Podcasts about buddy the buddy holly story

With a record-breaking run since it first premiered in 1989, Buddy - The Buddy Holly Story is a whirlwind experience full of rock & roll's greatest hits! Get ready to sing, dance and clap along as the show traces Buddy Holly's rise to fame in the late 1950s. Find out why you should go and see it for yourself in this #SpotlightOn review! Catch Buddy - The Buddy Holly Story at Nottingham's Theatre Royal until Saturday 29th July. Tickets are available here: trch.co.uk/buddy-the-buddy-holly-story Photo credit: Rebecca Need-Menear

EPISODE 83: Robert Burke Warren is a writer, performer, teacher, and musician, author of novel Perfectly Broken and one-man show Redheaded Friend, and editor of Cash on Cash: Interviews & Encounters with Johnny Cash. His work appears in Salon, Longreads, AARP, Texas Music, Brooklyn Parent, The Woodstock Times, Paste, The Rumpus, The Bitter Southerner, and the Rock & Roll Hall of Fame, among others. You can find his music on albums by RuPaul, Rosanne Cash, and rockabilly queen Wanda Jackson; The Roots used his tune "The Elephant In the Room" as John McCain's entrance theme on Late Night with Jimmy Fallon. In the 90s, he performed the lead in the West End musical Buddy: The Buddy Holly Story. Prior to that he was a globetrotting bass player. He lives in Phoenicia, NY. Contact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Twitter: @JannKloseBandJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

It's both a bio about a pop music icon and a rock and roll concert. Buddy: The Buddy Holly Story runs all October at the Minnesota History Theatre, Thursdays through Saturdays at 7:30 and Sundays at 2. Phil Nusbaum had a chance to talk to Nicholas Freeman, who plays Buddy Holly, and Gary Rue who serves as the show's music director. First, Nicholas speaks as a singer of the appeal to him of Buddy Holly's music.

Get your vitamin cocktail and motivational shot in the arm from this conversation between Lormarev Jones and the incredible Yolanda Rabun! We consider her a Raleigh-Durham-Chapel Hill celebrity, so we are start struck!! As a wife, mother, corporate executive, lawyer, singer-songwriter and publisher, motivational speaker, political scientist, community activist for youth, touring performance artist, and music entrepreneur, Yolanda lives at the speed of passion and challenges everyone to hold on to your dreams!   You can also hear Yolanda's voice acting in Episode 1 of the Declaration of Love anthology, written by Michael J. Ivory, and titled https://artistsoapbox.org/asbx-episodes/the-gifts-we-leave-declaration-of-love-episode-1/ (The Gifts We Leave). BIO A North Carolina resident for over 25 years, Yolanda Rabun is a recording artist, actor, and storyteller. She has headlined national jazz festivals, toured jazz clubs, and most recently opened for Stephanie Mills at the Durham Performing Arts Center (DPAC) and Sheila E at the Red Hat Amphitheater. Yolanda has won accolades for Best Lead Actress (Archy and Mehitabel, Member of the Wedding, Nina) and Best Ensemble (Twelfth Night, Crowns, Chaunesti Webb's I Love My Hair When It's Good: & Then Again When It Looks Defiant and Impressive). Recent appearances with North Carolina Theatre, Theatre Raleigh, and Playmakers Repertory Company include Beehive: the 60s Musical, Newsies, Smokey Joe's Café, Mary Poppins, Buddy: The Buddy Holly Story, The Drowsy Chaperone, and Howard L. Craft's one-woman play, No Fear and Blues Long Gone: Nina Simone. http://www.yolandarabun.com/ (www.yolandarabun.com) LISTEN TO ASBX AUDIO DRAMAS:https://artistsoapbox.org/masterbuilder/ (Master Builder) https://www.thenewcolossuspodcast.com/ (The New Colossus) https://artistsoapbox.org/declaration-of-love/ (Declaration of Love audio anthology) https://artistsoapbox.org/audio-dramas/asbx-shorts/ (ASBX Shorts) CONNECT AND FOLLOW: Artist Soapbox on social media: Twitter: https://twitter.com/artist_soapbox (@artist_soapbox) Instagram: @https://www.instagram.com/artistsoapbox/ (artistsoapbox) Facebook: https://www.facebook.com/artistsoapboxpodcast/ (https://www.facebook.com/artistsoapboxpodcast/) CONTRIBUTE: Soapboxers are the official patrons of the Artist Soapbox podcast. http://www.patreon.com/artistsoapbox (Get on the Soapbox with us at Patreon )or make a one-time donation via Ko-fi at https://ko-fi.com/artistsoapbox (https://ko-fi.com/artistsoapbox) or via PayPal at https://www.paypal.me/artistsoapbox?ppid=PPC000628&cnac=US&rsta=en_US(en_US)&cust=A55YE26SQPDL8&unptid=bcec7a46-337d-11e8-9bbe-9c8e992da578&t=&cal=cb540804e2cda&calc=cb540804e2cda&calf=cb540804e2cda&unp_tpcid=ppme-social-user-profile-created&page=main:email&pgrp=main:email&e=op&mchn=em&s=ci&mail=sys (PayPal.Me/artistsoapbox.) If you would like to make a tax-deductible donation, please consider our non-profit https://fundraising.fracturedatlas.org/soapbox-audio-collective (Soapbox Audio Collective).

