American recording artist; singer
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6 episodes with Connie Francis
10 episodes with Connie Francis
5 episodes with Connie Francis
7 episodes with Connie Francis
5 episodes with Connie Francis
18 episodes with Connie Francis
5 episodes with Connie Francis
3 episodes with Connie Francis
3 episodes with Connie Francis
The multi-talented award-winning New Jersey singer/songwriterMelissa Pettignano talks about her releases ”Gave You One More Chance , “DearLord Jesus”, “It's All For You” and more! Melissa began her amazing career at 2singing and dancing to Connie Francis, the Supremes with her love for doowop andperformed at 7 in school and talent shows, plus her father & aunt sang asRickie & Vickie with a 1960's hit “Joanie/Why Are You So In Love”, and is anaccomplished author, actress, model with many stories behind the music andmore! Check out the amazing Melissa Pettignano and her latest releases on allmajor platforms and www.melissapettignano.comtoday! #melissapettignano #newjersey #singersongwriter #doowop#gaveyouonemorechance #dearlordjesus #itsallforyou #conniefrancis #thesupremes#rickieandvickie #joanie #spreaker #iheartradio #spotify #applemusic #youtube#anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermelissapettignano#themikewagnershowmelissapettignano
The multi-talented award-winning New Jersey singer/songwriterMelissa Pettignano talks about her releases ”Gave You One More Chance , “DearLord Jesus”, “It's All For You” and more! Melissa began her amazing career at 2singing and dancing to Connie Francis, the Supremes with her love for doowop andperformed at 7 in school and talent shows, plus her father & aunt sang asRickie & Vickie with a 1960's hit “Joanie/Why Are You So In Love”, and is anaccomplished author, actress, model with many stories behind the music andmore! Check out the amazing Melissa Pettignano and her latest releases on allmajor platforms and www.melissapettignano.comtoday! #melissapettignano #newjersey #singersongwriter #doowop#gaveyouonemorechance #dearlordjesus #itsallforyou #conniefrancis #thesupremes#rickieandvickie #joanie #spreaker #iheartradio #spotify #applemusic #youtube#anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermelissapettignano#themikewagnershowmelissapettignano
The multi-talented award-winning New Jersey singer/songwriter Melissa Pettignano talks about her releases ”Gave You One More Chance , “Dear Lord Jesus”, “It's All For You” and more! Melissa began her amazing career at 2 singing and dancing to Connie Francis, the Supremes with her love for doowop and performed at 7 in school and talent shows, plus her father & aunt sang as Rickie & Vickie with a 1960's hit “Joanie/Why Are You So In Love”, and is an accomplished author, actress, model with many stories behind the music and more! Check out the amazing Melissa Pettignano and her latest releases on all major platforms and www.melissapettignano.com today! #melissapettignano #newjersey #singersongwriter #doowop #gaveyouonemorechance #dearlordjesus #itsallforyou #conniefrancis #thesupremes #rickieandvickie #joanie #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermelissapettignano #themikewagnershowmelissapettignano Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.
Sintonía: "Indian Summer" - Bud Freeman"You Always Hurt The One You Love" - Connie Francis; "Crying In The Chapel" - Ella Fitzgerald; "My Boy Elvis" - Janis Martin; "Mambo Bacan" - Sophia Loren; "Lipstick On Your Collar" - Connie Francis; "Dynamite" - Brenda Lee; "Music! Music! Music!" - Teresa Brewer; "C´est si bon" - Eartha Kitt; "I Hear You Knocking" - Gale Storm; "Come On-A My House" - Rosemary Clooney; "I Cried A Tear" - LaVern Baker; "The Deadwood Stage (Whip-Crack-Away!)" - Doris Day; "Billy" - Kathy Linden; "Whatever Lola Wants (Lola Gets)" - Sarah Vaughan; "Cracker Jack" - Janis Martin; "Good Rockin´ Daddy" - Etta James; "Rockin´ The Blues" - Peggi Griffith; "(Mama) He Treats Your Daughter Mean" - Ruth Brown; "A Kiss And A Cuddle" - Diana DorsTodas las canciones extraídas de la recopilación (3xCD) "Fifties Girls - 75 Original Recordings On 3CDs" (Not Now Music, 2014).La primera parte de esta recopilación se emitió el 21/05/2025.Escuchar audio
President Trump mobilizes 700 active-duty U.S. Marines to Los Angeles in the wake of violent protests over ICE raids. A federal judge dismisses Justin Baldoni's $400 million countersuit against Blake Lively and Ryan Reynolds. And legendary singer Connie Francis gains a Gen Z following on TikTok thanks to the viral success of "Pretty Little Baby." Learn more about your ad choices. Visit podcastchoices.com/adchoices
Where is the Elon and Trump feud headed? Elon Musk will be speaking to some Trump Aids today. The GOP needs the money from Elon Musk for a Midterm victory. former white house press secretary Karine Jean-Pierre may be upset because her book promotion on the air got put to the side because of the Musk and Trump fight. Mark Interviews Writer Alan Zweibel. Alan tells Mark how in show business sometimes you have to break up two colleagues from going at each other, like the Trump and Musk fight. Everyone has a podcast or a new book out nowadays, what does Alan think of that? Nothing Elon Musk says will alter the Big Beautiful Bill. P Diddy did something yesterday at his trial that raised eyebrows. Did the Democratic Mayoral Debate for NYC add any fuel to the fire for any of the candidates, Mark explains. Z Gen's have blown up Singer Connie Francis's song "Pretty Little Baby". Mark Interviews Pollster John McLaughlin. John sees President Trump's approval ratings moving higher month after month right now it's at 51%. The recession fears have dropped in the last month. Are the Democratic issues such as Transgender rights and energy losing issue for the campaigns?
