Podcasts about Champagne Charlie

In this episode of the Vint Podcast, hosts Billy Galanko and Brady Weller are joined by esteemed authors Don and Petie Kladstrup. The Kladstrups are renowned for their captivating books on the intersection of wine and history, including Wine and War, Champagne Charlie, and Champagne. Together, they discuss the impact of war on the French wine industry, the resilience of winemakers during World War I and II, and the fascinating stories behind some of the world's most treasured vintages. The Kladstrups share stories about the wine-making process under Nazi occupation and the strategic hiding of precious vintages.The conversation also sheds light on how the Kladstrups' research brought to life the dramatic tale of Charles Heidsieck, better known as “Champagne Charlie,” and his pivotal role in shaping Champagne's presence in the U.S. markets during the Civil War. The episode touches on key historical moments, the human spirit of perseverance, and the wine industry's remarkable ability to survive and thrive amidst adversity. It's a must-listen for anyone fascinated by the cultural significance of wine across time.This episode offers a deep dive into the untold histories of wine, perfect for both history buffs and wine enthusiasts.Chapters:01:12 Weekly Wine News: Dom Perignon's 2023 Vintage04:54 Impact of Storm Boris on Austrian Wines10:56 Interview with Don and Petey Kladstrup: Authors of Wine and War14:18 Journey to France and the Birth of Wine and War24:45 The Impact of World War II on French Winemaking26:20 Stories of Survival and Resistance26:57 Challenges in Documenting War Stories28:09 The Resilience of Winemakers29:25 The Legacy of Wartime Wines37:57 The Role of German Wine Viewers40:42 Champagne During World War I44:08 Marketing the Allure of Champagne51:21 The Heidsieck Family Saga53:18 Modern Challenges in Winemaking55:57 Personal Reflections on Wine58:19 Conclusion and Final ThoughtsThe Vint Podcast is presented by Coravin, the world's leader in wine preservation systems. Listeners of the Vint Podcast can take 15% off their purchase on Coravin.com by using promo code VINT15 at checkout*. Members of the trade can access exclusive discounts at trade.Coravin.com.The Vint Podcast is a production of the Vint Marketplace, your source for the highest quality stock of fine wines and rare whiskies. Visit www.vintmarketplace.com. To learn more about Vint and the Vint Marketplace, visit us at https://vint.co or Vintmarketplace.com or email Brady Weller at brady@vint.co, or Billy Galanko at Billy@vintmarketplace.com.*Terms and Conditions Apply. Offer valid only on Coravin.com while supplies last. Pricing and discount are subject to change at any time. Coravin reserves the right to limit order quantities. No adjustments to prior purchases. Not valid for cash. Cheers!Past Guests Include: William Kelley, Peter Liem, Eric Asimov, Bobby Stuckey, Rajat "Raj" Parr, Erik Segelbaum, André Hueston Mack, Emily Saladino, Konstantin Baum, Landon Patterson, Heather Wibbels, Carlton "CJ" Fowler, Boris Guillome, Christopher Walkey, Danny Jassy, Kristy Wenz, Dan Petroski, Buster Scher, Andrew Nelson, Jane Anson, Tim Irwin, Matt Murphy, Allen Meadows, Altan Insights, Tim Gaiser, Vince Anter, Joel Peterson, Megan O'Connor, Adam Lapierre, Jason Haas, Ken Freeman, Lisa Perrotti-Brown,...

Our guest for season 4 of "Everything I know About Me" is one of the most formidable and successful footballer players Scotland has ever produced - Graeme Souness. Graeme was interviewed over 2 days in December 2023 where he opened up about his childhood in the pre-fabs of Edinburgh all the way through to the present day via all of his achievements but also the tragedies and controversies he has endured. In today's episode we hear about Graeme's stratospheric rise to becoming one of Liverpool's star players and all of the perks that his new lifestyle came with. Champagne, Beauty Queens and a cameo in notable British drama “Boys from the Blackstuff” Graeme talks about the first of his many clashes with team mate Phil Thompson and he also recalls the one act of kindness he received from Liverpool manager Joe Fagan that stays with him to this day. Learn more about your ad choices. Visit podcastchoices.com/adchoices

You can follow Champagne Charlie on Instagram @champagnecharlievintage92 and Twitter @ChampageCharlie YouTube: youtube.com/c/GeorgeBukaWDYCIPodcast Spotify: open.spotify.com/show/5z2U45OagymjgUsQE2Jbrw Anchor: https://anchor.fm/whatdoyoucallitpodcast Instagram: whatdoyoucallitpodcast Twitter: bukamania89

Eating hash, German helmets, I Clavdivs, A Very Peculiar Practice, Herbie Wise, Jack Pulman, George ‘Champagne Charlie’ Leybourne, DVD watch piles plus all the usual nonsense!

Join Rox and Jake of Vino Gusto as they sit down and catch up over a glass.In the latest episode of our unplanned, unscripted, podcast that nobody asked for...Jake terrifies Rox by videoing the podcast. They delve into the history archives and recount the story of Champagne Charlie in their own inimitable way. Rox forces Jake to talk about his recent inclusion in the 2023 Harpers 30 Under 30 List, showcasing upcoming talent in the wine industry. They also attempt to understand where the Suffolk/Norfolk border lies (the answer is Norfolk!) and chat about Jake's summer holiday plans. Wines tasted:Terre del Buontalenti Vermentino Ansonica 2022Isole e Olena Chianti Classico 2019As always, get in touch if you have any questions. We're @vinogustouk on all social platforms. 

Singles Going Around- Leon Redbone 1972-1981 RecordingsMy Walking Stick *If I Had Possession Over Judgement Day **Diddy Wa Diddie ***Champagne Charlie ****Gambling Bar Room Blues **Step It Up and Go *****Polly Wolly Doodle *Kind Hearted Woman Blues **Shine On Harvest Moon ***Please Don't Talk About Me ****Bootleg Rum Dum Blues **Mama's Got A Baby Named Te Na Na *****Desert Blues *Lord, I Looked Down The Road **Crazy Blues ***Yearning (Just For You) ****Sweet Mama Hurry Home Or I'll Be Gone **Cat Man Blues *** from On the Track (1975)** from Long Way From Home: Early Recordings (1972)*** from Double Time (1977)**** from Champagne Charlie (1978)***** from Branch to Branch (1981)All selections taken from the original vinyl releases.

Don and Petie Kladstrup – “Champagne Charlie: The Frenchman Who Taught Americans to Love Champagne.” COB has a double header.  Wash Post editor and writer and author of the Miss America history “There She Was,” Amy Argetsinger joins David and Torie.  They break down Christmas movies and books and the women crushing best sellers lists. Award winning journalists who love wine, baseball and France, Don and Petie Kladstrup, zoom in from Paris to share “Champagne Charlie,” the remarkable story of the 1850s Frenchman who stormed America, drove sales and almost died when charged with spying for the Confederacy. Then a COB fave, Kate Anderson Brower, returns with “Elizabeth Taylor: The Grit and Glamour of an Icon,” the extraordinarily comprehensive authorized biography of the legendary icon whose life as mother, wife, actress and activist is so much more than you knew.

