American actress and singer
POPULARITY
2 episodes with Connie Stevens
3 episodes with Connie Stevens
2 episodes with Connie Stevens
2 episodes with Connie Stevens
5 episodes with Connie Stevens
2 episodes with Connie Stevens
2 episodes with Connie Stevens
Actress Joely Fisher joins us for a candid exploration of her life and career, revealing the layers behind her Hollywood persona. As the daughter of industry icons Eddie Fisher and Connie Stevens, Jolie shares her unique perspective on navigating fame and family, from her early role on "Ellen" to tackling heavy characters in films like "Girl in the Basement." She opens up about the emotional challenges of portraying dark roles and the joy of live theater, offering an honest look at the dedication required in both her professional and personal life.Our conversation takes a thoughtful turn as we discuss the shifting political landscapes and their impact on family dynamics, with Joely reflecting on her own experiences with generational differences in political engagement. We highlight the inspiring work of young activists like Santiago Meyer and the complexities of mobilizing Gen Z voters amidst evolving social issues. Joely shares intimate stories of rekindling friendships across political divides and her family's journey in navigating changing beliefs, illustrating how personal relationships intersect with broader societal changes.In a heartfelt conclusion, Joely speaks passionately about her advocacy for mental health and union politics within the entertainment industry. She shares poignant memories of her sister Carrie and mother Debbie Reynolds, underscoring the importance of accessible mental health care and the systemic challenges faced by veterans in the industry. Joely's commitment to using her platform for positive change shines through, as she reflects on grief, resilience, and the potential for individual action to drive societal progress, reminding us all of the power of genuine connection and empathy.Support the showThe Jack Hopkins Now Newsletter https://wwwJackHopkinsNow.com
"BOBBY DRISCOLL: CLASSIC CINEMA STAR OF THE MONTH" EPISODE 64 - “BOBBY DRISCOLL - STAR OF THE MONTH” - 12/02/2024 BOBBY DRISCOLL's name may not be too familiar anymore, but in his heyday, he was the male equivalent of NATALIE WOOD. He was one of the most talented and prolific child stars of the 1940s and 1950s. His descent into darkness should serve as a cautionary tale to all of the stage mothers out there who think their kids will be the next big thing. Sometimes, there is a price to pay for fame, and it ain't always pretty. Join us as we discuss the tragic life of child star Bobby Driscoll. SHOW NOTES: Sources: Great Child Stars (1976), by James Robert Parish; “Bobby Driscoll, Dope Suspect," July 11, 1956, Los Angeles Examiner; “Bobby Driscoll Arrested in Bean Shooting Row,” August 23, 1956, Los Angeles Times; “Actor Bob Driscoll Arrested As Addict,” October 29, 1959, Mirror News; “Actor Freed of Charges on Narcotics,” December 12, 1959, Los Angeles Times; “Bobby Driscoll Napped After Rift with Gun,” June 18, 1960, The Citizen News; “New Charge Confronts Former Star,” June 23, 1960, Mirror News; “Actor Fined For Striking Heckler,” October 14, 1960, Los Angeles Examiner; “Driscoll Theft Charge Issued,” April 11, 1961, The Citizen News; “Bobby Driscoll is Arrested Again,” May 2, 1961, Los Angeles Examiner; “Bobby Driscoll, a Film Star at 6, an Addict at 17, Sent to Chino,” October 19, 1961, by Charles Hillinger, Los Angeles Times; “Truly, A Lost Boy,” March 4, 2007, by Susan King, Los Angeles Times; “Oscars Flashback: The Tragic Life and Death of Former Disney Star Bobby Driscoll,” January 22, 2019, by Lynette Rice, Entertainment Weekly; BobbyDriscoll.com; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned: Lost Angel (1943), starring James Craig, Marsha Hunt, & Margaret O'Brien; The Fighting Sullivans (1944) starring Thomas Mitchell & Anne Baxter; Sunday Dinner With A Soldier (1944), starring Anne Baxter, John Hodiak, Charles Winner, & Anne Revere; The Big Bonanza (1944), starring Richard Arlen; So Goes My Love (1946), starring Myrna Loy & Don Ameche; Identity Unknown (1945), starring Richard Arlen; Miss Susie Slagle's (1946), starring Veronica Lake; From This Day Forward (1946), starring Joan Fontaine & Mark Stevens; O.S.S. (1946), starring Alan Ladd & Geraldine Fitzgerald; Three Wise Fools (1946), starring Margaret o'Brine & Lionel Barrymore; Song Of The South (1946), starring James Baskett; If You Knew Susie (1948), starring Eddie Cantor; So Dear to My Heart (1948), starring Burl Ives & Beulah Bondi; The Window (1949), starring Barbara Hale, Arthur Kennedy, Ruth Roman, & Paul Stewart; Treasure Island (1950), starring Robert Newton; When I Grow Up (1951), starring Robert Preston & Martha Scott; The Happy Time (1952), starring Charles Boyer, Louis Jordan, & Marsha Hunt; Peter Pan (1953) The Scarlett Coat (1955), starring Cornel Wilde & George Sanders; The Party Crashers (1958), starring Connie Stevens & Frances Farmer; Dirt (1965), starring Sally Kirkland; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
National Pickleball day. Entertainment from 2008. Nixon announced his resignation, The Great Train Robbery in England, Mt. Blanc summited for first time. Todays birthdays - Webb Pierce, Mel Tillis, Dustin Hoffman, Connie Stevens, Larry Wilcox, Don Most, Scott Stapp, JC Chasez. Shawn Mendes. Olivia Newton-John died.Intro - Pour some sugar on me - Def Leppard https://defleppard.com/Picleball anthem - Eddie & Webby PickleballI kissed a girl - Katy PerryGood time - Alan JacksonBirthdays - In da club - 50 Cent https://www.50cent.com/In the jailhouse now - Webb PierceI aint never - Mel TillisSixteen reasons - Connie StevensChips TV themeHappy Days TV themeBlowin me up with her love - JC ChasezStitches - Shawn MendesPlease Mr. Please - Olivia Newton- JohnExit - Its not love - Dokken
Farley Bright (Peter Miller), recently deceased, was a corrupt televangelist and founder of the Church of the Bright Tomorrow. Through his videotaped will, Farley tells his surviving family, niece Jenny, her boyfriend Johnathan, and her mother Caroline (Carolyn Clark, Richard Kuhlman, and Connie Stevens) that he will send them a sign. The sign ultimately comes when his equally crooked relatives find themselves trapped between Heaven and Hell. Farley also possesses Jenny, planning to use her both as a vessel for his comeback and as a means to escape being condemned to Hell for his corrupt ways. Directed by Dusty Nelson and written by Edithe Swensen Original airdate: May 18, 1986. Grab your TALKS FROM THE DARKSIDE swag from moviedumpsterpodcast.com and use promo code DUMPSTERDWELLER at check out for 10% off!
Hosts Sonia Mansfield and Margo D. drink two Stunned Mullets and dork out about 1987's BACK TO THE BEACH, starring Frankie Avalon, Annette Funicello, Lori Loughlin, Demian Slade, and Connie Stevens. Also discussed, HIT MAN, PERFECT MATCH, and THE FIRST OMENDork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify Tune In Stitcherhttp://dorkingoutshow.com/https://bsky.app/profile/dorkingout.bsky.social https://www.threads.net/@dorkingoutshow https://www.instagram.com/dorkingoutshow/ https://www.facebook.com/dorkingoutshowhttps://twitter.com/dorkingoutshow
Javi and Paul descend into the labyrinth of the Dada-ist haiku that is GREASE 2 and ponder the imponderable. Is Rydell High actually haunted by ghosts as Javi theorizes, and is this somehow also a stealth remake of Richard Donner's Superman? Could anyone other than the transcendent Michelle Pfeiffer have possibly pulled off her scenes, and holy crap is that teenage Pamela Adlon? Will either of our co-hosts emerge with their sanity intact? Tune in to find out — if you dare! — in our most deliriously deranged episode yet.
When TVs entered living rooms and Cinerama lit up movie screens, teens went nuts for Troy Donahue. Born Merle Johnson Jr. he was discovered at The Golden Pheasant restaurant in Calabasas by bigwigs, William Asher and James Sheldon. Signed to Rock Hudson's manager Henry Wilson, Troy won the role of Johnny in A Summer Place and was a teen idol by the morning after opening night. A screen dream, Troy's reality was a nightmare. Author Michael Gregg Michaud has written books about Sal Mineo, Mae West, Marlene Dietrich and Diane Mcbain. Michael joins us to discuss his biography, Inventing Troy Donahue: The Making of a Movie Star.Long intrigued by the darker reality behind Hollywood's seemingly perfect presentation, Michael helps us understand the challenges that shaped Troy's life. He lost his father at 14 and undiagnosed dyslexia adversely affected his grades and his sense of worth. Troy began drinking in middle school. He says he was drunk all the way through his two TV series, Surfside 6 and Hawaiian Eye and unable to master new lines because of his learning disability and his inebriation. By the time he made Paul Springs Weekend, he was downing three codeine laced aspirins with a pint of vodka, followed by four lines of cocaine just to get himself up and out the door.This regimen was quickly followed by a career on the skids, financial ruin and four failed marriages. Troy's charm, humor, wisdom and gratitude pulled him through recovery and bonded him for life with ex-wives, girlfriends and screen partners, Suzanne Pleshette, Sandra Dee, Connie Stevens, Diane McBain and Angie Dickinson.We also learn from Michael about his other books, including a brand new one on Mae West's nightclub act. It's called Mae West and Her Adonises.Plus, Fritz and Weezy are recommending the new doc series on Paramount +, Willie Nelson & Family and Loudermilk on Amazon.Path Points of Interest:Michael Gregg Michaud on AmazonInventing Troy Donahue: The Making of a Movie StarTroy Donahue on WikipediaMichael Gregg Michaud on FacebookMichael Gregg Michaud on InstagramWillie Nelson & FamilyLoudermilk - Amazon Prime
Con Nick Waterhouse feat. Leon Bridges, Honeybus, The Spongetones, Utopía, Connie Stevens, Linda Scott, Dinah Washington, Irma Thomas, The Golden Gate Quartet, C.W. Stoneking, Mantovani, Jay & The Americans, Los Machucambos, Johnny Pacheco & Monguito "El Único" Santamaría, Chappottin y sus estrellas con Miguelito Cuni, UNDP Collective Rita Payes & Jordi Matas y Savages.
Ross and Carrie return to dozens of 2023 predictions made by psychics across the world; as well as two co-hosts, one husband, and a robot. Will Nostradamus finally strike gold with Pope Francis news? Is Madonna doing OK? What did one daytime talk show psychic predict about Britney Spears? Did Ross, Carrie, or Drew win this year's prediction challenge? Did Ross stop playing the ponies? And finally, will completely-obsessed psychic John Cohan at last make an accurate prediction about Grease 2's Connie Stevens? These and more rhetorical questions in our 2023 year-end psychic roundup! Plus, introducing Georgie M. Poppy!We have social media: X! Facebook!
A wonderful show about the USO! Connie Stevens as special guest, as well as live in-studio performances.
S2E8 - The Lost Barbie Episode w/ Muscle Beach Party (1964) & Back to the Beach (1987) In our #Noivember Rain episode, we promised that you'd have a Barbie under your tree for Christmas and here she is! Now that the SAG AFTRA strike is finally over, we can finally post THE LOST BARBIE EPISODE without getting Philena in trouble as Warner Bros' BARBIE was definitely a struck work back when. We did not trim this episode down so you can hear how much the OMFYS crew underestimated the power of pink in our mostly laughable predictions of BARBIE's box office. We also talk about Mattel's history of industrial espionage and the potential for a prestige BRATZ movie. For this episode's movies, we go back to the wildly successful beach party movies of the 60s that inspired Barbie's movie to Malibu with MUSCLE BEACH PARTY (1964). In this second beach movie from American International Pictures, Frankie Avalon and Anette Funicello find their precious strip of sand is overrun by oiled-up body builders who are harshing their vibes! Can they deal??? Bringing the jokes that mostly don't land are Don Rickles, Morey Amsterdam and Buddy Hackett with musical performances by Dick Dale (a regular in the beach party series) and STEVIE WONDER!!! After that Frankie and Annette go BACK TO THE BEACH in 1987, and those jokes do land this time around in this smart and loving satire of the kooky 60s source material. Like BARBIE, Back to the Beach is directed by a woman, Lyndall Hobbs, but it did not get enough love in the late 80s despite two thumbs way up from Siskel AND Ebert. Also starring Connie Stevens and future felon Lori Laughlin along with cameos by a cavalcade of 50s and 60s sitcom stars including Alan Hale Jr. & Bob Denver (The Skipper & Gilligan), Jerry Mathers (the Beaver), Tony Dow (Wally), Barbara Billingsley (Wally and the Beav's mom), and Don Adams (Get Smart) + a PEE WEE HERMAN (rip) showing up to rock SURFIN' BIRD! If all that wasn't enough, we've got DICK DALE and STEVIE RAY VAUGHAN rockin' WIPE OUT and Cory's pals FISHBONE performing Jamaica Ska and dancing through the sand with Annette. This is just a wonderful 80s relic by way of the 60s that everyone should check out. This was one of our most fun episodes, and we really wish we could've gotten it to you when it was still more timely, but we're all about timeless here at OMFYS. BARBIE is definitely that, so we hope the LOST BARBIE EPISODE is too. Wishing everyone a Happy Holidays, Hanukkah, Kwanzaa, Christmas with enough CBD in your seasonal strains to help you deal with your most difficult aunts and uncles at the family gatherings. And here's hoping for a stony AF New Year. Co-hosts: Philena Franklin, Cory Sklar, Greg Franklin and Bob Calhoun Theme song & Christmas Funk: Chaki the Funk Wizard Barbie commercial audio courtesy of Archive.org Check out our new website: www.oldmoviesforyoungstoners.com Thanks Rosie! Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com
National pickleball day. Entertainment from 1986. Britians great train robbery took place, Nixon announced he will resign tomorrow, Mt. Blanc climbed for 1st time. Todays birthdays - Webb Pierce, Richard Anderson, Mel Tillis, Connie Stevens, Dustin Hoffman, Larry Wilcox, Don Most, Scott Stapp, JC Chasez, Shawn Mendes. Olivia Newton-John died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Pickleball anthem - Eddie & WebbyGlory of love - Peter CeteraRockin with the rythem of the rain - The JuddsBirthdays - In da club - 50 Cent http://50cent.com/ In the jailhouse now - Webb PierceI aint never - Mel TillisSixteen reasons - Connie StevensCHIPS Tv show theme songHappy Days TV theme songHigher - CreedBlowin me up (with her love) - J.C. ChasezStitches - Shawn MendesPlease Mr. Please - Olivia Newton-JohnExit - It's not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/show/history-factoids-about-today/
We saw some great theater. Goodnight Oscar, Just For Us Finished up some TV Shows This week's movie was one of John's favorites Pillow Talk, starring Doris Day and Rock Hudson, will Megan share is opinion. Next week we are watchin Palm Springs Weekend starring Troy Donahue and Connie Stevens. We will back in a few weeks! --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-burns1/message
On this episode of Big Conversations, Little Bar the guest is Fred Bronson, who was shamelessly used by co-hosts Patrick Evans and Randy Florence. He may know more about American music charts than anyone else... ever! He's been writing about them for Billboard Magazine for almost 40 years. Fred is also known for the multiple books he has authored about popular music, or his multiple appearances on American Idol (which he wrote for) or his time working with Dick Clark on the American Music Awards and Dick Clark's Rockin' New Years Eve.As you'll hear, Randy wanted to talk about the lunch date Fred had as a youngster with Connie Stevens. Patrick gets kinda giddy as Fred talks about the Star Trek episodes he wrote, and the time Captain Kirk told a young Fred Bronson to get the hell out of the makeup room! And, they also get their guest to tell the story of being a model and stand in for Jack Webb (of Dragnet fame) as a small child. Recorded from the corner booth at the center of the Coachella Valley universe, Little Bar, it's another entertaining and hilarious podcast!