Lisa chats with veteran actor Phil Rodriguez about his origins in NYC, his journey to Hollywood, and the life lessons learned along the way.  A true family man with a heart of gold and faith that humanity will prevail, Phil talks about his most important role as a father to his young son and pays homage  to his own dad and the positive influence he had in his life.Philip Anthony Rodriguez was voted as one of LATINA Magazine's 25 Most Beautiful Latino Men. He is an accomplished and versatile performer, host and coach from Brooklyn, NY.He has joined the casts of many Hit TV series. Including: “The Morning Show” on AppleTV- executive produced by Reese Witherspoon and Jennifer Aniston, NBC's popular Grimm as sinister royal henchman, Marcus Rispoli, CBS's Tommy,  hit CBS All Access show, “Why Women Kill”, starring Lucy Liu, Freeform's hit “The Secret Life Of an American Teenager” as Ruben Enriquez and CBS' Seal Team as CIA Operative Greg Smith. Other credits include Modern Family, S.W.A.T. Magnum P.I., Shameless, 9-1-1, Good Trouble, The Mentalist, Madame Secretary, Queen of the South, ”24”, NCIS: New Orleans. He's also the voice of Sith Inquisitor Fifth Brother in Disney's popular animated series, Star Wars: Rebels, for which he's ALSO proud to be an action figure!Philip made his Broadway debut as Ritchie Valens in “BUDDY – THE BUDDY HOLLY STORY” for which he was honored by the New York Drama League. He returned to Broadway in Tennessee Williams “NOT ABOUT NIGHTINGALES” directed by Tony Award winner Trevor Nunn. He has numerous voice over campaigns--including: UFC, Lincoln Motor Co, Gatorade & Ralph Lauren as well as many popular video games. He is the Spanish speaking & singing voices of ELMO and TELLY MONSTER on Sesame Street Beginnings.@philAnthonyRodSupport the show

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & Roll; the music business was still limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex sound. On songs such as "Not Fade Away," "Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby," "Rave On," "Heartbeat," and "It's So Easy," Holly took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