Industry Night is now recorded at the beautiful private wine club, WineLair in downtown DC. WineLair's chef, Kene Izegnu joined me to talk about her journey to this kitchen -- she has quite the resume -- and how she balances being a chef with her diabetes diagnosis. And then! Emmanuel Laroche grew up savoring the best food and drink that France offers, eventually earning him the American nickname: “Champagne Charlie.” My kinda guy! He has more than twenty years of experience in the food and beverage industry, both in Europe and in the US. Through his job, Emmanuel has access to a variety of acclaimed people in the food industry and launched a podcast called Flavors Unknown, featuring his conversations with these personalities. More recently Emmanuel released the book Conversations Behind the Kitchen Door his collection of these and other dialogues with award-winning chefs from various backgrounds and cultures, sharing their experiences of the where and why of food culture is where it is today. Quotes The recipe is only a guideline. You can change it or replace it. You can free to experiment in the kitchen and it is a great learning - Emmanuel Being a chef is always staying fresh and relevant. there are things that need to stay on the menu because nobody's going to let it go but the rest of it has to be engaging and has to stay fresh. - Nycci Our Guests Chef Kene Izegbu https://www.instagram.com/keneizegbu Emmanuel Laroche https://www.linkedin.com/in/emmanuellaroche https://flavorsunknown.com Book Mentioned Conversations Behind the Kitchen Door https://www.amazon.com/Conversations-Behind-Kitchen-Door-American/dp/1631959174 Featuring Nycci Nellis https://www.instagram.com/nyccinellis https://www.thelistareyouonit.com Chapters 00:00 Introduction 06:19 Chef Izegbu entering the food industry 08:20 Experiencing Type 1 Diabetes 11:01 How to reach Chef Izegbu 11:44 Background life of Emmanuel Laroche 17:05 What is Flavors Unknown 18:36 About his book 22:34 The influence of immigrants to the Food Industry 25:38 The interesting stories in the book 29:38 Recommended stories for foodies 32:28 Recommendations for foodie travelers 35:39 Seven common parts of creative process for chef 39:18 The best thing about the book 44:40 How to reach Emmanuel Produced by Heartcast Media http://www.heartcastmedia.com

Bio: Born in Versailles, France, close to the famous chateau of King Louis XIV, Emmanuel Laroche grew up savoring the best food and drink that France offers, eventually earning him the American nickname: “Champagne Charlie.” His mother taught him to cook when he was six, starting with a simple yogurt cake, and moving on to Lorraine quiche, from the region his mother grew up. He married a woman who also loved to cook, and during the first four years of their marriage, they never ate the same dish twice! In 2002 he moved to the United States for his role as VP of Marketing with Symrise North America—a global manufacturer of flavors for the food and beverage industry. He now has more than twenty years of experience in the food and beverage industry, both in Europe and in the US. Through his job, Emmanuel has access to a variety of acclaimed people in the food industry. Since 2008, he has attended the yearly StarChefs Congress in New York City. In 2015, Emmanuel developed an exclusive partnership with StarChefs for Symrise and began moderating panel discussions with successful chefs, pastry chefs, and mixologists. In 2018, Emmanuel launched a personal podcast called Flavors Unknown, featuring a series of conversations with trending and award-winning chefs, pastry chefs, and mixologists from around the United States. Emmanuel currently resides in New Jersey, which acts as a home base for his travels around the country, conducting tastings, lectures and presentations on food and consumer trends. Conversations Behind the Kitchen Door: 50 American Chefs Chart Today's Food Culture https://www.amazon.com/Conversations-Behind-Kitchen-Door-American/dp/1631959174 Flavors Unknown Podcast https://flavorsunknown.com/ This episode is sponsored by Culinary Historians of Northern California, a Bay Area educational group dedicated to the study of food, drink, and culture in human history. To learn more about this organization and its work, please visit its website at www.chnorcal.org If you follow my podcast and enjoy it, I'm on @buymeacoffee. If you like my work, you can buy me a coffee and share your thoughts

Philippe Andre is the U.S. Ambassador for Charles Heidsieck Champagne. His passion for wine started with helping the family restaurant, Oceanique. In 2013, he attended Oregon's Pinot Camp and later helped with Harvest at Maysara. Wine Enthusiast's 2021 40 under 40 had Andre on the front cover, and in 2021 Andre's journey brought him back to Oregon as the Master of Ceremony for IPNC (International Pinot Noir Celebration). Enjoy this conversation with Philippe as we dive into inspiring words from Jason Lett, life obstacles to becoming Charles Heidsieck's ambassador, the white horse of Charles Henri, Champagne Charlie, and pairing cigars with Champagne. Cheers

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today's backer-only episode is an extra-long one -- it runs about as long as some of the shorter main episodes -- but it also might end up containing material that gets repeated in the main podcast at some point, because a lot of British rock and pop music gets called, often very incorrectly, music-hall, and so the subject of the music halls is one that may well have to be explained in a future episode. But today we're going to look at one of the very few pop hits of the sixties that is incontrovertibly based in the music-hall tradition -- Herman's Hermits singing "I'm Henry the Eighth, I Am": [Excerpt: Herman's Hermits, "I'm Henry the Eighth, I Am"] The term "music hall" is one that has been widely misused over the years. People talk about it as being a genre of music, when it's anything but. Rather, the music hall -- which is the British equivalent of the American vaudeville -- was the most popular form of entertainment, first under that name and then under the name "variety", for more than a century, only losing its popularity when TV and rock-and-roll between them destroyed the market for it. Even then, TV variety shows rooted in the music hall continued, explicitly until the 1980s, with The Good Old Days, and implicitly until the mid-1990s. As you might imagine, for a form of entertainment that lasted over a hundred years, there's no such thing as "music-hall music" as a singular thing, any more than there exists a "radio music" or a "television music". Many music-hall acts were non-musical performers -- comedians, magicians, acrobats, and so forth -- but among those who did perform music, there were all sorts of different styles included, from folk song to light opera, to ragtime, and especially minstrel songs -- the songs of Stephen Foster were among the very first transatlantic hits. We obviously don't have any records from the first few decades of the music hall, but we do have sheet music, and we know that the first big British hit song was "Champagne Charlie", originally performed by George Leybourne, and here performed by Derek B Scott, a professor of critical musicology at the university of Leeds: [Excerpt: Derek B. Scott, "Champagne Charlie"] If you've ever heard the phrase "the Devil has all the best tunes", that song is why. William Booth, the founder of the Salvation Army, set new lyrics to it and made it into a hymn, and when asked why, he replied "Why should the Devil have all the good tunes?" The phrase had been used earlier, but it was Booth who popularised it. "Champagne Charlie" also has rather morbid associations, because it was sung by the crowd at the last public execution in Britain, so it often gets used in horror and mystery films set in Victorian London, so chances are if you recognised the song it's because you've heard it in a film about Jack the Ripper or Jekyll and Hyde. But the music hall, like all popular entertainment, demanded a whole stream of new material. The British Tin Pan Alley publishers and songwriters who wrote much of the early British rock and roll we've looked at started out in music hall, and almost every British popular song up until the rise of jazz, and most after that until the fifties, was performed in the music halls. We do have recordings from the later part of the music-hall era, of course, and they show what a wide variety of music was performed there, from pitch-black comedy songs like "Murders", by George Grossmith, the son of the co-writer of Diary of a Nobody: [Excerpt: George Grossmith, "Murders"] To sing-along numbers like "Waiting at the Church" by Vesta Victoria: [Excerpt: Vesta Victoria, "Waiting at the Church"] And one of the most-recorded music-hall performers, Harry Champion, a London performer who sang very wordy songs, at a fast tempo, usually with a hornpipe rhythm and often about food, like "A Little Bit of Cucumber" or his most famous song "Boiled Beef and Carrots": [Excerpt: Harry Champion, "Boiled Beef and Carrots"] But one that wasn't about food, and was taken a bit slower than his normal patter style, was "I'm Henry the VIII I Am": [Excerpt: Harry Champion, "I'm Henry VIII, I Am"] (Incidentally, the song as written on the sheet music has "Henery" rather than "Henry", and most people sing it "Enery", but the actual record by Champion uses "Henry" on the label, as does the Hermits' version, so that's what I'm going with). Fifty years after Champion, the song was recorded by Joe Brown. We've talked about Brown before in the main podcast, but for those of you who don't remember, he's one of the best British rock and roll musicians of the fifties, and still performing today, and he has a real love of pre-war pop songs, and he would perform them regularly with his band, the Bruvvers. Those of you who've heard the Beatles performing "Sheikh of Araby" on their Decca audition, they're copying Brown's version of that song -- George Harrison was a big fan of Brown. Brown's version of "I'm Henry the Eighth I Am" gave it a rock and roll beat, and dropped the verse, leaving only the refrain: [Excerpt: Joe Brown and the Bruvvers, "I'm Henry the Eighth I Am"] Enter Herman's Hermits, four years later. In 1964, Herman's Hermits, a beat group from Manchester led by singer Peter Noone, had signed with Mickie Most and had a UK number one with "I'm Into Something Good", a Goffin and King song originally written for Earl-Jean of the Cookies: [Excerpt: Herman's Hermits, "I'm Into Something Good"] That would be their only UK number one, though they'd have several more top ten hits over here. It only made number thirteen in the US, but their second US single (not released as a single over here), "Can't You Hear My Heartbeat", went to number two in the States. From that point on, the group's career would diverge enormously between the US and the UK -- half their US hits were never released as singles in the UK, and vice versa. Several records, like their cover version of Sam Cooke's "Wonderful World", were released in both countries, but in general they went in two very different directions. In the UK they tended to release fairly normal beat-group records like "No Milk Today", written by Graham Gouldman, who was also writing hits for the Yardbirds and the Hollies: [Excerpt: Herman's Hermits, "No Milk Today"] That only charted in the US when it was later released as a B-side. Meanwhile, in the US, they pursued a very different strategy. Since the "British Invasion" was a thing, and so many British bands were doing well in the States partly because of the sheer novelty of them being British, Herman's Hermits based their career on appealing to American Anglophiles. This next statement might be a little controversial, even offensive to some listeners, so I apologise, but it's the truth. There is a large contingent of people in America who genuinely believe that they love Britain and British things, but who have no actual idea what British culture is actually like. They like a version of Britain that has been constructed entirely from pop-culture aimed at an American market, and have a staggeringly skewed vision of what Britain is actually like, one that is at best misguided and at worst made up of extremely offensive stereotypes. People who think they know all about the UK because they've spent a week going round a handful of tourist traps in central London and they've watched every David Tennant episode of Doctor Who. (Please note that I am not, here, engaging in reflex anti-Americanism, as so many British people do on this topic, because I know very well that there is an equally wrong kind of British person who worships a fictional America which has nothing to do with the real country -- as any American who has come over to the UK and seen cans of hot dog sausages in brine with "American style" and an American flag on the label will shudderingly attest. Fetishising of a country not one's own exists in every culture, and about every culture, whether it's American weebs who think they know about Japan or British Communists who were insistent that the Soviet Union under Stalin was a utopia). For their US-only singles, most of which were massive hits, Herman's Hermits played directly to that audience. The group's first single in this style was "Mrs. Brown, You've Got a Lovely Daughter", written by the actor Trevor Peacock, now best known for playing Jim in The Vicar of Dibley, but at the time best known as a songwriter for groups like the Vernons Girls and  for writing linking material for Six-Five Special and Oh Boy! That song was written for a TV play and originally performed by the actor Tom Courtenay: [Excerpt: Tom Courtenay, "Mrs. Brown, You've Got a Lovely Daughter"] The Hermits copied Courtenay's record closely, down to Noone imitating Courtenay's vocals: [Excerpt: Herman's Hermits, "Mrs. Brown, You've Got a Lovely Daughter"] That became their first US number one, and the group went all-in on appealing to that particular market. Noone started singing, not in the pseudo-American style that, say, Mick Jagger sings in (and early-sixties Jagger is a perfect example of the British equivalent of those American Anglophiles, loving but not understanding Black America), and not in his own Manchester accent, but in a faked Cockney accent, doing what is essentially a bad impersonation of Anthony Newley. (Davy Jones, who like Noone was a Mancunian who had started his career in the Manchester-set soap opera Coronation Street, was also doing the same thing at the time, in his performances as the Artful Dodger in the Broadway version of Oliver! -- we'll talk more about Jones in future episodes of the main podcast, but he, like Noone, was someone who was taking aim at this market.) Noone's faked accent varied a lot, sometimes from syllable to syllable, and on records like "Mrs. Brown, You've Got a Lovely Daughter" and the Hermits' version of the old George Formby song "Leaning on a Lamp Post" he sounds far more Northern than on other songs -- fitting into a continuum of Lancashire novelty performers that stretched at least from Formby's father, George Formby senior, all the way to Frank Sidebottom. But on the Hermits' version of "I'm Henry the Eighth, I Am", Noone is definitely trying to sound as London as he can, and he and the group copy Joe Brown's arrangement: [Excerpt: Herman's Hermits, "I'm Henry the Eighth I Am"] That also became an American number one, and Herman's Hermits had truly found their niche. They spent the next three years making an odd mixture of catchy pop songs by writers like Graham Gouldman or PF Sloan, which became UK hits, and the very different type of music typified by "I'm Henry the Eighth I Am". Eventually, though, musical styles changed, and the group stopped having hits in either country. Peter Noone left the group in 1971, and they made some unsuccessful records without him before going on to the nostalgia circuit. Noone's solo career started relatively successfully, with a version of David Bowie's "Oh! You Pretty Things", backed by Bowie and the Spiders From Mars: [Excerpt: Peter Noone, "Oh! You Pretty Things"] That made the top twenty in the UK, but Noone had no further solo success. These days, there are two touring versions of Herman's Hermits -- in the US, Noone has toured as "Herman's Hermits featuring Peter Noone", with no other original members, since the 1980s. Drummer Barry Whitwham and lead guitarist Derek Leckenby kept the group going in the rest of the world until Leckenby's death in 1994 -- since then Whitwham has toured as Herman's Hermits without any other original members. Herman's Hermits may not have the respect that some of their peers had, but they had incredible commercial success at their height, made some catchy pop records, and became the first English group to realise there was a specific audience of Anglophiles in the US that they could market to. Without that, much of the subsequent history of music might have been very different.

Follow our Guests! To Book Champagne Charlie: champagnecharlievintage92 on Instagram To follow Adam & CXW: Follow Championship Xtreme Wrestling on Facebook, and join their pans group by applying to Championship Xtreme Wrestling Fans on Facebook Visit the website www.cxwrestling.com Introduction Good Cop Moments Bad Cop Moments Fan Cop Moments Open Agenda Devils Advocate Credits Follow the podcast @goodbadwrestle Follow Graham @MGBgraham Follow Matt @TheMattAttackUK Follow the Network @VisGlobalMedia There's no GCBC PreShow for this episode, but do go check out the previous ones, all available now on the GCBC youtube page https://youtu.be/L9fUb8ZhPis Musical Credits: Happy Happy Game Show Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

The British Music Hall Society's annual online celebration of "Music Hall and Variety Day" is on 16th May.  It's an annual online event now in its third year where all sorts of videos, audio recordings, pictures, posters and anecdotes are shared.  It's great fun and a really good excuse to sort out the archives and take a look to see what's hidden at the back of your sock drawer!Don't forget the hashtags #MHVD and #musichallvarietydayWe've recorded this special episode as part of the proceedings and it features some of the BMHS Committee giving an insight into their thoughts about Music Hall and/or Variety and how they got involved with it all.The British Music Hall Society:  http://britishmusichallsociety.com/Follow the BMHS on twitter https://twitter.com/musichallsoc   and Facebook https://www.facebook.com/British-Music-Hall-Society-Home-of-Music-Hall-Variety-282967823195Featured voices are:Adam BorzoneGeoff BowdenDean CastonPeter CharltonJohn OrchardChristine PadwickDavid ReedBen StockAlison YoungLottie WalkerEditor:  Jacob TaylorMusic is played by  James Hall https://www.jamesahall.co.uk/Music taken from:Nelly Power's Songs to the Gallery & Champagne Charlie's Music Hall Hits, both available to stream on Spotify, Amazon Music, Apple Music, etc....  or buy the CD here:https://ko-fi.com/bluefiretheatreAnd a note from us:Thank you for listening.   If you'd like to help us in our work in keeping the podcast going and the memories of all these lovely people alive, do please consider becoming a patron.  It's really easy to do, just go to :https://www.patreon.com/bluefiretheatreif you're more comfortable with a one off donation you can do this via our website:https://www.bluefiretheatre.co.uk/or buy us a coffee on:https://ko-fi.com/bluefiretheatreEven the smallest donation helps us get our shows on the road and keep the lights on in the studio and we are so grateful for all your help and support.And finally...don't forget to follow us on social media.  We'd love to hear from you!Find us at:https://twitter.com/famous_heardhttps://www.instagram.com/bluefire_tchttps://www.facebook.com/bluefirepodcast

In this episode, Oscar and Diggory discuss what their partners make of their Hugh Grant obsession before reviewing the TV special 'Champagne Charlie', in which Hugh Grant puts on another dodgy accent and sports a never-before-seen style! Amid the turmoil prior to the American Civil War, Charles Heidsieck (played by Hugh Grant) has built a champagne empire across 19th-century France and the United States. Along with battling his uncle for control of the vineyard, reluctant French spy Heidsieck must do his best to avoid the Union Army attempting to capture and imprison him… Make sure you're following Taking Hugh for Granted on Instagram and Facebook (@TakingHughforGranted) as well as Twitter (@TakingHugh). You can get in touch with us there or via our email takinghughforgranted@gmail.com For those of you that want to skip disclaimers, opening theme tunes, salutations, synopses and go straight to the film analysis, head to 06:40

Acompaña a Ricardo Cartas en una emisión más de la revista cultural De eso se trata, espacio de ciencia, de cultura, de gastronomía, de libros y más, de lunes a viernes de 08:30 a 10:00 horas. En Los buenos vinos en la historia, el Lic. Pedro Escobar, editor y escritor especializado en temas de la historia del vino, charla acerca del vino de Champagne Charlie, el cual se toma frío y se popularizó en 1820, año en el que también se relacionó con cierto estatus social debido a sus cualidades.

John Prine "Illegal Smile"Led Zeppelin "We're Gonna Groove"Bettye LaVette "Joy"B.B. King "Woke Up This Morning"Elvis Presley "Baby, Let's Play House"Shovels & Rope "Cavalier"Lucero "Have You Lost Your Way?"Pretenders "Mystery Achievement"Two Cow Garage "Lydia"Merle Haggard "I Don't Want to Sober Up Tonight"Eilen Jewell "Rio Grande"Bob Dylan "Señor (Tales of Yankee Power)"Jerry Lee Lewis "Please Release Me"The Reverend Peyton's Big Damn Band "You Can't Steal My Shine"Mr Bear & His Bearcats "Mr Bear Comes to Town"Tuba Skinny "Wee Midnight Hours"Dave Van Ronk "Black Mountain Blues"The Masked Marvel "Mississippi Boweavil Blues"Charlie Parr "Falcon"Johnny Cash "I Got a Boy and His Name Is John"Elvis Costello "Deep Dark Truthful Mirror"Ruth Brown "R. B. Blues"The Standells "Sometimes Good Guys Don't wear White"Wanda Jackson "Riot In Cell Block #9"Scotty McKay "The Train Kept A-Rollin"Valerie June "Shakedown"Angel Olsen "Drunk and with Dreams"Will Oldham "Under What Was Oppression"Tom Waits "The Soul Of A Man"Rosetta Howard "Delta Bound"Frankie Lee Sims "Lucy Mae Blues"Janis Martin "Drugstore Rock'n'Roll"Chubby Parker "King Kong Kitchie Kitchie Ki-Me-O"Les Paul & Mary Ford "Tiger Rag"Various Artists "Blues With Helen"Alvin Youngblood Hart "Pony Blues"Ocie Stockard & His Wanderers "Bass Man Jive"Billie Holiday "Long Gone Blues"John Hammond "Murder In The Red Barn"Flat Duo Jets "Frog Went a Courtin'"Cedric Burnside "I Be Trying"Fats Domino "Trouble In Mind"Billie Jo Spears "Get Behind Me Satan And Push"The White Stripes "My Doorbell"Joan Shelley "Rising Air"George Jones "Open Pit Mine"Leon Redbone "Champagne Charlie"

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Wat een geluk. We mochten op bezoek bij Charles Heidsieck, een van onze favoriete champagnehuizen. We trappen ons champagneweekend af met een lunch met de exportmanager en de chef de cave van Charles Heidsieck, krijgen een rondleiding door de kelders, proeven (bijna) de hele serie champagne, waaronder de bijzondere Blanc des Millénaires 2004 én 2006 - en als klap op de vuurpijl mogen we de chef de cave - Cyril Brun - interviewen voor onze podcast. We vragen hem alles over de champagnes, zijn werk en de toekomstplannen. Charles Heidsieck Charles Heidsieck wordt geïmporteerd door Les Genereux. Kijk op hun website voor een wijnwinkel bij jou in de buurt. Show notes ⛏️ Champagne in een mijn, huh? Is echt waar, kijk maar.

Alison Young is the Secretary of the British Music Hall Society.  She ran away from the law to research and write about her family connections with the Music Hall and has uncovered many little gems that she shares with us today."Dainty Daisy Dormer" was a Music Hall star.  She was also Alison's great great aunt.  She and her sisters toured around the UK  - and much further afield entertaining audiences in the thousands of music hall theatres that existed in the late 19th/early 20th centuries.As well as Daisy and Co., Alison talks about the art of Sickert, Degas, Lautrec and others who painted backstage scenes in theatres and music halls  and gives an insight into the non-glamorous world of 19th/20th Century showbusiness.Guest's fantasy dinner party guests:Morten HarketQueen VictoriaLaura KnightWalter SickertMax WallFor further info:Alison's Blog:  Music Hall Alice:https://musichallalice.wordpress.com/The British Music Hall Societyhttp://britishmusichallsociety.com/The British Newspaper Archive:https://www.britishnewspaperarchive.co.uk/My Old Man, A  Personal History of Music HallBy:  John MajorPublished by Harper CollinsBritish Music Hall: an Illustrated HistoryBy:  Richard Anthony BakerPublished by:  Pen & Sword BooksMusic:  "Champagne Charlie"  by Alfred Lee & George LeybournePlayed by:  James Hallhttps://www.jamesahall.co.uk/"I Wouldn't Leave My Little Hut For You" by Charles Collins & Tom MellorPlayed by :  Guy DeardonISRC number. GB3GU1200723Copyright owner Guy Deardenhttps://www.theatremusicshop.com/index.htmlEpisode edited and produced by: Jacob TaylorIf you'd like to help us in our work in keeping the podcast going do please consider becoming a patron.  It's really easy to do, just go to either:https://www.patreon.com/bluefiretheatreorhttps://ko-fi.com/bluefiretheatrewhere you can donate.   Even the smallest donation helps us get our shows on the road and keep the lights on in the studio and we are so grateful to you for all your support.And don't forget to follow us on social media.  We'd love to hear from you!  Find us at:https://twitter.com/famous_heardhttps://www.instagram.com/bluefire_tchttps://www.facebook.com/bluefiretheatrehttps://www.bluefiretheatre.co.uk/

In which Paul Du Noyer talks about his new book ‘In The City: A Celebration of London Music’ – the music hall roots of the Kinks, Small Faces, Dury, Squeeze and Madness, Broadside Ballads and how Champagne Charlie, Marie Lloyd, skiffle, rock and roll, the Stones, stage school brats like Lily Allen and the stars of grime are all linked to a common story-telling tradition. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Phil is an award winning singer songwriter who is a winner of the Chris Austin Songwriter contest at Merlefest. His songs have been recorded by many artists and he has many recordings with several different bands. Phil is one of North Carolina's finest songwriters. --- Send in a voice message: https://anchor.fm/sandy-carlton/message

Episode #028 - Please welcome two-time guest, Investigative Analyst Ryan Heethius of the Paris Field Office who speaks on his roles and responsibilities as a foreign field office IA for the Secret Service. He also speaks on an investigation he took part in back in the states called Champagne Charlie. IA Ryan Heethius is under the Investigative Support Division (ISD) for the Office of Investigations. Ryan has worked on many different cases to include, including counterfeit operations, money laundering, homicide, and cybercrime. The role of an Investigative Analysts are multi-faceted, consisting of broad-based criminological research, link analysis, intelligence data gathering, performing complex statistical analysis and trend forecasting for criminal and protective intelligence, develops curricula for and provides high-quality training for investigators, researchers, and support staff. IAs also travel frequently to support field offices and task forces, often assisting with search warrants and asset forfeiture. The work of IAs involves extensive knowledge of criminological theories, research methodologies, and the development and use of investigative and intelligence systems and analysis of investigative cases such as; financial crimes, access device fraud, telecom fraud, high- tech crimes, counterfeit U.S. currency and obligations, and protective intelligence. Special Thanks to Ryan Heethius and ISD for their time and support.  Special thanks to the executive leadership of the Secret Service and the Office of Communication and Media Relations for their continued time and support of this podcast. Hosted, Produced, and Edited by: Cody Starken Associate Producer and assistant editor: Starr Vazquez This episode is sponsored by the United States Secret Service.  www.secretservice.gov Music is “Nova Police” by Hermelin, found here:  www.hermelin.bandcamp.com/track/nova-police The music used in the podcast was altered from the original soundtrack by cutting specific sections of the music to create the intro and outro of the podcast.  This work Attribution-Noncommercial-sharealike 3.0 United States (CC BY-NC-SA 3.0 US), which license definition is located here: creativecommons.org/licenses/by-nc-nd/3.0 Want to join the Secret Service?  Click here to start your journey https://www.usajobs.gov/Search/?k=USSS&p=1 Please visit us at: Twitter @secretservice, Instagram @secretservice, Facebook @UnitedStatesSecretServiceOfficial, YouTube @US Secret Service, and LinkedIn @U.S. Secret Service Subscribe to the podcast at Apple Podcasts, Google Podcasts, or SoundCloud.com and find it at www.secretservice.gov/press/social-media/

So, these questions y’all sent us are some of the best we’ve seen so far! On this episode, we discuss whether or not a penis that is circumcised is better than one that is not and unbeknownst to us, Champagne Charlie was the perfect guest to have on the show for this! We also somehow ended up on the topic of people who are into sexual shit with animals – bestiality…EW! As usual, we went off task to a few other topics, but you gotta listen/watch to see just exactly WTF went down. THINGS TO DO DURING QUARANTINE: ~figure out what you used to love to do before adulting and go back to doing it. ~ study witchcraft and its origin…don’t go conjuring shit up tho. ~ karaoke…lots of free and cheap apps out there for this. ~ birthday parades and online parties…use apps like zoom, skype, or facetime. ~ social media questions to your friends list…the answers will keep you entertained ~ learn something new…an instrument, languages, self-help knowledge, & etc. ~ read books…reach for personal development. ~ so many more: workout, meal plan, couple time, self-care, catch up on shows, search profiles to be nosy (CJ - @luxe_styler & @the_pseudo_baker , Dee - @dk_jei , Brandi - @ohsoyourebrandi ), cook, learn holistic care, bake, sew… ~ IF YOU CAN SEW, CONSIDER MAKING MASKS FOR YOU LOCAL MEDICAL PERSONNEL!!! Aaannnnddddd…if you find it in your heart to do so, please check this link out to support our podcast. Every penny we receive from anchor’s support subscription will be put to use to bring you an even better experience as you listen/watch our shennanigans! Lowest contribution starts at $0.99 per month. https://anchor.fm/th3-triangl2/support (***Disclaimer: We don’t own any rights to songs sung in the episode…It never fails, I will always have to add a disclaimer for the Fire Tiger Twins

Hello, I'm Philip Holden and in this episode I talk to Tom Carradine, a dapper chap who is well known for his Cockney Singalong.Tom's word of the episode is quodlibet (no, me neither) while mine is craft, which I think suits the skill and talent Tom brings to the podcast.In this this chat Tom talks about his experience in the pit of West End musicals and as a piano entertainer - preserving and sharing great songs from over a century ago right up to the present day(ish). We discuss what makes a funny and engaging song - and how come we all know the chorus.You can find lots of Tom's work at - www.tomcarradine.com and www.carradinescockneysingalong.co.uk. Look for his singalong on Facebook and/or tomcarradinepianist and follow him on Twitter @tomcarradineIdeas in Writing is produced with the support of Mr Books Bookshop in Tonbridge - the home of inspiring, imaginative and intelligent books, gifts and conversation. You can find it at mrbooks.co.uk and on Twitter @mrbooks_ton to order all kinds of books new and second hand – or you can visit them – at least when they reopen after the Covid lockdown.CREDITS & linksTom also mentioned Champagne Charlie and the Bubbly Boys http://champagnecharliemusic.co.uk and Michael Roulston and Sarah Louise Young http://www.roulstonandyoung.co.uk/Ideas in Writing is recorded and produced by Philip Holden using Zencaster and Anchor.fmThe Ideas in Writing theme "Farting Around" is by Kevin MacLeod Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/The "Light Easy March" sting is by ...dog http://www.besonic.com/dogSupport this show http://supporter.acast.com/importing-606. See acast.com/privacy for privacy and opt-out information.

Hello, I'm Philip Holden and in this episode I talk to Tom Carradine, a dapper chap who is well known for his Cockney Singalong.Tom's word of the episode is quodlibet (no, me neither) while mine is craft, which I think suits the skill and talent Tom brings to the podcast.In this this chat Tom talks about his experience in the pit of West End musicals and as a piano entertainer - preserving and sharing great songs from over a century ago right up to the present day(ish). We discuss what makes a funny and engaging song - and how come we all know the chorus.You can find lots of Tom's work at - www.tomcarradine.com and www.carradinescockneysingalong.co.uk. Look for his singalong on Facebook and/or tomcarradinepianist and follow him on Twitter @tomcarradineIdeas in Writing is produced with the support of Mr Books Bookshop in Tonbridge - the home of inspiring, imaginative and intelligent books, gifts and conversation. You can find it at mrbooks.co.uk and on Twitter @mrbooks_ton to order all kinds of books new and second hand – or you can visit them – at least when they reopen after the Covid lockdown.CREDITS & linksTom also mentioned Champagne Charlie and the Bubbly Boys http://champagnecharliemusic.co.uk and Michael Roulston and Sarah Louise Young http://www.roulstonandyoung.co.uk/Ideas in Writing is recorded and produced by Philip Holden using Zencaster and Anchor.fmThe Ideas in Writing theme "Farting Around" is by Kevin MacLeod Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/The "Light Easy March" sting is by ...dog http://www.besonic.com/dog See acast.com/privacy for privacy and opt-out information.

Sound Designer, Social Commentator and Menace Tom Alcott joins me on a digressive musical exploration of Abney Park Cemetery, Stoke Newington, London, during which we discuss droning Post-Apocalyptic Gothscapes, a nomadic visionary creator of an electronic dulcimer, a Northumbrian experimental folk hero, the 'endless palette' of field recordings and Tom shares a clip from his jurassic cling-film magnum opus... We also play fictional song title ping pong, speculate liberally on the inhabitants of the cemetery (both dead and almost) and offer 'out-the-box' (⚰️) macabre musings on 21st century mortality. Apocalypse Bunker Discs ☢️

Athena travels to Sydney and finally meets the victim of the 97 arena gig, as well as the son of one of the Many Wives of Juliet Knives. She returns home where she is welcomed by a surprise visit from some very unexpected guests... The Juliet Knives soundtrack EP is now available on bandcamp, Spotify, iTunes and all other music platforms!  Our writer J.M. Donellan has a new collection of ridiculous poems for kids called 19½ Spells Disguised As Poems released via our sponsor Odyssey Books.  This week's episode is brought to you by Champagne Charlie and the Amazing Gladys, the new steampunk adventure from B. G. Hilton out now via Odyssey Books. If you're enjoying the show, we'd love you to become one of our wonderful patrons on patreon, leave a review on your favourite podgetting thing, or hire a skywriter to say how much you love it.  This week's Juliet Knives testimonial is from Alex C. Talendar, writer of the immersive and mysterious sci-fi podcast Ostium.  CAST: Melanie Zanetti, Elizabeth Best, Hayley Francis, Jessica McGaw, Liam Soden, Jenna Saini, Tom Yaxley.Check out Elizabeth's podcasts Castology and Ghosts of Boyfriends Past. 

In 1851, stylish young entrepreneur, Charles Heidsieck (known as Champagne Charlie), founded his namesake Champagne house in Reims to produce cuvées blended from 40 percent reserve wines averaging 10 years old. Only 60 crus from Champagne are blended to create all Charles Heidsieck Champagnes. Brand Ambassador Philippe André discusses the label's signature styles and we taste Charles Heidsieck Brut Reserve NV Importer: Folio Fine Wine Partners www.foliowine.com www.charlesheidsieck.com/en This show is brought to you by Talk 4 Radio (http://www.talk4radio.com/) on the Talk 4 Media Network (http://www.talk4media.com/).

What a cracking episode, not just because we got to spend it drinking Champagne, but because we got to chat with our guest Charles, who thought it appropriate to bring an egg along to the tasting. You can imagine this is certainly not your standard episode. Alongside Janina being named Janina the Yoghurt, some dyslexia chat and the fact that Charles came with a damp crotch, we manage to talk about vintages of champagne, the grapes used and the new potential varieties the CIVC is planning on crossing. We discuss what disgorgement is and how to do it the traditional way. Learn what food pairs well with champagne, how rose champagne is actually made, grower champagnes, classification of the villages and some labelling terms. This episode we tasted Rene Jolly RJ Cuvee Speciale (£42, Soho Wine Supply ), Billecart-Salmon Rose NV (£60, Laithewaites ), 2012 Philipponnat Blanc de Noirs Brut ( £49.50 Justerinis ) and Justerini & Brooks, 250th Anniversary Cuvée, Champagne, Extra Dry, NV ( £22, Justerinis ) What’s your favourite champagne? What did you think of the episode? Leave us your comments here or on Instagram/twitter @unfilteredpcast Cheers!   Are sponsor Sommelier Socks Links Below to treat your self or a friend  https://jonathankleeman.com/shop/ https://www.amazon.co.uk/sp?_encoding=UTF8&asin=B07QVMWYRX&isAmazonFulfilled=0&isCBA=&marketplaceID=A1F83G8C2ARO7P&orderID=&seller=A3J7DVZ0CQ6A3K&tab=&vasStoreID= https://www.etsy.com/uk/shop/SommelierSocks?ref=simple-shop-header-name&listing_id=704203561&ga_search_query=sommelier%20socks

Episode 29: David Mills is joined by Lynn Ruth Miller and Champagne Charlie for Focus People! A look back at the week and a look ahead to a more dynamite future.   Recorded weekly at the Bill Murray Pub in Islington, London.   Contact the show via email: FocusPeoplePodcast@gmail.com   Contact the show on Twitter: https://twitter.com/FocusPeoplePod     Focus People Theme by Danny Calvi   Accounts: https://twitter.com/DavidMillsDept https://twitter.com/artdecodandy http://lynnruthmiller.net/ Recorded and Edited by Matthew Sanders

Show #793 Again, We Lost Some... In this episode of Bandana Blues Spinner pays respect to a few artists who passed away recently. And ofcourse there's the usual eclectic mix of great music, old and new. 01. Los Lonely Boys - Can't Slow Down (3:16) (Revelation, Blue Rose/Playing In Traffic Records, 2014) 02. Christone "Kingfish" Ingram - Hard Times (3:08) (Kingfish, Alligator Records, 2019) 03. Ally Venable - Come And Take It (4:50) (Texas Honey, Ruf Records, 2019) 04. Koerner, Ray & Glover - Southbound Train (4:07) (Lots More Blues Rags & Hollers, Elektra Records, 1964) 05. Adam Holt - Give The Dog A Bone (3:25) (Kind Of Blues, Zenith Records, 2019) 06. J.P. Reali - Whiskey For Blood (5:19) (A Highway Cruise, Reali Records, 2019) 07. Geoff Muldaur - The Wild Ox Moan (4:45) (The Secret Handshake, Hightone Records, 1998) 08. Geoff Muldaur and the Texas Sheiks – The World Is Going Wrong (3:08) (Texas Sheiks, Tradition & Moderne, 2009) 09. Rattlebone - World's Gone Crazy (4:43) (World's Gone Crazy, Rattlebone Records, 2019) 10. Kenny Parker - Half Crazy (3:20) (Hellfire, Rock-A-While Records, 2019) 11. Moreland & Arbuckle - Pittsburgh In The Morning, Philadelphia At Night (4:42) (1861, Northern Blues, 2008) 12. Chicken Shack - Pocket (3:19) (Accept, Blue Horizon, 1970) 13. Savoy Brown - Let It Rock (3:17) (Street Corner Talking, Deram Records, 1971) 14. Leon Redbone - Nobody's Sweetheart (2:12) (Double Time, Warner Bros Records, 1977) 15. Leon Redbone - TB Blues (3:53) (Champagne Charlie, Warner Bros Records, 1978) 16. Leon Redbone - You Nearly Lose Your Mind (2:31) (No Regrets, Sugar Hill Records, 1988) 17. Grady Champion - Who You Been Giving It To (2:58) (Steppin' In, Malaco Records, 2019) 18. Bo Ramsey - Burn It Down (2:52) (Fragile, Continental Song City, 2008) 19. Commander Cody - Midnight Man (4:19) (Rock 'N Roll Again, Arista Records, 1977) 20. The Cretins - Haven't Got A Clue (2:55) (Digital Download Single, Dirty Water Records, 2019) 21. Richard van Bergen & Rootbag - Snap! (2:07) (Walk On In, Naked, 2017) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Goffredo Fofi racconta "Champagne Charlie" (1944) di Alberto Cavalcanti, una film musicale liberamente ispirato alla rivalità dei musicisti George Leybourne e Alfred Vance, interpretati dalle star del momento Tommy Trinder e Stanley Holloway. Uno ...

In the 1870s, one of the most popular forms of entertainment attended by American working-class men was variety—a succession of unrelated bawdy acts that preceded its tamer later nineteenth-century cousin, vaudeville. Gillian M. Rodger, author of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage (University of Illinois Press, 2018), introduces the reader to some of the stars of these shows—male impersonators, women who dressed and performed as men on stage. Focusing on the period between about 1870 and World War I, Rodger traces how their acts changed over time as American ideas about gender and class also changed. Along the way, Rodger presents a fascinating cast of characters who defied social and sexual norms on stage and off. A few women even managed to marry their same-sex partners. But Rodger’s book is about more than just an obscure theatrical performance practice because her work illuminates the intersections and connections between class, sexuality, and gender. Historical musicology tends to skew to the middle class, but male impersonation was entertainment for the working class. Through examining the content of these acts, as well as their reception, Rodger argues that during the second half of the nineteenth century, working class men began to guard their access to employment and the public sphere against competition from women, just as middle-class women began to break into the public sphere through work and political activity in support of women’s suffrage. The more realistic acts that lampooned middle-class masculinity that male impersonators once performed for an all-male working class audience became more focused on respectability and upholding conservative social values by the early twentieth century as audiences became mixed gender and more middle-class. Gillian M. Rodger is a professor of ethnomusicology and musicology at the University of Wisconsin-Milwaukee. Her research centers on popular musical entertainment in the nineteenth century and American white working-class culture. In all her work, Rodger is interested in the dramatic function of songs in non-narrative entertainments and how those songs reflect contemporary ideas about gender, class, and sexuality. She has published articles in several journals including American Music and Musical Quarterly. Her first book, Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century (2010), surveys the history of variety beginning in the 1840s. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1870s, one of the most popular forms of entertainment attended by American working-class men was variety—a succession of unrelated bawdy acts that preceded its tamer later nineteenth-century cousin, vaudeville. Gillian M. Rodger, author of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage (University of Illinois Press, 2018), introduces the reader to some of the stars of these shows—male impersonators, women who dressed and performed as men on stage. Focusing on the period between about 1870 and World War I, Rodger traces how their acts changed over time as American ideas about gender and class also changed. Along the way, Rodger presents a fascinating cast of characters who defied social and sexual norms on stage and off. A few women even managed to marry their same-sex partners. But Rodger’s book is about more than just an obscure theatrical performance practice because her work illuminates the intersections and connections between class, sexuality, and gender. Historical musicology tends to skew to the middle class, but male impersonation was entertainment for the working class. Through examining the content of these acts, as well as their reception, Rodger argues that during the second half of the nineteenth century, working class men began to guard their access to employment and the public sphere against competition from women, just as middle-class women began to break into the public sphere through work and political activity in support of women’s suffrage. The more realistic acts that lampooned middle-class masculinity that male impersonators once performed for an all-male working class audience became more focused on respectability and upholding conservative social values by the early twentieth century as audiences became mixed gender and more middle-class. Gillian M. Rodger is a professor of ethnomusicology and musicology at the University of Wisconsin-Milwaukee. Her research centers on popular musical entertainment in the nineteenth century and American white working-class culture. In all her work, Rodger is interested in the dramatic function of songs in non-narrative entertainments and how those songs reflect contemporary ideas about gender, class, and sexuality. She has published articles in several journals including American Music and Musical Quarterly. Her first book, Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century (2010), surveys the history of variety beginning in the 1840s. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1870s, one of the most popular forms of entertainment attended by American working-class men was variety—a succession of unrelated bawdy acts that preceded its tamer later nineteenth-century cousin, vaudeville. Gillian M. Rodger, author of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage (University of Illinois Press, 2018), introduces the reader to some of the stars of these shows—male impersonators, women who dressed and performed as men on stage. Focusing on the period between about 1870 and World War I, Rodger traces how their acts changed over time as American ideas about gender and class also changed. Along the way, Rodger presents a fascinating cast of characters who defied social and sexual norms on stage and off. A few women even managed to marry their same-sex partners. But Rodger’s book is about more than just an obscure theatrical performance practice because her work illuminates the intersections and connections between class, sexuality, and gender. Historical musicology tends to skew to the middle class, but male impersonation was entertainment for the working class. Through examining the content of these acts, as well as their reception, Rodger argues that during the second half of the nineteenth century, working class men began to guard their access to employment and the public sphere against competition from women, just as middle-class women began to break into the public sphere through work and political activity in support of women’s suffrage. The more realistic acts that lampooned middle-class masculinity that male impersonators once performed for an all-male working class audience became more focused on respectability and upholding conservative social values by the early twentieth century as audiences became mixed gender and more middle-class. Gillian M. Rodger is a professor of ethnomusicology and musicology at the University of Wisconsin-Milwaukee. Her research centers on popular musical entertainment in the nineteenth century and American white working-class culture. In all her work, Rodger is interested in the dramatic function of songs in non-narrative entertainments and how those songs reflect contemporary ideas about gender, class, and sexuality. She has published articles in several journals including American Music and Musical Quarterly. Her first book, Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century (2010), surveys the history of variety beginning in the 1840s. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1870s, one of the most popular forms of entertainment attended by American working-class men was variety—a succession of unrelated bawdy acts that preceded its tamer later nineteenth-century cousin, vaudeville. Gillian M. Rodger, author of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage (University of Illinois Press, 2018), introduces the reader to some of the stars of these shows—male impersonators, women who dressed and performed as men on stage. Focusing on the period between about 1870 and World War I, Rodger traces how their acts changed over time as American ideas about gender and class also changed. Along the way, Rodger presents a fascinating cast of characters who defied social and sexual norms on stage and off. A few women even managed to marry their same-sex partners. But Rodger’s book is about more than just an obscure theatrical performance practice because her work illuminates the intersections and connections between class, sexuality, and gender. Historical musicology tends to skew to the middle class, but male impersonation was entertainment for the working class. Through examining the content of these acts, as well as their reception, Rodger argues that during the second half of the nineteenth century, working class men began to guard their access to employment and the public sphere against competition from women, just as middle-class women began to break into the public sphere through work and political activity in support of women’s suffrage. The more realistic acts that lampooned middle-class masculinity that male impersonators once performed for an all-male working class audience became more focused on respectability and upholding conservative social values by the early twentieth century as audiences became mixed gender and more middle-class. Gillian M. Rodger is a professor of ethnomusicology and musicology at the University of Wisconsin-Milwaukee. Her research centers on popular musical entertainment in the nineteenth century and American white working-class culture. In all her work, Rodger is interested in the dramatic function of songs in non-narrative entertainments and how those songs reflect contemporary ideas about gender, class, and sexuality. She has published articles in several journals including American Music and Musical Quarterly. Her first book, Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century (2010), surveys the history of variety beginning in the 1840s. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1870s, one of the most popular forms of entertainment attended by American working-class men was variety—a succession of unrelated bawdy acts that preceded its tamer later nineteenth-century cousin, vaudeville. Gillian M. Rodger, author of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage (University of Illinois Press, 2018), introduces the reader to some of the stars of these shows—male impersonators, women who dressed and performed as men on stage. Focusing on the period between about 1870 and World War I, Rodger traces how their acts changed over time as American ideas about gender and class also changed. Along the way, Rodger presents a fascinating cast of characters who defied social and sexual norms on stage and off. A few women even managed to marry their same-sex partners. But Rodger’s book is about more than just an obscure theatrical performance practice because her work illuminates the intersections and connections between class, sexuality, and gender. Historical musicology tends to skew to the middle class, but male impersonation was entertainment for the working class. Through examining the content of these acts, as well as their reception, Rodger argues that during the second half of the nineteenth century, working class men began to guard their access to employment and the public sphere against competition from women, just as middle-class women began to break into the public sphere through work and political activity in support of women’s suffrage. The more realistic acts that lampooned middle-class masculinity that male impersonators once performed for an all-male working class audience became more focused on respectability and upholding conservative social values by the early twentieth century as audiences became mixed gender and more middle-class. Gillian M. Rodger is a professor of ethnomusicology and musicology at the University of Wisconsin-Milwaukee. Her research centers on popular musical entertainment in the nineteenth century and American white working-class culture. In all her work, Rodger is interested in the dramatic function of songs in non-narrative entertainments and how those songs reflect contemporary ideas about gender, class, and sexuality. She has published articles in several journals including American Music and Musical Quarterly. Her first book, Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century (2010), surveys the history of variety beginning in the 1840s. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1870s, one of the most popular forms of entertainment attended by American working-class men was variety—a succession of unrelated bawdy acts that preceded its tamer later nineteenth-century cousin, vaudeville. Gillian M. Rodger, author of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage (University of Illinois Press, 2018), introduces the reader to some of the stars of these shows—male impersonators, women who dressed and performed as men on stage. Focusing on the period between about 1870 and World War I, Rodger traces how their acts changed over time as American ideas about gender and class also changed. Along the way, Rodger presents a fascinating cast of characters who defied social and sexual norms on stage and off. A few women even managed to marry their same-sex partners. But Rodger’s book is about more than just an obscure theatrical performance practice because her work illuminates the intersections and connections between class, sexuality, and gender. Historical musicology tends to skew to the middle class, but male impersonation was entertainment for the working class. Through examining the content of these acts, as well as their reception, Rodger argues that during the second half of the nineteenth century, working class men began to guard their access to employment and the public sphere against competition from women, just as middle-class women began to break into the public sphere through work and political activity in support of women’s suffrage. The more realistic acts that lampooned middle-class masculinity that male impersonators once performed for an all-male working class audience became more focused on respectability and upholding conservative social values by the early twentieth century as audiences became mixed gender and more middle-class. Gillian M. Rodger is a professor of ethnomusicology and musicology at the University of Wisconsin-Milwaukee. Her research centers on popular musical entertainment in the nineteenth century and American white working-class culture. In all her work, Rodger is interested in the dramatic function of songs in non-narrative entertainments and how those songs reflect contemporary ideas about gender, class, and sexuality. She has published articles in several journals including American Music and Musical Quarterly. Her first book, Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century (2010), surveys the history of variety beginning in the 1840s. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Show #728 Great Stuff from Past & Present For this show Spinner browsed thru his vinyl record collection and picked out a few tracks from the past. But he also presents to you some more recent music, even some brand new stuff. Enjoy! 01. Buzzy Linhart - The Bag I'm In (3:47) (Music, Eleuthera Records, 1970) 02. Ike & Tina Turner - Sho Ain't Me (3:08) (So Fine, London Records, 1968) 03. Steve Miller Band - Lucky Man/Gangster Of Love (4:26) (Sailor, Capitol, 1968) 04. Andy B.AND - Slow Dancin' Barefoot (4:22) (My Roots Are Showing, self-release, 2016) 05. Jack Mack & The Heart Attack Horns - Good Man Gone (3:07) (Lookin' Up, Superstar Records, 2013) 06. Imelda May with Jools Holland & his Rhythm & Blues Orchestra - Black Tears (4:37) (Live @ Jools Annual Hootenanny, January 1, 2017) 07. Jack Elliott - Black Snake Moan (3:21) (Jack Elliott, Vanguard, 1964) 08. Bad Brad & the Fat Cats - Other Side (4:36) (Take A Walk With Me, Tangle Eye Records, 2014) 09. Jr. Walker & the All Stars - San Ho Zay (2:47) (Road Runner, Tamla-Motown, 1966) 10. Ronnie Earl & the Broadcasters - San Ho Zay (3:29) (Smoking, Black Top Records, 1983) 11. Laurie Jane & the 45's - It's Been A Long Time (4:29) (Midnight Jubilee, Down In The Alley Records, 2017) 12. Leon Redbone - I Hate A Man Like You (3:40) (Champagne Charlie, Warner Bros, 1978) 13. The Bush League - Show You Off (5:16) (James RiVAh, self-release, 2018) 14. Walter 'Wolfman' Washington - Get On Up (The Wolfman's Song) [1981] (7:14) (Rainin' In My Life, Maison De Soul, 1987) 15. Senator Jones - Call The Sheriff (2:19) (45 RPM Single, Whurley Burley, 1963) 16. Bluesbones - Demon Blues (4:22) (Chasing Shadows, Naked, 2018) 17. Coleman Hawkins - September Song [1954] (3:28) (Confessin', Savoy Jazz, 2005) 18. Gary Primich - September Song (3:34) (My Pleasure, Amazing Records, 1992) 19. Delbert & Glen - More And More, Less And Less (2:53) (Blind Crippled And Crazy, New West, 2013) 20. Ghost Town Blues Band - I Get High (9:53) (Backstage Pass, Self-release, 2018)

U.S. Tygers is a young band, but its members are established local musicians. The Denver quintet features several members of jazz-punk group Champagne Charlie. U.S. Tygers' music leans more towards country and Americana rock, with heavy use of lap steel guitar. The band released its debut album last year and followed it up with the "High, Wasted Genes" EP in July. U.S. Tygers stopped into the CPR Performance Studio to play songs from the new EP as well as a brand new song.

show#43404.21.12Black Screen of Death all this week....been workin' like a dog to try and repair whatever is wrong but JUST as I finished the show (I did it in segments so if it f'ed up, I wouldn't lose the whole thing, it BSOD'd me again... whew... that was close!! Hey, all that work for youse guys... we luvz ya'!! So,Donations in the tip jar online accepted with gratitude at  Tip JarMainline- O Canada/Ezmerelda (Bump 'N' Grind Revue LP 1972)Levon Helm - Rain Down Tears (RCO All-Stars LP 1977)Levon Helm - Tie That Binds (RCO All-Stars LP 1977)Spinner's Section:ALL VINYL!!!Leon Redbone: big bad Bill (is sweet William now) (3:16) (Champagne Charlie, Warner Bros, 1978)David Burgin: tick tock (2:54) (Wild Child, Flying Fish, 1984)Percy Mayfield: river's invitation (4:55) (Hit The Road Again, Timeless, 1982)Eddy Clearwater: blues for breakfast (6:07) (The Chief, Rooster, 1980)Paula Lockheart: voo-it (2:42) (Voo-It, Flying Fish, 1987)Flavium: too early in the morning (3:11) (No Kiddin', Polydor, 1979)Bob Dylan: in my time of dyin' (2:37) (-, CBS, 1962)Pete Mayes: honeysucker (3:30) (I'm Ready, Double Trouble, 1986)Cuby+Blizzards & Eddy Boyd: no place like home (3:09) (Praise The Blues, Philips, 1967)Denise Lasalle: holding hands with the blues (4:30) (It's Lying Time Again, Malaco, 1987)B.B. King: don't break your promise (1958) (2:23) (Blues Rarities, Chess, 1984)Levon Helm: Nashville wimmin (4:13) (American Son, MCA, 1980)Back To Beardo:The Coasters - Yakety Yak (The Ultimate Coasters)Omar & the Howlers - You Made Me Laugh (Essential Collection Disc 1 2012)Nimmo Brothers - Shape I'm In (Brother To Brother 2012)Anders Osborne - When I'm Back On My Feet (When I'm Back On My Feet 2007)Darrel Nulisch - Far Too Lonely (Just For You 2009)Roomful Of Blues - Back on Front Street (The Blues'll Make You Happy, Too! 2000)David Gogo - Time Is Killing Me (Soul Bender 2011)Hollywood Fats Band - Too Many Drivers (Rock This House 1979)Bill Stuve - Feel so Good (Big Noise 2000)Duke Robillard - Money Gettin Cheaper (Stomp the Blues Tonight 2010)Climax Blues Band - City Ways (Plays On 1969)David Bromberg Feat. Widespread Panic - Old Neighborhood (Use Me 2011)David Maxwell/Otis Spann - David in the Dark (Conversations in Blue 2010)Vidar Busk & The Voo Doodz - Red Lipstick (Jookbox Charade 2007)Savoy Brown - A Hard Way to Go (Raw Sienna 1970)Sandy Mack - Road Warrior (Still Going Strong 2009)Gaye Adegbalola - The Cleanest Kid (BLUES IN ALL FLAVORS 2012)Phantom Blues Band - Change (Inside Out 2012)

show#34808.07.10ttp://traffic.libsyn.com/beardo1/show348.mp3Want to find out if YOUR music makes the cut? Email thebeardo@gmail.com for details!Look for Beardo on Facebook...(never thought I'd be a FB geek!!)Lee Sankey - I Don't Like My Way of Living with David Migden vocal (My Day Is Just Beginning 2001)Howlin' Wilf & The Vee-Jays - Same Old Nothing Shout Sister Shout - Ride My HorseKirk Fletcher - Natural Anthem (My Turn 2010)Shawn Pittman & The Moeller Brothers (Do Yo Best & Can' Da Rest Triple Troubles 2010)Colin James - Reet Petite (Colin James & The Little Big Band III 2006)Snowy White Blues Project - One Way Ticket (In Our Time ....LIVE 2010)Spinner's section:some acoustic bluesNighthawks: I'll go crazy (2:55) (Last Train To Bluesville, Rip Bang, 2010)Candye Kane: fine brown frame (2:58) (Guitar'd And Feathered, Ruf, 2007)Bjørn Berge: run in on a groove (4:24) (Stringmachine, Blue Mood/Warner, 2001)Maybe It's The Blues: I ain't gonna do it (no more) (3:01) (No less Than Wireless, MW, 1995)Snatch It Back: ballad of Edward Johnson (2:53) (Dynamite, Tramp, 1990)Sunny & her Joy Boys: I'm satisfied (4:30) (Introducing…, Stony Plain, 2009)Guy Forsyth: Adam's rib (4:58) (Steak, Antone's, 2000)Eugene Bridges: big legged woman (4:04) (-, Armadillo, 2007)Champagne Charlie: mister snake doctor man (3:57) (No less Than Wireless, MW, 1995)Popa Chubby: stoned again (4:42) (Stealing The Devils Guitar, Dixiefrog, 2006)Back To Beardo:The Nighthawks - 16 Tonz (Live at The Chestnut Caberet 1983)Peter Green - I've Got A Mind To Give Up Living_All Over Again (LIVE at Warehouse, New Orleans, LA 01/31/70)Stones with Buddy Guy -  Champagne N Reefer- LiveJohn Nemeth - Mother In Law Blues (The Jack of Harps 2002)Ron Levy - Square Business w/ Smokin' Joe Kubeck (Best Grooves & Jams 2003)Magness/Turmes - Dummy On Your Knee (It Takes One To Know One 1997)Jef Lee Johnson - Ain't Seen Irene (Singularity 2000)

show#31612.12.09Jimmy Carpenter - Screeching Halt (5:10)Mikey Jr. - Silent NightPatrick Sweany - Blue All the Time (3:13)Jeff Turmes - The More I Keep On Losing (3:36)Kirk Fletcher - My Home Is a Prison (4:38)Spinner's Section:some accoustic bluesChris Whitley: immortal blues (2:31) (Terra Incognita, Columbia, 1997)Champagne Charlie: doctor Charlie's medicine show (2:37) (No less Than Wireless, MW, 1995)Greyhound: weeping willow (4:37) (No less Than Wireless, MW, 1995)Taildraggers: the big 40 (4:09) (No less Than Wireless, MW, 1995)Maybe It's The Blues: my good for nothin' (3:45) (No less Than Wireless, MW, 1995)Ian Siegal: the ballad of big-foot Chester (4:22) (Broadside, Nugene, 2009)Catfish Keith: tell me, baby (3:44) (Pepper In My Shoe!, Fish Tail, 1991)Archie Edwards: that won't do (3:32) (Blues 'n Bones, Mapleshade, 1991)Eric & Leon Bibb: deep river (2:11) (Praising Peace, Stony Plain, 2006)James Hunter: strange but true (3:16) (The Hard Way, Go, 2008)Back to Beardo:Alastair Greene Band - Walking in Circles (3:45)Jimmy McCracklin - The Walk (2:47)JOHN MAYALL - Nothing to Do with Love (5:55)Black Joe Lewis & The Honeybea - Big Booty Woman (3:05)Porky Pig - Blue Christmas (1:59)George Jones - Root Beer (2:40)Dale Hawkins - Tornado (2:28)Memphis Cradle - It's Good to Be the King (3:37)John Hiatt - The Most Unoriginal Sin (4:15)Kevin McKendree - Think For Yourself (2:58)Ruben V - I Say, You Say (3:54)Sonny Boy Williamson - Your Funeral And My Trial (2:32)Bo Diddley - Ooh Baby (2:51)Nick Curran - She's Evil (3:34)Dave Hole - Rough Diamond Child (4:48)Elmo Williams - Booster (3:16)Does your music make the cut?Contact Beardo at thebeardo@gmail.com and we we'll talk..Meanwhile, Bandana Blues archives at http://beardo1@libsyn.com