Where is the Elon and Trump feud headed? Elon Musk will be speaking to some Trump Aids today. The GOP needs the money from Elon Musk for a Midterm victory. former white house press secretary Karine Jean-Pierre may be upset because her book promotion on the air got put to the side because of the Musk and Trump fight. Mark Interviews Writer Alan Zweibel. Alan tells Mark how in show business sometimes you have to break up two colleagues from going at each other, like the Trump and Musk fight. Everyone has a podcast or a new book out nowadays, what does Alan think of that? Nothing Elon Musk says will alter the Big Beautiful Bill. P Diddy did something yesterday at his trial that raised eyebrows. Did the Democratic Mayoral Debate for NYC add any fuel to the fire for any of the candidates, Mark explains. Z Gen's have blown up Singer Connie Francis's song "Pretty Little Baby". Mark Interviews Pollster John McLaughlin. John sees President Trump's approval ratings moving higher month after month right now it's at 51%. The recession fears have dropped in the last month. Are the Democratic issues such as Transgender rights and energy losing issue for the campaigns? See omnystudio.com/listener for privacy information.
We've told you about food delivery drivers getting upset when they don't get a tip. After a Door Dash worker did not get a cash tip he says he was promised, he returned to the home the next day and he had a gun. During a dramatic confrontation, the firearm ended up in the hands of the homeowner. The driver has been charged with provoking an assault and unlawful carrying of a weapon. He has pled not guilty. And she's the influencer with almost six million followers who also happens to be the granddaughter of President Trump. But along with the spotlight comes a scare for Kai Trump. A man has just been arrested after cops say he jumped the wall at Mar-a-Lago trying to get closer to the high school senior. Plus, dramatic testimony today in the sex trafficking trial of Sean Diddy Combs. A woman claims the rap mogul once dangled her from the 17th story balcony of a high rise. Combs has pleaded not guilty. And if you've been on social media, you've seen influencers of all ages singing a song called Pretty Little Baby. No, it's not the latest hit by Sabrina Carpenter or Taylor Swift.... the tune is actually sixty-four years old... recorded by none other than Connie Francis, who's now a viral sensation at age 87. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis. … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis. … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis. … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
2025 Tony nominees Jonathan Groff and Gracie Lawrence discuss their Broadway musical "Just in Time," which explores the life of singer Bobby Darin. Groff stars as Darin, while Lawrence plays singer Connie Francis.
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.
The Roo and Ditts For Breakfast Catch Up - 104.7 Triple M Adelaide - Mark Ricciuto & Chris Dittmar
Morning Overnight News Sondra on the power outage Loz Dr issues Real News Fake News Ditts gym hero Roo hit the front page Rumour Mill GOAT quote Wheelie Bin Rob Thomas from Matchbox 20 Sport Airpod etiquette Best time to fly Connie Francis is back See omnystudio.com/listener for privacy information.