Set sail on Episode 37, Season 2 of the Love Boat, the worlds greatest romantic comedy drama television series of all time! In this episode we follow an all star cast that includes Dabney Coleman, Dena Dietrich, Dave Madden, Rue McClanahan, Gabriel Megor, Heather Menzies, Connie Stevens and Robert Urich as they grapple with difficult decisions, baffling breakups, fair weather friendship, wonky wagers, a kleptomaniac kid and Chaps cologne. So keep your unemployment status to yourself and enjoy this challenging episode of Lovin' The Loveboat. Visit Istvan's website to find all his summer concert dates! See if he's playing near you at: istvansongs.com We also encourage everyone to find our Instagram page Lovin' The Love Boat to enjoy the super cool video messages from Isaac himself Mr. Ted Lange! And much more. Thanks for listening to the podcast and joining us on this voyage and by all means consider subscribing to the show as well as Paramount+ so you can watch the episode with us. We promise you'll be glad that you did. * Attention passengers! If you'd like to see the show continue please consider contributing to our GoFundMe so we can stay afloat and allow us to make good on our promise to have exciting new guests join us on future episodes. It means a lot and will also allow us to keep the show commercial free. Visit our page HERE and give whatever you can. Give any amount and help put us over the top.
Welcome to the Instant Trivia podcast episode 863, where we ask the best trivia on the Internet. Round 1. Category: skip to my "lu" 1: WD-40 for example. Lubricant. 2: Clear or easily understood. Lucid. 3: The German Air Force. Luftwaffe. 4: First name of playwright Pirandello. Luigi. 5: It's the capital city of Zambia. Lusaka. Round 2. Category: british fashion 1: David and Elizabeth Emanuel got the assignment to design this for Princess Diana to wear on July 29, 1981. her wedding dress. 2: 19th century Englishmen Thomas and William Bowler got their names in the dictionary by making these. hats. 3: This "Superwaif" model made news in 1993 when she went topless at a Vivienne Westwood show. Kate Moss. 4: Sharp suits and skinny ties typified the '60s look of the "squad" of these young Britishers. the mod squad. 5: With grenade loops added, the coat designed by Thomas Burberry got this new name during World War I. trenchcoat. Round 3. Category: birthday's the same 1: This cartoonist might serve "Peanuts" at a Nov. 26 party for himself, Tina Turner and Robert Goulet. Charles Schulz. 2: Dan Rather, Jane Pauley and Dale Evans might enjoy bobbing for apples on this day, their birthday. October 31st. 3: This wife of Steve Allen could celebrate her Sept. 27 birthday with Shaun Cassidy and Meat Loaf. Jayne Meadows. 4: Heather Thomas, Jonathan Taylor Thomas and this Thomas who starred in'"E.T." were all born Sept. 8. Henry Thomas. 5: He could sing his Oscar-winning song "I'm Easy" to Mel Tillis and Connie Stevens on Aug. 8, their mutual birthday. Keith Carradine. Round 4. Category: ends in "ough" 1: When it breaks, the cradle will fall. the bough. 2: A goon, a bruiser, a heavy, or a thug. a tough. 3: It's similar to batter, but it's too stiff to pour. dough. 4: To truly eat like a pig, put your food in one of these. a trough. 5: It's a political division of New York City; Queens is one. a borough. Round 5. Category: take in order 1: Rough questioning. the third degree. 2: The Drifters sang about being on a blanket with their baby, down by the sea, in their hit song "Under" this. "The Boardwalk". 3: Egypt's hawk-headed sun god. Ra. 4: The Black Sea bass is a popular catch among fishermen off this Palmetto State. South Carolina. 5: In 1931 a federal jury convicted Al Capone, not of murder, mind you, but of evading this 2-word levy. income tax. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
Today on Too Opinionated, Filmmaker/Director/Writer/Producer/Composer/Actor and globally renowned musician, Emilio Palame visits the podcast! Beyond co-directing/writing/producing/composing the new film, "Knights of Swing," Emilio is co-music composer for all 110 episodes of the hit Nickelodeon series "Ned's Declassified School Survival Guide" and has written and/or orchestrated music for "King of the Hill", "Fairly Odd Parents", ESPN, as well as ad campaigns for TWA, and The Travel Channel. He has performed internationally as pianist/vocalist, arranger, producer, and conductor, as well as Film/TV composer, and studio musician. He was accompanist and conductor for the legendary Miss Peggy Lee for 11 years, and has performed/toured with Alphonse Mouzon, Etta James, Andy Williams, the Mamas and the Papas, Sha Na Na, Ernie Watts, Paul Williams, Chuck Mangione, Connie Stevens, Gordon Goodwin, Grant Geissman, Lainie Kazan, and the Hollywood Bowl Orchestra. Knights of Swing It's 1947, America is recovering from WWII, and the Civil Rights Movement is still years away. Big-band swing music is all the rage. Knights of Swing chronicles the adventures of a determined group of high school jazz musicians who recruit their reluctant science and math teacher, Mr. Miller, to help them form a “really swingin' big band.” Things get complicated at Castle High when school administrators and community leaders object to the band's diversity. Alliances form and lines are drawn. Through a soul-searching and uplifting journey of forgiveness and unconditional love, Knights of Swing illuminates the power of music. Want to watch: YouTube Meisterkhan Pod. (Please Subscribe)
It's time for Sounds Like Radio Volume 131 and the Great Gildersleeve is in a quandary. On the one hand the captivating singer Katy Lee is in town and at the same time he's supposed to go to a Jollyboys meeting. What to do, what to do? I know, well, let's see what Gildy decides. Your Humble Host was mystified himself when he first heard the song Remember Me, The Girl In The Woods as you will be too when Katy Lee starts warbling. It really is a bewitching song. By the way, that is Katy Lee herself that Gildersleeve is kissing in the picture with this show. But not to be outdone we have on hand some of our favorites too, the Ink Spots in a great stereo recording made in 1959, a rare Peggy Lee stereo classic from 1950's, Burl Ives, Connie Stevens, Bing Crosby, Georgia Gibbs, Jimmy Durante and how about the theme from Connie Stevens' TV show Hawaiian Eye! Oh, we're jam packed with goodies today.
The water sector has untapped potential for Americans looking for a fulfilling career working with ever-advancing technologies and serving the public. Building this pipeline is increasingly critical as long-time workers retire and others leave the industry, with repercussions for communities across the nation—particularly in our smaller towns and rural areas. How can drinking water utilities and local governments attract and train a diverse, skilled workforce and adapt to retain these new employees over the long term? Join ELI's Cynthia R. Harris and Ella Stack in a conversation with Shannon Walton (National Rural Water Association), Connie Stevens (Alliance of Indiana Rural Water) and Sophia Overton (Del Mar Water Treatment Department) for a look at how the industry is changing, the invaluable role of apprenticeships to the sector's future, and how water utilities can help build the next generation of utility workers. Hosts: Cynthia R. Harris & Ella Stack, Environmental Law Institute Guests: Shannon Walton, National Indiana Rural Water, Connie Stevens, Alliance of Indiana Rural Water & Sophia Oberton, Del Mar Water Treatment Department In This Episode We Cover: Who the “water workforce” includes and what these roles entail in an evolving field The certification, licensing, and training processes required to become a water or wastewater operator How the water sector is responding to and maximizing technological advancements Steps utilities can take to recognize the value of a diverse workforce and improve representation in the field Advice for improving succession planning and retention How utility companies can take advantage of and start their own apprenticeship programs Additional Resources: National Rural Water Association Alliance of Indiana Rural Water Del Mar Water Treatment Department LGEAN Wastewater LGEAN Drinking Water LGEAN Stormwater EPA resources on Safe Drinking Water Act Operator Certification Renewing the Water Workforce study Water and Wastewater Treatment Plant and System Operators: Occupational Outlook Handbook: U.S. Bureau of Labor Statistics (bls.gov) World Toilet Day World Water Day
Pod Crashing Episode 188 With Rita And Ellin From The Podcast Call Your Grandmother Fresh off an Ambies Awards nomination, your favorite Jewish grandmothers, Rita and Ellin, are back with a new cast of extraordinary grandmas and grandkids - including cosmetics pioneer Adrien Arpel and legendary singer Connie Stevens! Rita and Ellin prove that EVERYONE needs a Jewish grandmother! You know, a sassy woman who's lived to the fullest, tells it to you straight and wants nothing more than to fix you up, spoil you with love, and send you home with some matzo ball soup! If you don't have a Bubbe of your own, you can borrow our hosts! They'll introduce you to some less-than traditional grandmothers and the unbreakable bonds each one has with their favorite grandchildren. Through intimate conversations, they'll share hard-earned wisdom from lives well-lived. Whether it's flying planes and touring Vietnam or dating around and kissing Elvis, nothing is off the table for these daring women. They'll leave you laughing, commiserating, and inspired to live life to the fullest, no matter how old you are!
Pod Crashing Episode 188 With Rita And Ellin From The Podcast Call Your Grandmother Fresh off an Ambies Awards nomination, your favorite Jewish grandmothers, Rita and Ellin, are back with a new cast of extraordinary grandmas and grandkids - including cosmetics pioneer Adrien Arpel and legendary singer Connie Stevens! Rita and Ellin prove that EVERYONE needs a Jewish grandmother! You know, a sassy woman who's lived to the fullest, tells it to you straight and wants nothing more than to fix you up, spoil you with love, and send you home with some matzo ball soup! If you don't have a Bubbe of your own, you can borrow our hosts! They'll introduce you to some less-than traditional grandmothers and the unbreakable bonds each one has with their favorite grandchildren. Through intimate conversations, they'll share hard-earned wisdom from lives well-lived. Whether it's flying planes and touring Vietnam or dating around and kissing Elvis, nothing is off the table for these daring women. They'll leave you laughing, commiserating, and inspired to live life to the fullest, no matter how old you are!
Episode 251, Four Songs, presents multiple recordings of “Blues in the Night,” “Dancing in the Dark,” “Dancing on the Ceiling” and “There'll Be Some Changes Made.” Performers include Frank Sinatra, Peggy Lee, Connie Stevens, The... Read More The post Episode 251, Four Songs appeared first on Sam Waldron.
Pat Morita was the original Arnold on “Happy Days” and Mr. Miyagi in the “Karate Kid” films. Pat was nominated for an Oscar for that role. He also played Captain Sam Pak on M*A*S*H and Ah Chew in “Sanford and Son.” Morita was born in California to Japanese immigrant parents. In his years as a comedian, he would describe his parent's Chinese restaurant as, operated in a black neighborhood with a clientele of blacks, Filipinos and everybody else who didn't fit in any of the other neighborhoods. While a comic he opened for Redd Foxx, Connie Stevens and Vic Damone. The last time I saw pat was in a small restaurant in Las Vegas. My friend Gene told me not to go up to him while he was having dinner. He was such a nice person that I'm sure he wouldn't have minded a quick hello. By the time we finished eating, he was gone.
Welcome to the Instant Trivia podcast episode 649, where we ask the best trivia on the Internet. Round 1. Category: Hollywood Queens 1: Von Stroheim directed this star in "Queen Kelly", but she bossed him around in "Sunset Boulevard". Gloria Swanson. 2: When Gable was named King of the Movies, this "Thin Man" star was voted queen. Myrna Loy. 3: This sheep queen of "The Thorn Birds" was "Cattle Queen of Montana" in the 1954 film. Barbara Stanwyck. 4: This Oscar-winner had had 4 husbands by the time she starred in "The Virgin Queen". Bette Davis. 5: Carol Channing was the White Queen and Ann Jillian the Red in the TV movie of this classic. Alice in Wonderland. Round 2. Category: Swimming 1: Marty Hull invented Zoomers, a shorter, speedier type of this foot gear. Flippers/fins. 2: In this stroke, not seen in competition, the head rests on the arm while the legs scissors-kick. Sidestroke. 3: It's the only major racing stroke where the swimmers start in the pool. Backstroke. 4: Krisztina Egerszegi of this eastern European country has won gold at the last 3 Olympics. Hungary. 5: It's the individual race in which 4 different strokes are used. Individual medley. Round 3. Category: Packaging 1: In 1938 Clicquot Club Ginger Ale was the first soft drink sold in these. cans. 2: "Peanuts" of this plastic are found in boxes of variously-shaped products, and then in your hair, shoes, etc.. Styrofoam. 3: In honor of Abe Lincoln, P.J. Towle began selling his maple syrup in a container shaped like one of these structures in 1887. a log cabin. 4: Term for a type of "bomb" or a spray can that contains gas under pressure. Aerosol. 5: At the end of TV's "Adventures of Rin Tin Tin", kids were told how to send in these from Shredded Wheat to get prizes. box tops. Round 4. Category: Connections 1: It's the term for the unknown evolutionary connection between man and apes. the missing link. 2: He's the husband "shared" by Connie Stevens, Liz Taylor and Debbie Reynolds. Eddie Fisher. 3: Before you were born, this cord connected you and your mommy for about 9 months. the umbilical cord. 4: The land bridge that connected Asia and North America is now covered by this strait. the Bering Strait. 5: It's the capital city shared by the Ottoman and the Byzantine Empires. Constantinople (Istanbul). Round 5. Category: Beastly Quotes 1: To say someone is mad, people once said he had this "in his bonnet". bee. 2: The Bible:"As a shepherd divideth his sheep from" these. goats. 3: Who "sleepeth with dogges, shall rise with" these. fleas. 4: Twain opined, "I believe...our heavenly father invented man because he was disappointed in" this. monkey. 5: Arthur Conan Doyle: "The Curious Incident of" this "in the Nighttime"--it "did nothing". the dog. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
Ione and Ben clarify the difference between Connie Stevens, Connie Fischer and Connie Francisand do a deep dive into the world of Caroline Calloway, NYC It Girls and the rise of fascism.Watch Ben's new video for "Slow Down" at https://www.youtube.com/watch?v=G_BB218HOk0Tix on sale Friday for Ben's US showsJan 17 Moroccan Lounge, Los AngelesJan 19 Berlin, NYCwww.ben-lee.com Hosted on Acast. See acast.com/privacy for more information.
In a world where exchange students live in fallout shelters and innuendo doesn't exist Michael Carringotn will go to any length to become a T-Bone! The guys (Ben, Bracken, Brant, and Nate) review this follow up to the most successful musical in Hollywood history. Is this film Exceptionally Bad or just Bad? This movie stars Michelle Pfeiffer, Maxwell Caulfield, Lorna Luft, Maureen Teefy, Alison Price, Pamela Adlon, Adrian Zmed, Peter Frechette, Christopher McDonald, Leif Green, Didi Conn, Eve Arden, Sid Caesar, Dody Goodman, Tab Hunter, Dick Patterson, Connie Stevens, and Eddie Deezen. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Grease 2 (1982) was Directed by Patricia Birch, Produced by Allan Carr, Neil A. Machlis, Bill Oakes, and Robert Stigwood, and Written by Ken Finkleman, Jim Jacobs (characters), and Warren Casey (characters). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Back from a long hiatus, and no longer quite on "anniversary schedule", Pete and Ben turn their sights on the nomenclature of pairs, the legacy of earning the rank of Eagle Scout, and how the Ship of Theseus paradox works with editing and production numbers. And somehow that's all supposed to tie in with Connie Stevens career and appearance on the Muppet Show. One, two, three, dip!
Here is a summertime podcast episode. This group had a hit with the song “Theme from a Summer Place.” Tony Butala was the lead sing of the group “The Lettermen.” He started out performing in a boys' choir and then became the singing voice of Peter Pan in the Disney animated film. When he was a teenager, he performed in a quartet “The Fourmost,” which included singer, actress Connie Stevens. The Lettermen had many hit records including their first “The Way You Look Tonight.” If you were at the 1970 WOKY Pops festival at County Stadium you saw the Lettermen in person.
Legendary singer and actress Connie Stevens – a favorite of our hosts Rita and Ellin – has a beautiful bond with her eldest grandchild Skylar, who draws her out on kissing Elvis, being shorter than Sammy Davis Jr. and whether or not she had a fling with Neil Armstrong after the moon landing. Skylar's grounded sense of humor and work ethic as she follows in Connie's larger than life footsteps are a testament to Connie's steadfast focus on her family through the vicissitudes of a life in show business. See omnystudio.com/listener for privacy information.
