Podcast appearances and mentions of Cole Porter

Croon•er (n) ['kru:nər]: a singer, particularly a male one, who sings sentimental songs in a soft, low voice. Decades before Elvis, The Beatles, Michael Jackson, Justin Bieber, or Uncle Gregg captured the hearts, imaginations, and undergarments of a swooning audience, crooners ruled the earth. The term typically conjures up golden throated singers like Bing Crosby, Nat "King" Cole, Tony Bennett, and Mel Torme interpreting the timeless songs of Jerome Kern, Johnny Mercer, George Gershwin, Cole Porter, and Irving Berlin. But one crooner reigned supreme: Ol' Blue Eyes himself, Frank Sinatra. He was "The Voice," possessing an instrument of rare, pure, crystalline perfection, with a phrasing, tone, and ability to charge every word with such emotion that you can palpably sense his audience getting weak in the knees. Never has Sinatra's legendary 1940s performing career sounded as immaculately and pristinely alive as it does on the SING label's recent archival projects: At the Hollywood Bowl 1943-48; Christmas on the Air; and the 5-LP box set Long Ago, Far Away, all lovingly restored and mastered by an award winning team and featuring exquisitely detailed liner notes by no greater authority than record producer, historian, archivist, author of the acclaimed Sessions with Sinatra, and host of the weekly radio show Sinatra Standard Time, Chuck Granata. We are fortunate to have Chuck join us this week to chat about all things Sinatra: the innovative new sets, his important role in pop music's breakthrough, his classic and most underrated albums, and the use of AI for good. And, of course, because O3L is focused on classic alternative music, our lists cover some of our favorite singers who carried on crooning into the '70s, '80s & '90s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Er war leidenschaftlicher Musiker und Entertainer, hat Welthits wie "Night And Day" oder "Love For Sale" geschrieben und ist vom Broadway nicht mehr wegzudenken - der 1891 geborene amerikanische Songwriter Cole Porter.

La Sant Andreu Jazz Band, que dirige Joan Chamorro, cumple 20 años. En 2025 se publicaron dos discos más de la serie 'Jazzing: de 'Jazzing 15 volumen 1', editado en agosto, 'Isfahan' de Billy Strayhorn, 'Get me to the church on time', 'In a mellow tone' de Duke Ellington, 'I´ll never be the same', 'Night and day' de Cole Porter y, de Thad Jones ambas, 'A child is born y 'Three and one'; de 'Jazzing 15 volumen 2', que se editó el pasado mes de diciembre, 'You´d be so nice to come home to' de Cole Porter, 'Poor butterfly', 'Original Dixieland one step' y 'Undecided'. Escuchar audio

Tom Sutcliffe is joined by writer Alexander Larman and critic Arifa Akbar to discuss:A new production of High Society, Cole Porter's musical showcase at London's Barbican, starring Call the Midwife's Helen George in the role of the amorously vexed Long Island socialite Tracy Lord who finds her heart pulled in every which direction. Also starring Freddie Fox and Felicity Kendal.The film Savage House starring Richard E. Grant and Claire Foy, a dark satire telling a cautionary tale of greed and social climbing, set against the backdrop of 18th century England, a Pox outbreak and Jacobite Uprising. And Fiona Mozley's new book about memory, Awake Awake, in which protagonist Mary is struggling to decipher whether her recollections are fact or fiction. We also speak to the CEO of Arts Council England about their new direction.

A new revival of the Cole Porter scored musical HIGH SOCIETY has opened at the Barbican in London.The production, which is based on the movie musical of the same name, is one of the largest stagings in the show's history and seems to seek to rival Anything Goes for joyous, all-dancing scale.Check out what Mickey-Jo thought of the show, having seen 3 other productions in the past, and whether it works on this large scale...check out Mickey-Jo's substack newsletter:www.mickeyjotheatre.substack.com•00:00 | introduction02:35 | overview / material11:17 | performances16:19 | creative choices22:24 | conclusionAbout Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 95,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE-Anspiel diesmal ist: “St. Thomas“ – 1928 komponiert von Cole Porter. Folgende Titel sind zu hören : 1.Watermelon Man – Woody Herman 5:16 2.I want to be happy – Lester Young, Nat “King” Cole & Buddy Rich 3:55 3.Serendipity – Philipp Schiepek / Lorenz Wildauer 4:42 4.The Girl from Ipanema – Lou Rawls 4:23 5.St. Thomas – Sonny Rollins & Co. 3:57 6.Sweet Lorraine – Johnny Mercer 3:09 7.The continental – De-Phazz & George Shearing feat. Malia 2:49 8.Now's the time – Eddie Jefferson 4:34 9.These foolish things – Teddy Wilson 3:02 Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

This week on “Talk About Las Vegas With Ira,” Ira welcomes acclaimed vocalist Jonathan Karrant, who brings his celebrated tribute to legendary composer and songwriter Cole Porter to Myron's at The Smith Center on June 9. Jonathan reflects on his own journey from Ft. Smith, Arkansas to Manhattan, Los Angeles and ultimately Las Vegas, where he has become one of the city's most respected interpreters of the Great American Songbook. Jonathan shares how, at a very young age, he fell in love with classic standards after discovering compilation albums by Ella Fitzgerald and Julie London, which introduced him to the sophisticated wit and emotional depth of Cole Porter's music. Calling the Great American Songbook “America's poetry,” Jonathan explains why these timeless songs continue to resonate across generations, adapting effortlessly into swing, waltz and count-less musical styles. The conversation also explores Jonathan's deep connection with live audiences, which he describes as an ongoing “conversation,” and how audience energy shapes every perfor-mance. He discusses his passion for recording music in the studio, preserving moments in time through albums. Jonathan also talks about collaborating with jazz singer and pianist Diane Schuur and performing his latest single with her, “Caught a Touch of Your Love,” from the album Full Circle. Filled with stories about music, artistry, sophistication and timeless songwriting, this episode is a must-listen for fans of jazz, cabaret and the enduring brilliance of the Great American Songbook. (Also Watch Full Podcast Video)

Diese Sendung hat Jörg Müller-Jahns zusammengestellt. Das LIVE-Anspiel diesmal ist: “Let's do it (let's fall in Love)“ – 1928 komponiert von Cole Porter. Folgende Titel sind zu hören : 1. Milestones – Miles Davis Sextet 5:41 2. Solar – Miles Davis Quintet 4:43 3. Time after Time – Miles Davis 3:32 4. Let's do it (let's fall in Love) – Dee Dee Bridgewater 3:31 5. So deep, soul deep – Torsten Goods feat. Incognito 6:18 6. Arturiana – Edgar Knecht Trio 7:44 7. Accordion Joe – Cornell and his Orchestra 3:20 8. Blue in Green – Miles Davis 5:35 Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

durée : 00:23:44 - par : Laurent Valière - Anything goes de Cole Porter, Production de 2011 à Broadway mise en scène et chorégraphiée par Kathleen Marshall avec Sutton Foster Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Hoy vamos a hablar de literatura. De literatura que fue capaz de representar a toda una era. De literatura que otorgó un aura poética a toda una generación entregada a la catarsis y al despilfarro. De literatura que nació del ansia infinita de amar ante una recompensa que nunca es del todo satisfactoria. Hoy en Nadie al Volante vamos a hablar de uno de los escritores más importantes del siglo XX que perteneció a la generación de entreguerras y que se convirtió en uno de sus narradores más brillantes e inspirados, y que supo trasladar de manera única en sus novelas y relatos sus obsesiones y sus inquietudes que no dejaron de ser, a la postre, las mismas que las de toda su generación, que trataba de encontrar respuestas ante la sangre derramada sobre los campos en la Gran Guerra y en el posterior desenfreno que se instaló en una sociedad que aspiraba a seguir adelante bañándose en alcohol prohibido, en ambición desmedida y en el éxtasis perpetuo, para dejar atrás una de las mayores catástrofes a la que ha tenido que enfrentarse la humanidad. Hoy en Nadie al Volante vamos a continuar con la ardua tarea de desentrañar a la maravillosa Generación Perdida en este segundo monográfico que le vamos a dedicar junto con el maestro entre maestros, nuestro filólogo, traductor y editor de cabecera, Rafael Peñas Cruz en su sección Filología Inglesa, tratando a uno de nuestros autores predilectos, cuyas huellas podemos seguir rastreando en muchos de nuestros escritores favoritos de la actualidad como muestra de una grandeza que esta reservada para unos pocos escogidos. Así que vamos a comprarnos una mansión desde donde podremos contemplar la casa donde vive la mujer a la que hemos coronado en nuestros sueños, justamente a este lado del Paraíso, y esta misma noche vamos a dar una fiesta épica, de esas que solo nosotros somos capaces de ofrecer. Recordaremos la estancia en la Riviera francesa, los locos años pasados en París junto a Hemingway y compañía. Nos adentraremos en los abismos de la locura en la suavidad de la noche de los sanatorios de suiza, para acabar en otra fiesta, sirviéndonos una última copa sobre el piano que toca Cole Porter para confesar a una sofisticada dama a la que estamos tratando de seducir, que seguimos siendo Hermosos y Malditos. Hablamos de Scott Fitzgerald.

Award-winning pianist, composer and filmmaker Dina Mondello—director of Anything Goes at North Fork Community Theater— joins Heart of The East End with Gianna Volpe on WLIW-FM ahead of the immersive Cole Porter tap show's run at NFCT from May 14 through May 31.Listen to the playlist on Apple Music

Con Xavier Cugat, Cole Porter, Abbe Lane, Soledad Pastorutti, Facundo Cabral, Chaqueño Palavecino, José Larralde, Jorge Cafrune, Enya, Brian Eno, Lito Vitale, Loreena McKennitt y Michael Nyman.