Sintonía: "Follow That Arab" - Corduroy "Sweet Nothin´s" - Brenda Lee; "Pink Shoe Laces" - Dodie Stevens; "Lucky Lips" - Ruth Brown; "I´ll Be True" - Faye Adams; "Broken Hearted Melody" - Sarah Vaughan; "Where Will The Dimple Be" - Rosemary Clooney; "I Can See An Angel" - Patsy Cline; "Tennessee Wig Walk" - Bonnie Lou; "Dreamboat" - Alma Cogan; "Kiss Me, Honey Honey, Kiss Me" - Shirley Bassey; "Memories Are Made Of This" - Gale Storm; "Walkin´ After Midnight" - Patsy Cline; "I Wanna Be Loved By You" - Marilyn Monroe; "This Ole House" - Rosemary Clooney; "Jim Dandy" - LaVern Baker; "Love and Marriage" - Dinah Shore; "You Always Hurt The One You Love" - Connie FrancisTodas las músicas extraídas de la recopilación (3xCD) "Fifties Girls: 75 Original Recordings on 3CDs" (Not Now Music, 2014)Escuchar audio
Episodio 7.11 de Las Cosas Que Hay Que Escuchar, en el cual nos preguntamos qué vamos a hacer de comer mientras escuchamos la música de Juanita y los Feos, Lisasinson, Jill Sobule, Connie Francis, Wanda Jackson, Janis Martin, Muddy Waters, Jimi Hendrix, Astrud, Laika, KTU, Kletka Red, Messer für Frau Müller, Carlos Perón y Yello. Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio
In this episode of Half Hour with Jeff & Richie, we dive into the Broadway musical Just In Time at Circle in the Square. We break down how the show reimagines the biopic musical, focusing on Bobby Darin's rise from East Harlem to stardom, and explore what makes this production stand out on Broadway right now. We talk about Jonathan Groff's dynamic, Tony-worthy performance as Darin, Gracie Lawrence's scene-stealing turn as Connie Francis, and how the immersive nightclub design puts you right in the middle of the action. Plus, we get into the show's fresh approach to storytelling, the emotional punch of the music, and our predictions for the Tony Awards. Tune in for our honest take on the performances, the creative team's choices, and why Just In Time is a must-see for theater fans. Follow and connect with all things @HalfHourPodcast on Instagram, and YouTube. Share your thoughts with us on Just In Time on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
Arrancamos con otra centena: programa 301 en el Día Mundial del Jazz. Ahí les dejamos el orden de apartados y las canciones que han sonado ADIVINA LA PELÍCULA Shostakovich, Dmitry – Jazz Suite No2 – 6. Waltz 2. SAN TORAL. Louis Armstrong. MACK THE KNIFE. Connie Francis. BÉSAME MUCHO. CELEBRACIONES Emilia Aliaga. EL RATONCITO MICKEY […] The post Los Tres Tenores 30/04/2025 first appeared on Ripollet Ràdio.
Send us a textOn this Episode Tom and Bert introduce "The Spotlight Series" on entertainment influencers thru the decades!There are Stories to tell and the Guys will cover and discuss the beginnings and the careers of some of the greatest influencers throughout ALL of the entertainment industry.Today's Podcast will cover 3 Legends of the Music scene from the early rock n roll and country music genres. These female artists are 3 icons from the 1950's and 1960's era. Patsy Cline, Brenda Lee and Connie Francis!Listen in as we cover these Ladies!CHAPTERS:(1:08) Patsy Cline- "The most popular Female Country Singer in recording History!"(9:23) Brenda Lee- "Little Miss Dynamite"(22:23) Connie Francis- "The Queen of Song"Enjoy the Show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.
Une émission super éclectique avec en diffusion : Joy, Oldelaf et Monsieur D, Ring of cash, Sugar Crush, Wheeland Brothers et Connie Francis. Et toi quel est ton morceau préféré ?Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
What if you could seamlessly blend the timeless charm of doo-wop and rock and roll with the vibrant traditions of Italian-American culture? Our special guest, Charlie Romo, takes us on a thrilling ride through the heart of these cherished worlds. Celebrating his 29th birthday with us, Charlie shares his stories of signing, balancing work and family life, and the delightful chaos of teaching students. Laughter and insights abound as we explore the cultural nuances of family gatherings and the importance of community in Italian American life.Foodies and music lovers alike will savor our exploration of Italian-American culinary traditions and the evolution of music from doo-wop to contemporary crooning. Charlie recounts his journey growing up in a musically inclined household, his participation in American Idol, and his mission to keep classic music alive for new generations. The episode is filled with nostalgia as we reminisce about icons like Bobby Darin and Connie Francis, highlighting Charlie's fascinating experiences with memorabilia and projects honoring these legends.As we wrap up, Charlie opens up about his musical evolution, from voice lessons to a brief hiatus for sports broadcasting, and his passion for collecting Bobby Darin memorabilia. We touch on personal legacies, the importance of heritage, and the joy of sharing classic music with younger audiences. Join us for a lively conversation that celebrates the intersection of cultural heritage and music, and stay tuned for his appearance on American Idol! Congrats once again Charlie!HIS SOCIALSInsta: @Charlie_romoWEBSITEhttps://charlieromo.com/home
Episode dedicated to Dino Baskovic (1974-2025) This is the third of four records from Connie Francis that my dad has in his collection. She WAS the top charting female US artist of the late 1950s and early 1960s. Her popularity was due to her voice and being able to sing in multiple languages. And she was a hit maker during the early days of rock and roll. So get ready to hear a star who was estimated to have sold more than 200 million records worldwide in Volume 218: Rock and Roll Connie. More information about this album, see the Discogs webpage for it. Credits and copyrights Connie Francis – Connie Francis Label: Metro Records – M-519 Format: Vinyl, LP, Album, Mono Released: 1964 Genre: Pop Style: Vocal We will hear 7 of the 10 tunes on this album. Someone Else's Boy Written-By – Athena Hosey and Hal Gordon Too Many Rules Written-By – Don Stirling and Harold Temkin I'm Gonna Be Warm This Winter (did I hear a little flash of an Elvis impersonation?) Written-By – Hank Hunter and Mark Barkan We Have Something More (Than A Summer Love) Written-By – Jennie Lee Lambert and Mickey Gentile It Happened Last Night Written-By – Earl Wilson, Leonard Whitcup and Slugger Wilson Two for the road with a double shot of Francis penned tunes Plenty Good Lovin' Written-By – Connie Francis Vacation Written-By – Connie Francis, Gary Weston and Hank Hunter I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #conniefrancis #earlyrockandroll #musichistory #vinylrecordcollecting
In the 1970s, Norwegian Tor Sornes invented the hotel key card. He wanted to improve security in hotels after he heard the news that one of his favourite singers, Connie Francis, was attacked in her hotel room.After making a prototype in his garden shed, Tor then had the challenging task of selling his invention globally.Tor's son, Anders, tells Gill Kearsley how persistence paid off for Tor, and the hotel key card was adopted worldwide.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: A later version of a hotel key card. Credit: Getty Images)
Con las Hermanas Serrano y José Guardiola, Calexico, She & Him, Luis Lucena, los Castro, Percy Mayfield, Emilie.Claire Barlow, Bruce Dickinson, Hugo Montenegro, Connie Francis, Bebe, Marlango, la Húngara, Límbicos, los Amaya, Gipsy Kings y Mocedades
National Ding A Ling day. Entertainment from 2006. Penssylvania became 2nd state,1st state dinner, 1st Black to serve in US House of Representatives, Tide went on sale. Todays birthdays - Frank Sinatra, Bob Barker, Connie Francis, Dionne Warwick, Cy Curnin, Sheila E., Jennifer Connelly, Mayim Bialik. Charlie Pride died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/My Ding-A-Ling - Chuck BerryI wanna love you - Akon Snoop DoggMy wish for you - Rascal FlattsBirthday - The BeatlesBirthdays - In da club - 50 Cent http://50cent.com/My way - Frank SinatraThe Price is right TV openingMy heart has a mind of its own - Connie FrancisI say a little prayer - Dionne WarwickOne thing leads to another - The FixxThe Glamourous life - Sheila EBlossom TV themeKiss an angel good morning - Charlie PrideExit - In my dreams - Dokken https://www.dokken.net/
The after-party shenanigans, We have to book Connie Francis, Cursing Carols, Super Match + Why are you on Santa's naughty list?
Allison Applebaum stood by her dad Stanley as his caregiving partner, respecting his wishes and maintaining his quality of life through the very end of his life. Allison was previously the Founding Director of the Caregivers Clinic at Memorial Sloan Kettering Cancer Center, the first program of its kind in the United States to provide comprehensive psychosocial care to family members and friends of patients who are in the caregiving role. Her father Stanley, a talented and prolific composer and musician, worked with many great artists for the 50's and 60's, including Neil Sedaka, Ben E. King, and Connie Francis. Allison took a lead role as her dad's caregiver after the death of her mother, helping him deal with Lewy Body Disease (Lewy Body Dementia). After her mother died, Allison and Stan went forward, dealing with intense and traumatic grief. Allison's caregiving story is a beautiful tribute to her dad, and there are many caregivers across the U.S. doing the same job for someone they care about. LBD carries an unusual set of caregiving challenges. Stan defined quality of life as the ability to be creative, grow, and continue to compose his music. As a caregiver, Allison respected his wishes and ensured he lived fully until his death at 96. Some highlights from Allison's unique caregiving story include: Her dad retained his creativity and this contributed greatly to his quality of life Stan never had a DNR (Do Not Rescucitate) document, and Allison respected that wish through his death Intermittent hallucinations were part of his disease, a great source of pain for both Stan and his daughter. Allison considered them partners in caregiving, and worked to build a caregiving village customized to her dad's needs. Connect with Dr. Allison Applebaum: Website: allisonapplebaum.com Book: Stand By Me: A Guide to Navigating Modern, Meaningful Caregiving Socials: Twitter Instagram Interested in purchasing a GrandPad to stay connected with a senior loved one? Get more information at https://www.grandpad.net/thoh. GrandPad website: https://www.grandpad.net/ Social Media for GrandPad https://facebook.com/grandpad https://instagram.com/grandpad_social/ https://www.linkedin.com/company/grandpad https://www.youtube.com/channel/UCuFAJCb7_tTneM_ikABq08Q Hospice Navigation Services is here for you. If you have questions about hospice care or need to troubleshoot the care you're already receiving, book a session with an expert Hospice Navigator at theheartofhospice.com. Connect with The Heart of Hospice Podcast and host Helen Bauer Website: theheartofhospice.com Email: helen@theheartofhospice.com More podcast episodes: The Heart of Hospice Podcast
A listener's question sparked a wave of nostalgia and inspired this episode. Today we discuss the incredibly talented Connie Francis. She gave us timeless hits like, WHERE THE BOYS ARE & WHO'S SORRY NOW. Tune in as we explore memories behind the legend and celebrate the unforgettable Connie Francis.
A listener's question sparked a wave of nostalgia and inspired this episode. Today we discuss the incredibly talented Connie Francis. She gave us timeless hits like, WHERE THE BOYS ARE & WHO'S SORRY NOW. Tune in as we explore the memories behind the legend and celebrate the unforgettable Connie Francis. https://hollywoodgodfatherpodcast.com/ https://www.giannirusso.com/ https://corleonefineitalian.com/ Gianni Russo's Cameo videos are a must-have for any true Godfather fan! https://www.cameo.com/giannirusso?qid=1731978579&aaQueryId=0f543d0f3429d0ace3bf944ae3314bfe Follow us on... instagram.com/@hollywoodgodfather instagram.com/@realgiannirusso instagram.com/@Jeaniehollywoodgodfatherpod
On this episode, Gianni dives into listeners' questions taking us back to the golden area of the Tropicana, sharing vivid memories of the time he spent in the iconic venue. He recalls unforgettable moments watching legendary superstars like Frank Sinatra, Sammy Davis Jr. Wayne Newton and Elvis Presly light up the stage.. He also answers questions revealing his second favorite film role and reflecting on the life of legendary Connie Francis. Have questions or ideas for future episodes? Write in, and let's keep the conversation going! Go tohttps://www.allstarwine.com/brands/Don-Corleone-Organic-Italian-Vodkahttps://www.giannirusso.com/https://hollywoodgodfatherpodcast.com/https://corleonefineitalian.com/Follow us on...instagram.com/@hollywoodgodfatherinstagram.com/@realgiannirussoinstagram.com/@Jeaniehollywoodgodfatherpod
On this episode, Gianni dives into listeners' questions taking us back to the golden area of the Tropicana, sharing vivid memories of the time he spent in the iconic venue. He recalls unforgettable moments watching legendary superstars like Frank Sinatra, Sammy Davis Jr. Wayne Newton and Elvis Presly light up the stage.. He also answers questions revealing his second favorite film role and reflecting on the life of legendary Connie Francis. Have questions or ideas for future episodes? Write in, and let's keep the conversation going!
In this episode we dive into the remarkable life of Bobby Darin, a musical sensation whose talent and ambition left an indelible mark on the entertainment world. Know for hits like Mack the Knife and Beyond the Sea, Bobby Darin lived with a unique urgency. He was aware of his limited time and channeled every ounce of energy into making a lasting impact. We explore his passionate relationship with the legendary Connie Francis, and the lasting impact it had on both of them. Years after Darin's passing, his brother put some of his personal possessions up for auction, including deeply personal love letters exchanged between Darin and Francis. Connie herself entered the auction hoping to reclaim this cherished part of their history, only to be outbid. But in a touching twist the winning bidder generously decided to return the letters to her allowing a piece of Darin's memory to return to someone who loved him dearly. Join us as we celebrate Bobby Darin's life, love and legacy that endures long after his short life.
In this episode we dive into the remarkable life of Bobby Darin, a musical sensation whose talent and ambition left an indelible mark on the entertainment world. Know for hits like Mack the Knife and Beyond the Sea, Bobby Darin lived with a unique urgency. He was aware of his limited time and channeled every ounce of energy into making a lasting impact. We explore his passionate relationship with the legendary Connie Francis, and the lasting impact it had on both of them. Years after Darin's passing, his brother put some of his personal possessions up for auction, including deeply personal love letters exchanged between Darin and Francis. Connie herself entered the auction hoping to reclaim this cherished part of their history, only to be outbid. But in a touching twist the winning bidder generously decided to return the letters to her allowing a piece of Darin's memory to return to someone who loved him dearly. Join us as we celebrate Bobby Darin's life, love and legacy that endures long after his short life.
Legendary singer/original founding member of The Mystics George Galfo talks about the 65th anniversary of the '59 megahit “Hushabye” and the story behind the song and more! George has been at the helm for 22+ years and inducted into the Doo-Wop Hall of Fame in '05 & nominated into the Brooklyn HOF Legends & Legacies, the group began as the Overtons later becoming The Mystics and have backed up numerous acts including Judy Allen, Rusty Lane, and Connie Francis plus their previous releases “Don't Take The Stars”, “All Through The Night”, “White Cliffs of Dover” , “Star Crossed Lovers” and George shares his stories about his amazing career plus the story behind the music! Check out the amazing George Galfo of The Mystics on all major platforms and www.theoriginalmystics.com today! #georgegalfo #themystics #65thanniversary #doowophalloffame #hushabye #brooklynhalloffamelegends #theovertons #laurierecords #donttakethestars #whitecliffsofdover #theoriginalmystics #conniefrancis #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnergeorgegalfo #themikewagnershowgeorgegalfo Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.
Episode 313, Signature Songs, presents the songs most associated with 17 performers including The Everly Brothers, Ricky Nelson, the bands of Tommy Dorsey and Glenn Miller, Connie Francis, Tony Bennett, Brenda Lee, Gene Autry, and... Read More The post Episode 313, Signature Songs appeared first on Sam Waldron.
Vanessa Racci, the beloved jazzy Italian, takes center stage as we paint vivid portraits of Italian American music icons Bobby Darin and Connie Francis. Our heart beats with excitement as Vanessa unveils her latest passion project, "Forbidden Love," a mini musical poised to captivate audiences with its debut at Yorktown Stage in Westchester, New York. She shares her journey and collaboration with the talented Charlie Romo, all while nestled in the historical backdrop of Little Italy, thanks to the encouragement of Dr. Joseph Schelsa. Together, they breathe new life into the compelling and overlooked love story of Darin and Francis, adding depth to their legacies. Our conversation celebrates the indomitable spirit of Connie Francis, exploring her touching embrace of her Italian roots through music, even as she navigated personal trials and the challenging dynamics of fame. Her father's insistence on her mastering the accordion and the resulting success of "Who's Sorry Now?" serve as testament to her resilience and talent. We reflect on her extraordinary journey and ponder her mysterious exclusion from the Rock and Roll Hall of Fame. Vanessa and I weave personal anecdotes that underscore the lasting impact of these musical greats, as we announce the ambitious plans to elevate their story from a mini musical to a grand Broadway spectacle. Music becomes the powerful thread connecting past and present, as we reminisce about the resonant beauty of Italian songs like "Non pensare a me" and "Al di là." These melodies carry the weight of family memories, driven by the emotive power of the Neapolitan cry and the unique vocal qualities that define Italian music. We further explore the nurturing of future Italian American talents, celebrating figures like Charlie Romo who is staring in this production with Vanessa, and discuss the discipline and talent required to excel as a singer. As we traverse through genres, with nods to jazz and R&B legends like Alicia Keys and Etta James, this episode becomes a rich tapestry of music's enduring influence on our lives and the vibrant legacy of Italian American contributions to the musical landscape. To find out about the performance see the links below! Get tickets at: https://www.yorktownstage.org/forbidden-love-the-love-story-of-bobby-darin-and-connie-francis/ Vaness's Website: https://vanessaracci.com/ Vanessa's socials Youtube: @vanessaracci Instagram: @vanessaracci X: @vanessaracci --- Support this podcast: https://podcasters.spotify.com/pod/show/italianamerican/support
Send us a Text Message.Welcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: My Girl by The Temptations (1964)Song 1: Cotton Eye Joe by Rednex (1994)Song 2: Possibly Maybe by Bjork (1995)Song 3: Kids by MGMT (2007)Song 4: Seaside Shuffle by Terry Dactyl & the Dinosaurs (1971)Song 5: Stupid Cupid by Connie Francis (1959)Song 6: Goin' to See My Baby by The Fatback Band (1972)Song 7: Islands in the Stream by Kenny Rogers & Dolly Parton (1983)Song 8: Beautiful by Eminem (2009)Song 9: Want U Back by Cher Lloyd (2012)Song 10: The Sweetest Taboo by Sade (1985)
In this modern world, it's a struggle to get by enough as it is without some damn fool in your face every waking moment. Fortunately we know the best way to deal with fools. Much like paranoia, the cure is through laughs and of course music. Our good friend and fellow music nerd Ryan Stockstad knows this all too well, and was nice enough to join the pod for TOP TEN SONGS FOR "FOOLS", our favorite songs that have the word "Fool" in the title. Picks 10-6 are featured here in Part 1.Ryan is always up to fun stuff on YouTube and other places. Follow his Instagram for all things Stockstad:https://www.instagram.com/hollywoodpsychic/All hail the beloved Patreon people! These upstanding citizens put their money where their mouth is and keep the show afloat by contributing $5 a month. In return they're rewarded with a monthly bonus episode using our patented Emergency Pod format, our improv game where we pull a playlist out of our butts in real time. On August 1st we released an all-new Emergency Pod episode with the always affable Dustin Prince. Get this and every episode weve done, plus a new one every month, Find out more at:https://www.patreon.com/alltimetoptenChat with us! On Facebook! Get more involved in the ATTT cinematic universe by chatting with us on the Facebook Music Chat Group. Start a conversation about music!https://www.facebook.com/groups/940749894391295
Nuevo capítulo de la serie Billboard Hits en donde cada mes te invitamos a retroceder 60 años en el tiempo para recordar algunas de las canciones que alcanzaron su puesto más alto en el Billboard Hot 100 en este mismo mes de hace seis décadas. Los grupos de la invasión británica, el soul de la Motown y los girl groups conviven en las listas de éxitos convirtiéndose, independientemente de su estilo, en la música popular.(Foto del podcast; Florence Ballard, Mary Wilson y Diana Ross, The Supremes en Londres, 1964)Playlist;(sintonía) THE VENTURES “Walk don’t run 64” (top 8)THE BEATLES “A hard day's night” (top 1)THE BEATLES “I should have known better” (top 53)PETER and GORDON “Nobody I know” (top 12)DEAN MARTIN “Everybody loves somebody” (top 1)THE SUPREMES “Where did our love go” (top 1)THE MIRACLES “I like it like that” (top 27)THE MARVELETTES “You’re my remedy” (top 48)EARL JEAN “I’m into something” (top 38)THE DRIFTERS “Under the boardwalk” (top 4)THE ROLLING STONES “Tell me (you’re coming back)” (top 24)THE RONETTES “Do I love you?” (top 34)THE JELLY BEANS “I wanna love him so bad” (top 9)PATTY and THE EMBLEMS “Mixed-up, shook-up girl” (top 37)CONNIE FRANCIS “Looking for love” (top 45)BARBARA LYNN “Oh baby we got a good thing going” (top 69)DIONNE WARWICK “A house is not a home” (top 71)DUSTY SPRINGFIELD “Whisin’ and hopin’” (top 6)THE DIXIE CUPS “People say” (top 12)Escuchar audio
Dürfte ich eine Romanfigur erfinden, sie wäre wie Alli Neumann. Gesegnet mit zahllosen Talenten und einem von Solarenergie betriebenen Temperament, ein von innen und außen schöner Mensch mit überbordender Phantasie. 1995 kam sie in Solingen zur Welt als Tochter einer Polin und eines Deutschen. Als Mädchen tritt Alli in Altersheimen auf, singt Lieder von Connie Francis und France Gall, beginnt mit 12, eigene Songs zu schreiben, zieht 14jährig nach Hamburg, raus aus der Schule, rein in die Schule, wieder raus, alles ist immer in Bewegung, vor allem Alli selbst. 2018 spielt die Autodidaktin in Kim Franks Spielfilm „Wach“ und wird bejubelt, sie bringt ihre ersten Songs raus, spielt 2022 für 6 Konzerte als Vorband von Coldplay und ist 2023 bei „Sing meinen Song“ dabei. What a Life! Bei „Toast Hawaii“ erzählt Alli von polnischen Salzgurken, Letscho Suppe und Zapiekanka (Sie werden erfahren, was genau das ist), wir sprechen über Borschtsch und Pieroggen, aber auch über sehr simple Dinge wie Pralinenschachteln, Zwiebeln und chinesisches Porzellan.
We are thrilled to welcome Mr. Ernie Rossi of E. Rossi Company to the newly minted Red Sauce Studio in the heart of Little Italy. With a legacy dating back to 1910, Ernie shares captivating stories about his family's significant contributions to Neapolitan music in America. From his grandfather's early days publishing sheet music to producing records, this episode offers a tribute to the enduring legacy of Italian culture in Little Italy. Travel back with us to the nostalgic Italian American neighborhoods where cultural dynamics and traditions shaped everyday life. Ernie paints a vivid picture of how the family business evolved from a music-focused enterprise to a broader Italian American resource, emphasizing the cultural significance of traditional coffee pots like the Neapolitan flip coffee pot. Personal anecdotes, such as children being given coffee in their milk to keep them hyperactive, enrich our discussion of memories that continue to shape Italian American heritage today. From our sit down with Ernie we explore kitchen mishaps, traditional Italian cookware, and share humorous stories about encounters with famous Italian Americans like Martin Scorsese and Connie Francis. As we wrap up, we dive into planning an Italian American Christmas album, including a playful debate about Dominic the Donkey and creating a new holiday hit. Join us for an episode brimming with rich history, personal connections, and a heartfelt celebration of Italian American culture. --- Support this podcast: https://podcasters.spotify.com/pod/show/italianamerican/support
On the latest episode of the podcast, Doug sings the praises of the majority of the cast in this horrible movie, Jamie thinks she's watching a movie starring Connie Francis and Perry Mason, and we both marvel at the decision to allow Dan Akyroyd to do whatever voice work this is. Put on your loudest formal-wear, allow an unhinged laser to give you an atomic wedgie , and join us as we get distracted throughout our discussion of one of the worst films in history (Doug would disagree) Caddyshack II!Visit our YouTube ChannelMerch on TeePublic Follow us on TwitterFollow on InstagramFind us on FacebookVisit our Website
Ginny MacColl is the world's oldest female competitive ninja athlete, but her journey didn't begin until her mid-60s. She talks about what it takes to become a warrior.
- Your Favorite Mothers Day Songs, featuring Connie Francis, Al Jolson, Yehoram Gaon, Dudu Fisher, Shira Kobren Wasserman of Central Synagogue and others - A Yiddish Expression appropriate for this day
Dennis and Julie open with first impressions …is this a good, intelligent, charming, or wealthy person? Do you have a goodness detector? How can you assess one's goodness? Knowledge and intelligence are not synonymous. We all have micro and macro beliefs... one might have great micro beliefs and atrocious macro beliefs. Who influences people more high school or college teachers? Do you remember your teachers? The definition of courage is ...one who tells the truth. Younger generations aren't gowing up like they used to… meeting people… being independent… is it tougher to be a young person today than it was in the past. What are the factors, now versus then, that have changed? In the past there was no war on reality, more patriotism, more religion, and two parents in the home. Younger folks were not as jaded… there was less gender confusion in the past. Tearing things down is easy, building things up is much tougher. Dennis uses Where the Boys Are -1961 Connie Francis, to show how popular music reflects the change in young people over the years. They address technology and pornography... and its effect on intimacy. We are a sex obsessed society, but have less intimacy. Dennis shares his drivers test fail. What is self-gifting. Julie points out that "manifesting" is secular praying, and "the universe" is secular God. Music: Straight to the Point c 2022Richard Friedman Music Publishing 100%Richard Friedman Writers 100%ASCAP (PRO)IPI128741568RichardFriedmanMusic.comSee omnystudio.com/listener for privacy information.
Dennis and Julie open with first impressions …is this a good, intelligent, charming, or wealthy person? Do you have a goodness detector? How can you assess one's goodness? Knowledge and intelligence are not synonymous. We all have micro and macro beliefs... one might have great micro beliefs and atrocious macro beliefs. Who influences people more high school or college teachers? Do you remember your teachers? The definition of courage is ...one who tells the truth. Younger generations aren't gowing up like they used to… meeting people… being independent… is it tougher to be a young person today than it was in the past. What are the factors, now versus then, that have changed? In the past there was no war on reality, more patriotism, more religion, and two parents in the home. Younger folks were not as jaded… there was less gender confusion in the past. Tearing things down is easy, building things up is much tougher. Dennis uses Where the Boys Are -1961 Connie Francis, to show how popular music reflects the change in young people over the years. They address technology and pornography... and its effect on intimacy. We are a sex obsessed society, but have less intimacy. Dennis shares his drivers test fail. What is self-gifting. Julie points out that "manifesting" is secular praying, and "the universe" is secular God. Music: Straight to the Point c 2022Richard Friedman Music Publishing 100%Richard Friedman Writers 100%ASCAP (PRO)IPI128741568RichardFriedmanMusic.comSee omnystudio.com/listener for privacy information.
Episode 291, Top Hits of 1960, features 17 best-selling songs from that year plus a few memories of pop culture in 1960. Performers include Elvis Presley, Connie Francis, Chubby Checker, Ray Charles, The Ventures, The... Read More The post Episode 291, Top Hits of 1960 appeared first on Sam Waldron.
Alli Neumann spricht im Podcast über Fettnäpfchen, stressige Geburtstage und kopflose Hühner. Die Sängerin beschreibt den Outlaw unter den Instrumenten, redet über das Lebenswerk ihrer polnischen Mutter und erinnert sich, ab welchem Moment sie stolz war über ihre Herkunft. Über eine Oma im Harz, die es nie gab, Deutschlernen mit Nicht-Muttersprachlerinnen und warum sie es bereut, nicht von der Polizei zur Schule eskortiert worden zu sein https://www.allineumann.com/ (02:20) Passkontrolle (10:35) Klischee-Check: Pep-Talk, Polenwitze & Oma im Harz (23:45) Kulturliebender Haushalt, kopfloses Huhn & Deutschlernen mit Connie Francis (37 :00) Wilde Musik, Sommerferien in Polen & Ärger mit dem Jugendamt (43:00) Plattenvertrag mit 13 und Back to School (56:50) Neues Album & Migrant Parents & Mamas Lebenswerk BETTHUPFERL: https://www.ardaudiothek.de/episode/betthupferl-gute-nacht-geschichten-fuer-kinder/frank-joung-rocco-im-topf-schlechte-laune-geburtstagsfolge-mit-adam/bayern-2/94827180/ T-SHIRTS: Halbe Katoffl T-Shirts: https://shop.halbekatoffl.de/ SUPPORT: Halbe Katoffl unterstützen: https://halbekatoffl.de/unterstuetzen/ Website: https://halbekatoffl.de Instagram: https://www.instagram.com/halbekatoffl/ Facebook: http://www.facebook.com/HalbeKatoffl LinkedIn: https://www.linkedin.com/in/frank-joung-76-fjo/
Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New
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