Terence O'Connell took his first steps towards a life in the theatre as dresser to the male chorus in J.C. Williamson's celebrated production of Funny Girl. The role provided the perfect vantage point to observe the machinery of a large musical, on stage and off, cementing an ambition to make theatre himself.Terence completed time as an actor working through Western Australia followed by a venture to the UK which awakened a desire to direct. Upon returning to Australia, Terence completed the Directors Course at NIDA and has subsequently, staged some 150 productions in theatres, concert halls, circus tents, cabaret rooms and comedy venues across Australia and internationally.His national touring shows include Barmaids, They're Playing Our Song, Motherhood: The Musical and The 39 Steps, The Rocky Horror Show, Buddy-The Buddy Holly Story, Busting Out, Decadence, Bouncers, Circus OZ, Flying Fruit Fly Circus and Certified Male.Terence has created many of his own productions including I Only Want To Be With You: The Dusty Springfield Story, Life On Mars: The Words And Music Of David Bowie, Cruising Paradise: Sam Shepard Tales, Greek Goddess: Melina Mercouri, Reviewing The Situation: At Home With Lionel Bart, and Minefields And Miniskirts: Australian Women And The Vietnam War. Terence was Director of Spiegelworld's outrageous circus burlesque Empireon, its international tour, and Circus Sensa at London's Albany Empire.Terence helmed nine Broadway musicals for The Production Company at Melbourne's State Theatre. These included Oklahoma, The King & I, Crazy For You, Damn Yankees, 42nd Street and The Pajama Game, and demonstrated his ease at staging big stories on a large canvas.Recently he has been adapting two Australian classics for the stage; One Crowded Hour: Neil Davis, Combat Cameraman and a music theatre adaptation of the classic memoir, I Can Jump Puddles. Mrs Prime Minister, a song cycle focussing on several prominent wives of Australian leaders, has also taken to the stage under Terence's construction and guidance.He is passionate about telling stories across all forms and styles. Whether making original, or staging established product, Terence O'Connell's work is always inspired, exciting and bound to prompt awe.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Marilyn Leder is a Melbourne comedian and University lecturer who teaches film & television, particularly comedy. We first met at Yes All Women's around 2015, and gigged there together for 2 years. After not seeing her for a number of years, she has burst back onto the scene with more passion and vibrancy than ever! She has a show in the upcoming Melbourne International Comedy Festival – The MILF Next Door. Cheeky what! I've seen a little snippet of her show, and it looks awesome! Here's the link to her show: https://www.comedyfestival.com.au/2022/shows/the-milf-next-door We discuss online dating, and what it's been like for her since her recent divorce, which is what her show is all about. It's fascinating to hear what it's like going back to dating in your 50s, particularly online dating. Marilyn also runs a comedy night, leading up to the Comedy Festival, every Tuesday at The Kind of Tonga in Elwood. It's a Tiki Bar and it's gorgeous! She's featuring local comedians who have a show in the Comedy Festival. Well worth checking out. Marilyn captured me with her story from the moment we started. I had no idea that she had studied film and television in the US, and that she worked on Seinfeld! Amazing! She also toured with Buddy – The Buddy Holly Story as performer/actor. All of this, while being a good Jewish girl! I had no idea of Marilyn's rich writing and performing background back when we gigged together at Yes! All Women's. I'm so glad we did this podcast so I could find out! Don't forget to go and see her show The MILF Next Door. Here's the link: https://www.comedyfestival.com.au/2022/shows/the-milf-next-door And don't forget to come and see my show, with Aarti Vincent and Lisa Gatenby - Miss-Understanding. Here's the link: https://www.comedyfestival.com.au/2022/shows/miss-understanding Now, since Marilyn studied in the US, I play you out with an old Cosmic Egg Song – Mr. Corporation, since that is where corporate culture has come from. Thank you so much for listening, and if you like the podcast, please give me a good rating on Spotify or Apple or wherever. It really helps. Instagram | Facebook | pradeepa.com.au | pradeepa.deep@gmail.com

Well, it's a pretty tough stretch for performing industries but people are standing in the wings ready to blow aour socks off again as soon as is safe! One of them is Kiwi musical theater performer Jake Byrom who has recently returned from London to lend his talents to the lead role in Buddy - The Buddy Holly Story. Rehearsals had just started before this latest lockdown, but it's nothing new for Jake. He joins Lynn to discuss kicking off a career in the performing arts during rolling lockdowns.

Frank Blasi, Executive Director of Broadway Theatre of NEPA, speaking about the return of Broadway touring productions to Scranton beginning in the Fall of 2021. Broadway in Scranton will offer a 4-show season with 3 special shows and a rescheduled date for "BUDDY: The Buddy Holly Story." For more information: www.broadwayinscranton.com 570-342-7784

In this 251st episode of “Elton Jim” Turano’s “CAPTAIN POD-TASTIC,” Jim Turano shares memories and the coincidental circumstances surrounding one of the favorite roles he’s played on stage — ” The Big Bopper” — in the musical, “Buddy: The Buddy Holly Story.”