Send us Fan MailPrepare yourself for a shock: we're covering 1991's The Rocketeer. The Rocke-who? Oh, for crying out loud, don't you watch 90s movies?! But that's not the only 1991 Jennifer Connelly movie we're covering. Our punishment film is 1991's Career Opportunities. But how can a 1991 film be a punishment if it stars Jennifer Connelly?!Music Heard this Episode"Main Title/Takeoff" -- James Horner"Begin the Beguine" -- Melora Hardin/Billy May (Originally Written by Cole Porter)"Rocketeer to the Rescue/End Title" -- James HornerSupport the showIntro music - "If" by Broke For FreeConnect with us!TwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

Laissez vos oreilles guider vos pieds afin de mieux swinguer en nous écoutant cette semaine dans notre émission ! Nous évoquerons une date à ne pas manquer, justement au Café De la Danse : le grand show de Jeanne Rochette Et nous recevons Jean Michel Lamazou, qui reprend habilement les grands standards de jazz façon bossa nova ! Des reprises doc bossa et soft-jazz dont il a tiré un album : « Tradition vol. 1, the Cole Porter song book », enregistré à Nashville et dont il nous offrira un extrait en live et en avant-première, avec sa voix de velours en prime… Une autre voix singulière retentira dans la videoKITSCH de la semaine : celle de Hoshi pour son nouveau titre « Bonjour docteur ». Dans ce clip se mélangent quelque chose de très festif, presque léger au premier regard, et en même temps une vraie émotion en profondeur. On voit des personnages qui sourient, qui dansent, qui sont dans une forme de célébration… mais il y a aussi une fragilité, quelque chose de plus intime qui passe en dessous. Et parmi ces personnages, notre animatrice Giulia apparait en tant que danseuse ! Son rôle est justement de faire passer par le corps cette dualité entre l'extérieur et l'intérieur, entre la joie qu'on montre et ce qu'on peut ressentir de plus profond.C'est un clip qui ne raconte pas juste une histoire, il fait vraiment ressentir quelque chose, presque comme une danse entre la lumière et une forme de vulnérabilité. Pas besoin de l'ordonnance d'un docteur, en tout cas, pour nous écouter toute cette semaine dans Kitsch et Net !

Una cantante vasca, Irati Bilbao, y una gallega, Paula Parker. Del segundo disco de la duranguesa Irati Bilbao titulado 'Bloom' (2024) sus composiciones 'The tree' y 'Bloom' junto a los 'standards' de jazz 'I fall in love too easily' o 'Devil may care' y, de su primer disco 'Begin' (2020), 'Beatrice' de Sam Rivers, 'The first time I heard Ella'/My baby likes the bebop' y 'I´m hip'. Del disco de la coruñesa Paula Parker 'Memories of you' (2022), con canciones en su mayoría de los años 30, 'Take it from me' de Fats Waller, 'I´ve got you under my skin' de Cole Porter, 'Memories of you' o 'Down with love' y, de 'Live' (2019), 'Easy to love y 'Did I remember?'.Escuchar audio

