally Motown put out a version with the Supremes singing over Spector's track. It's not the greatest track ever recorded or anything, but it is the only collaboration between the three biggest American hit-makers of the early sixties -- the Beach Boys, Spector, and the Supremes -- even if they didn't actually work together on it, and so "Things Are Changing For The Better" is interesting as a capsule of American pop music in 1965: [Excerpt: The Supremes, "Things Are Changing For The Better"] But Gordy had plans for the Supremes that involved them moving away from being merely pop stars, and the title of “I Hear a Symphony” worked well for Gordy's plans. Like Sam Cooke before them, he wanted them to move into the more lucrative middle-class white market, and like Sam Cooke that meant playing the Copacabana. We talked a little about the Copacabana -- or the Copa as it was universally known -- in the episode on "A Change is Gonna Come", but it's hard to get across now what an important venue it was. It was a mob-controlled nightclub in New York, and while it was only a nightclub, not a huge-capacity venue, headlining there was considered a sign that an act had made it and become part of the elite. If you could headline at the Copacabana in the early sixties, you were no longer a transitory pop act who might be gone tomorrow, you were up there with Tony Bennett and Sammy Davis Jr and Martin and Lewis. Of course, that whole showbusiness world has largely gone now, and the entertainment industry was going through massive changes in the early sixties that would soon make whether an act had headlined at the Copa as irrelevant to their future prospects as where they had gone to school, but nobody at the time knew that the changes that were happening -- thanks in large part to labels like Motown -- were going to be lasting ones, rather than just fads. So Gordy decided that his flagship group were going to headline at the Copa -- even though he had to agree to a deal which meant that for their initial three-week residency  the group members only made sixty dollars a show each before expenses. And they were going to do a "classy" show. Yes, they would include a few of the hits, but most of the songs would be things like "Somewhere" from West Side Story, the Barbra Streisand song "People" -- which would be Florence's one lead vocal in the show -- the Guy Lombardo song "Enjoy Yourself, It's Later Than You Think", and of all things "Rock-a-bye Your Baby With a Dixie Melody": [Excerpt: The Supremes, "Rock-A-Bye Your Baby With a Dixie Melody"] The rest of the repertoire was show tunes, a gender-swapped version of "The Girl From Ipanema" retitled "The Boy From Ipanema", a parody of Roger Miller's "King of the Road" titled "Queen of the House", and a medley of Sam Cooke's hits. Other than the Cooke material and the brief run-throughs of their own number ones, the setlist was tailored entirely for the Copa's clientele, which barely overlapped at all with the Motown audience. The Copa residency was a triumph, and led to the Supremes making regular appearances at the venue for seven years, but it came at a great cost to the group members. Ross was so stressed she lost a stone of her already low weight, the first sign of the anorexia which she would deal with for many years to come. Meanwhile, Florence had to miss a chunk of the rehearsals as she became seriously ill with the flu, though she got herself well enough to make the opening night. And while it was what Berry Gordy had been working towards for years, it couldn't have come at a worse time for him personally -- his elder sister Loucye died suddenly of a brain haemorrhage shortly before the residency, and her funeral was actually the morning of the opening night. The opening night went exactly as Gordy had planned, except for one ad-lib -- during the song "You're Nobody 'Til Somebody Loves You", after Ross sang the line “But gold won't bring you happiness,” Florence interjected a joking line -- "Now wait a minute, honey. I don't know about all that." The audience loved her ad-lib -- Sammy Davis Jr., who was in the audience, yelled out "All right, girl! You tell it like it is!" -- and the line got added as a regular part of the performance: [Excerpt: The Supremes, “You're Nobody 'Til Somebody Loves You”] along with a rather less fun bit where Florence would mention "little old me", and Ross would snarkily respond "Little?" But even though it worked, Gordy was furious, partly just because he was understandably in a bad mood after his sister's funeral, partly because it was a deviation from the carefully-scripted performance, and partly because it was a moment in the spotlight for someone other than Diana Ross. As retaliation, a couple of days later he had Harvey Fuqua tell the group that they were dropping "People" -- Florence's only lead vocal -- from the set because there were too many show tunes. Then, a week or so later, "People" was added back to the set, but with Ross singing lead. (Mary Wilson had also asked to have her own lead vocal in the set, but Gordy had just looked at her sadly and said "Mary, you know you can't sing".) Florence was devastated. She was already drinking too much, but that escalated after the Copa engagement. Even though the group had never been as close as many groups are, they had all genuinely attempted to create a bond with each other, even all moving on to the same street. But now, that physical closeness just became an opportunity for the women to note the comings and goings at each other's houses and pass snarky comment on it. Ballard was fast becoming considered a liability by the powers that be at Motown, and even the existence of the Supremes was starting to be seen as something that was merely a hindrance for Diana Ross' career, rather than them being seen for what they were -- a massively successful group, not just a lead singer and her backing vocalists. Florence wasn't very long for the group, and when we next look at them, we'll no longer be looking at the Supremes, but at Diana Ross and the Supremes...