To celebrate one year of The Kevin Clifton Show, we're in conversation with a very special guest - singer, songwriter and performer, Ricky Rojas, whose theatre credits include such stellar hits as ‘Buddy: The Buddy Holly Story', ‘Fame', ‘Moulin Rouge' and ‘Grease', to name but a few! Ricky joins the show to discuss the incredible road that's taken him to the heights of theatre-land, the impact of COVID-19 upon the livelihoods and careers of theatrical creatives, and why performers must always enjoy the ride! KEY TAKEAWAYS With so much uncertainty in the theatre right now, many are clinging onto their optimism in the hopes that life will return to normal. The best estimates are that performances will begin again in early 2021. Representation in media of positive Hispanic role models has been a long time coming. For the longest time, they have often been portrayed as villains, or as secondary characters, but that viewpoint is thankfully changing now. One of the greatest ways of learning the theatrical craft is to enrol in theatre school, where the unexpected lessons can be practically learned, such as the importance of read-throughs, connecting with song lyrics, and how to build confidence. When we want something so much, we can be counterproductive to ourselves by holding onto the hope too tightly. Being a performer is all about tempering expectations, and finding the right balance between hope and practicality. As performers, it is our job to leave our personal challenges at the stage door when we perform. Our moods can show when we take the stage, therefore part of the job is being able to detach. BEST MOMENTS 'It's a matter of not “if” we go back, but “when”' - 7:35 ‘I don't think I had a massive goal - I just knew I liked singing' - 10:10 ‘Don't take yourself so seriously, and just enjoy the ride, man' - 17:12 ‘You've got to learn to be alright with whatever voice you've got that night' - 47:07 ‘You need to remove the word “impossible” from your vocabulary' – 57:07 VALUABLE RESOURCES Ricky Rojas - http://www.rickyrojas.com/Ricky_Rojas/Home.html Ricky Rojas Twitter - https://twitter.com/r_rojas?lang=en The Kevin Clifton Show - https://podcasts.apple.com/gb/podcast/the-kevin-clifton-show/id1475650764   ABOUT THE HOST Kevin Clifton is a professional dancer who has been performing & competing at the highest level for over a decade. Kevin has worked on shows like 'Burn the floor' & 'Rock of Ages' to 'Strictly Come Dancing' one of the biggest TV shows in the UK which Kevin won in 2018.    CONTACT METHOD Kevin Clifton Instagram Kevin Clifton Facebook Kevin Clifton YouTube See omnystudio.com/listener for privacy information.

To watch the video version of this episode, click here. Adrianna Hicks is no stranger to the Great White Way, as she returns to Broadway as Catherine of Aragon in SIX the Musical. Her other Broadway credits include the revivals of The Color Purple and Aladdin. Adrianna has performed in regional and touring productions of The Wiz, Ragtime, Buddy - The Buddy Holly Story, and The Color Purple Revival Tour. Internationally she has performed in productions of Sister Act and Dirty Dancing in Germany, and Legally Blonde in Austria. While in college, Adrianna also landed the opportunity to perform with Michael Buble in his Call Me Irresistible Tour whenever it came through Oklahoma City.  Adrianna was born in California, but was raised in Texas where her family relocated to when she was four years old. She remembers being “that kid” who would go to her room, close the door, put on Aladdin, and “perform Princess Jasmine”. She loved singing, dancing and acting, and by participating in the International Thespian Society in high school, she discovered that she could make a career out of doing all three together. Adrianna earned her B.F.A. in Musical Theatre from the University of Oklahoma, and after graduating spent over 3 years living and performing in Germany and Austria.  Adrianna shares that she never really had a desire to go to New York City. She loved traveling, and having the opportunity to perform overseas. But as she was preparing for her next role in Europe after Dirty Dancing, both of her parents became ill. So she made the decision to come back home after three and a half years, to be with and help take care of her family. It was upon returning home that she had the opportunity to audition for The Color Purple - the show that would finally take her to New York City, and eventually, help her find her way to Catherine of Aragon in SIX the Musical. In this episode, we talk about:  Her whirlwind memory of the day that their Broadway opening night was cancelled  How she has been spending time in quarantine with her brother in Atlanta  Her thoughts on her social media presence  The journey that took her from the stage in Oklahoma to the stage in Germany  How watching Beyonce’s concerts as a child came in handy for her SIX audition  Why performing in The Wiz was an “ah ha” moment Connect with Adrianna: IG: @missadriannahicks Twitter: @msadriannahicks Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible! Cheryl Hodges-Selden, Paul Seales, David Seales If you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support!