What happens when you trust your talent before anyone else does? I had the pleasure of speaking with Spider Saloff, a jazz vocalist and performer whose journey shows what it means to truly create your own path. From secretly rehearsing as a teenager to performing for the Gershwin family and building a career in jazz and cabaret, Spider shares how taking risks, following curiosity, and trusting your instincts can open unexpected doors. We also explore her resilience through personal challenges, including overcoming an abusive relationship and rebuilding her life from nothing. You will hear how music, creativity, and lifelong learning became her anchors, and why choosing your own direction can lead to a life that is both meaningful and unstoppable. Highlights: 00:10 – Discover how a passion for music at a young age can shape an entire life path 02:04 – Learn how early opportunities and saying yes can open unexpected doors 10:00 – Understand why creating your own opportunities can redefine your career 16:20 – Hear how taking bold action led to a life-changing connection with the Gershwin family 30:00 – Discover how one decision can completely change where your life and career unfold 44:44 – Learn what it takes to break free from hardship and rebuild your life with resilience Bottom of Form About the Guest: What does it take to build a lasting career in music and performance? Spider Saloff has done exactly that, earning recognition as a multi-award-winning vocalist and entertainer known for her powerful voice, wide range, and captivating stage presence. Born in Philadelphia and raised in New Jersey, she began her journey in theater at a young age, studying acting at Rowan University and the University of London. Her early career in musical theater included more than 25 major roles, but everything shifted when she discovered her passion for jazz. That move led her to work with top musicians, gain critical acclaim, and begin touring both nationally and internationally. Over time, Spider became one of the most respected interpreters of the American Songbook, known for blending deep emotion with humor in her performances. Her connection with the Gershwin family helped launch signature shows like her tribute to George Gershwin, which has been performed around the world. She has also created tributes to icons like Cole Porter and Irving Berlin, performed at major venues and festivals globally, and hosted the syndicated radio series Words and Music. Beyond the stage, she is a teacher, writer, and creator who helps others find their unique voice, continuing to inspire audiences and students alike through a career built on passion, creativity, and authenticity. Ways to connect with Spider: Website: https://spidersaloff.com LinkTree: https://linktr.ee/spiderjazz Facebook: https://www.facebook.com/spidie.saloff Twitter (@spidersaloff): https://x.com/spidersaloff?s=21&t=XIFFgGFn7E5Hd_8J8Rexfg Spotify: https://open.spotify.com/artist/6gKiYyeoZyxZTAI2EpGWbU?si=WudPV-CUQPmMThTtV508Og YouTube (@TheMartinicat): https://www.youtube.com/channel/UCTLI-Gd51JdcMT0FVvvD9lA YouTube, “When You See Me”: https://www.youtube.com/watch?v=DTbO1FWrje4 Instagram (@spider.jazz): https://www.instagram.com/spider.jazz/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe Welcome to unstoppable mindset where inclusion, diversity and the unexpected meet. I'm your host. Michael hingson, speaker, author and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead and connect with others. Each week, I talk with people who challenge assumptions, face adversity head on and show what's possible when we choose curiosity over fear, together, we focus on mindset resilience and the small shifts that lead to meaningful change. Let's get started. Hi everyone, and I want to welcome you to another episode of unstoppable mindset, and we have an unstoppable mindseted, oriented sort of person today. Spider Saloff. Spider is a vocalist. She's a comedian. She is in Chicago, as I recall, but she has been to a variety of places. She is a very highly acclaimed vocalist, a singer. She sings and deals with a lot of the songs that I like, like the Great American Songbook, Gershwin, Irving, Berlin and other things like that. And she has a lot of accolades that come from any number of famous people who you've probably heard of. And so in the course of the next hour or so, I'm sure we're going to hear about a bunch of that. But for now, spider, welcome to unstoppable mindset. We're really glad Spider Saloff  01:49 you're here. Well, I'm happy to be here. Thank you for inviting me. Michael Hingson  01:53 Well, you are, you are most welcome. So how did you get into doing, acting, singing and all the other things that you do. Spider Saloff  02:04 Well, it started when I was a kid. I always loved music, and you know, it was so in love with the arts. But when I was 14, I came home and told my parents that I could get them tickets to the high school variety show. And they said, What? And I told them, I'm in it. I'm going to be in it. And they said, well, doing what? And I said, singing. And they were they were shocked, and I didn't tell them. I used to rehearse at my girlfriend's home because her family was all over it. They thought I was wonderful, and I knew my family would tell me that I couldn't do it so because it's just too foreign and too scary to them. So I ended up performing at this variety show, and my my parents were absolutely shocked, and one thing led to another. And then I met a theater director who worked at my school, and he came, he was a professional guy from New York that they hired to come in to do a musical, and I was in it. And I ended up getting the opportunity to be in a summer stock company and my parents let me go, which was amazing. I think they were just relieved to get me out of the house for the summer, but whatever it takes, but I certainly learned a lot, and I was very young for that experience, but it was, it was so, so worth it. And then after I finished high school, I went to college for theater. Now, your parents are from Russia. Oh, no, no, no, no, they're descend. My father's descendants are from Russia. That's where the name is from. But they are, I think I am about 11 different nationalities. So it's we're real much we are real much of the world. Well, there you go, yeah. Michael Hingson  04:05 So now we need to just clone that combination, since obviously you sing, well, we need to get that in other people, just just, you know, just a thought, you know, Spider Saloff  04:16 sounds good. Sounds dangerous to me. Michael Hingson  04:18 Actually, I know it's either that or we're gonna Spider Saloff  04:21 have to get more, more of one than more than one of Michael Hingson  04:24 me, more than one spider? No, we can't have that. Well, either that or we get AI to to imitate you. But we don't want to do we don't want to do that either, scary stuff. 04:35 Yeah, yeah, it is. Michael Hingson  04:36 Well, so how did you encounter and come up with the name spider. Spider Saloff  04:44 I did not choose it. I, you know, I never thought that my real name made any sense from the time I was a child, it's, I'm like, that doesn't make sense. And then I got the nickname when I was in college, because I have, I'm. Really a small person, but I have very long arms and legs, and it was a nickname, and it just stuck with me. And then finally I surrendered to it as a professional name, and people don't forget it. They may not like me, but they don't forget the name. And then it just stuck. And it's been that way ever since, how could Michael Hingson  05:20 somebody not like you? Spider Saloff  05:23 Well, I don't know. I'm sure there's somebody out there. I would love to thank everyone. Just endorse me, but Michael Hingson  05:31 we'll see. Well, yeah, I mean, it'll all go so where did you go to college? Spider Saloff  05:37 I went to a college that doesn't exist anymore, actually, now it is Rowan University. It's in New Jersey, outside of Philadelphia, and it became Rowan University when it got the largest private donation in history. But it was a state college called Glassboro State College, and it was a fine arts school at the time. There were several of my friends, including the conductor for the Lion King and Broadway people, all went to school there, and now it has no arts program at all. But part of our program, I did get to study at University of London too. So that was really exceptional. And it was so wonderful, a wonderful school, great opportunity. You know, it's, it was outside of Philadelphia, close to New York, and now it's an engineering school. For the most part. There isn't, there are no fine arts there at all. Well, that's too bad. But, well, yeah, I know, but somebody's got to do the engineering, Michael Hingson  06:39 I guess. I Well, there's truth to that too. Now, have you seen THE LION KING LIVE on Broadway? I have Spider Saloff  06:46 never seen it, and it's never seen it. I gotta see it. I've got to see it. I it just never happened. I kept intending to go and I never saw it. And I know people that played for it as well. 06:59 You've seen the movie. No, you haven't seen the movie Spider Saloff  07:02 either, anything Lion King. My goodness, I know I better. That's one of my goals. By the end of the year, let me see if I can see it. Michael Hingson  07:10 Well, I'll tell you my lion king story. A my brother in law knew someone who knew some of the actors in Lion King, and he and his wife and their little girl, who at the time was like three or four, were coming through New Jersey, where we lived in Westfield, and we all arranged to go see The Lion King. It was a Wednesday afternoon. It was a matinee, and near the beginning when scar, the bad guy meets the hyenas, who he works with, they all come on, they come on stage and they're growling and all sorts of things like that. Well, in the theater, the hyenas come from the back of the theater, down the stairs, and they walk past everyone growling and making all these noises? Well, my wife was in a wheelchair her whole life. She was a t3 paraplegic, and when one of the hyenas came up next to her, because we were able to arrange for an accessible seat, which was right on the aisle, this hyena comes up right next to her and goes, you've never seen a woman who is totally paralyzed suddenly literally jump up and almost walk out of the theater. It was amazing. She he shocked her completely. But it was so much fun. And of course, Alanya, the little girl, was just there with these big, huge eyes over all of this. But what Karen, my wife, told me later was that what was interesting about it was that when she was obviously watching all of this, and she said, You got totally used to the the puppets being the animals they were. They didn't you. They didn't even look like puppets anymore. They were just the animals. Spider Saloff  09:05 And that's exactly what I've heard about it, that it's like, it was fascinating. You're completely swept away with it. Michael Hingson  09:10 Yeah, wow. So, so it's cool, but, yeah, you gotta, you gotta go see The Lion King. It is absolutely worth it. The music is wonderful and all that. Wow. So we got to see it on Broadway, which was cool. Well, so you, so you went to college, and then what did you do? Spider Saloff  09:32 Well, when I got out of college, I, you know, was doing theater, but I ended up in musicals because I sang, and I really my training, my formal training, really is acting. I did not train as a singer. I just started singing naturally when I was a teenager, and then I just did a ton of musicals. I was in musicals like forever and but. I always loved jazz, and that was always in my back pocket. And then at one point, I really decided I wanted to pursue jazz while it was still in musical theater, because it was getting harder and harder to get roles, because they wanted, this is in the late 80s. They wanted you to be a dancer as well, and that was not going to happen for me. So I really thought, you know, I just, I want to check out the whole nightclub scene, you know, in Cabaret, where you could produce your own show. And so I started to really pick the minds of the guys in the pit band. And I talked to all these pit musicians, and they would tell me about, you know, places to go, and how they there were guys I met there that introduced me to other people, that helped me to do my first demo, and then started working in clubs. And then that really changed everything for me. Michael Hingson  11:01 So you got very much involved in doing a lot of Spider Saloff  11:04 jazz, yeah, jazz and cabaret, and it was all small clubs. But then that was what got me major press attention. And then I started touring with a show that I co wrote with a guy named Ricky ritzel, who's from New York, and we did a show called 1938 and that was my first recording as well. And then then just kept going from there, and that's how a lot of things happened, was really just deciding to do my own thing and create my own world of performance. So you're also Michael Hingson  11:45 known for doing something related in one way or another to comedy? Spider Saloff  11:50 Well, yeah, I've always done comedic roles, and I can't say I have ever done stand up, but I may be getting close to it, I'm not sure, but I always involve a lot of comedic monologs in everything I do. Like, if you see me at a jazz club, I will tell stories. And, you know, it's part of, part of who I am, is a lot of the comedy stuff. And, you know, crazy stories and telling stories about people, and, you know, doing imitations of people that I've met over the years and that kind of stuff. So it's, it is part of my whole persona on stage. Michael Hingson  12:33 What's your favorite musical that you've done? Boy, it's probably a toughy. Spider Saloff  12:40 I did so many, I have to say, Guys and Dolls. Okay, guys and dolls. I was Adelaide and Guys and Dolls, one of the best roles I've ever done. It was really a good choice for me, and and I, and I have to say I was in what, four productions of Fiddler on the Roof, and I've been two seidels, one Hava and fru masera, so but I love that show. I think it's magical. Michael Hingson  13:21 Just it is. Have you ever been in numb? I like Guys and Dolls, but my favorite, and it's just been that way for a long time. I don't know why was the music? Man, were you ever in the music? Spider Saloff  13:32 Man, I was, but there's no, there's no role in that for me. But I was one of the pick a little ladies. Oh, it is one of my favorite shows. Though, I think it's a masterpiece. I love love love music, man. I think it's just brilliant. Michael Hingson  13:48 You don't think you could have done you? Lily capecni shim you know, Spider Saloff  13:53 I was too young to do it at the time. Michael Hingson  13:54 Yeah. Well, like always, now there's always Marion, Spider Saloff  14:00 no, I don't have the soprano chops for that. They let me do it in Sutton Foster's keys. Well, I was thrilled that they took it down for her, because I could actually do it in those keys. That would be great. Michael Hingson  14:16 I saw it a couple of times on Broadway. Now I'm blanking out on the person it was in. Well, we saw it in, like, 2002 1001 and I'm trying to remember I'm blanking out on the person who played Marion. She actually ended up getting Lou Gehrig's disease and passed away. Spider Saloff  14:43 I don't know who. I don't know, which Michael Hingson  14:45 totally shocked us. Spider Saloff  14:46 I'm drawing a blank, I don't know. Michael Hingson  14:48 Yeah, I'm blanking out on her name. I may think of it, but, Oh, forgive us. She did a she did a great, a great job. But, yeah, but there's nobody like Robert Preston to play Harold Hill. And. Spider Saloff  15:00 Anyway, oh, that movie is so beautiful. I love that movie. Yeah, music, man is brilliant. It really is brilliant. Well, that Michael Hingson  15:10 goes back to, you know, Mr. Mr. Meredith. Meredith Wilson, Spider Saloff  15:18 yes, and I read, I read his book. Have you ever do you know of his book called he doesn't know the territory? Michael Hingson  15:27 No, I'll have to see if I Spider Saloff  15:28 can find writing and production of music. Man, I love, love. Love that book. And it's about all the trials of getting it produced and how he did. They did one of the opening one of the readings when they were trying to raise the money to do it. And moss Hart. Moss and Kitty Hart were there, and they hated it so much they walked out the middle of it. Opening Night, moss Hart was there, and he he saw, he saw Meredith Wilson in the lobby, and he shook his hand, and he said, he said, Great show. But you know what, you still haven't licked that book. Oh gosh, because he was an outsider. I mean, he wasn't part of the Broadway team. And no, the fact that he actually played with a John Philip Sousa, like, what, yeah, couch or something. It was real deal. Like, real real, like, old timey marching band stuff. Michael Hingson  16:35 Yeah, amazing. Well, then he also did The Unsinkable Molly Spider Saloff  16:39 Brown, yes, yes, another great show, yeah, not produced very often. But no, Michael Hingson  16:45 no, it's not. It's, it's sort of sad. Oh, well. But you, you've been very much involved with with a lot of jazz and so on. Tell us about meeting the Gershwin family and and your your involvement with Gershwin, which, you Spider Saloff  17:01 know, he, of course, magical. It was. It was truly a life changing event for me, my partner and I, Ricky ritzel And I had been doing 1938 and then we decided to write this show that was called Porgy and Bess, a cabaret concert, oh boy. And it was in New York, and a very powerful guy from ASCAP came to see it, and Michael kirker, and he came to see it, and he said, this show is brilliant. He goes, but you guys are going to get shut down by the Gershwin family, so you need to call them and see if they'll give you permission. So I had the phone number for Leopold godowsky, the third who is the nephew of George and Ira. His mother is Frankie