In Volume 99 of Sounds Like Radio Gildersleeve's dream of sailing a Houseboat come to life with Katherine. But things don't quite work out the way Gildy wants. A deserving bit of fun awaits Gildy from the Jolly Boys in this June 7, 1950 episode of the Great Gildersleeve. To help that dream of sailing away Houseboat style are Roy Rogers, lovely Connie Stevens, Bing Crosby, Peggy Lee's flamingos, Jimmy Dean sings his most famous song while eating a bacon, egg and cheese sandwich and Doris Day wants us to be hers. OK by me. This is a fun show to listen to and the music is nice and warm just like the waters.
In this episode, Brad Johnson turns over his hosting duties to guest host, James Beard nominated reporter for Eater Los Angeles, Mona Holmes, who turns the proverbial table on Brad Johnson to find out more about this career restaurateur and entrepreneur, along with his recent endeavor as podcast host of Corner Table Talk. His career started in the mid-seventies at his father, Howard's legendary NYC Upper West Side restaurant called The Cellar and spots like the Twenty Twenty restaurant and cabaret, where he partnered with superstar songwriter, producers, Valerie Simpson, and the late Nick Ashford. Johnson also opened the New Orleans style hotspot Memphis in New York, before moving to Los Angeles in the late eighties. Johnson made his Los Angeles debut opening the famed Roxbury in 1989 that had such an impact on club and nightlife culture, and was immortalized in the 1998 cult classic film starring Will Ferrell, A Night at the Roxbury. Following Roxbury, Brad opened Georgia in 1993 with a diverse group of partners including former Laker, Norm Nixon, Denzel Washington, Eddie Murphy, Lou Adler, Connie Stevens and model turned restaurateur, Alvin Clayton. In 2012, Brad opened Post & Beam in a historic black neighborhood in South LA that has evolved into a LA Times Gold Award-winning (2020), James Beard-nominated national finalist for Restaurant of the Year (2022).During the pandemic, Brad launched a podcast after feeling the need to record diverse voices and their stories in an authentic way. The podcast, Corner Table Talk, is focused on Food + Drink + Culture and has featured an amazing range of guests including Ta-Nehisi Coates, Chef Marcus Samuelsson, Fab Five Freddy, and Regina King.Johnson’s writing has been published in various publications including Oxford American (Spring Food Issue 2021: Peasant Food), James Beard Foundation, and Eater LA.Having bussed tables, pulled out chairs for countless guests over the years, shaken many hands, struggled through slow nights, and co-hosted Oscar parties, learn about Brad and his journey into the restaurant business following in his father's footsteps, opening his first restaurant borrowing "street money" and his experience creating culturally significant and diverse restaurants. Photo Credit: Frank Louis Photography for Ambassador Digital Magazine Please follow @CornerTableTalk For more information on host Brad Johnson or to join our mailing list, please visit: https://postandbeamhospitality.com/ For questions or comments, please e.mail: brad@postandbeamhospitality.comSee omnystudio.com/listener for privacy information.
Welcome back to a brand-new episode of Not a Bomb Podcast. This is the podcast where we reexamine some of the most notorious box office flops or critically panned films and see if they deserve a second chance. Spousal picks continue in February as Troy's wonderful wife, Tabitha, not only picks the film but joins the discussion on 1982's musical/comedy - Grease 2. Adding to the madness is our great friend, Sammy from the GGMTC.Differing opinions are all over this episode. Troy and Brad are clearly not huge fans of this cult favorite while Tabitha and Sammy have apparently joined a cult based on Grease 2. Listen as Brad talks about his sexual awakenings, Troy fights with his wife and dog, and Sammy gets a lesson on reproduction. Timestamps(01:10) - Intro Music(01:35) - Episode Intro(07:10 - Guest Questions(15:40) - Financial Number and Critical Response(22:25) - Grease 2 Production(46:12) - Grease 2 Discussion(117:07) - Is it a Bomb?(122:13) - Listener Email(129:10) - Outro - Optimism by Weird HeatGrease 2 is directed by Patricia Birch and starts Maxwell Caulfield, Michelle Pfeiffer, Adrian Zmed, Lorma Luft, Didi Conn, Eve Arden, Sid Caesar, Dody Goodman, Tab Hunter, and Connie Stevens.f you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.If you want to hear more of Sammy, make sure you subscribe to the Gentlemen's Guide to Midnight Cinema and be sure to leave them a review.Cast: Brad, Troy, Sammy, Tabitha
This show is about the history of the United Service Organizations (USO) and the important role it played in our military. Special Guest include Connie Stevens (actress) , Edward Angus "Ned" Powell Jr the former president of the USO and former United States Deputy Secretary of Veterans Affairs, and many others.
Jim reflects on a film that his Dad got a kick out of because of its title, 1965's "Two On A Guillotine," starring Connie Stevens, Dean Jones, Cesar Romero, Parley Baer, Virginia Gregg, John Hoyt and Billy Curtis. The daughter of a famous magician, who has vowed to return from the dead, has to spend seven days in his mansion to inherit his estate. But something does not add up. Find out more on this episode of MONSTER ATTACK!
Live radio is a lot of fun, especially when the unexpected happens. Listen to what happens in the middle of this interview when I interviewed Connie Stevens about her latest movie. The little girls at that time, Jolie and Tricia, she had when she was married to Eddie Fisher. Connie tried to control the situation with little luck. Connie Stevens was born Concetta Rosalie Ann Ingolia. She began her career in 1957 and got her first taste of fame playing Cricket Blake on the TV series “Hawaiian Eye” in 1959. Connie also had a hit record that we played back in 1960 called “Sixteen Reasons.”
It's happened again! The amazing folks at Trashwatch Podcast asked us to be their guest for one fo the greatest movies of all time! GREASE 2!*Reposted*EPISODE 41 – GREASE 2Sara and Stacie of @what_would_mom_do_podcast are back to talk about the parents in the totally parent-less Grease 2! This week, Ashley scolds Miss Mason; Brian reveals the hidden meaning of “Score Tonight”; Sara revives Masterpiece Theatre; Brandon says #Feminism; Chris becomes Cool Rider; and Stacie discovers the secret of Rydell.BTW: Steph is pregnant with WHAT?!?!Starring: Maxwell Caulfield, Michelle Pfeiffer, Lorna Luft, Maureen Teefy, Alison Price, Pamela Adlon, Adrian Zmed, Peter Frechette, Christopher McDonald, Leif Green, Didi Conn, Eve Arden, Sid Caesar, Dody Goodman, Tab Hunter, Connie Stevens, and Eddie DeezenDirected by Patricia Birch
EPISODE 41 – GREASE 2 Sara and Stacie of What Would Mom Do? are back to talk about the parents in the totally parent-less Grease 2! This week, Ashley scolds Miss Mason; Brian reveals the hidden meaning of “Score Tonight”; Sara revives Masterpiece Theatre; Brandon says #Feminism; Chris becomes Cool Rider; and Stacie discovers the secret of Rydell. BTW: Steph is pregnant with WHAT?!?! Starring: Maxwell Caulfield, Michelle Pfeiffer, Lorna Luft, Maureen Teefy, Alison Price, Pamela Adlon, Adrian Zmed, Peter Frechette, Christopher McDonald, Leif Green, Didi Conn, Eve Arden, Sid Caesar, Dody Goodman, Tab Hunter, Connie Stevens, and Eddie Deezen Directed by Patricia Birch FOLLOW WHAT WOULD MOM DO?:Podcast (https://podcasts.apple.com/us/podcast/what-would-mom-do-podcast/id1534315069)Instagram (@what_would_mom_do_podcast)Facebook (https://www.facebook.com/What-Would-Mom-Do-Podcast-101094745104819/) FOLLOW US:Instagram (@trashwatchpodcast)Twitter (@trashwatchcast)Facebook (https://www.facebook.com/trashwatchpodcast/)Email (trashwatchpodcast@gmail.com)Listen to Brian's music at (https://www.brianhorne.com)
In today's Great Gildersleeve (10/12/49) he has a date with Nurse Milford but she's busy at the hospital. Gildy waits it out in the expectant Father's waiting room. Luckily his pals join him and Gildy helps out a new nervous father. Good Deeds Done in Episode 68 of Sounds Like Radio. And the good deeds continue with music from Joni James, Burl Ives, Connie Stevens!, a cut from Your 5 Year old Humble Host's original “new” Ink Spots album, a George Jones & Tammy Wynette duet, Bing Crosby, Dinah Washington & Carson Robison makes sense of it all. The Greatest music each week is all we have to offer and a fun Gildersleeve show to boot. Join the fun, no waiting here.
“Almost Grown” by Chuck Berry plays as Terry picks up Debbie —a woman who might not look like Connie Stevens but knows what kind of upholstery she wants. Rick & Julia Ingham from Mad Max Minute join Doris to talk about the definition of a “bitchin' babe”, Debbie's handling of catcalling, and their appreciation for a good V8.Come hang out at Mel's Listeners' Drive In on Facebook and @vcrprivileges on Twitter and InstagramArtwork by Alex RobinsonMusic by Chris Frain
Back to the Beach (1987) Directed by: Lyndall Hobbs Starring: Frankie Avalon, Annette Funicello, Lori Loughlin, Demian Slade, Tommy Hinkley, Dick Dale, Stevie Ray Vaughn, Connie Stevens, Don Adams, Edd Byrnes, Bob Denver, and Paul Reubens Genre: Comedy/Surf Movie
Between you and me, I imagine that the band referenced in this episode sounds like Edd Byrnes and Connie Stevens singing "Kookie, Kookie, Lend Me Your Comb." Harry and Ben review minute 38 of Zack Snyder's Justice League.
Co-hosts Movie Miss & Nikki Flixx discuss the 1987 "turkey" Back to the Beach, starring Annette Funicello, Frankie Avalon, Connie Stevens, Lori Loughlin & Demian Slade. *SPOILERS DUH* At the time of this episode release you can WATCH BACK TO THE BEACH HERE: Amazon Prime. Be part of our fun bad movie conversations by following our facebook page Let’s Talk Turkeys, on Instagram at letstalkturkeys (all one word), email us directly at letstalkturkeys@yahoo.com & check us out on Wordpress at https://letstalkturkeys150469722.wordpress.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lets-talk-turkeys/message Support this podcast: https://anchor.fm/lets-talk-turkeys/support
Fergie discusses the hatred and violence the AAPI community is currently and has been facing for years. He also discusses Gun Control and the Derek Chauvin Trial before diving head first into one of his favorite episodes of the first season - Connie Stevens. Fergie rants about brilliance of Muppet Violence, the solid execution of the small bit/good bit and how Sam The Eagle saying Wayne and Wanda is perhaps the funniest thing to grace his ears. All of this and more on It’s Time To Meet The Muppets! Links: 1. NY Mag Article on Resources to help AAPI Communities https://nymag.com/strategist/article/where-to-donate-to-help-asian-communities-2021.html 2. Jim’s Favorite Songs https://www.youtube.com/watch?v=KSE1Mtnnm4Y 3. Johnny Fiama sings Close To You https://www.youtube.com/watch?v=7Mgyq3s1yig 4. Teenager in Love - Dion and the Belmonts https://www.youtube.com/watch?v=1fgnEDi7bq0 5. Ain’t Misbehavin https://www.youtube.com/watch?v=PSNPpssruFY Follow Fergie L. Philippe * Twitter @fergsters95 * Instagram @fergsters95 * TikTok @fergsters95 For more info on this podcast, visit bpn.fm/muppets and follow along on instagram @meetthemuppetspod (all lowercase). This podcast is a Proud Member of Broadway Podcast Network! Learn more about your ad choices. Visit megaphone.fm/adchoices
On the inaugural episode of The Most Sensational, Inspirational, Celebrational, Muppetational Podcast, Mirandia Berthold & Andy Atherton talk about their love for The Muppets as well as give the show’s mission statement. For this installment, they review the first four episodes of season one of The Muppet Show that featured guest stars: Juliet Prowse, Connie Stevens, Joel Grey & Ruth Buzzi. And give their thoughts on their favorite characters and sketches that appeared in each.
It's episode five of Muppetsational! This week The Muppets meet Connie Stevens! And on the podcast, Jade wants to twerk with Lydia, Emma wants a wind machine and Lewis wants Vaseline on the lens... Find out more about the podcast at muppetspodcast.com Follow us on Twitter, Instagram and Facebook! Editors: Lewis Chandler and Jade Turner Theme Music: Peppy Pepe by Kevin MacLeod Peppy Pepe License Artwork: Charlotte Rudge (Instagram: @Charlie_r_rudge)
It's Doug's birthday, and on his special day I (inadvertently) remind him of one of the most horrific experiences of his life. This week's guest star is Connie Stevens with whom there are many parallels to last week's star Juliet Prowse. We talk about how a nostalgia for the 50's characterized the 70's, Kermit's version of a Groucho Marx classic, the parody of sexual tension between various Muppets and their guest stars and if the Swedish Chef was just a caricature of the TV chef or a draft dodger in disguise. Next Week: Season 1 Episode 3 with Cabaret star Joel Grey Credits: The Muppet Show - The Walt Disney Company FAIR USE ACT DISCLAIMER Fair Use: Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for "fair use" such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Fair Use Definition: Fair use is a doctrine in United States copyright law that allows limited use of copyrighted material without requiring permission from the rights holders, such as commentary, criticism, news reporting, research, teaching and scholarship. It provides for the legal, non-licensed citation or incorporation of copyrighted material in another author's work under a four-factor balancing test.
From September 2014: Singer/actress Connie Stevens shares a few memories of working with James Garner, Elvis Presley, Jerry Lewis, Patrick Macnee, and Marty Allen. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices
The Muppet Show Season 1 episode 2 with special guest Connie Stevens is discussed.
This week we start to wonder just how many very special guest stars dated Elvis and/or Sinatra, manage to talk about presidents Ford and Trump, get in the weeds on what is and is not a Muppet and what constitutes “special Muppet dancing,” and accidentally body-shame a felt pig (we’re sorry, Lydia, you’re beautiful). Lots more show notes at https://muppeturgy.com.
When Fozzie overhears Hilda, Kermit, and Scooter talking about getting rid of "that bear" he thinks they're talking about him when in actual truth it's Gonzo's teddy bear that is being badmouthed. Meanwhile, Sesame Street's Bert & Ernie make a guest appearance in a musical number with Connie Stevens. Follow us on instagram: @ITTWTM
Johnny Sanchez and Elias Isreal welcome to Life & Laughs Podcast Hollywood Movie and Tv Star, Diane McBain! Diane is known for being one of the most beautiful glamour girls of the 1960's. She is best known for her roles in television on Surfside 6, Maverick, Wild Wild West, Batman, Dallas as well as many appearances in movies such as Claudele Inglish, Parish, Spinout and many more. Diane has worked with such Hollywood legends as Bob Hope, Elvis Presley, Richard Burton, Troy Donahue, James Garner, Roger Moore, Debbie Reynolds, Joan Crawford, Carolyn Jones and many more. She also has tow books available at Amazon.com including her Memoir titled Famous Enough and her Novel entitled The Laughing Bear. During the interview Diane discusses how she got her start in acting and being thrust into the Hollywood life with constant work right away with some of the biggest stars in Hollywood. She tells of Hollywood Producer Aaron Spelling asking her Dad for her hand in Marriage and what happened next. Diane tells of her rocky relationship with Legend Joan Crawford and what despicable thing Joan did to her. Diane explains why being cast as a Femme Fatale and Bad Girl in the majority of her roles bothered her so much. We find out what it was like working with Elvis Presley and what he was like on set and off as well as whether or not they ever dated. Diane talks about the mystery behind her parents reporting her missing in 1965 and the events that led up to it. We hear about Diane playing Pinky Pinkston on the iconic tv show Batman and some of the struggles it encompassed. Diane talks about appearing on many hit shows such as Charlie's Angels, Starsky and Hutch, Dallas, Grizzly Adams, Maverick, Sabrina The Teenage Witch and many more. She tells of the challenges of being on Soap Opera's like Days of Our Lives and Young and The Restless. We hear about Diane's meeting with the heiress of the Otis Elevator Company and how they would go grave-rubbing together. Diane describes her love of writing and talks about writing her screenplay as well as a novel called The Laughing Bear and her Memoir titled Famous Enough a Hollywood Memoir which are both available on Amazon. Finally Diane answers the questions if she could go back, would she do it all again and whether or not she would do anything differently and tells us what she would most like to be remembered for. This was a delightful and entertaining interview with a true legendary Hollywood actress, writer, and all around very nice person. Please be sure to like, share, and subscribe to the Life & Laughs Podcast YouTube Channel and click the bell to get reminders of new episodes. Thank you so much for joining us today and check out the links to the Audio Podcast, Facebook, YouTube, and theInstagram pages at LifeAndLaughs.Simplecast.com!