Rosie & The Rivets: The Premier Retro Rock & Roll Show perform an electrifying female fronted retrospective tribute to the first ten years (1954-1964) of Rock & Roll. Along with early Rock & Roll favorites, you’ll hear Girl Group, Rockabilly, R&B, Surf, and British Invasion featuring Rosie’s powerful and versatile voice and backed by a band with extensive theater/tribute/roots music experience (members of the Rivets have worked in The Million Dollar Quartet, Buddy: The Buddy Holly Story, and The Fab Four: Beatles Tribute).

Lili-Anne Brown, the accomplished actor, director, educator and Northwestern alum joins the conversation to talk about the Firebrand Theatre/TimeLine Theatre partnership for the upcoming Tony Kushner/Jeanine Tesori musical "Caroline, or Change","BUDDY: The Buddy Holly Story" at Stage 773, and in 2019, "The Total Bent" at Haven and "Lottery Day" at Goodman. (NOTE: Multiple Jeff nominations to American Blues Theater's "Buddy" including Best Director of a Musical for Lili-Anne Brown were announced on 8/28/2018.) Season 3 Episode 14 Originally posted August 28, 2018

Niche Radio — It may be her last show here on Niche Radio, but Heather has certainly pulled out all the stops for her finale - and a string of giveaways as well as all your latest entertainment and lifestyle info, as well! We have a brand new Miss SA, folks! Congrats to Tamaryn Green on her Miss Universe South Africa title and Thulisa Keyi on her Miss World South Africa and Tamaryn took the ultimate title of Miss South Africa in the glittering 60th Diamond Jublilee ceremony on Sunday which was hosted at Sun Arena in Pretoria. Heather has all your details! Heather shares an exclusive one on one interview with Sune, the passionate owner of Rustig - a beautiful and tranquil farm located in Magaliesberg, where Heather spent the weekend, being, well, Rustig. It is an engaging and interesting story of heritage, expansion and nature and you will want to head through there once you have heard this, we promise. Make sure to catch Buddy - The Buddy Holly Story - which is now on stage at The Theatre of Marcellus at Emperors palace and stars local singing sensation Brendan Peyper in the title role. Heather shares more... Make sure you have your #JacaDay tickets in hand folks, this Saturday 2nd of June is going to get lit at Monument Amphitheatre in Pretoria - get all your details on the show! Wine, wine, wine - the highly anticipated Juliet Cullinan Standard Bank Wine Festival is heading to Hyde Park on the 5th and 6th of June, and is one of the most exclusive premium wine events on the circuit - you want to make sure you find out how to get your tickets. More wine as well, with the arrival of the highly anticipated Tops at Spar Wine Festival from 7th - 9th June at Montecasino - get WIN!!! You can stand a chance to win show tickets to the highly anticipated Whitney Houston Show - featuring Belinda Davids in the title role, that is heading to Emperors Palace in June - it is set to be a showstopper. If you prefer wine, then make sure you listen in and stand a chance to win one of 2 set