Gershwin, who was George and IRA's younger sister, and I was a wreck. My hands were shaking, and I called him on the phone and and he was very polite. He just had this incredibly mannered guy, you know, it was really lovely. He goes, Well, you know, I don't see that we could allow Porgy and Bess be performed in a night club, and it wasn't like we were doing the show. We were just right. We were telling a story about how it was written and then just performing the songs as separate entities, but they were enfolding into the story. So I said, Would you would you want to comment? Would you want to see it? If we put it on a videotape, and he goes, Oh, I don't know. He goes, let me think about it. So then I called him back right away. I had the nerve to call him back again. I said, Well, would you come to see the show. He said, you know, what would you and your partner be willing to come and perform it at my home in Connecticut? There you go. And I'm like, What? What? So this whole thing got put together, and we went up to the Gershwins home in Connecticut. We met Leopold and his fabulous wife, Elaine, and they had, they said, we're having, we're having 40 close friends here for dinner. They were cooking dinner themselves, and it was this magical house in Connecticut. They had 40 industry people there. It was crazy. I mean, there were all these famous people there, and we were, we did like, as he called it, a 30 minute musicale. We did highlights from the show in their living room by the great. End piano, and I believe the piano had belonged to George, because Leopold is classical pianist as well. So we did the show, and then we all had dinner, and this friendship started. So what evolved was they, they did, let us do the show, but then my relationship continued with them, and when the Gershwin Centennial started in 1996 it was Iris 100th birthday, two years before George's. In 98 I became part of the centennial presentation, so I got to tour with my Gershwin concert under their brand, and also record my Gershwin album with their brand on it. And it was the beginning of a beautiful friendship. And it was, it was a huge, you know, a huge mark in my career, and it opened a lot of doors for me. So wonderful, wonderful people. Michael Hingson  21:03 One of my favorite pieces of all times. Calling it a piece is probably not totally accurate. It's bigger than that, but one of my favorite things from classical music has always been Rhapsody in Blue. And I don't know why, but the very first time I heard it, I loved it, and I've enjoyed it ever since. I've heard the Boston Pops do it, you know, and and others do it. It's just one of those neat things I've just always loved. Spider Saloff  21:30 I'm getting chills just talking about it, because that was so groundbreaking at the time when Paul Whiteman had the contest right of who was going to be able to cross the borders of jazz and classical. And you know, who else was in that contest was Aaron Copland, oh my gosh, Eric Copeland, and he was always in competition with Gershwin, yeah, and Gershwin won and musically, that that changed the whole concept of jazz, I mean, to be accepted in a classical arena. It was really remarkable. What that what that piece did, like, amazing. Michael Hingson  22:18 I actually heard once the Paul Whiteman arrangement of Rhapsody in Blue was performed by a group I don't even recall where, but it was outside. It was a little different, but it still was just so neat to hear this. Spider Saloff  22:36 The first person to hear it, yep. I mean, Paul, my Paul Whiteman was incredible, though. I mean, what a what a groundbreaking person. He was artistically, right? Michael Hingson  22:48 Yeah, he, he did some amazing things, Spider Saloff  22:51 yeah, yeah, you know what I've got to mention. And I hope this doesn't make make our interview too dated. But last night, I saw the movie Blue Moon. That is about about Larry Hart. Oh, my God, I haven't seen that. I'm gonna have to. It just came out last week. Oh, okay, it's not gonna be very often. It's absolutely gorgeous, and Ethan Hawk plays Larry Hart. It it's it's beautiful and funny and heartbreaking, and it all the whole premise is Larry Hart has to go to opening night of Oklahoma, oh gosh, and how painful it is, and this whole cathartic thing he's going through. So the bulk of the entire it's more like, like a theater piece. The whole thing takes place at the bar at Sardi's when he's talking to the bartender and waiting for for Rogers and Hammerstein to show up. And it's, ah, Wowza, it's brilliant. It's brilliant. And talk about, I don't know how they ever got that produced, because it's definitely a movie that's not going to appeal to everybody, but boy, is it brilliant. Michael Hingson  24:14 Wow. Well, hopefully it will come out in some place where I can can watch it up here, and that'll be cool, yeah, Spider Saloff  24:22 and I think it's probably going to go to streaming pretty soon, I'm sure, yeah. So you'll have a lot of opportunities. But I really was happy to go to the theater and see it. But wow, and people in the audience were laughing at all the jokes they were getting, all the sly, Sly comments of Larry Hart, like, wow, witty, witty, witty, just brilliant, just brilliant. Michael Hingson  24:51 Well, your whole Gershwin relationship, obviously, is pretty significant. You even did some Gershwin concert. In Russia, Spider Saloff  25:02 yes, yes. That was why I went to Russia. They were having a Gershwin Centennial in St Petersburg in 1998 because that is the, that is the origins of the Gershwin family. They are from St Petersburg. And so I was hired with my pianist to go to St Petersburg. And do we? Did we were there for seven days, and I think we did like five concerts, and it was amazing to be there, because this was when Russia was getting good. This was, like the good part, and still was scary. It was scary. We stayed in this really creepy hotel that was like a government hotel, and the rooms were bugged. And then when the hallways there were padded walls, like where they could pull these panels out, and there was all kinds of wiring in there, bugging and strange stuff. The concert hall was absolutely magical. It was an old concert hall, and people went crazy, and when I sang the song vodka, which is an oddity, by Gershwin, by way, herbert stothard, Otto Harbach, Oscar Hammerstein and George Gershwin wrote this crazy song called vodka. And when I did the song, people stood on their chairs and screamed, the Russians just loved, loved, loved the concert, the audiences couldn't have been better, and the people that ran the organization couldn't have been weirder. It was, it was very strange. And when we went to leave, the guy that booked us and me and my pianist, they they took our passports, and we had to go to a little room where they said that we our visas were expired and and we had to pay money to get out of there, and they were mad at the guy that was our manager, because he sassed them. And anyway, we had to wait. We were afraid we're going to miss the plane. And then finally, they came out with, like a little, a little tape from an adding machine, and they, they said, you have to pay $58.23 American. So they charged us this $58 and we paid it and ran to get on the plane and and I'm like, I was never so scared in my life. I didn't know what they were going to do, but it was an experience, and it was thrilling and beautiful. But don't think I'm going back to Russia, not in the near term. Yeah. Oh, and then that's when all these people said, my name is sell off. You are my cousin. I come home with you like there were so many people with my name, because in this country, there aren't that many. Aren't that many sell offs. My family is pretty small, and occasionally I'll meet us a sell off. But they're usually, they're usually rabbis, or it's like there aren't that many of us out there, but it was, it was an amazing experience. Loved it. Michael Hingson  28:28 Now, did you when you were over there, sing any of the songs or anything in Russian, or did that matter? Spider Saloff  28:34 Oh no, oh no, let's didn't do that, huh? I'm not. No, I, you know, I'm good at doing accents, and sometimes I will learn to say, like I would learn a little bit of French to get by, but then they would start asking me questions, and I didn't know what they were saying, and then they thought I was just being a jerk, you know, I'm pretending I don't understand them or something. But it was, No, I don't speak. I can barely handle English, but I didn't know whether you might have Michael Hingson  29:05 tried to learn one of the songs just for fun. Spider Saloff  29:08 There wasn't time. This went together so fast. I think we only had, like, two weeks notice. They had rushed the visas and, you know, we had, we had passports in order, but it was a lot of legal red tape. Michael Hingson  29:25 But that's why it cost $58.33 to get out. I don't know, very crazy one of those things. Oh, yeah. Well, well, at least it was affordable. Spider Saloff  29:41 Well, it will, and it was exciting. I mean, everything was paid for. But, oh, this was another weird thing they paid. They paid us in cash, American dollars, and I needed to hide, I had to hide it in my boot. I put it in. Hide the soul of my boot when I'm okay, wow, yeah, it was, it was creepy all the way down the line. It was very strange. Oh, well, yeah, things happen. 30:11 Things happen. Yeah, I was, Spider Saloff  30:12 I'm very, very, very fortunate that I got, got to do it, yeah? Michael Hingson  30:19 So obviously a wonderful memory. And yeah, oh yeah, one of those things that you'll you'll always treasure. You bet. Well, so when did you move to Chicago? Spider Saloff  30:32 Oh, well, when? When I started to get get my feet wet in New York, in the nightclub scene and the jazz scene, I got some really fabulous reviews, including the New York Times. And there was a guy from Chicago who I met through the great Julie Wilson, and his name was Bill Allen, and he was partners with Bobby Short, and he opened this really crazy club in Chicago, very famous, called the Gold Star sardine bar. And both Liza Minnelli had played there the Basie band. He squeezed the Basie band in there, but it was this tiny little place right in downtown Chicago, and it was really wild. And a lot of people had played there. Tony Bennett had played there, and Liza and I kind of was courting the room. I kept talking to him. He had he had found my press kit. Think he had been sent three different press kits, and we don't know which one he opened, and he called me, and we kept this ongoing conversation about coming out to do performance there, and then finally, he decided to bring me out for New Year's Eve, and my husband and I flew out, and it was just we were we had a couple of friends here in Chicago that we visited, but we didn't know anybody here. I'd never been to Chicago, you know, but it was magical. And then he said, Well, I'm going to have you back. I'm going to have you back. And then I didn't hear from him. And finally, the following September, he asked if I could come and play for a month, and I had almost no warning, because he was very impulsive and really crazy. So he asked me to come out for a month, and I did. They put me up in a hotel, and I played with the musicians. Were magical. People were so great. And so I played for a month, and then he said, you know, what would you think about about moving here? And my husband and I were both excited about it. Then we didn't hear anything from him. And then right after So, the first week of February the following year, he calls me up and said, Could you move here? And I'm like, I guess so. Why he goes, Well, I'll book you here for a year, and we'll arrange to get an apartment. And can you start like next week? Oh, gosh, ah, so I did it. I came out, and then my husband came out. We took a sublet on an apartment right downtown in Chicago, sight unseen. We moved here with our cat, and the rest was history. I ended up having the best nobody has a gig for a year, yeah, and and hired partially by the only person that had a gig forever, who was Bobby Short. So because I had met Bobby Short in New York, and he kind of gave bill the okay, you know, he liked me. And then I, I met Tony Bennett there, and Liza interrupted my show one night and crawled on to the over the balcony, onto the stage. And it was magical. There were lines around the block and and I got, I was courted by the press in Chicago like you wouldn't believe. I mean, it was magical. So when my run was up there, I started working at other clubs, and also I started touring at concert tours of my shows, like the Gershwin show, and started to tour. So it just became another life for me. But I'm, I'm in Chicago forever. As far as I'm concerned. I adore it here. I just love it. Michael Hingson  34:45 So when did you move there? Spider Saloff  34:47 The beginning of 92 Michael Hingson  34:49 Okay, all right, so when Liza, when Liza invaded the stage? Did you guys sing together? Spider Saloff  34:55 No, this is what happened. I had met Liza. Yeah, well, I was still living in New York, and I was friends with Billy Stritch, who was liza's musical director. So he was a friend of mine, and he introduced me to Liza, and because she was he was conducting a bit that big show she did at Radio City Music Hall that was a tribute to Vincent Minnelli. Right? She did this spectacular show at Radio City, and Billy was musical directing, and that's when they really became partners. And he introduced me to Liza, and she was just a doll, one of the nicest, coolest people in show business. So I met her, and she was really kind to me, very friendly, very sweet. And so they were playing at the Chicago theater. Liza was doing her one woman show, and it was closing this particular Saturday that I was at the Gold Star, and I had sent Billy a note to to, you know, come by when they're we're done. So I'm doing the second set. And then crazy Bill Allen at the break. He goes, he goes, Okay, people are going to come in here. Joe Pesci is going to come in and and he's going to come up and meet you. And I'm like, Joe Pesci. Joe Pesci was doing a movie here, and his double, his gangster double, used to come in and see me at the gold star. So anyway, the break comes, I'm on stage, and all of a sudden the door opens, and they come in, and it's, it was Billy and Liza and Joe Pesci. And Joe Pesci comes up on stage with Billy and my band kind of crawls off the stage, because by now, there are, there's about, I don't know, 200 people packed in a 70 person room, and their people are coming out of the woodwork. They're like, sitting on top of the bar, and I can't even get off the stage. And Joe Pesci. Pesci leans down, he's like, hey, hey, honey, my my double. He thinks you're great. He goes, Yeah, we're gonna do some songs now. And I'm like, okay, so I sat there, and Billy came up and played. The bass player was there with them. Joe Pesci got up and sang. He was adorable. And then Liza is sitting right by this. They called it the opera box. There was a big, like private table that was right next to the stage. She crawls over the bar onto the stage, and people are just screaming. It was absolutely nuts. And she did like three songs, and she was losing her voice. She had just done a killer thing at the Chicago theater, and she was really, like, raspy. Did it anyway? And she ended with New York, New York, and people were like, screaming. It was just bonkers. It was bonkers. And so that's what the Gold Star was like. It was just a crazy place, and you didn't know who was going to come in the door, who was going to interrupt your show? You just, you just didn't know. Michael Hingson  38:24 Yeah. And they even had the Count Basie orchestra there, and that was, how'd they fit him? How'd they Spider Saloff  38:30 fit him in? Couldn't fit them. It was like a publicity stunt, yeah, and the band was all stuffed in there, and there were a few people that could get in the room, but people were standing in the hallway to hear Pacey pants. This is way before my time. Yeah, it was like in the early 80s, when they opened and they were way crazier then, then when, when I came, Michael Hingson  38:53 you settled them down. Did Spider Saloff  38:55 you No? No, but they, they, they, well, I was there for a year, and then the following year, I went back a few times on Saturdays, and then Bill told Jeremy Conn and I that we were going to be the regular actor because they were always on the verge of closing. They wouldn't have any liquor, and somebody would be coming in the back door with liquor because they didn't pay their liquor bill. And it was, he was in a lawsuit. And anyway, they told us that he goes, Yeah, yeah. Call me on Tuesday and we're gonna we're getting all the details straight. Now. You guys are going to be regular. Here Tuesday came and there were chains on the door. Oh, gosh. And that was the end of it. It ended, and it was a magical time, but there were a lot of problems, a lot of legal problems going on. Michael Hingson  39:50 I met Liza Minnelli once. That was the second or third time I was interviewed by Larry King, and she was now. She was going to perform on the show as well, but it was after September 11, and so I got, I got to meet her, and that was about it, but I did get to meet her, which was fun. Exciting. It was fun. How exciting. And every time we walked out after the interviews, there were lots of photographers outside. Everyone was taking pictures, and we had to put up with all that, but I guess it provided a lot of visibility, but it was kind of fun to be able to do that. Spider Saloff  40:34 How cool. I never met Larry King. I knew a lot of people were on his show. But well, how exciting that you did it twice? Michael Hingson  40:43 Well, actually we there were five interviews with Larry. The first one was right after September 11. It was on the 14th. And then there was another one. There was either one or two more. I think there was one more in November of 2001 and then on the anniversary, in 2002 was the third. But there there were five altogether, and during one of them, and I think it was the one on the anniversary or in 2002 but I have to go back and see if I can research it. But anyway, Hillary, Hillary Clinton and Chuck Schumer were, were there? Lisa Beamer, Todd Beamer, his wife Todd's the guy who said, let's roll on flight 93 when they took over the plane again and got it in a crash in Shanksville. Wow, and and Queen. Nor was there. So who I'm sorry, Queen nor from? Who is the queen of Jordan? Oh, wow. And she and she and Roselle had a thing for a while. Roselle was my guide dog at the time, so they visited. It was kind of fun. Oh, wow. But, yeah, it was, it was interesting. But as I say, then we, we did meet Liza briefly, and that was kind of fun. She said she's Spider Saloff  42:09 a doll, yeah, doll. Oh, yeah. What a great person, yeah. Michael Hingson  42:13 Well, so I was looking at all the things that you sent me, and I noticed Tony Bennett. I got to meet Tony Bennett once we were on Regis and Kelly live in November of 2001 and I was sitting there, and I heard that Tony Bennett was going to be on the show. And suddenly he comes over and he says, Hey, I'm Tony Bennett. Good to meet you. I've heard about you. So we chatted for a while, and he and Roselle had a thing too, and he and Roselle had a thing too. Spider Saloff  42:45 So that was good. Oh, that Roselle. Oh, but yeah, I met him at the Gold Star, and he because he had played there several times, you know, as a future act. And he was doing, he was in. He was in town to do something. Maybe it was at the Chicago theater as well, but he came in, hanging out in his in his white dinner jacket, absolutely charming. And he sat down and talked to me between sets. It's like talking to your uncle, like he's like, Yeah, what do you think of this weather here in Chicago, and it was like just the friendliest, most laid back, cool guy and and I've seen him perform several times. I adored him. Michael Hingson  43:32 I regret I never got to see him live other than hearing him do, other than hearing him on regents and Kelly, he did a New York state of mind. Spider Saloff  43:41 Oh, cool. Very cool, Michael Hingson  43:43 wow, very soft spoken guy. But when he can sing, he can he could Bell it, Bell it out, Spider Saloff  43:49 and he and he sang the same forever, like, that's my my idols are. I want to sound the same forever, and I have the two, the two, the two most remarkable preserved voices were Ella Fitzgerald and Mel Tormey, both of them, they had chops forever like that. They they were just very, very careful and smart about the way they use their voices. Michael Hingson  44:18 Yeah. Johnny Mathis lasted a long time. I don't know what he sounds like. Spider Saloff  44:24 He just sounded the same forever. Yeah, killer, woo hoo, wow. And I never got to see him live, but I know people that did, and I mean, not that long ago, and they were blown away. Like, just Yeah, killer, yep, Michael Hingson  44:43 amazing, another amazing guy. Well, so have you ever had any any real kind of challenges and sort of negative things that have happened to you in your life? You've obviously been very successful. And all that. But, you know, unstoppability oftentimes happens when you have a challenge. Spider Saloff  45:05 Oh yes, well, you know, small things, challenges. I mean, like the worst, though, was when I was very young, a young actress, I got swept away by a guy that was a director. He was 10 years older than me, and I ended up in a really terrible abusive relationship for years, and didn't know how to get out, and I did. I ended up doing a six part. I have a YouTube channel, and this was two years ago. I did a six part series called learning to love you, and it was the very subject of what happens in abusive relationships and why people stay and why they are convinced that they can't live without the person. They're convinced that they're powerless. They are told they have to depend on this person, and they're very afraid. And I I was so lucky to break away from there and get out. And when I got out. I mean, I this guy completely left me with no money, no home, no job, and I was so ashamed to tell my family. I didn't tell them till months after it had happened, and I went, you know, trying to get trying to get more work as an actress. I worked as a bartender in a comedy club, and I did that's what I had a lot of comedian friends because of that era, and my friends, and eventually my family, really helped me to get out of it. But I had to get I had to be independent through the whole thing, I my first place I ever I was homeless for six months, and I would go around on busses going between wherever and Atlantic City because the casinos were there. So I could get a free ride to Atlantic City and then get a free bus back to New York. I could get a bus back to Philadelphia. I could go around on these busses and just stay at people's houses a couple of nights a week, and not having a place to live, it was horrible. So when I finally moved somewhere, I moved in with an actor friend of mine who had just got out of his abusive relationship, and I slept on the floor of an attic for like, the first six months that I was living on my own, and I was so grateful to have that floor and and I just kept saying every night before I went To bed, it it gets better from here. It's going up, it's going up, and it did. It did. It was it's remarkable. It's remarkable. Michael Hingson  48:09 What? What did you learn from that relationship? Spider Saloff  48:14 Beware of predators. I really never, never lose sight that you're the person in charge. Yeah, you are the person in charge of your life, and you're the only one that's allowed to do that. And you don't, you don't bend to anybody that's asking you to do anything too far. You just, you have to be very skeptical about, you know, who's getting close to you? And I was married long after that, I was married to my husband, and he passed away, oh, 16 years ago, and but there's been, there's been a lot of strange loss and and trauma. But I I am blessed with resilience, and I have to say, the thing that keeps me steady music, music and beauty and art can carry me through anything, and I'm surrounded by that and the best, best, best friends in the world. Oh, man, and my family and my friends are amazing, and I'm very, very fortunate, very fortunate. Michael Hingson  49:32 How long were you married? Before he passed away, Spider Saloff  49:35 we would have been married 17 years. Oh, my wife, Michael Hingson  49:41 my wife. My wife and I were married 40 years. She passed away in November of 2022 lot. Well. Thank you. I appreciate that. And I I always say when I when I tell that to anybody that she's watching from somewhere, and if I misbehave, I'm going to hear about it, so I don't even. Chase the girls. I also point out that they're not chasing me, so it's okay, but, but, but, you know, so many wonderful memories after 40 years, and people say, Well, are you going to move on? And I say, No, I'll never move on. I'll move forward, but I won't move on. I don't want to forget, but I'll move forward. Spider Saloff  50:20 That's an interesting twist of words there. Yeah, no. I mean, I have moved my life has become, actually, way, way better since my husband passed. I was dealing with a lot, and he was, he was dealing with severe mental illness, and it was very it was very hard near the end, my life is beautiful now. And I, I'm just, I feel like everything is new all the time. And I, I don't really have any close relationships, in romantic relationships. I tried a couple since he passed, but I don't, I don't think I'm good at it. I do better on my own. I'm much better on my own. Michael Hingson  51:18 Yeah, yeah. I know what I know what you mean. And as I said, it'll be three years in two weeks for me and I, when we got married, we had both lived alone. And when she was when she passed, it wasn't totally all of a sudden. So I I had some time to prepare. But it it has worked out pretty well. And so now I have a dog and a cat who keep me honest. The cat especially, oh, we have a cat. Her name is stitch, and she likes to be petted while she eats, and she'll yell at me until I come and pet her while she's eating and what. And when I travel somewhere to speak and I come home, I hear about it for quite a while. How could I ever do that? But she's not left alone. You know, I've got somebody who comes in. She has to give me what for? Well, she does. That's her obligation. Just ask her, absolutely, yeah. And how come you took that dog with you and not me? It's a guide dog. Spider Saloff  52:20 So this is not fair, yeah. Michael Hingson  52:24 Well, the other side of it is, I don't want her to ever get the idea that she can go out of the house. She She developed, on her own, a fear of going outside we she went out into our garage once when we first moved in here, and I kept calling her, she wouldn't come in, so I turned the lights off and I closed the door, and 10 seconds later, she's at the door wanting in, and so she doesn't try to go out. So I really feel blessed that she Spider Saloff  52:49 Yeah, that's good, yeah, yeah, yeah. I had a cat that never wanted to go near the door either, because he had been an alley cat. Everything outside that door was the alley going back there. Yeah, he also was a, he was a big fat house cat. Like, just wanted to lay around and luxuriate and eat and, you know he was, he was really a sweetie. I don't have pets anymore because I'm I leave too often? Michael Hingson  53:21 Yeah, you travel a lot. Well, a lot we at least I have people to help take care of stitch when I'm not here. So it does work out. Yeah, so do you so with all the things that you've been doing and singing and so on, do you teach voice to people? Spider Saloff  53:40 I do. I've taught at a school I didn't start teaching till I moved to Chicago, and this guy named David bloom, he's kind of a Chicago icon. He's had a jazz school in Chicago for years, and he asked me to teach at the school about a year after I moved to Chicago, and I said, I don't know how to teach. He said, Yes, you do. You just teach what you know. And I started teaching. And then I did courses there for a long time. I met a lot of people, and I've had wonderful students, and I still work there on occasion when we have a course. But I teach privately now, and I am. I just love it so much. I mean, I learned so much from my students all the time. You know, they're, they're just amazing, and they're all different, all different voices, all different age groups, all different reasons why they want to sing. But it's, it's one of the joys of my life. Students, they're fantastic. And I adore teaching voice. And I really a coach, you know, I teach performance and coaching, and it's not so much technique. I do some technique, but mostly it's working with. What, what the singer has to offer. Michael Hingson  55:03 I like the way you put it though that you learn so much from students. I think the day we stop learning, the day we become useless, we we always need to learn, learning, and life is all about learning, every Spider Saloff  55:15 day, learning, you bet it's exciting. It keeps you ticking. Michael Hingson  55:21 It does. It's so much fun. And it's, you know, like the internet, I regard it as an as a wonderful treasure trove. There's always neat stuff to learn. So I don't worry about the so called dark web and all that. You know, I didn't know that I would Spider Saloff  55:35 learn as much as I did about, you know, the internet and and the things covid really well. I always, always had a website. I had a guy that became my webmaster, that heard me radio and like there were all. I always was connected with it. But to the extent that I learned how to produce videos that all happened during covid, I really thought I was never going to be performing again live. I you didn't know, you know, that talk, you know, it was just so such a weird world. All of a sudden it was but learning to adapt. That was what we all learned from covid, was adapting and being open to new experiences. You know, that was a major, major factor of the whole thing. Michael Hingson  56:23 And living alone, you have to cook your own food. Spider Saloff  56:25 And like I've always, cooked my own food. Oh, my God, do I love to cook. Yeah, every day for myself. I love cooking and throwing parties. I must be Michael Hingson  56:35 a little bit lazy. I enjoy cooking. But when Karen was here. We shared the responsibility, and it's it's a lot to cook for one person, so I don't do as much of it as I used to, but I don't suffer. I will Spider Saloff  56:50 point that out you guys suffer, no, but I probably I cook for myself. Every day I cook. Almost everything I eat, I don't cook for myself is when somebody magically takes me to dinner or I go to somebody's house. I've got a lot of friends, so I get to eat at other people's houses and go out to restaurants, but I do and look forward to cooking for myself. I just can't wait to see what am I gonna have today, like I get excited about it. You know, it's a joy for me. Michael Hingson  57:23 I cook more easy meals, but I also do my own cooking. I mean, I don't go out very often, and that's fine. Yeah, I enjoy being home. I enjoy being home with a puppy and a kitty and listening to the radio and all that sort of stuff. So I hear you fabulous, fabulous. So you did some work on on radio series. Spider Saloff  57:45 Oh, yes, one of the, actually, the very first pianist that I worked with at the Gold Star sardine bar is a guy named Brad Williams. And we've been friends for years, and then at one point, this, this this guy that was a big fan of mine, Bill Sheldon. He was an old way, older fellow. The three of us created a radio series that's called Words and Music, that's about the American Songbook, and we were on the air for two and a half years. We were on we were part of NPR, and we were syndicated internationally, all through our classical station here in Chicago, W FMT, and it was the most challenging but wonderful time to crank those shows out. We never worked so hard as we did for that show, but those are still out there, you know. And we the copies of that show are available on CD. People can purchase them, and you can learn about that on my website too. Michael Hingson  58:49 I have been collecting old radio shows since 19 Well, let's see, probably 1968 and I've collected a bunch, and I'm also part of the radio enthusiast of Puget Sound, so we recreate programs every year. So I wasn't able, I wasn't able to be at the one that they did up in Washington State in September, because I was speaking somewhere. But there's going to be another one around. Well at Christmas, it's actually going to be the fifth, fourth, fifth and sixth. I think it is. Of December, we're going to recreate something like 12 or 13 different shows, and that's a lot of fun. Spider Saloff  59:34 Wowza, what are the shows like? What is it comprised of performance or recordings or what? Michael Hingson  59:42 No, no, we're actually going to perform live up in Washington, and people are invited to come and be in the audience, and they'll also be broadcast on yesterday usa.com and yesterday usa.net whichever you go to yesterday, USA is a, is a network. It's, it's got a red net. Work in a blue network, just like NBC used to have, and they play old radio shows and a lot of interviews with people. So there's still some old radio actors who will be there as part of it, Carolyn Grimes, who played Zuzu and it's a wonderful life will be there, and Beverly Washburn, who was on the Jack Benny show, and and there'll be other people, and it's kind of neat. And Larry Albert, who will be doing some of the voices, and who's was Harry Niles for years, and still is, I guess, on NPR and and so on. But it's really fun. Spider Saloff  1:00:39 That's excellent. What a blast. Yeah, it is, wow. Well, have a happy holidays with that. Michael Hingson  1:00:46 And yeah, well, I want to thank you for being here. How do people reach out to you, if they'd like to, to reach out, or if you Spider Saloff  1:00:54 want them to my website, spider jazz, calm, and you can find everything and too much information about me, and then, and if you want to get in touch with me directly, write to my email address. Spider jazz@gmail.com makes it easy. And maybe you can take private lessons, because I teach on Zoom. Ah, there you go. Me how. Yeah, cool. Michael Hingson  1:01:20 Well, thank you for being here, and I want to thank you all for listening today and watching whichever you do or both. Love to hear your thoughts about our conversation. Feel free to email me. Michael H, i@accessibe.com that's m, I, C, H, A, E, L, H, I at accessibe, A, C, C, E, S, S, i, b, e.com, wherever you're monitoring us today, please give us a five star rating, and please give us a review. We love your reviews. We appreciate your input. If you can think of anyone who you think ought to be a guest, and if you listening out there want to be a guest, please reach out to me. We're always looking for more people to come on the podcast. We met spider through someone else who has been on the the podcast as well. And spider, if you know anyone who want who you think ought to be a guest, yep, love to hear from you. I got some ideas, cool. Well, I want to once again. Thank you for being here. This has been absolutely fun. Spider Saloff  1:02:16 Thank you, Michael, what a blast. I'll be talking to you soon. Michael Hingson  1:02:24 Thank you for being here with me on unstoppable mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about if you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to Michael hinkson.com and download my free ebook, blinded by fear. It explores the invisible beliefs that hold us back and shows you how to reframe them so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning and keep choosing to live with an unstoppable mindset you.

Join Thos for more about Mad About The Boys - A Marvellous Party, Wela Kapela Productions' five star EdFringe Cabaret that tells the tales, and sings the songs, of those three titans of musical theatre in the the first half of the twentieth century - Cole Porter, Noel Coward and Ivor Novello.  From Mrs Worthington and Nina from Argentina, to I've Got You Under My Skin and Keep the Home Fires Burning via Every Time We Say Goodbye, the Great American and British Songbooks have never been so interesting!

When Cover Me discusses musical from the 30s then God knows....Anything Goes. Covers by: Frank Sinatra, Ethel merman and The Buddy Cole Quartet, Tony Bennett and Lady Gaga, Noa Levy and Shimpei Ogawa Tidal playlist here

Tonight we examine a Kevin Kline Performance Trilogy—The Pirates of Penzance (1983), De-Lovely (2004), and A Prairie Home Companion (2006)—three films that showcase his command of musicality, wit, and character across eras. Pirates, adapted from the New York Shakespeare Festival production, was directed by Wilford Leach and preserves Gilbert & Sullivan's operetta for film, with Kline's Pirate King earning a Golden Globe nomination and cementing his theatrical pedigree. De-Lovely, directed by Irwin Winkler, casts Kline as Cole Porter in a stylized biopic featuring an ensemble of contemporary artists interpreting Porter's catalog, blending stage sensibility with cinematic structure. Finally, Robert Altman's A Prairie Home Companion captures Kline in a live-wire ensemble alongside Meryl Streep and Lily Tomlin, merging radio nostalgia with Altman's signature overlapping dialogue. Together, these films chart Kline's enduring legacy as a performer who bridges stage and screen, high art and populist entertainment.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Dans cet épisode de la Minute Crooner Attitude, Jean-Baptiste Tuzet nous présente un nouvel ami de la station : Jean-Michel Lamazou. Cet artiste originaire d'Aix-en-Provence insuffle une sophistication soyeuse et une élégance rare au répertoire de Cole Porter à travers son nouvel album, "The Cole Porter Songbook". Influencé par les légendes comme Nat King Cole, Chet Baker ou Diana Krall, Jean-Michel Lamazou mêle avec brio Middle Jazz et Bossa Nova. Découvrez son univers passionné et préparez-vous pour son concert au Sunset Sunside à Paris le 24 avril, pour lequel la station offre des places aux auditeurs.La Minute Crooner Attitude, le billet d'humeur de Jean-Baptiste Tuzet, tous les jours de la semaine, 9 h 15 et 19 h 15 sur Crooner Radio. Plus d'informations et podcasts www.croonerradio.frHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

MusicalTalk marks the 75th anniversary of the death of Ivor Novello, one of the greatest British musical theatre writers of the 20th Century in opulant style!  Join Thos for the first half of a fascinating conversation with the people behind the 2025 EdFringe Cabaret Show, Mad About the Boys, which looks at the lives of those three friends, rivals and contemporaries, Cole Porter, Noel Coward and Ivor Novello.  Seasoned with a pinch of Seigfried Sassoon, and insights into some of the great songs of the period (Keep the Home Fires Burning for one), you'll feel you've been to a marvellous party! 

La cantante Laura (se pronuncia 'lora') Anglade nació en un pueblecito del sur de Francia, creció en la costa este de Estados Unidos, ha vivido en las ciudades de Toronto y Montreal y ahora reside en Nueva York. De su disco 'Get out of town', sus grabaciones de 'standards' como 'April in Paris', 'A new day, a new life', a new love', 'Manhattan', 'The shadow of your smile', 'L´étang' o el de Cole Porter que da título al disco. El pianista Amilton Godoy y el armonicista Gabriel Grossi firman 'Os filhos de Vila' con temas como 'Rapaz de bem', 'Batida diferente', 'Chovendo na roseira' o 'De coração'. De 'Brasiliano', el nuevo disco de Lucas Santtana, 'Cuando mi lengua' con la poeta María Lado. Cierra el baterista Tutty Moreno con 'Forças d´alma', de su mujer Joyce, grabada con ella en 1998. Escuchar audio

Rodgers & Hammerstein ushered in a new style with Oklahoma! in 1943, and soon, the old styles died away, putting up various degrees of resistance as they did so. Irving Berlin and Cole Porter both adopted a more R&H approach with their late 40s musicals, but it wasn't only existing masters who were influenced by the new approach. 1950 brought Guys & Dolls to Broadway, with Frank Loesser making his debut as a Broadway composer. Is it the best musical comedy ever written? It certainly belongs in the conversation, as we discuss in our episode on "Fugue for Tinhorns." All clips are from a 1951's cast recording of Guys & Dolls: A Musical Fable of Broadway and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com Recommended Reading/Viewing: Ethan Mordden, Anything Goes: A History of American Musical Theater (Mordden's other volumes are also excellent resources for more in-depth discussion)Broadway: The American Musical

AI Spicy Mode, Steam, Glassworm, Samsung, Stryker, Waymo, Cole Porter, and More on the Security Weekly News. Visit https://www.securityweekly.com/swn for all the latest episodes! Show Notes: https://securityweekly.com/swn-564

AI Spicy Mode, Steam, Glassworm, Samsung, Stryker, Waymo, Cole Porter, and More on the Security Weekly News. Show Notes: https://securityweekly.com/swn-564

AI Spicy Mode, Steam, Glassworm, Samsung, Stryker, Waymo, Cole Porter, and More on the Security Weekly News. Visit https://www.securityweekly.com/swn for all the latest episodes! Show Notes: https://securityweekly.com/swn-564

AI Spicy Mode, Steam, Glassworm, Samsung, Stryker, Waymo, Cole Porter, and More on the Security Weekly News. Show Notes: https://securityweekly.com/swn-564

Tommie returns in this week's episode and delivers only two tangents, he and Patrick congratulate the Crufts dog show winner Bruin the Clumber Spaniel, play catch with a Campeiro Bulldog, take a look at gay actor John Barrowman's overexposure, Tommie ruins a Cole Porter tune, they say farewell to singer Country Joe McDonald, reminisce about the good old days of the COVID pandemic, hug a mortician, decry the war/not war in Iran and its consequences, Tommie thinks there are too many choices on television, Patrick is too busy, and they name their favorite films about time.

Celebrating 10 Years of Magic Thread Cabaret | Featuring Hampton CallawayIn this episode of On the Aisle, host Tom Alvarez sits down with longtime collaborator Dustin Klein to celebrate a major milestone—10 years of Magic Thread Cabaret. The two reflect on how their creative partnership began with the original musical Calder the Musical, inspired by the life of artist Alexander Calder. After the show's success at the Indianapolis Fringe Festival, they realized that producing a full-scale musical beyond the local stage required resources they didn't have. Instead, they channeled their passion for the Great American Songbook and intimate performance into a new venture—Magic Thread Cabaret—dedicated to producing original cabaret shows and nurturing emerging talent.Over the past decade, Magic Thread Cabaret has produced more than 20 shows and worked with hundreds of performers and musicians, building a reputation for blending artistic excellence with mentorship. Their productions celebrate diversity and storytelling through music, giving local and rising artists opportunities to perform in professional settings while honoring the rich traditions of cabaret and the American Songbook.The conversation also highlights a special March 20 benefit concert in Indianapolis, featuring acclaimed singer-pianist Ann Hampton Callaway. The performance will take place at The Cabaret and will showcase music by legendary songwriter Cole Porter. The evening will also honor the memory of Indianapolis arts supporter Ben Solomon and feature rising performers from Magic Thread Cabaret. In addition to Callaway's performance, audiences will hear selections from the upcoming production Cabaret Latino: Songs of the Americas, celebrating the influence of Latin American music on American culture.Looking ahead, Alvarez and Klein share exciting plans for the future. In 2026 they will present an expanded version of Cabaret Latino, and in 2027 they hope to revisit their original work Calder the Musical in a concert format with a live orchestra at the Tobey Theater at Newfields.In the second half of the episode, Alvarez welcomes acclaimed Indianapolis jazz pianist Sean Baker, known as “Sean Baker the Music Maker.” Baker discusses his role leading the trio that will accompany Callaway for the benefit concert. A respected pianist, songwriter, and arranger, Baker explains how his deep knowledge of jazz and the Great American Songbook makes him a natural musical partner for Callaway's performances.Together, the conversations highlight the power of collaboration, mentorship, and live music—showcasing how a small arts organization can create lasting cultural impact while celebrating both emerging artists and world-class performers.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Vrijdag 13 maart presenteren Maarten Hogenhuis (sax), Phil Donkin (bas) en Mark Schilders (drums) hun nieuwe album COLE. in Jazzpodium de Tor. Een album waarin ze teruggrijpen op de muziek van een van de belangrijkste componisten/songschrijvers van de vorige eeuw: Cole Porter. Aanleiding voor Willem Habers om in deze TORcast een dik uur lang te duiken in de rijke muzikale erfenis van Cole Porter onder de titel “Cole’s Cool”. Playlist: Maarten Hogenhuis trio: Begin the Beguine; Frank Sinatra: Night and Day Dubbelaar: Ella Fitzgerald: I Get A Kick Out Of You; Patricia Barber: I Get A Kick Out Of You; Clifford Brown, Max Roach Quintet feat. Sonny Rollins: What is This Thing Called Love?; Sarah Vaughan: Ev’ry Time We Say Goodbye; Chet Baker: You’d Be So Nice To Come Home To; Dubbelaar: Cannonball Adderly: Love For Sale; Eartha Kitt: Love For Sale; Mel Torme: It’s De-Lovely; Miles Davis Quintet: All Of You; Maarten Hogenhuis trio: It’s Allright With Me. Cole Porter Cole Porter (1891–1964) behoort tot de meest verfijnde en invloedrijke componisten uit het American Songbook. Zijn oeuvre—rijk aan melodische elegantie, harmonische verfijning en een ongeëvenaarde lyrische spitsvondigheid—heeft een blijvende stempel gedrukt op zowel de populaire muziek als de jazz. Waar veel tijdgenoten zich specialiseerden in óf tekst óf muziek, beheerste Porter beide disciplines op uitzonderlijk niveau. Zijn liederen zijn niet alleen cultureel iconisch, maar vormen ook een onuitputtelijke bron voor jazzmusici die op zoek zijn naar harmonische rijkdom en melodische flexibiliteit. Porters bijdrage aan de populaire muziek Een unieke combinatie van verfijning en toegankelijkheid Porters liederen waren tegelijk elegant en catchy. Hij schreef voor Broadway en Hollywood, maar zijn muziek overstijgt het theater: de songs zijn op zichzelf kleine kunstwerken. Zijn melodieën zijn vloeiend en herkenbaar, maar nooit simplistisch. Daardoor bleven ze decennialang populair bij zowel het grote publiek als professionele zangers.  Teksten die grenzen verlegden Porter was een meester van dubbelzinnigheid, ironie en subtiele erotiek. Hij speelde met taal op een manier die in de populaire muziek van zijn tijd ongekend was. Zijn teksten bevatten culturele verwijzingen, woordspelingen en ritmische verrassingen die de standaard voor songwriting blijvend verhoogden. Een kosmopolitische stijl Porters muziek ademt wereldsheid: Europese invloeden, Latijns-Amerikaanse ritmes, jazzharmonieën en Broadway-theatraliteit vloeien samen. Die mengvorm maakte hem tot een van de eerste echt internationale popcomponisten. Porters invloed op de jazz Harmonische rijkdom als speelveld voor improvisatie Jazzmusici omarmen Porters werk omdat zijn harmonieën uitdagend en inventief zijn. Songs als “Night and Day” of “What Is This Thing Called Love?” bevatten modulaties, chromatiek en akkoordprogressies die uitnodigen tot improvisatie. Veel van zijn composities zijn uitgegroeid tot jazzstandards. Flexibele melodieën Porters melodieën zijn sterk genoeg om herkenbaar te blijven, maar open genoeg om te variëren. Dat maakt ze ideaal voor jazzinterpretaties: van swing tot bebop, van cool jazz tot moderne vocale jazz. Een brug tussen Broadway en jazzclubs Porter hielp de kloof te overbruggen tussen de populaire muziek van het theater en de improvisatiecultuur van de jazz. Zijn liederen werden door zowel crooners als instrumentalisten omarmd, wat bijdroeg aan de canonisering van het Great American Songbook als fundament van de jazztraditie. Cole Porter was een componist die de grenzen van populaire muziek verlegde en tegelijkertijd een fundament legde voor de jazztraditie. Zijn liederen zijn melodisch sterk, harmonisch uitdagend en tekstueel briljant. Daardoor blijven ze aantrekkelijk voor zowel luisteraars als uitvoerders, en vormen ze een essentieel onderdeel van het muzikale erfgoed van de 20e eeuw. Zijn invloed is nog altijd hoorbaar in hedendaagse pop, musicaltheater en jazz—een bewijs van de tijdloze kracht van zijn werk.

L'obra de Shakespeare ha conegut centenars d'adaptacions en tota mena de formats, de la dansa al cinema, el c

I sat down with Janie Barnett, a singer, songwriter, arranger, and educator whose career reflects a steady commitment to saying yes to what fits and no to what does not.We begin with her roots in the Greater Washington area, where summers at the Smithsonian Folklife Festival and early exposure to roots music shaped her ear. Moving to New York was a shock. The city carried a gritty, post-Patti Smith energy and felt like a long search for a new urban Americana sound. Janie found her footing through community, especially friendships with Robin Batteau and Kenny White. Session work, including jingles, gave her financial stability and the freedom to keep her songwriting honest rather than chasing a paycheck through her own music.We talk about life behind the scenes and what it taught her about leadership. Janie shares stories from sessions with Linda Ronstadt and a career highlight singing background vocals on Saturday Night Live with Rickie Lee Jones, one of her musical heroes. Being on the team shaped how she leads her own bands, creating rooms where musicians feel respected and invited to contribute.She also reflects on how becoming a parent changed her artistry. Her songs deepened, her priorities clarified, and the work stopped feeling precious in the face of real life.We spend time on her project Under My Skin, a reimagining of Cole Porter through an acoustic Americana lens. What began as a guitar idea for I've Got You Under My Skin grew into a pandemic-era collaboration with an extraordinary group of musicians, including Carmela Ramsey and Jerry Douglas, many of whom recorded from home studios. The album proves Porter's writing is timeless, and Janie's voice brings it all together.We close with her work at Berklee, where she mentors singer-songwriters and leads ensembles. She speaks candidly about the pressures of constant content and social media, and the importance of building real community and a live musical life. Looking ahead, she is planning a vinyl release of the Cole Porter project, aiming for a show around Porter's birthday in June, and working toward a new record of original songs with a clearer strategy for getting it into the world.Music from the Episode:LIfe Is Long and Then It's Not (Janie Barnett)Delaware Bridge (Janie Barnett)If You Were Here (Janie Barnett)I've Got You Under My Skin (Janie Barnett)Night and Day  (Janie Barnett with Keith Sewell)You're the Top (Janie Barnett with Catherine Russell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Hunkered down but getting out anyway.  High Spirits in NYC.  The Testament of Ann Lee at the movie theater.  One Battle After Another on the small screen.  More Inspiration from Kpop Demon Hunters.  Mourning the demise of the Department Store.  Metrocard Artists losing their supply.  Ellen Hughes: more than your average hockey mom.  New Restaurant models - loving The Dutchess (Ojai!). Amor Towles - stepping into the Jazz Age via Cole Porter and Ella (Fitzgerald). Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer: Elizabeth Easton Aziz Art:  Zeke Abuhoff

Saxofonist Maarten Hogenhuis is een Nederlandse jazzsaxofonist, componist en producer. Op 30 januari 2026 verscheen zijn nieuwe album 'Cole', een eerbetoon aan het Great American Songbook en in het bijzonder aan de Amerikaanse componist Cole Porter. 

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Front Row Classics is celebrating the 70th anniversary of High Society. Brandon is joined by Emmett Stanton and Ben Burke to chat about this classic musical remake of The Philadelphia Story. The three discuss the differences between the two films as well as the memorable score by Cole Porter. They also discuss the memorable performances of Bing Crosby, Frank Sinatra, Celeste Holm and Grace Kelly (in her final film role)

Well Did You Evah? Front Row Classics is celebrating the 70th anniversary of High Society. Brandon is joined by Emmett Stanton and Ben Burke to chat about this classic musical remake of The Philadelphia Story. The three discuss the differences between the two films as well as the memorable score by Cole Porter. They also … Continue reading Ep. 420-High Society →

Cole Porter and George S. Kaufman teamed up to bring Billy Wilder's "Ninotchka" to the musical stage in 1955; here's a cornucopia of songs, featuring Fred Astaire, Ella Fitzgerald, Don Ameche, Bobby Short, and more.

'Plural' es el disco con el que el armonicista y compositor brasileño Gabriel Grossi celebra 25 años en la música: 'Motion' -con los teclados de Jacob Collier-, 'Nosso amor vadio' -con la voz de Zelia Duncan-, 'Banzo' -con el piano de Omar Sosa-, 'Paisagem' -con el clarinete de Anat Cohen-. 'Cacofonía' es el segundo disco del cantante, guitarrista y compositor brasileño Gabriel da Rosa, que vive desde hace años en Los Ángeles, California: 'Seu João', 'Abusei', 'Nunca mais', 'Menino indio'. Del disco a dúo de las cantantes Dee Dee Bridgewater y el pianista Bill Charlap 'Elemental' clásicos de Cole Porter como 'In the still of the night' o 'Love for sale' y de los Gershwin como 'S' Wonderful'. Escuchar audio

Clásicos de Cole Porter y George Gershwin adaptados al portugués por Carlos Rennó en grabaciones de Zelia Duncan ('Eu só me ligo em você'), Caetano Veloso ('Que-de-lindo'), Elza Soares & Chico Buarque ('Façamos'), Tom Zé ('Você é o mel'), Cassia Eller ('Toda vez que eu digo adeus'), Jussara Silveira ('A moça mais vagal da cidade'), Sandra de Sá ('Enfim o amor'), Gilberto Gil ('Um dia de garoa'), Rita Lee ('Bla bla bla'), Jane Duboc ('Adorável você'), Ed Motta ('Ritmo fascinante'), Paula Toller ('Que tome conta de mim') y Erasmo Carlos ('Verão').Escuchar audio

This month, we'll be diving into this amazing Cole Porter standard and pulling apart the A sections. Enjoy! WANT THE RESOURCES THAT GO ALONG WITH THIS EPISODE?? Head over to Jazz Skool and when you donate monthly you get the resources for this episode and many others We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support! WANT A VIDEO VERSION OF THIS PODCAST?? Head over to my YouTube Channel to view this episode!

Tracy and Hepburn do “battle of the sexes” and help Judy Holiday launch her film career. There’s a random Cole Porter song, and T & H are adorable. George Cukor directs a great script. Shelly Brisbin with David J. Loehr, Nathan Alderman and Micheline Maynard.

Tracy and Hepburn do “battle of the sexes” and help Judy Holiday launch her film career. There’s a random Cole Porter song, and T & H are adorable. George Cukor directs a great script. Shelly Brisbin with David J. Loehr, Nathan Alderman and Micheline Maynard.

Crispian Mills knew he'd be onstage as he's from a “family of professional show-offs” but they begged him not to be an actor. He talks here about his extraordinary showbusiness childhood and the band that emerged from it full of psychedelia, echoes of the East and warm invitations to join the First Congregational Church of Eternal Love and Free Hugs. Along with … … his mother Hayley Mills playing him Tubular Bells to get him to sleep - “profoundly scary” … Roman Polanski's ‘special' Marlboro cigarettes when filming Tess in Brittany … grandfather John Mills being “discovered” by Noel Coward in Singapore and memories of him playing Gershwin and Cole Porter on the piano … “you need talent and hard work but nobody makes it without luck” … what the record store hippie told him when he bought Deep Purple In Rock aged 12 … leather jacket, polka dot shirt, Brian Jones bowl haircut, My Bloody Valentine gig – “I'd found my tribe!” … supporting Oasis at Knebworth – “I couldn't see how they were going to cut it” … Adam and the Ants, Rock Me Amadeus and playing Ramones songs in the school band … returning from Rishikesh in 1995 and watching the Beatles' Super-8 clips: “as if we'd been on the same holiday” … nostalgia for the big TV and radio events of the ‘90s … Shirley Manson's speech about the “tragedy” of the 21st C music business … and Kula Shaker's Mad Alchemy Liquid Light Show – “oil slides, pure analogue!” Tickets for their 2026 tour here: https://kulashaker.co.uk/pages/liveHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Crispian Mills knew he'd be onstage as he's from a “family of professional show-offs” but they begged him not to be an actor. He talks here about his extraordinary showbusiness childhood and the band that emerged from it full of psychedelia, echoes of the East and warm invitations to join the First Congregational Church of Eternal Love and Free Hugs. Along with … … his mother Hayley Mills playing him Tubular Bells to get him to sleep - “profoundly scary” … Roman Polanski's ‘special' Marlboro cigarettes when filming Tess in Brittany … grandfather John Mills being “discovered” by Noel Coward in Singapore and memories of him playing Gershwin and Cole Porter on the piano … “you need talent and hard work but nobody makes it without luck” … what the record store hippie told him when he bought Deep Purple In Rock aged 12 … leather jacket, polka dot shirt, Brian Jones bowl haircut, My Bloody Valentine gig – “I'd found my tribe!” … supporting Oasis at Knebworth – “I couldn't see how they were going to cut it” … Adam and the Ants, Rock Me Amadeus and playing Ramones songs in the school band … returning from Rishikesh in 1995 and watching the Beatles' Super-8 clips: “as if we'd been on the same holiday” … nostalgia for the big TV and radio events of the ‘90s … Shirley Manson's speech about the “tragedy” of the 21st C music business … and Kula Shaker's Mad Alchemy Liquid Light Show – “oil slides, pure analogue!” Tickets for their 2026 tour here: https://kulashaker.co.uk/pages/liveHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

To coincide with this week's "Fun for All Ages" episode about movie musicals of 1980, GGACP revisits this hilarious conversation from 2017 about Gil and Frank's' favorite musical misfires. In this episode: Burt Reynolds sings Cole Porter, Gene Kelly laces up his skates, Nipsey Russell follows the yellow brick road and Carol Channing covers the Beatles. PLUS: "Grease 2"! "Paint Your Wagon"! And Gilbert meets Mr. Baseball! Learn more about your ad choices. Visit megaphone.fm/adchoices

Karen tackles a heavy hitter - Cole Porter's Kiss Me Kate! Find out why Porter's response to Oklahoma was better than RnH's. Why these classic songs made their way from the stage to top 40 and why they endure today! Get in touch! @downstageleftpc downstageleftpc@gmail.com downstageleftpodcast.com

Juliet Ewing is rapidly becoming known as an exciting, masterful interpreter of the Great American Songbook. Equally at home in jazz clubs and on concert stages, she is following in the footsteps of Ella Fitzgerald and Peggy Lee in that she can swing when she so desires, yet always stays connected to the rich and musically diverse songbook singing tradition that these great ladies of song exemplified. Fun yet elegant, Juliet enjoys singing the full spectrum of popular song, from the musical chestnuts of George Gershwin and Cole Porter to the contemporary stylings of Sting, Laufey, and Sade. Perhaps the word that best exemplifies Juliet's artistry is “timeless.” Juliet regularly performs as a soloist or with her trio “The Juliet Set” in and around NYC in jazz clubs and private events. marked by a golden voice that resonates with warmth and clarity, captivating audiences with every note. On September 12, she released her album Simply 'S Wonderful-The Magic of Gershwin.