Hi Folks! Welcome to Episode 44 where we all learn to love thy neighbor! Or try to, anyway. Listen for Great Gildersleeve's 1/12/49 episode & of course the musical gems from Jo, Bing, Peggy, Burl, Frankie & the beautiful but too young Connie Stevens! Sounds Like Radio is ready for good music & Gildy. Enjoy!
Shel Silverstein - Boy Named Sue (1969) Silverstein introduced it to Johnny Cash at what they used to call a "guitar pull," where musicians would pass a guitar around and play their songs. He was the main songwriter for Dr. Hook and the Medicine Show, and he wrote "The Giving Tree". Hamilton, Joe Frank & Reynolds - Ain't No Woman Like The One I Got (1972) From Discogs: Hallway Symphony was the second studio album of the band Hamilton, Joe Frank & Reynolds, released in 1972. It was their final album for the Dunhill label. That same year, Tommy Reynolds quit the group to form a band called Shango; different session musicians took his place in their touring and recording before Alan Dennison replaced him permanently a year later (but the band kept their original name of "Hamilton, Joe Frank & Reynolds"). In 1973, the band was dropped from Dunhill due to lack of chart success, but they continued touring and performing live in Las Vegas and various colleges, thanks to the continuing radio play of their huge hit "Don't Pull Your Love." The guys who wrote this also smeared their scent on AM radio thusly: "One Tin Soldier" (1971) The Original Caste, (1973) Coven "Don't Pull Your Love" (1971), Hamilton, Joe Frank & Reynolds "Two Divided by Love" (1971), The Grass Roots "Are You Man Enough" (1973), Four Tops (From Shaft in Africa) "Country Boy (You Got Your Feet in L.A.)" (1975), Glen Campbell "It Only Takes a Minute" (1975), Tavares "Nightshift" (1985), Commodores "We Built This City" (1985), Starship Yes, do tell your friends that they recorded "Falling In Love" on Playboy Records, the only #1 for that label. Peter, Paul, and Mary - And When I Die (1966) Family Dogg - Arizona (1969) This would be a big solo hit for Mark Lindsay of Paul Revere and the Raiders, who I like. The fellow who wrote this, Kenny Young, also wrote "Under The Boardwalk" by The Drifters. Johnny Madara & the Juvenaires - Do The Bop (1957) When Danny & the Juniors were still called The Juvenairs. Initially called "Do the Bop", the song was heard by Dick Clark, who suggested they change the band name to the Juniors and the chorus from "Let's all do the Bop" to "Let's go to the Hop". After performing the song on Clark's show American Bandstand, it gained popularity and went to the top of the US charts, remaining at number one for five weeks. Connie Stevens - Keep Growing Strong (Betcha By Golly Wow) (1970) You couldn't watch TV without seeing Connie Stevens in the '70s. It's strange that such a scattershot discography (she recorded mostly in the early '60s) should feature such a great song. In fact, I don't see mention of it at all on her website, which, I'm sure was last updated years ago. Her daughter Joely was on Ellen (the show, not the woman) and keeps plugging away. Like you and me. Johnny Rivers - By The Time I Get to Phoenix (1965) Petula Clark - Call Me (1965) David Martin - Can't Smile Without You (1975) Gator Creek - Danny’s Song (1970) Anne Murray turned this into a hit a few years later. This song was written by the fella that sang "Footloose" and duetted with Stevie Nicks on "Whenever I Call You Friend". Gator Creek included Michael Omartian, who went on to produce Christopher Cross, Whitney Houston, and Michael Bolton. So...thanks? PJ Proby - Delilah (1967) Shorty Long - Devil With The Blue Dress On (1964) From that Wikipedia: Long's biggest hit was "Here Comes the Judge" which in July 1968 reached No. 4 on the R&B charts and No. 8 eight on the Billboard Hot 100. The song was inspired by a comic act on Rowan and Martin's Laugh-In about a judge by Pigmeat Markham, whose own "Here Comes the Judge" – a similar song with different lyrics – charted three weeks after Long's, also in July 1968, and reached No. 19 on Billboard. Long was the only Motown artist besides Smokey Robinson who was allowed to produce his own recordings in the 1960s. Marvin Gaye, in David Ritz's biography Divided Soul: The Life & Times of Marvin Gaye, described Shorty Long as "this beautiful cat who had two hits, and then got ignored by Motown." Gaye claimed he "fought for guys like Shorty" while at Motown, since no one ever pushed for these artists. When Holland-Dozier-Holland came to Gaye with a tune, he stated, "Why are you going to produce me? Why don't you produce Shorty Long?" On June 29, 1969, Long and a friend drowned when their boat crashed on the Detroit River in Michigan. Stevie Wonder played the harmonica at his burial and placed it on his casket afterward. Rowan and Martin's Laugh-In inspired many, many records. One by Freddie Cannon. It's shit. Most of them are. The Greenbriar Boys - Different Drum (1966) Great song? Meh. Rhymes "knock it" with "market". Larry Williams - Dizzy Miss Lizzy (1958) The Exciters - Doo Wah Diddy (1963) Best known for their hit single, "Tell Him" which reached #4 on the US charts in February 1963. Thelma Houston - Do You Know Where You're Going To (1973) This was made into a monster hit as "Love Theme From 'Mahogany'" by Diana Ross in 1975. I guess anything can be a "love theme". These are the lyrics to the version everyone knows: Once we were standing still in time,Chasing the fantasies that filled our minds.And you knew how I loved you but my spirit was free,Laughing at the questions that you once asked of me..... Now looking back at all we planned,We let so many dreams just slip through our hands.Why must we wait so long before we seeHow sad the answers to those questions can be? And here are the previous, somewhat inscrutable lyrics sung by Thelma Houston: Sometimes, while standing still in time,You think you leave the thoughts that filled your minds.Now we've both been to Stoney Brook, just hanging out, We've had a look and seen what nothing's about..... Now, what am I to say to you?What kind of prayer am I to pray for you?I can only do my best and tell ya what I see,And if you see the rest, please send it to me... The Moments - We Don't Cry Out Loud (1976) Harold Melvin and the Blue Notes - Don't Leave Me This Way (1975) This was made into a monster hit by Thelma Houston in 1976. No matter which version you listen to, if that chorus doesn't make you move and smile, I can't help you. The Raindrops - Hanky Panky (1963) The Raindrops were an American pop studio group from New York, associated with the Brill Building style of 1960s pop. The group existed from 1963 to 1965 and consisted of Ellie Greenwich and Jeff Barry who were also both famous songwriters. The Dells - Higher and Higher (1967) Smokey Robinson and the Miracles - I Heard It Thru The Grapevine (1966) The Captain and Tennille - I Write The Songs (1975) Helen Shapiro - It’s My Party (1963) Richard Kerr - I’ll Never Love This Way Again (1978) Richard Kerr is an English composer, who co-wrote "Mandy", "Looks Like We Made It" and "Somewhere in the Night" (all of which became hit singles for Barry Manilow) and "I'll Never Love This Way Again", for Dionne Warwick. Paul Revere and the Raiders - (I'm Not Your) Steppin' Stone (1966) Fans consider this the apex of the Revere canon, but I prefer the crazy, desperate intensity of Collage. Still, good, beat-heavy set anchored by "Kicks" and this. Gene Cotton - Let Your Love Flow (1975) Neil Sedaka - Love Will Keep Us Together (1973) The original version is pretty good, with some of the electric and unique magic of the Captain and Tennile version that dominated the charts in 1975. I know POACA will not agree, but if you could disassociate the treacly image of these married session players and their TV show, it was an incredible song. And this version was recorded at Strawberry Studios in collaboration with Graham Gouldman, Lol Creme, Kevin Godley, and Eric Stewart, who had formed the band 10cc since their first joint venture with Sedaka on Solitaire. "...in association with 10C.C." Roger Miller - Me and Bobby McGee (1969) Racey - Kitty (1979) The Ever-Green Blues - Midnight Confessions (1967) The Brothers Four - Mr. Tambourine Man (1965)
Here it is. Time to lift the curtains. It's time to light the lights. It's time to get things started (finally) with The Muppet Show tonight and very special guest stars Juliet Prowse and Connie Stevens! Don't worry. Chad and Nick didn't know much about them either.Hi-ho and welcome once again to A Feat of Lunatic Daring, the most sensational inspirational celebrational muppetational podcast about Jim Henson and his Muppets! Things are rough right now. Let's talk about something that makes us happy, namely in unmistakable genius of James Maury Henson. https://muppetcentral.com/guides/episodes/tms/pilots/3_prowse.shtml (Muppet Central Pilot Walkthrough) https://www.lunaticdaring.com/sources (Sources Page) https://twitter.com/LunaticDaring (Twitter) https://www.instagram.com/lunaticdaring/ (Instagram) https://www.facebook.com/lunaticdaring (Facebook) Also follow https://www.youtube.com/channel/UC9DdpUYDBkCCM4BfGRJcpTg? (Antithesis Audio) on YouTube for future video content Chad Instagram & Twitter: https://my.captivate.fm/twitter.com/chadjshonk (@chadjshonk) Nick Twitter: @https://my.captivate.fm/twitter.com/ntjackson17 (ntjackson17) Music by Seth Podowitz https://twitter.com/audiobookseth (@audiobookseth) © Antithesis Audio
We're gonna score tonight with more Pink Lady-Cember, Nerdy Bitch Liz, and Grease 2 (1982). It does not take long to notice that Stephanie and Michael are a better couple than Sandy and Danny. And Stephanie is the coolest of them all. If you love Grease 2, Liz will love you.* (*Not a guarantee, but odds increase if you buy her an inflatable hippo from Fantasia costume.) Check out Liz's blog Self Saving Princess and her podcast Nerdy Bitches is available on all the pod-catchers. Readers of all kinds can join thehttps://www.facebook.com/groups/NBPReadingChallenge Nerdy Bitches Book Club Reading Challenge on Facebook. For all your upcoming gift giving, you need friend of the show Izzy Fischer's incredible art on Etsy. Use code “HEAMCAST” to save 15% on your purchase at her Esty shop. She's not a sponsor, just amazing! Go to her website for all of her creations. A British student at a 1960s American high school must prove himself to the leader of a girls' gang whose members can only date greasers. Stars Michelle Pfeiffer, Maxwell Caulfield, Lorna Luft, Maureen Teefy, Alison Price, Pamela Adlon, Adrian Zmed, Peter Frechette, Christopher McDonald, Leif Green, Didi Conn, Eve Arden, Sid Caesar, Dody Goodman, Tab Hunter, Dick Patterson, Connie Stevens, and Eddie Deezen. (from IMDb.com) Find other amazing podcasts by searching #ladypodsquad on Twitter, Facebook, and all the social media platforms. Follow us on Twitter and Instagram @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.
Ryan and Alison are back for another round of talking The Muppets! This time they tackle the Connie Stevens episode of The Muppet Show, which also features two special guests from Sesame Street (who are not gay). They also talk about humans that resemble Muppets and how this episode never really reaches the heights of the first one, despite a quick appearance by Mahna Mahna. --- Support this podcast: https://anchor.fm/talkthemuppets/support
Another rip-snorter of an episode for Sounds Like Radio #6 with the luscious Connie Stevens, the original man with trouble & the Great Gildersleeve from 12/17/47 and as always the snappy patter of Your Humble Host. I got 16 reasons to listen so will you after you hear.
Joely Fisher is an actor, writer, singer, director, storyteller, author, mother, activist and charity maven! She is Hollywood royalty and has rightfully taken her own place amongst them with her incredible tour de force talent.In this episode of Ask Jillian we talk about Joely’s legendary family, show business is in her DNA and the spotlight was her destiny. The gorgeous and iconic Connie Stevens is Joely’s mother. She is an ongoing unstoppable inspiration. Connie would take Joely and her little sister Tricia on the road with her, where Joely learned the ropes early and couldn’t wait for her turn. The timeless crooner Eddie Fisher was her father. He was so proud of Joely’s Broadway debut in Grease and was her biggest fan. Her unforgettable older half-sister Carrie Fisher aka Princess Leia blazed an amazing path as an actress and writer in Hollywood. They always supported each other through thick and thin. Joely wrote an incredible book Growing up Fisher, chronicling her family history. It’s a fantastic read! Also, who can forget Joely's groundbreaking role in the sitcom Ellen and that “kiss” episode!Joely has led a truly fascinating life and with a burgeoning second act, as all the ladies of her family do, I can't wait to see where it goes!JOELY’S TWITTER www.twitter.com/MsJoelyFisherJOELY’S INSTAGRAM www.instagram.com/msjoelyfisherJOELY’S FACEBOOK www.facebook.com/JoelyFisherOfficialJOELY’S BOOK www.harpercollins.com/products/growing-up-fisher-joely-fisherJOELY’S DAD EDDIE SINGING WITH ANDY WILLIAMS AND BOBBY DARIN www.youtube.com/watch?v=Y3QAXi1_350
Joely Fisher joins the show tonight to talk about how she has dealt with depression and addiction, about growing up the daughter of her famous parents, Bobby Fisher and Connie Stevens and the devastating loss of her beloved sister, Carrie Fisher. Joely also talks about starting The Fisher Foundation and her work on the board of the Alcott Center that helps people dealing with mental health issues and addiction. Also joining the show is photographer, Kirk Tsonos who's been on the front lines of the Black Lives Matters movement in recent months and whose photo of a homeless man in a wheelchair being shot in the face with a bean bag round garnered him international attention. Standup comedian, Nancy Ryan, joins from Las Vegas to talk about her own fight with addiction and some resources for managing her sobriety. @msjoelyfisher @fwdset @nancyryancomic --- Send in a voice message: https://anchor.fm/bradgarrett/message
By the time I recorded this, my buzz was gone. I try my best to keep things nice and ignant at the top of the show, discussing how the Biden/Harris ticket has ruined the GOP's year, why Coronavirus isn't exactly scaring people, how anti-maskers also have bad breath and why that Cardi B/Megan Thee Stallion song isn't the filthiest thing you've ever heard. Later on, I get on the phone with veteran, Los Angeles film critic Andy Klein as he discusses his experiences writing for alt-weeklies, his favorite Hong Kong films and what it was like recording a DVD commentary with The RZA. As for music, I play tunes by Phil Collins, H.E.R., Adrian Younge & Ali Shaheed Muhammad featuring Raphael Saadiq and Connie Stevens. If you would like to donate to the podcast, go here.
Dean O'leary is an Award winning Sydney Musician , for the last 10 years he has been based in L.A. He Join John on the Phone to talk about his Music , Career , and lock-down in Los Angeles , plus we hear his latest single " Brave Souls" - check him out on all Digital Platforms Dean O'Leary is an Australian born, award winning guitarist, singer & songwriter from Sydney. Growing up in Australia with a musical family, Dean's first professional gig was at aged 15, when he began playing Guitar and touring with his late father, Jack O'Leary, who was a successful and well loved Australian singer, comedian and actor. Dean grew up on a healthy musical diet including Jimi Hendrix, Eric Clapton, Stevie Wonder, David Bowie, Prince, The Eagles and Steely Dan, amongst many other musical influences. All these wonderful artists and influences add to the ingredients which make up his own sound of what he calls 'Roots based Rock'. He's lived in Los Angeles for the last ten years and during that time he has performed with Sergio Mendes, Maxine Nightingale, Connie Stevens, Joely Fisher, Hudson Thames, Fisher & Thames, The Twilight Lords, Band of Liars and many other artists locally. Coming up on July 2020 will bring Dean's first release in the USA as a solo artist. This first single was produced and mixed by himself at his home studio, where he sang all vocals, played all Guitars, Bass and percussion. 'Brave Souls' was written during the Quarantine lockdown and during the protests for Racial change in Los Angeles. The Song is a reflection of these experiences, and a song of hope. Musically, Brave Souls is a Guitar driven song, which is very Roots based Rock with a hint of Country, and driven by a memorable uplifting chorus. The outro section really highlights Dean's tasty Guitar work. Dean was excited to have good friend and amazing drummer, Jeff Bowders onboard for Drumming duties. Jeff Bowders is a touring, recording and educating drummer in Los Angeles. Most notably recognized as playing drums for some of the greatest guitarists of our time such as Paul Gilbert, George Lynch, Joe Satriani, Larry Mitchell, Kim SeHwang, Richie Kotzen, Justin Derrico, Mike Keneally and Michelangelo. Jeff has also performed/recorded with Puddle of Mudd, Shakira, Stu Hamm, Nelson and Graham Bonnet. Jeff brings so much fire and feel to the table with his solid and incredible playing. This is the first single, which is one of many more to follow in the coming months, that Dean has planned for release in 2020. Brave Souls will be released through CD Baby and available on all streaming and download platforms. www.deanoleary.com
Esta calurosa noche de Julio tenemos una petición de Salvador Limón, un secuestro que se convierte en una historia de amor tan hermosa como descorazonadora...La Banda de los Grissom de Robert Aldrich, 1971. Una película a contra corriente, como casi todas de la ultima etapa de Aldrich. La Banda de los Grissom Retrata una época maldita y sucia, la Gran Depresión, un Pais deprimido en lo económico, pero sobre todo en lo moral.....en lo esencial. Una niña rica que no valora nada, que no ama a nadie, unos delincuentes de poca monta que se encuentran con el golpe de sus vidas….un río de dinero, de alcohol y sudor que recorre la desértica ciudad de Kansas, la polvorienta depresión. Aldrich se apoya en una magnifica novela negra, "No hay orquídeas para Miss Blandish", de James Hadley Chase. Y consigue transmitir una obra violenta y desoladora, que se convierte en un requiem por la Ma del Al Rojo Vivo de Raoul Walsh, un recuerdo a Cagney en este trasunto de jorobado de Notre dame, Slim Grissom, magnífica interpretación de Scott Wilson, acompañado por un imponente Tony Musante, como el encantador y despiadado Eddie. Slim es un psicótico asesino que solo ha tenido el amor de su madre y queda prendado de la sofisticada Barbara Blandish…. Una deriva de muertes y sopor, de despojos humanos abandonados a su suerte, que sobreviven como carroñeros, una sociedad envilecida donde el amor ya no tiene sitio… Los polizontes también usan metralletas Thompson y beben de servicio, los magnates sueltan un millón de dólares... pero las apariencias valen mucho más que eso….lo son todo. El cine de Aldrich está regado de constantes y obsesiones: Dignidad y angustia interna; Claustrofobia; Represión y opresión; Rabia contenida; Mezquindad e injusticias….. El mundo es un lugar hostil, casi al borde del Apocalipsis, en descomposición. La Banda de los Grissom es un claro ejemplo, reinterpreta el género negro, ofreciendo una visión moral de la vida basándose en el estilo, su fuerza visual es indudable, colores saturados donde el rojo de la sangre y el ocre del terreno destacan. La atmósfera asfixiante, la iluminación que nos deja al descubierto la sordidez de los interiores y la decrepitud de los espacios naturales. Las amenazas no son las sombras y la oscuridad típicas del cine negro, la amenaza es el interior de estos hombres, el clima soporífero y la seguridad de que el futuro esta negado para la sociedad que vive en los márgenes… Nos movemos a ritmo de Ragtime por la senda de un amor acribillado por La mezquindad de la Sociedad que nos gobierna…..Jose Miguel Moreno, Raúl Gallego, Zacarias Cotán, Gervi Navío y Salvador Limón. Para despedirnos os dejamos el numero con “I surrender Dear”, de la pobre Ana, Connie Stevens, enlazado con una versión magistral del tema, a cargo de Django Reinhardt y Stephan Grapelli. Sangre, Sudor y Whisky para esta sangrienta noche de soledad. Gervasio Navío Flores
Episode eighty-eight of A History of Rock Music in Five Hundred Songs looks at "Cathy's Clown" by The Everly Brothers, and at how after signing the biggest contract in music business history their career was sabotaged by their manager. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Poetry in Motion" by Johnny Tillotson. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there's a decent one in French, but I don't speak French well enough for that). Ike's Boys by Phyllis Karp is the only full-length bio, and I relied on that in the absence of anything else, but it's been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. This collection has all the Everlys' recordings up to the end of 1962. I would also recommend this recently-released box set containing expanded versions of their three last studio albums for Warners, including Roots, which I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This week we're going to look at the Everly Brothers' first and biggest hit of the sixties, a song that established them as hit songwriters in their own right, which was more personal than anything they'd released earlier, and which was a big enough hit that it saved what was to become a major record label. We're going to look at "Cathy's Clown": [Excerpt: The Everly Brothers, "Cathy's Clown"] When we left the Everly Brothers, six months ago, we had seen them have their first chart hits and record the classic album Songs Our Daddy Taught Us, an album that prefigured by several years the later sixties folk music revival, and which is better than much of the music that came out of that later scene. Both artistically and commercially, they were as successful as any artists of the early rock era. But Don Everly, in particular, wanted them to have more artistic control themselves -- and if they could move to a bigger label as well, that was all the better. But as it happens, they didn't move to a bigger label, just a richer one. Warner Brothers Records had started in 1958, and had largely started because of changes in the film industry. In the late 1940s and early fifties, the film industry was being hit on all sides. Anti-trust legislation meant that the film studios had to get rid of the cinema chains they owned, losing a massive revenue stream (and also losing the opportunity to ensure that their films got shown no matter how poor their reputation). A series of lawsuits from actors had largely destroyed the star system on which the major studios relied, and then television became a huge factor in the entertainment industry, cutting further into the film studios' profits. An aside about that -- one of the big reasons for the growth of television as America's dominant entertainment medium is racism. In the thirties and forties, there had been huge waves of black people moving from rural areas to the cities in search of work, and we've looked at that and the way that led to the creation of rhythm and blues in many of the previous episodes. After World War II there was a corresponding period of white flight, where white people moved en masse away from the big cities and into small towns and suburbs, to get away from black people. This is largely what led to America's car culture and general lack of public transport, because low-population-density areas aren't as easy to serve with reliable public transport. And in the same way it's also uneconomical to run mass entertainment venues like theatres and cinemas in low-population-density areas, and going to the cinema becomes much less enticing if you have to drive twenty miles to get to one, rather than walking down the street. So white flight had essentially meant the start of a process by which entertainment in America moved from the public sphere to the private one. This is also a big reason for the boom in record sales in the middle decades of last century -- records are private entertainment, as opposed to going out to a dance or a show. And this left the big film studios in dire straits. But while they were down on their luck when it came to films, Warners were doing very well in the music publishing business, where unlike their ownership of cinemas they didn't have to get rid of their properties. Warners had always owned the songs used in their films, and indeed one of the reasons that Looney Tunes and Merrie Melodies existed in the first place was so that they could plug songs that Warners owned. When Tex Avery has Owl Jolson singing "I Love to Singa": [Excerpt: “Owl Jolson”, "I Love to Singa"] That's a song that had originally appeared in a Warners feature film a few months earlier, sung by Al Jolson and Cab Calloway: [Excerpt: Al Jolson and Cab Calloway, "I Love to Singa"] So Warners were making money from the music industry. But then they realised something. Tab Hunter, one of their film stars under contract to them, had started to have hit records. His record "Young Love" spent six weeks at number one: [Excerpt: Tab Hunter, "Young Love"] And whenever he was interviewed to promote a film, all the interviewers would ask about was his music career. That was bad enough -- after all, he wasn't signed to Warners as a singer, he was meant to be a film star -- but what was worse was that the label Hunter was on, Dot Records, was owned by a rival film studio, Paramount. Warners would go to all the trouble of getting an interview set up for their star, and then all it would do was put money into Paramount's pocket! They needed to get into the record business themselves, as a way to exploit their song catalogue if nothing else. At first they thought about just buying Imperial Records, but when that deal fell through they started their own label, and signed Hunter to it right at the point that his career nosedived. In the first two years that Warner Brothers Records existed, they only had two hit singles -- "Kookie Kookie Lend Me Your Comb", a record based on the Warner-owned TV series 77 Sunset Strip and co-performed by one of that series' stars, Edd Byrnes: [Excerpt: Edd Byrnes and Connie Stevens, "Kookie Kookie Lend Me Your Comb"] And another record by Connie Stevens, who also sang on "Kookie Kookie Lend Me Your Comb", and was the star of a different Warners TV series, Hawaiian Eye: [Excerpt: Connie Stevens, "Sixteen Reasons"] Everything else they released flopped badly. After two years they had lost three million dollars, and would have closed down the label altogether, except the label was owed another two million, and they didn't want to write that off. The main reason for these losses was that the label was mostly releasing stuff aimed at the easy listening adult album market, records by people like Henry Mancini, and at the time the singles market was where the money was, and the singles market was dominated by young people. They needed some records that would appeal to young people. They decided that they needed the Everly Brothers. At the beginning of 1960, the duo had released ten singles since May 1957, of which nine had charted, as had four of the B-sides. They'd topped the pop charts twice, the R&B charts twice, and the country charts four times. At a time when even the biggest stars would occasionally release the odd flop, they were as close to a guaranteed hit-making machine as existed in the music industry. And they were looking to get away from Cadence Records, for reasons that have never been made completely clear. It's usually said that they had artistic differences with Cadence, but at the same time they always credited Archie Bleyer from Cadence with being the perfect arranger for them -- he arranged their final Cadence single, "Let it Be Me": [Excerpt: The Everly Brothers, "Let it Be Me"] But for whatever reason, the Everlys *were* looking to find a new label, and Warner Brothers were desperate enough that they signed them up to the biggest contract ever signed in music business history up to that point. Remember that four years earlier, when Elvis had signed with RCA records, they'd paid a one-off fee of forty thousand dollars and *that* was reportedly the largest advance ever paid in the industry up until that point. Now, the Everlys were signing to Warners on a ten-year contract, with a guaranteed advance of one hundred thousand dollars a year for those ten years -- the first million-dollar contract in music history. They were set up until 1970, and were sure to provide Warners with a string of hits that would last out the decade -- or so it seemed at first. Their first recording for the label had an unusual melodic inspiration. Ferde Grofé was an arranger and orchestrator for Paul Whiteman's jazz band in the 1920s and thirties. He's particularly known these days for having been the original arranger of Gershwin's "Rhapsody in Blue" -- Gershwin had written it for two pianos, and it was Grofé who had come up with the instrumental colouring that these days we think of as being so important to that piece: [Excerpt: Paul Whiteman "Rhapsody in Blue (original 1924 recording)"] Grofé had written a piece in 1931 called the "Grand Canyon Suite", and its third movement, "On the Trail" had become the most popular piece of music he ever wrote. Disney made an Oscar-winning short with the suite as its soundtrack in 1958, and you can still hear "On the Trail" to this day in the Grand Canyon section of the Disneyland Railroad. But "On the Trail" was best known as the music that Phillip Morris used in their radio and TV commercials from the thirties through to the sixties. Here's a bit from the original Whiteman recording of the piece: [Excerpt: Paul Whiteman, "Grand Canyon Suite: On the Trail"] Don took that melodic inspiration, and combined it with two sources of lyrical inspiration -- when his dad had been a child, he'd had a crush on a girl named Mary, who hadn't been interested, and his schoolfriends had taunted him by singing "Mary had a little Ike" at him. The other key to the song came when Don started thinking about an old crush of his own, a girl from his school called Catherine Coe -- though in later years he was at pains to point out that the song wasn't actually about her. They took the resulting song into the studio with the normal members of the Nashville A-Team, and it became only their second hit single with an A-side written by one of the brothers, reaching number one on both the pop and R&B charts: [Excerpt: The Everly Brothers, "Cathy's Clown"] I say it's written by Don -- the original issue of the record credited the songwriting to both Don and Phil, but Phil signed an agreement in 1980 relinquishing his claim to the song, and his name was taken off all future copies. It sounds to me like Don's writing style, and all the anecdotes about its writing talk about him without mentioning any input from Phil, so I'm assuming for these purposes that it's a Don solo composition. Listening to the record, which was the first that the duo produced for themselves, as well as being their first for Warners, you can hear why Don was at times dissatisfied with the songs that Felice and Boudleaux Bryant had written for the brothers. It's a sophisticated piece of work in a number of different ways. For a start, there's the way the music mirrors the lyric on the first line. That line is about separation -- "Don't want your love any more" -- and the brothers start the line in unison, but Don's voice slowly drops relative to Phil's, so by the end of the line they're a third apart. It's like he's stepping away: [Excerpt: The Everly Brothers, "Cathy's Clown"] The song's structure also seems unusual. Wikipedia says it has a chorus and a bridge but no verse, while the Library of Congress disagrees and says it has a verse and a bridge but no chorus. Personally, I'd say that it definitely does have a chorus -- the repeated section with the same words and melody each time it's repeated, with both brothers singing, and with the title of the song at the end, seems as definitively a chorus as one could possibly ask for: [Excerpt: The Everly Brothers, "Cathy's Clown"] If that's not a chorus, I'm honestly not sure what is. The reason this comes into question is the other section. I would call that section a verse, and I think most people would, and the song's structure is a straightforward A-B-A-B repetition which one would normally call verse/chorus. But it's such a change of pace that it feels like the contrasting section that normally comes with a bridge or middle eight. Indeed the first time I properly learned what a middle eight was -- in a column in Mojo magazine in the mid-nineties called Doctor Rock which explained some basic musicology -- it was specifically cited as an example of one: [Excerpt: The Everly Brothers, "Cathy's Clown"] Part of the reason that seems so different is that Don's singing it solo, while the brothers are duetting on the choruses, and normally Don's solo lines would be on a bridge or middle eight. Not always, but often enough that that's what you expect if you've listened to a few of their records. But there's also a change in rhythm. One of the things you'll notice as we go further into the sixties is that, for a while in the early sixties, the groove in rock and roll -- and also in soul -- moved away from the swinging, shuffling rhythm you get in most of the fifties music we've looked at into a far more straightforward four-four rhythm. In roughly 1961 through 64 or so, you have things like the bam-bam-bam-bam four-on-the-floor beat of early Motown or Four Seasons records, or the chugga-chugga-chugga rhythm of surf guitar, rather than the looser, triplet-based grooves that you'd get in the fifties. And you can hear in "Cathy's Clown" the shift in those rhythms happening in the song itself. The verses have an almost Latin feel, with lots of loose cymbal work from Buddy Harman: [Excerpt: The Everly Brothers, "Cathy's Clown"] While the choruses have an almost martial feel to them, a boom-BAP rhythm, and sound like they have two drummers on them: [Excerpt: The Everly Brothers, "Cathy's Clown"] While I say that sounds like there are two drummers, it's still just Harman playing. The difference is that here the engineer, Bill Porter, who was the engineer on a lot of the Nashville recordings we've looked at, notably the Roy Orbison ones, had just obtained a new device -- a tape loop. Now, I've seen some people misunderstand what it was that Porter did with this -- thinking he looped the drums in the way one would loop things today, just playing the same recording over and over. It wasn't that. Rather it was a way of doing what Sam Phillips had been doing with tape echo in Sun a few years earlier -- there would be an endlessly circulating loop of tape, which had both record and playback heads. The drums would be recorded normally, but would also be recorded onto that tape loop, and then when it played back a few milliseconds later it would sound like a second drummer playing along with the first. It's an almost inaudible delay, but it's enough to give a totally different sound to the drums. Porter would physically switch this loop on and off while recording the track live -- all the vocals and instruments were recorded live together, onto a three-track tape, and he would turn it on for the choruses and off for the verses. This is an early example of the kind of studio experimentation that would define the way records were made in the sixties. The rhythm that Harman played was also very influential -- you can hear that it strongly influenced Paul McCartney if you listen to Beatles records like "What You're Doing", "Ticket to Ride", and "Tomorrow Never Knows", all of which have drum patterns which were suggested by McCartney, and all of which are strongly reminiscent of the "Cathy's Clown" chorus. "Cathy's Clown" topped the charts for five weeks, and sold two million copies. It was an immense success, and the Everlys seemed to be on top of the world. But it was precisely then that problems started for the duo. First, they moved from Nashville to LA. The main reason for that was that as well as being a record contract, their new contract with Warners would give them the opportunity to appear in films, too. So they spent six months taking acting lessons and doing screen tests, before concluding that neither of them could actually act or remember their lines, and wisely decided that they were going to stick to music. The one good thing they took from that six month period was that they rekindled their friendship with the Crickets, and Sonny Curtis wrote them a song called "Walk Right Back", which made the top ten (and number one in the UK and New Zealand): [Excerpt: The Everly Brothers, "Walk Right Back"] Curtis wrote that song while he was in basic training for the military, and when he got a pass for a few days he'd only written the first verse. He played the song to the brothers while he was out on his pass, and they said they liked it. He told them he'd write a second verse and send it to them, but by the time they received his letter with the lyrics for the second verse, they'd already recorded the song, just repeating the first verse. Curtis wasn't the only one who had to go into basic military training. The brothers, too, knew they would be drafted sooner rather than later, and so they decided to do as several other acts we've discussed did, and sign up voluntarily for six months rather than be drafted for two years. Before they did so, they recorded another song, "Temptation", an old standard from the thirties: [Excerpt: The Everly Brothers, "Temptation"] And that track marked the beginning of the end of the Everlys as a chart act. Because it was an old standard, the publishing was not owned by Acuff-Rose, and Wesley Rose was furious. He was both their manager and the owner of Acuff-Rose, the biggest publishing company in country music, and things between them had already become strained when the Everlys had moved to California while Rose had stayed in Nashville. Rose insisted that they only release Acuff-Rose songs as singles, and they refused, saying they wanted to put the single out. Rose retaliated in the most staggeringly petty manner imaginable. He stopped managing them, and he blocked them from being sent any new songs by Felice and Boudleaux Bryant. Because he knew they'd already recorded "Love Hurts", a song written by the Bryants, as an album track, he got Roy Orbison, who he also managed, to record a version and put it out as a B-side, as a spoiler in case the Everlys tried to release their version as a single: [Excerpt: Roy Orbison, "Love Hurts"] Worse than that, even, the Everlys were also signed to Acuff-Rose as songwriters, which meant that they were no longer allowed to record their own songs. For a while they tried writing under pseudonyms, but then Acuff-Rose found out about that and stopped them. For a while, even after basically taking a year away from music and being banned from recording their own songs, the brothers continued having hits. They also started another project -- their own record label, Calliope, which would put out their outside projects. For Don, this was a mostly-instrumental adaptation of Elgar's "Pomp and Circumstance", which he recorded with an arrangement by Neal Hefti, under the name "Adrian Kimberly": [Excerpt: Adrian Kimberly, "Pomp and Circumstance"] That made the lower reaches of the US charts, but was banned by the BBC in Britain, because it would offend British patriotic sentiment (for those who don't know, "Pomp and Circumstance", under the name "Land of Hope and Glory", is something of a second national anthem over here). Phil's side project was a comedy folk group, the Keestone Family Singers, who recorded a parody of the Kingston Trio's "Raspberries, Strawberries", written by Glen Hardin of the Crickets: [Excerpt: The Keestone Family Singers, "Cornbread and Chitlings"] The other two singers on that track were people we're going to hear a lot from in later episodes -- a songwriter called Carole King, who a few months later would co-write the Everlys hit "Crying in the Rain", and a session guitarist named Glen Campbell. But neither of these ventures were particularly successful, and they concentrated on their own records. For a while, they continued having hits. But having no access to the Bryants' songs, and being unable to record the songs they were writing themselves, they relied more and more on cover versions, right at the point the market was starting to change to being based entirely around artists who wrote their own material. And on top of that, there were personal problems -- Don was going through a divorce, and before they were inducted into the Marines, both Don and Phil had started seeing a doctor who gave them what they were told were "vitamin shots" to help them keep their energy up, but were actually amphetamines. Both became addicted, and while Phil managed to kick his addiction quickly, Don became incapacitated by his, collapsing on a UK tour and being hospitalised with what was reported as "food poisoning", as most overdoses by rock musicians were in the early sixties, leaving Phil to perform on his own while Don recuperated. Their fall in popularity after "Temptation" was precipitous. Between 1957 and early 1961 they had consistently had massive hits. After "Temptation" they had three more top thirty hits, "Don't Blame Me", "Crying in the Rain", and "That's Old Fashioned". They continued having regular hits in the UK through 1965, but after "That's Old Fashioned" in early 1962 their US chart positions went seventy-six, forty-eight, a hundred and seven, a hundred and one, didn't chart at all, a hundred and thirty-three... you get the idea. They only had two more top forty hits in the US in the rest of their career -- "Gone Gone Gone" in 1964, which made number thirty-one, and "Bowling Green" in 1967 which made number forty. Eventually they got the ability to record their own material again, and also to record songs by the Bryants, but the enforced period of several years of relying on cover versions and old standards had left them dead as a commercial act. But surprisingly, they weren't artistically dead. They did have a slump around the time of Don's troubles, with a series of weak albums, but by 1965 they'd started making some very strong tracks, covering a stylistic range from soul to country to baroque pop to an entire album, Two Yanks in England, of covers of British songs, backed by the Hollies (who wrote eight of the twelve songs) and a young keyboard player named Reg Dwight, who would later change his name to Elton John: [Excerpt: The Everly Brothers, "Somebody Help Me"] In the middle of this commercial slump came their second album-length masterpiece, "Roots", an album that, like their earlier "Songs Our Daddy Taught Us", looked back to the music they'd grown up on., while also looking forward to the future, mixing new songs by contemporary writers like Merle Haggard and Randy Newman with older folk and country songs: [Excerpt: The Everly Brothers, "Illinois"] It stands with the great marriages of Americana, orchestral pop, and psychedelia from around that time, like Randy Newman's first album and Van Dyke Parks' Song Cycle, and has many of the same people involved, including producer Lenny Waronker and keyboard player Van Dyke Parks. It's conceived as a complete piece, with songs fading in and out to excerpts of the Everlys' performances on the radio with their parents as children, and it's quite, quite, lovely. And, like those other albums, it was a complete commercial flop. The brothers continued working together for several more years, recording a live album to finish off their ten-year Warners contract, and then switching to RCA, where they recorded a couple of albums of rootsy country-rock in the style of artists they had influenced like Crosby, Stills, Nash and Young. But nothing happened for them commercially, and they were getting less and less happy with working together. The two men argued about literally everything, from who was their father's real favourite to politics -- Phil was an intensely conservative Republican while Don is a liberal Democrat. They ended up travelling separately on tour and staying in separate hotels. It all came to a head in early 1973, when Don announced that their shows at Knotts Berry Farm would be their last, as he was tired of being an Everly brother. For the first of the two shows they were booked for, Don turned up drunk. After a few songs, Phil walked off stage, smashing his guitar. For the second show, Don turned up alone, and when someone in the crowd shouted "Where's Phil?" He replied "The Everly Brothers died ten years ago". Both of them had attempts at solo careers for a decade, during which time the only time they saw each other was reportedly at their father's funeral. They both had minor points of success -- an appearance on a film soundtrack here, a backing vocal on a hit record there -- but no chart success, until in 1983 Phil had a UK top ten hit with a duet with Cliff Richard, "She Means Nothing to Me": [Excerpt: Phil Everly and Cliff Richard, "She Means Nothing to Me"] But by this point, the brothers had reconciled, at least to an extent. They would never be close, but they'd regained enough of a relationship to work together, and they came together for a reunion show at the Royal Albert Hall, with a great band led by the country guitarist Albert Lee. That show was followed by a new album, produced by Dave Edmunds and featuring a lead-off single written for the brothers by Paul McCartney, "On the Wings of a Nightingale": [Excerpt: The Everly Brothers, "On the Wings of a Nightingale"] Over the next twenty-two years, the brothers would record a couple more studio albums, and would frequently guest on records by other people, including performing backing vocals on Paul Simon's "Graceland", from his massively successful album of the same name: [Excerpt: Paul Simon, "Graceland"] It was also Simon who enticed them into what turned out to be their final reunion, in 2004, after a period of a few years where once again the brothers hadn't worked together. Simon had a similarly rocky relationship with his own duet partner Art Garfunkel, and when Simon and Garfunkel did their first tour together in over twenty years, they invited the Everly Brothers to tour with them as guests, doing a short slot by themselves and joining Simon and Garfunkel to perform "Bye Bye Love" together: [Excerpt: The Everly Brothers and Simon & Garfunkel, "Bye Bye Love"] The year after that, they did what was to be their final tour, and I was lucky enough to see one of those shows myself. More than fifty years after they started performing together, they still sounded astonishing, and while they were apparently once again not on speaking terms offstage, you would never have known it from their effortless blend on stage, the kind of close harmony that you can only get when you know someone else's voice as well as your own. After that tour, Phil Everly's health put an end to the Everly Brothers -- he died in 2014 from COPD, a lung disease brought on by his smoking, and for many years before that he had to use an oxygen tank at all times. That wasn't an end to Everly infighting though -- the most recent court date in the ongoing lawsuit between Phil's estate and Don over the credit for "Cathy's Clown" was only last month. But even though their relationship was fraught, they were still brothers, and Don has talked movingly of how he speaks every day to the portion of Phil's ashes that he has in his house. The bonds that held them together were the same things that drove them apart, but Don knows that no matter how much longer he lives, he will always be one of the Everly Brothers.
Episode eighty-eight of A History of Rock Music in Five Hundred Songs looks at “Cathy’s Clown” by The Everly Brothers, and at how after signing the biggest contract in music business history their career was sabotaged by their manager. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Poetry in Motion” by Johnny Tillotson. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio, and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. This collection has all the Everlys’ recordings up to the end of 1962. I would also recommend this recently-released box set containing expanded versions of their three last studio albums for Warners, including Roots, which I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This week we’re going to look at the Everly Brothers’ first and biggest hit of the sixties, a song that established them as hit songwriters in their own right, which was more personal than anything they’d released earlier, and which was a big enough hit that it saved what was to become a major record label. We’re going to look at “Cathy’s Clown”: [Excerpt: The Everly Brothers, “Cathy’s Clown”] When we left the Everly Brothers, six months ago, we had seen them have their first chart hits and record the classic album Songs Our Daddy Taught Us, an album that prefigured by several years the later sixties folk music revival, and which is better than much of the music that came out of that later scene. Both artistically and commercially, they were as successful as any artists of the early rock era. But Don Everly, in particular, wanted them to have more artistic control themselves — and if they could move to a bigger label as well, that was all the better. But as it happens, they didn’t move to a bigger label, just a richer one. Warner Brothers Records had started in 1958, and had largely started because of changes in the film industry. In the late 1940s and early fifties, the film industry was being hit on all sides. Anti-trust legislation meant that the film studios had to get rid of the cinema chains they owned, losing a massive revenue stream (and also losing the opportunity to ensure that their films got shown no matter how poor their reputation). A series of lawsuits from actors had largely destroyed the star system on which the major studios relied, and then television became a huge factor in the entertainment industry, cutting further into the film studios’ profits. An aside about that — one of the big reasons for the growth of television as America’s dominant entertainment medium is racism. In the thirties and forties, there had been huge waves of black people moving from rural areas to the cities in search of work, and we’ve looked at that and the way that led to the creation of rhythm and blues in many of the previous episodes. After World War II there was a corresponding period of white flight, where white people moved en masse away from the big cities and into small towns and suburbs, to get away from black people. This is largely what led to America’s car culture and general lack of public transport, because low-population-density areas aren’t as easy to serve with reliable public transport. And in the same way it’s also uneconomical to run mass entertainment venues like theatres and cinemas in low-population-density areas, and going to the cinema becomes much less enticing if you have to drive twenty miles to get to one, rather than walking down the street. So white flight had essentially meant the start of a process by which entertainment in America moved from the public sphere to the private one. This is also a big reason for the boom in record sales in the middle decades of last century — records are private entertainment, as opposed to going out to a dance or a show. And this left the big film studios in dire straits. But while they were down on their luck when it came to films, Warners were doing very well in the music publishing business, where unlike their ownership of cinemas they didn’t have to get rid of their properties. Warners had always owned the songs used in their films, and indeed one of the reasons that Looney Tunes and Merrie Melodies existed in the first place was so that they could plug songs that Warners owned. When Tex Avery has Owl Jolson singing “I Love to Singa”: [Excerpt: “Owl Jolson”, “I Love to Singa”] That’s a song that had originally appeared in a Warners feature film a few months earlier, sung by Al Jolson and Cab Calloway: [Excerpt: Al Jolson and Cab Calloway, “I Love to Singa”] So Warners were making money from the music industry. But then they realised something. Tab Hunter, one of their film stars under contract to them, had started to have hit records. His record “Young Love” spent six weeks at number one: [Excerpt: Tab Hunter, “Young Love”] And whenever he was interviewed to promote a film, all the interviewers would ask about was his music career. That was bad enough — after all, he wasn’t signed to Warners as a singer, he was meant to be a film star — but what was worse was that the label Hunter was on, Dot Records, was owned by a rival film studio, Paramount. Warners would go to all the trouble of getting an interview set up for their star, and then all it would do was put money into Paramount’s pocket! They needed to get into the record business themselves, as a way to exploit their song catalogue if nothing else. At first they thought about just buying Imperial Records, but when that deal fell through they started their own label, and signed Hunter to it right at the point that his career nosedived. In the first two years that Warner Brothers Records existed, they only had two hit singles — “Kookie Kookie Lend Me Your Comb”, a record based on the Warner-owned TV series 77 Sunset Strip and co-performed by one of that series’ stars, Edd Byrnes: [Excerpt: Edd Byrnes and Connie Stevens, “Kookie Kookie Lend Me Your Comb”] And another record by Connie Stevens, who also sang on “Kookie Kookie Lend Me Your Comb”, and was the star of a different Warners TV series, Hawaiian Eye: [Excerpt: Connie Stevens, “Sixteen Reasons”] Everything else they released flopped badly. After two years they had lost three million dollars, and would have closed down the label altogether, except the label was owed another two million, and they didn’t want to write that off. The main reason for these losses was that the label was mostly releasing stuff aimed at the easy listening adult album market, records by people like Henry Mancini, and at the time the singles market was where the money was, and the singles market was dominated by young people. They needed some records that would appeal to young people. They decided that they needed the Everly Brothers. At the beginning of 1960, the duo had released ten singles since May 1957, of which nine had charted, as had four of the B-sides. They’d topped the pop charts twice, the R&B charts twice, and the country charts four times. At a time when even the biggest stars would occasionally release the odd flop, they were as close to a guaranteed hit-making machine as existed in the music industry. And they were looking to get away from Cadence Records, for reasons that have never been made completely clear. It’s usually said that they had artistic differences with Cadence, but at the same time they always credited Archie Bleyer from Cadence with being the perfect arranger for them — he arranged their final Cadence single, “Let it Be Me”: [Excerpt: The Everly Brothers, “Let it Be Me”] But for whatever reason, the Everlys *were* looking to find a new label, and Warner Brothers were desperate enough that they signed them up to the biggest contract ever signed in music business history up to that point. Remember that four years earlier, when Elvis had signed with RCA records, they’d paid a one-off fee of forty thousand dollars and *that* was reportedly the largest advance ever paid in the industry up until that point. Now, the Everlys were signing to Warners on a ten-year contract, with a guaranteed advance of one hundred thousand dollars a year for those ten years — the first million-dollar contract in music history. They were set up until 1970, and were sure to provide Warners with a string of hits that would last out the decade — or so it seemed at first. Their first recording for the label had an unusual melodic inspiration. Ferde Grofé was an arranger and orchestrator for Paul Whiteman’s jazz band in the 1920s and thirties. He’s particularly known these days for having been the original arranger of Gershwin’s “Rhapsody in Blue” — Gershwin had written it for two pianos, and it was Grofé who had come up with the instrumental colouring that these days we think of as being so important to that piece: [Excerpt: Paul Whiteman “Rhapsody in Blue (original 1924 recording)”] Grofé had written a piece in 1931 called the “Grand Canyon Suite”, and its third movement, “On the Trail” had become the most popular piece of music he ever wrote. Disney made an Oscar-winning short with the suite as its soundtrack in 1958, and you can still hear “On the Trail” to this day in the Grand Canyon section of the Disneyland Railroad. But “On the Trail” was best known as the music that Phillip Morris used in their radio and TV commercials from the thirties through to the sixties. Here’s a bit from the original Whiteman recording of the piece: [Excerpt: Paul Whiteman, “Grand Canyon Suite: On the Trail”] Don took that melodic inspiration, and combined it with two sources of lyrical inspiration — when his dad had been a child, he’d had a crush on a girl named Mary, who hadn’t been interested, and his schoolfriends had taunted him by singing “Mary had a little Ike” at him. The other key to the song came when Don started thinking about an old crush of his own, a girl from his school called Catherine Coe — though in later years he was at pains to point out that the song wasn’t actually about her. They took the resulting song into the studio with the normal members of the Nashville A-Team, and it became only their second hit single with an A-side written by one of the brothers, reaching number one on both the pop and R&B charts: [Excerpt: The Everly Brothers, “Cathy’s Clown”] I say it’s written by Don — the original issue of the record credited the songwriting to both Don and Phil, but Phil signed an agreement in 1980 relinquishing his claim to the song, and his name was taken off all future copies. It sounds to me like Don’s writing style, and all the anecdotes about its writing talk about him without mentioning any input from Phil, so I’m assuming for these purposes that it’s a Don solo composition. Listening to the record, which was the first that the duo produced for themselves, as well as being their first for Warners, you can hear why Don was at times dissatisfied with the songs that Felice and Boudleaux Bryant had written for the brothers. It’s a sophisticated piece of work in a number of different ways. For a start, there’s the way the music mirrors the lyric on the first line. That line is about separation — “Don’t want your love any more” — and the brothers start the line in unison, but Don’s voice slowly drops relative to Phil’s, so by the end of the line they’re a third apart. It’s like he’s stepping away: [Excerpt: The Everly Brothers, “Cathy’s Clown”] The song’s structure also seems unusual. Wikipedia says it has a chorus and a bridge but no verse, while the Library of Congress disagrees and says it has a verse and a bridge but no chorus. Personally, I’d say that it definitely does have a chorus — the repeated section with the same words and melody each time it’s repeated, with both brothers singing, and with the title of the song at the end, seems as definitively a chorus as one could possibly ask for: [Excerpt: The Everly Brothers, “Cathy’s Clown”] If that’s not a chorus, I’m honestly not sure what is. The reason this comes into question is the other section. I would call that section a verse, and I think most people would, and the song’s structure is a straightforward A-B-A-B repetition which one would normally call verse/chorus. But it’s such a change of pace that it feels like the contrasting section that normally comes with a bridge or middle eight. Indeed the first time I properly learned what a middle eight was — in a column in Mojo magazine in the mid-nineties called Doctor Rock which explained some basic musicology — it was specifically cited as an example of one: [Excerpt: The Everly Brothers, “Cathy’s Clown”] Part of the reason that seems so different is that Don’s singing it solo, while the brothers are duetting on the choruses, and normally Don’s solo lines would be on a bridge or middle eight. Not always, but often enough that that’s what you expect if you’ve listened to a few of their records. But there’s also a change in rhythm. One of the things you’ll notice as we go further into the sixties is that, for a while in the early sixties, the groove in rock and roll — and also in soul — moved away from the swinging, shuffling rhythm you get in most of the fifties music we’ve looked at into a far more straightforward four-four rhythm. In roughly 1961 through 64 or so, you have things like the bam-bam-bam-bam four-on-the-floor beat of early Motown or Four Seasons records, or the chugga-chugga-chugga rhythm of surf guitar, rather than the looser, triplet-based grooves that you’d get in the fifties. And you can hear in “Cathy’s Clown” the shift in those rhythms happening in the song itself. The verses have an almost Latin feel, with lots of loose cymbal work from Buddy Harman: [Excerpt: The Everly Brothers, “Cathy’s Clown”] While the choruses have an almost martial feel to them, a boom-BAP rhythm, and sound like they have two drummers on them: [Excerpt: The Everly Brothers, “Cathy’s Clown”] While I say that sounds like there are two drummers, it’s still just Harman playing. The difference is that here the engineer, Bill Porter, who was the engineer on a lot of the Nashville recordings we’ve looked at, notably the Roy Orbison ones, had just obtained a new device — a tape loop. Now, I’ve seen some people misunderstand what it was that Porter did with this — thinking he looped the drums in the way one would loop things today, just playing the same recording over and over. It wasn’t that. Rather it was a way of doing what Sam Phillips had been doing with tape echo in Sun a few years earlier — there would be an endlessly circulating loop of tape, which had both record and playback heads. The drums would be recorded normally, but would also be recorded onto that tape loop, and then when it played back a few milliseconds later it would sound like a second drummer playing along with the first. It’s an almost inaudible delay, but it’s enough to give a totally different sound to the drums. Porter would physically switch this loop on and off while recording the track live — all the vocals and instruments were recorded live together, onto a three-track tape, and he would turn it on for the choruses and off for the verses. This is an early example of the kind of studio experimentation that would define the way records were made in the sixties. The rhythm that Harman played was also very influential — you can hear that it strongly influenced Paul McCartney if you listen to Beatles records like “What You’re Doing”, “Ticket to Ride”, and “Tomorrow Never Knows”, all of which have drum patterns which were suggested by McCartney, and all of which are strongly reminiscent of the “Cathy’s Clown” chorus. “Cathy’s Clown” topped the charts for five weeks, and sold two million copies. It was an immense success, and the Everlys seemed to be on top of the world. But it was precisely then that problems started for the duo. First, they moved from Nashville to LA. The main reason for that was that as well as being a record contract, their new contract with Warners would give them the opportunity to appear in films, too. So they spent six months taking acting lessons and doing screen tests, before concluding that neither of them could actually act or remember their lines, and wisely decided that they were going to stick to music. The one good thing they took from that six month period was that they rekindled their friendship with the Crickets, and Sonny Curtis wrote them a song called “Walk Right Back”, which made the top ten (and number one in the UK and New Zealand): [Excerpt: The Everly Brothers, “Walk Right Back”] Curtis wrote that song while he was in basic training for the military, and when he got a pass for a few days he’d only written the first verse. He played the song to the brothers while he was out on his pass, and they said they liked it. He told them he’d write a second verse and send it to them, but by the time they received his letter with the lyrics for the second verse, they’d already recorded the song, just repeating the first verse. Curtis wasn’t the only one who had to go into basic military training. The brothers, too, knew they would be drafted sooner rather than later, and so they decided to do as several other acts we’ve discussed did, and sign up voluntarily for six months rather than be drafted for two years. Before they did so, they recorded another song, “Temptation”, an old standard from the thirties: [Excerpt: The Everly Brothers, “Temptation”] And that track marked the beginning of the end of the Everlys as a chart act. Because it was an old standard, the publishing was not owned by Acuff-Rose, and Wesley Rose was furious. He was both their manager and the owner of Acuff-Rose, the biggest publishing company in country music, and things between them had already become strained when the Everlys had moved to California while Rose had stayed in Nashville. Rose insisted that they only release Acuff-Rose songs as singles, and they refused, saying they wanted to put the single out. Rose retaliated in the most staggeringly petty manner imaginable. He stopped managing them, and he blocked them from being sent any new songs by Felice and Boudleaux Bryant. Because he knew they’d already recorded “Love Hurts”, a song written by the Bryants, as an album track, he got Roy Orbison, who he also managed, to record a version and put it out as a B-side, as a spoiler in case the Everlys tried to release their version as a single: [Excerpt: Roy Orbison, “Love Hurts”] Worse than that, even, the Everlys were also signed to Acuff-Rose as songwriters, which meant that they were no longer allowed to record their own songs. For a while they tried writing under pseudonyms, but then Acuff-Rose found out about that and stopped them. For a while, even after basically taking a year away from music and being banned from recording their own songs, the brothers continued having hits. They also started another project — their own record label, Calliope, which would put out their outside projects. For Don, this was a mostly-instrumental adaptation of Elgar’s “Pomp and Circumstance”, which he recorded with an arrangement by Neal Hefti, under the name “Adrian Kimberly”: [Excerpt: Adrian Kimberly, “Pomp and Circumstance”] That made the lower reaches of the US charts, but was banned by the BBC in Britain, because it would offend British patriotic sentiment (for those who don’t know, “Pomp and Circumstance”, under the name “Land of Hope and Glory”, is something of a second national anthem over here). Phil’s side project was a comedy folk group, the Keestone Family Singers, who recorded a parody of the Kingston Trio’s “Raspberries, Strawberries”, written by Glen Hardin of the Crickets: [Excerpt: The Keestone Family Singers, “Cornbread and Chitlings”] The other two singers on that track were people we’re going to hear a lot from in later episodes — a songwriter called Carole King, who a few months later would co-write the Everlys hit “Crying in the Rain”, and a session guitarist named Glen Campbell. But neither of these ventures were particularly successful, and they concentrated on their own records. For a while, they continued having hits. But having no access to the Bryants’ songs, and being unable to record the songs they were writing themselves, they relied more and more on cover versions, right at the point the market was starting to change to being based entirely around artists who wrote their own material. And on top of that, there were personal problems — Don was going through a divorce, and before they were inducted into the Marines, both Don and Phil had started seeing a doctor who gave them what they were told were “vitamin shots” to help them keep their energy up, but were actually amphetamines. Both became addicted, and while Phil managed to kick his addiction quickly, Don became incapacitated by his, collapsing on a UK tour and being hospitalised with what was reported as “food poisoning”, as most overdoses by rock musicians were in the early sixties, leaving Phil to perform on his own while Don recuperated. Their fall in popularity after “Temptation” was precipitous. Between 1957 and early 1961 they had consistently had massive hits. After “Temptation” they had three more top thirty hits, “Don’t Blame Me”, “Crying in the Rain”, and “That’s Old Fashioned”. They continued having regular hits in the UK through 1965, but after “That’s Old Fashioned” in early 1962 their US chart positions went seventy-six, forty-eight, a hundred and seven, a hundred and one, didn’t chart at all, a hundred and thirty-three… you get the idea. They only had two more top forty hits in the US in the rest of their career — “Gone Gone Gone” in 1964, which made number thirty-one, and “Bowling Green” in 1967 which made number forty. Eventually they got the ability to record their own material again, and also to record songs by the Bryants, but the enforced period of several years of relying on cover versions and old standards had left them dead as a commercial act. But surprisingly, they weren’t artistically dead. They did have a slump around the time of Don’s troubles, with a series of weak albums, but by 1965 they’d started making some very strong tracks, covering a stylistic range from soul to country to baroque pop to an entire album, Two Yanks in England, of covers of British songs, backed by the Hollies (who wrote eight of the twelve songs) and a young keyboard player named Reg Dwight, who would later change his name to Elton John: [Excerpt: The Everly Brothers, “Somebody Help Me”] In the middle of this commercial slump came their second album-length masterpiece, “Roots”, an album that, like their earlier “Songs Our Daddy Taught Us”, looked back to the music they’d grown up on., while also looking forward to the future, mixing new songs by contemporary writers like Merle Haggard and Randy Newman with older folk and country songs: [Excerpt: The Everly Brothers, “Illinois”] It stands with the great marriages of Americana, orchestral pop, and psychedelia from around that time, like Randy Newman’s first album and Van Dyke Parks’ Song Cycle, and has many of the same people involved, including producer Lenny Waronker and keyboard player Van Dyke Parks. It’s conceived as a complete piece, with songs fading in and out to excerpts of the Everlys’ performances on the radio with their parents as children, and it’s quite, quite, lovely. And, like those other albums, it was a complete commercial flop. The brothers continued working together for several more years, recording a live album to finish off their ten-year Warners contract, and then switching to RCA, where they recorded a couple of albums of rootsy country-rock in the style of artists they had influenced like Crosby, Stills, Nash and Young. But nothing happened for them commercially, and they were getting less and less happy with working together. The two men argued about literally everything, from who was their father’s real favourite to politics — Phil was an intensely conservative Republican while Don is a liberal Democrat. They ended up travelling separately on tour and staying in separate hotels. It all came to a head in early 1973, when Don announced that their shows at Knotts Berry Farm would be their last, as he was tired of being an Everly brother. For the first of the two shows they were booked for, Don turned up drunk. After a few songs, Phil walked off stage, smashing his guitar. For the second show, Don turned up alone, and when someone in the crowd shouted “Where’s Phil?” He replied “The Everly Brothers died ten years ago”. Both of them had attempts at solo careers for a decade, during which time the only time they saw each other was reportedly at their father’s funeral. They both had minor points of success — an appearance on a film soundtrack here, a backing vocal on a hit record there — but no chart success, until in 1983 Phil had a UK top ten hit with a duet with Cliff Richard, “She Means Nothing to Me”: [Excerpt: Phil Everly and Cliff Richard, “She Means Nothing to Me”] But by this point, the brothers had reconciled, at least to an extent. They would never be close, but they’d regained enough of a relationship to work together, and they came together for a reunion show at the Royal Albert Hall, with a great band led by the country guitarist Albert Lee. That show was followed by a new album, produced by Dave Edmunds and featuring a lead-off single written for the brothers by Paul McCartney, “On the Wings of a Nightingale”: [Excerpt: The Everly Brothers, “On the Wings of a Nightingale”] Over the next twenty-two years, the brothers would record a couple more studio albums, and would frequently guest on records by other people, including performing backing vocals on Paul Simon’s “Graceland”, from his massively successful album of the same name: [Excerpt: Paul Simon, “Graceland”] It was also Simon who enticed them into what turned out to be their final reunion, in 2004, after a period of a few years where once again the brothers hadn’t worked together. Simon had a similarly rocky relationship with his own duet partner Art Garfunkel, and when Simon and Garfunkel did their first tour together in over twenty years, they invited the Everly Brothers to tour with them as guests, doing a short slot by themselves and joining Simon and Garfunkel to perform “Bye Bye Love” together: [Excerpt: The Everly Brothers and Simon & Garfunkel, “Bye Bye Love”] The year after that, they did what was to be their final tour, and I was lucky enough to see one of those shows myself. More than fifty years after they started performing together, they still sounded astonishing, and while they were apparently once again not on speaking terms offstage, you would never have known it from their effortless blend on stage, the kind of close harmony that you can only get when you know someone else’s voice as well as your own. After that tour, Phil Everly’s health put an end to the Everly Brothers — he died in 2014 from COPD, a lung disease brought on by his smoking, and for many years before that he had to use an oxygen tank at all times. That wasn’t an end to Everly infighting though — the most recent court date in the ongoing lawsuit between Phil’s estate and Don over the credit for “Cathy’s Clown” was only last month. But even though their relationship was fraught, they were still brothers, and Don has talked movingly of how he speaks every day to the portion of Phil’s ashes that he has in his house. The bonds that held them together were the same things that drove them apart, but Don knows that no matter how much longer he lives, he will always be one of the Everly Brothers.
Join us on the podcast this week for The Muppet Show special guest star: Singer, actress and 1970s Marilyn Monroe, Connie Stevens! Plus, Star Trek Original Series episode, "A Taste of Armageddon" - All death of war, but it's all decided on a Commodore 64.
Join us on the podcast this week for The Muppet Show special guest star: Singer, actress and 1970s Marilyn Monroe, Connie Stevens! Plus, Star Trek Original Series episode, "A Taste of Armageddon" - All death of war, but it's all decided on a Commodore 64.
26 Bubblegum Songs in 1 Hour! No other genre in the history of popular music could fit so much fun into so little time! Enjoy great bubblegum music from (in alphabetical order) Abraham and Strauss, Banana Splits, Chicory Tip, Davy Jones, Edd Byrnes and Connie Stevens, Five Americans, The Glory Rhodes, H.R. Pufnstuf, Ian Whitcomb and His Seaside Syncopators, Jackson 5, Kaye Stevens, The Lemon Pipers, The Monkees, 1910 Fruitgum Company, The Ohio Express, The Partridge Family,The Quick, The Rich Kids, Safety Patrol, Tony Darrow, Unchained Minds, Valerie Singleton, The Wombles, XTC, The Young Turks and the Kids from Zoom!
Kellie Olver is an internationally recognized television host. With over 20 years experience, logging over 22,000 hours of LIVE TV and generating nearly ¾ of a BILLION dollars in sales, Kellie has been transforming lives around the world. Because of her dynamic personality and contagious enthusiasm she has been consistently ranked number one as a television host, professional speaker, and trainer, teaching people how to present themselves, idea or product for maximum results. She has been a host of two national shopping channels, Home Shopping Network (HSN) USA and The Shopping Channel (TSC) Canada. She has worked with top celebrities such as Joan Rivers, George Forman, Richard Simmons, Joan Collins, Tony Little, Susan Lucci, Wayne Gretzky, Steve Garvey, Wolfgang Puck, Liza Gibbons, Mr. Blackwell, Connie Stevens, Suzanne Summers, Frankie Avalon, William Shatner, Ed McMahon, Dick Clark and Ivana Trump. Kellie created her own multinational selling skin care brand, Kellie Olver Skin Care, from concept to completion, selling on ShopNBC and found in Luxury Spas and Hotels overseas. Due to overwhelming demand, Kellie has just completed an information/how to course: Home Shopping 101: Everything You Need to Know to Get Your Product, Idea or Invention To A Shopping Channel And Be Seen And Purchased By Millions
Talking Points Band history and foundation of Strawberry Alarm Clock How they arrived at the name. Oingo Boingo connection Venice Beach Writers of Incense and Peppermints getting “jacked” Bad practices in the music businesses by music biz types. More personnel swaps and other Alarm Clock stories Similarity to the Doors. Ray Manzarek and Robbie Krieger. Comparisons with other bands. Other songs - Curse of the Witches and World on Fire The Unjust Drug Bust Ontario Motor Speedway gig with Ben Balloon Other names that came up: Frankie Avalon,Connie Stevens, John Walmsley, Richard Marx and Madonna. Remaking Incense and Peppermints, Licensing woes Roger Ebert, Valley of the Dolls The Seeds Tribute to Sky Saxon Playing unplugged Links to Strawberry Alarm Clock Website, Videos and Other Resources Full Transcripts (Scroll down some)
Reel Talk w/ The Hollywood Kid: Connie Stevens by Global Echoes (WNTN 1550 AM)
Actress/Singer CONNIE STEVENS' career in showbiz has spanned more more than 5 decades. During that time she has appeared in films like: Rock a bye Baby with Jerry Lewis, The Party Crashers, Never Too Late, Parish and Way, Way Out as well as Grease 2. On the small screen she has appeared in shows like: 77 Sunset Strip, The Red Skelton Hour, Wendy and Me, Rowan & Martin’s: Laugh-in, Love American Style, The Love Boat, and Fantasy Island to name a few. But to many she will always be remembered for playing the role as Cricket Blake alongside Robert Conrad in the hit TV Show, Hawaiian Eye. SUBSCRIBE to our YOUTUBE CHANNEL! https://www.youtube.com/channel/UCw4fcgG7ODeiEbR7HDUZl3A
Ridiculous fun chatting with Lainie Kazan at Connie Stevens house... what? I know! Lainie talked growing up in Brooklyn, Erasmaus High with Barbara, who she would soon understudy in Funny Girl, and is that a fabulous and ultimately funny story... starting out as a dancer, then singer, first acting experience was at camp, where her drama counselor was... wait for it... Anne Bancroft. Hello? A few years later, she and fellow Hofstra pal, Francis Ford Coppola would be the girls and boys drama counselors, respectively... there's lots about Francis, who remains beloved, Michelle Lee, friends since girlhood, nightclubbing... Dean Martin, Sinatra, and oh boy is that a story! Posing innocently, nightclubbing again, running her own club... the rough years... really rough... Francis coming to her rescue, my favorite movie, My Favorite Year, meeting Peter O'Toole, great story! Producer, Mel Brooks, changing her life... Joe Bologna, and Renee Taylor, lifelong friends, that unforgettable episode of the Nanny... being a mom, and a grandma, how she got My Fat Big Fat Greek Wedding, and unexpectedly scored huge. Animated, fun, funny, passionate, warm, there aren't enough adjectives in my vocab to paint the picture of this adored conversation. I LOVE HER Lainie Kazan on Game Changers With Vicki Abelson Wed, 12/4/19, 7 pm PT/ 10 pm ET With Pete George Live on The Facebook Full show replay here: http://bit.ly/2Pg6Qkt YouTube without blur here: http://bit.ly/2rXKvjE YouTube replay sans comments but without blur here: http://bit.ly/2rXKvjE Lainie Kazan on Game Changers With Vicki Abelson Wed, 12/4/19, 7 pm PT/ 10 pm ET With Pete George Live on The Facebook http://bit.ly/2y47ZCi All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and beregular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/
Damian and Anne are in the company of Hollywood royalty with actress, singer, writer, Joely Fisher this week. You Might Know Her From Ellen, Inspector Gadget, ‘Til Death, Desperate Housewives, Cabaret, and her book, Growing Up Fisher. Joely talked about her upbringing with her famous parents Connie Stevens and Eddie Fisher and A-list sister Carrie Fisher, being a part of LGBTQ+ history with Ellen DeGeneres’ coming out on network TV, and whether or not she is on the second season of The Masked Singer. Follow us on social media: @damianbellino || @rodemanne Discussed this week: Joely’s IMDB || IBDB Movin’ Out on Broadway Choreographer Twyla Tharp Choreographer Pat Birch Billy Joel’s “Pressure” Encarta Grease T-Birds vs Hamburger Boys Spice Girls’ “Mama” Mel C’s “Northern Star” Joely’s book: Growing Up Fisher: Musings, Memories, and Misadventures Connie Stevens and Eddie Fisher’s relationship Fisher siblings: Carrie Fisher, Todd Fisher, and Tricia Leigh Fisher Todd’s book: My Girls: A Lifetime with Carrie and Debbie Me and My Shadows, Lorna Luft’s memoir and later a miniseries about her time with mother Judy Garland Beverly Hills Nannies, Tricia Leigh’s reality TV series Joely as Rizzo in the Grease revival Other Rizzos: Rosie O’Donnell, Maureen McCormick, Brooke Shields, Lucy Lawless Musicals Joely would be into: Sunset Boulevard, Gypsy, Grey Gardens Joely in Cabaret Norbert Leo Butz as Joely’s Emcee on tour Michael C. Hall as Joely’s Emcee on Broadway Teri Hatcher singing on American Idol Rick Holmes, Teri’s Cliff in Cabaret Jay Getty, Joely’s Cliff in Cabaret Joely wore Eddie’s fur coat in Cabaret Connie Stevens and Debbie Reynolds togetherJoely as Paige on Ellen Ellen sitcom cast reunion on The Ellen Show Ellen DeGeneres’ coming out episode: “The Puppy Episode” Ellen talking about being “Lebanese” with Rosie on The Rosie O’Donnell Show Anne’s mother, poet Juliet Rodeman gave Anne Ellen’s memoir when she was a closeted kid Joely came out as sexually fluid Joely in Inspector Gadget and getting blasted with toothpaste Inspector Gadget and commercial director Michael Kellogg ‘Til Death with Brad Garrett Grey Gardens with Rachel York & Betty Buckley Lainie Kazan with Connie Stevens and Joely (plus Sally Kellerman) The Ladybug clues on The Masked Singer. Is it Joely? Connie Stevens in Grease 2
Following Want to know what it’s like to live in a Hollywood home? The fantastic Joely Fisher is telling ALL today right here on Deborah Kobylt LIVE! Actress, author, singer, mother, director, and daughter of Eddie Fisher and Connie Stevens! And you know her half sister in Star Wars royalty Carrie Fisher. We are talking all about her book Growing Up Fisher and how she's bringing it LIVE to the stage! She's hilarious, outspoken, creative, and honest. It's always a pleasure to have this incredible and inspiring woman on the show. We are talking all about her crazy life, being a mother, Ellen DeGeneres, and her work with one of my favorite organizations Ava's Heart! You fall in love with Joely, I promise you that!
Episode #159: Back to the Beach (1987) Release Date: July 8, 2019 BEACH MONTH continues at the podcast and this week we slip into haze of yesteryear with the classic ANNETTE FUNICELLO and FRANKIE AVALON beach party revival flick, BACK TO THE BEACH! This is the one where it's been some twenty-odd years since ANNETTE and her main squeeze THE BIG KAHUNA head back to Los Angeles to hang out with their daughter, played by peak LORI LOUGHLIN, and are greeted by a bevy of guest stars. Including PEE WEE HERMAN, DICK DALE, CONNIE STEVENS, and two of our favorite GILLIGAN'S ISLAND castaways. Plus, the variety of movies at your cineplex in 1987, curating a BEST OF JAMES BOND marathon for Kat, and more dead celebs to OUIJA BOARD. Follow us on Twitter: @verypodcast Official Website: www.averyspecialpodcast.com
Melanie Taylor is a seasoned performer who in her extensive career has worked with the likes of Aerosmith, Barry Manilow, Bette Midler, The Righteous Brothers, Connie Stevens, Donna Summer, John Mayer, Joe Walsh and many more. Melanie shares what she's learned along the way, how she helps young artists develop their creative process, and insights on what it takes to be a serious performer. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/theworkingsinger/message Support this podcast: https://anchor.fm/theworkingsinger/support
Today Ken welcomes actor, singer, and author of the memoir "Growing Up Fisher", Joely Fisher to the show. Ken and Joely discuss her enormous group of children, TV wallpaper, the news, the way kids watch TV, how difficult it is the tell stories on social media, growing up with Connie Stevens, The Love Boat, Fantasy Island, "Does TV Go Too Far?", Made for TV movies, "Someone I Touched", AIDS on TV, After School Special, why Ellen will never get rebooted, the wonders of multi-cam television, directing, Til Death, the loss of opening titles and end credits, Station 19, bothering people in public, Ken's interactions with Norman Lear, getting lost in the story, the new content hungry avenues of streaming media, rebooting Amazing Stories, the lost pilots, getting married on stage, Love American Style, Variety Shows, Reality TV, The Battle of the Network Stars, showing side boob, breaking preconceptions, Desperate Housewives, the failure of Ellen's last season, Last Man Standing, the 90s stand up comedian based sitcom boom, the essential nature of a good ensemble supporting cast, Grace Under Fire, being warned not to run on camera, Wild Card on Lifetime, being in the show Baby Bob and having it named one of the worst shows of all time by TV Guide, having a rival, and moving toward the future of storytelling.
K-Earth 101's Rent-A-Yenta, Lisa Stanley, hangs out with Joely Fisher, an actress, singer and author who grew up in a Hollywood Dynasty! She tells stories of the Fisher family, including her dad, Eddie Fisher, her mom, Connie Stevens, and half sister, Carrie Fisher. Listen to see what it was like growing up in a FISH bowl. Joely Fisher is on Twitter, Instagram, and you can find her book "Growing Up Fisher" and tour dates on Facebook.
Actress and singer Joely Fisher joins the LadyGang to talk about her experience in Hollywood and her new book "Growing Up Fisher: Musings, Memories, and Misadventures," as well as growing up in a celebrity dynasty and the tragic loss of sister Carrie Fisher earlier this year.
In this special edition of "War Stories with Oliver North," come along for an insider's tour of the historic USO (United Service Organizations). Oliver North travels from Hollywood to Washington D.C. to the battle zones inside Iraq to bring you the USO in action. Up close and in person, you'll hear stories from entertainers of all eras who have traveled to these dangerous areas for more than 60 years to give service and smiles to our troops. North talks with Hollywood icons and musical legends such as Mickey Rooney, Johnny Grant, Connie Stevens, Ann-Margret, Wayne Newton, Bo Derek and Bob Hope's son, Tony. They share their recollections of performing from steamy islands in the South Pacific to the jungles of Vietnam, to bases all over the world. Plus, acclaimed actor Gary Sinese sits down with North to share his pride in working with the USO since being inspired by the events of September 11, 2001. Then, hear how rocker Joan Jett tells of her dedication to performing for the troops in places that "aren't cushy." The USO was formed in 1941 at the request of President Franklin Delano Roosevelt to support the rapidly growing number of troops. A private, non-profit organization, the USO would provide many services, from organizing dances to building the USO centers that have become the soldier's "home away from home." Finally, you'll find out how the USO has survived some lean times, including being temporarily disbanded in the late 1940s. In the years that followed, the need for the USO never again waned. The services the USO provides have brought much needed support to our military men and women for over six decades.
On this week's LadyWatch agenda: Ryan and Jason gush over their respective personal brushes with LadyWatch through Laurie Metcalf and Judy Garland over the week, also generally gush over Rose Marie and her doc "Wait for Your Laugh", gush over Judy Gold's written words on the CK garbage monster (while Ryan gushes over Jason's written words on Pamela Adlon's place in the eye of the storm), and absolutely GUSH over Diana Ross's choice of budget-conscious clothing retailer (and sensible waist-worn fashion accessory). PLUS - BIG LADYWATCH NEWS ABOUT CÉLINE DION'S 50TH BIRTHDAY (and how you can be involved!), Angelyne gets an unauthorized biopic, Meryl Streep meets Anna Wintour (spoiler alert: it's underwhelming), Jenifer Lewis sings her memoirs, Joely Fisher rolls joints for Connie Stevens and Lucille Ball, Carol Channing becomes a namesake, Ruthie Henshall almost becomes a Princess, and MUCH MUCH MORE!
Cool Night’s going to the movies! Featured this week: Henry Mancini, Bruce Springsteen, and none other than Connie Stevens!
Connie Stevens stars as the worst undercover cop of all time - if she even is a cop. Directed by Grindbin All Star Howard Avedis (The Teacher), Scorchy is a movie that entertains and confuses all at the same time. It's about a drug deal... or something. Listen as the boys try and break this one down and have some fun along the way. Will Scorchy catch the criminals? Is her name even Scorchy?! Find out on this episode of the Grindbin.
David Medel, Álvaro Congosto y Miguel Ángel Caído comentan Mulholland Drive de David Lynch, la vida de Naomi Watts, sus conexiones con Nicole Kidman, Pink Floyd, Fama, el enano de Twin Peaks, Angelo Badalamenti, Billy Ray Cirus y Hannah Montana, con la música de fondo de Pink Floyd, Connie Stevens, In Heaven y muchos más.
It seems incongruous that producers would have originally wanted Vanessa Redgrave for the title role in 1966's Georgy Girl because sister Lynn seemed an absolute perfect fit and, indeed, ended up making it her breakthrough role. The film co-starred James Mason, Alan Bates, Charlotte Rampling and, in a small role, Redgrave's mother, Rachel Kempson. It was a huge hit in the UK but an even bigger one in the United States, much to the relief of Columbia Pictures who had sweated the young, unknown leads, the avant-garde shooting style of Canadian director Silvio Narizzano and some risque subject matter. Dan and Vicky give their impressions of this counter culture classic while also touching on William Friedkin's controversial gay thriller Cruising, TV's Scream Queens, riding the New York City subway during Comic Con, Connie Stevens and why Dan needs to see a therapist! FunikiJam everyone! And if you want to know what that means, you'll have to listen to Hot Date with Dan and Vicky #14. It's Groovy man.
Direct download link for the episode This month we feature an interview with John McClung, a noted pedal steel player and teacher (in fact, he’s been nicknamed both “Mr. Twang” and “Professor Twang” depending on who’s asking). His credits include recording work with Connie Stevens; touring with Freddy Fender; playing (with 7 other LA steelers) […]
26 Bubblegum Songs in 1 Hour! No other genre in the history of popular music could fit so much fun into so little time! Enjoy great bubblegum music from (in alphabetical order) Abraham and Strauss, Banana Splits, Chicory Tip, Davy Jones, Edd Byrnes and Connie Stevens, Five Americans, The Glory Rhodes, H.R. Pufnstuf, Ian Whitcomb and His Seaside Syncopators, Jackson 5, Kaye Stevens, The Lemon Pipers, The Monkees, 1910 Fruitgum Company, The Ohio Express, The Partridge Family,The Quick, The Rich Kids, Safety Patrol, Tony Darrow, Unchained Minds, Valerie Singleton, The Wombles, XTC, The Young Turks and the Kids from Zoom!
Episode 260 of On Screen & Beyond - Connie Stevens has had an amazing career that is still going strong. From hit songs, to starring in the hit TV show "Hawaiian Eye", hit movies and Bob Hope USO tours, Connie has done it all. Check out this interview with a legend of TV and cinema! --- Send in a voice message: https://anchor.fm/on-screen-and-beyond/message
S01e02 - Connie Stevens (themuppetarchive)
S01e02 - Connie Stevens (themuppetarchive)
© 2020-2025 Ivy Podcast Discovery LLC