It may be her last show here on Niche Radio, but Heather has certainly pulled out all the stops for her finale - and a string of giveaways as well as all your latest entertainment and lifestyle info, as well! We have a brand new Miss SA, folks! Congrats to Tamaryn Green on her Miss Universe South Africa title and Thulisa Keyi on her Miss World South Africa and Tamaryn took the ultimate title of Miss South Africa in the glittering 60th Diamond Jublilee ceremony on Sunday which was hosted at Sun Arena in Pretoria. Heather has all your details! Heather shares an exclusive one on one interview with Sune, the passionate owner of Rustig - a beautiful and tranquil farm located in Magaliesberg, where Heather spent the weekend, being, well, Rustig. It is an engaging and interesting story of heritage, expansion and nature and you will want to head through there once you have heard this, we promise. Make sure to catch Buddy - The Buddy Holly Story - which is now on stage at The Theatre of Marcellus at Emperors palace and stars local singing sensation Brendan Peyper in the title role. Heather shares more... Make sure you have your #JacaDay tickets in hand folks, this Saturday 2nd of June is going to get lit at Monument Amphitheatre in Pretoria - get all your details on the show! Wine, wine, wine - the highly anticipated Juliet Cullinan Standard Bank Wine Festival is heading to Hyde Park on the 5th and 6th of June, and is one of the most exclusive premium wine events on the circuit - you want to make sure you find out how to get your tickets. More wine as well, with the arrival of the highly anticipated Tops at Spar Wine Festival from 7th - 9th June at Montecasino - get WIN!!! You can stand a chance to win show tickets to the highly anticipated Whitney Houston Show - featuring Belinda Davids in the title role, that is heading to Emperors Palace in June - it is set to be a showstopper. If you prefer wine, then make sure you listen in and stand a chance to win one of 2 set www.heatherhook.com

Bob Wilcox and Gerry Kowarsky review: (1) INTO THE WOODS, by Stephen Sondheim & James Lapine, at The Muny; (2) THE KILLING OF SISTER GEORGE, by Frank Marcus, at Max & Louie Productions; (3) THE SKIN OF OUR TEETH, by Thornton Wilder, at Clayton Community Theatre; (4) THE RUNAWAY CUPCAKE: A PLAY ABOUT EATING FOR FAMILIES WHO EAT, by Nancy Bell, at OnSite Theatre Co.; (5) LABUTE NEW THEATER FESTIVAL, by several, at St. Louis Actors’ Studio; (6) BUDDY: THE BUDDY HOLLY STORY, by Alan Janes et al., at The Muny; (7) DON GIOVANNI, by W.A. Mozart & Lorenzo da Ponte, at Union Avenue Opera; (8) THE BONES OF MALCOLM MACDUFF, by David Hawley, at First Run Theatre; and (9) EVITA, by Andrew Lloyd Webber & Tim Rice, at Family Musical Theatre.

Omar D. Brancato is a musical chameleon... he can be found writing, arranging and recording band and theme park arrangements in his studio, odibeestudios. You can find him onstage acting and playing bass simultaneously in the musical: Buddy: The Buddy Holly Story. And if that isn't enough, you just might find him putting on a little make up and rocking out in grand style playing bass in techno-industrial rock band, Carbon 9.

Omar D. Brancato is a musical chameleon... he can be found writing, arranging and recording band and theme park arrangements in his studio, odibeestudios. You can find him onstage acting and playing bass simultaneously in the musical: Buddy: The Buddy Holly Story. And if that isn't enough, you just might find him putting on a little make up and rocking out in grand style playing bass in techno-industrial rock band, Carbon 9.

Omar D. Brancato is a musical chameleon... he can be found writing, arranging and recording band and theme park arrangements in his studio, odibeestudios. You can find him onstage acting and playing bass simultaneously in the musical: Buddy: The Buddy Holly Story. And if that isn't enough, you just might find him putting on a little make up and rocking out in grand style playing bass in techno-industrial rock band, Carbon 9.

In this very special episode, Victoria and Holly are joined briefly by Victoria's daughter, Alex, who talks about her summer activities and future career plans. Other topics discussed include: They also discuss the Victoria Stilwell Positively Dog Training program as Victoria prepares for another trainer evaluation day. Victoria' attendance at the upcoming AVMA conference. Victoria describes her work with PATH to combat the destruction done to wildlife because of the Gulf Oil Spill. Misconceptions about pit bulls and Victoria's take why Breed Specific Legislation is misguided. Victoria continues her dog breed quiz in this installment of Animal Academy, focusing on the history of dog shows. Victoria's husband joins Holly and Victoria in the studio as they discuss how Victoria and Van first met during their time in Buddy: The Buddy Holly Story musical in London.   PPATH - People Protecting Animals and Their Habitats Plott Hound - North Carolina state dog: