Podcasts about Doc Hudson

Did Cars from Pixar ignite your passion for automobiles? You're not alone. "Lightning Lit the Spark" is a heartfelt tribute to the film that turned bedroom floors into racetracks and diecast cars into lifelong obsessions. From Radiator Springs to real-life racetracks, this song celebrates the journey of every kid who fell in love with cars because of Lightning McQueen, Doc Hudson, Mater, and the crew.

In this special episode of The Collector Car Podcast, Pixar's Jay Ward returns—not just as the man behind Cars, but as a guest judge at the Hillsborough Concours d'Elegance, one of the most prestigious collector car events on the West Coast. Host Greg Stanley chats with Jay about how the Cars franchise continues to bridge the gap between animation and authentic automotive passion. From his work developing iconic characters like Lightning McQueen and Doc Hudson to his personal love of vintage steel, Jay shares how real collector cars helped inspire the Pixar universe—and vice versa. Plus, we're joined by Glen Egan, Chairman of the Hillsborough Concours, for a quick interview on what makes this year's event so special, what cars to watch for, and why Hillsborough continues to be a must-attend celebration of automotive excellence.

Before they brought you Sharknado, the guys at The Asylum decided to become 'The Quick and the Angry' with a knock off Paul Walker, an acidic Doc Hudson, the most corrupt small time parole officer ever and MICKEY F***IN' STYLES. James and Nick go straight to video this week reusing cars and passing by in a red Taurus 3 times. They couldn't BUST the BLOCK, so they said "well then we MUST MOCK". Fasten your seatbelts, it's going to be a mockbuster ride. Thanks for tuning in. For more, follow us on Instagram & YouTube @justplayitpodcast & X (fka Twitter) @justplayitpod

#disney #pixar #podcast #moviereview In this lively conversation, the hosts discuss Pixar's animated film 'Cars', exploring its characters, cast, and the impact it had on animation. They also engage in a humorous drink challenge featuring a concoction called 'Gasoline', sharing their tasting experiences and opinions. The discussion delves into the themes of racing, technology in the automotive world, and the legacy of characters like Doc Hudson, all while maintaining a light-hearted and entertaining tone. In this conversation, the speakers delve into the various themes presented in the animated film 'Cars' by Pixar. They explore nostalgia, cultural references, and the adult themes that resonate with both children and adults. The discussion highlights the importance of family-friendly humor, character development, and the impact of racing culture on generational values. The speakers also touch on the significance of visual storytelling and the artistic choices made by Pixar, as well as the lessons learned through competition and personal growth. Ultimately, they reflect on the legacy of 'Cars' and its characters, emphasizing the film's lasting influence. In this conversation, the speakers delve into the themes of friendship, character development, and the impact of Pixar's Cars. They discuss the significance of Mater, the film's emotional resonance, and the various character identifications within the Cars universe. The conversation also touches on Pixar's legacy, critiques of the film, and the hidden details and Easter eggs that enrich the viewing experience. The speakers share their personal ratings and reflections on the film, culminating in a discussion about fan theories and the broader implications of the Cars universe.

How did Doc Hudson die? I mean The Fabulous Hudson Hornet was a racing legend who spent his final years as the crew chief for one of the greatest race cars of all time - Lightning McQueen - so how is it possible that he couldn't be repaired? It's not like Lightning would have spared any expense getting Doc the necessary care and parts that he needed. I just assumed after surviving his career ending crash that he could live through anything! But even with all of the resources at his disposal in Radiator Springs and beyond, he couldn't stay alive forever, and today I want to understand why. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

Trev takes the controls of the show as he guides Stephen Fenech through what he believes to be one of the best movies of all time. Both dads see this through their eyes as parents, looking at the background to this movie and some of the epic performances. Lightning McQueen takes a journey of development while Doc Hudson too has to come out of his shell. It's a cracker.

Trev takes the controls of the show as he guides Stephen Fenech through what he believes to be one of the best movies of all time. Both dads see this through their eyes as parents, looking at the background to this movie and some of the epic performances. Lightning McQueen takes a journey of development while Doc Hudson too has to come out of his shell. It's a cracker.

On a special episode of Pop Goes The Classics, Andy Atherton does a live watch of 2017's Cars 3. He gives his thoughts on pre-race rituals; brash rookies; forced retirements; tailor-made training regiments; nap time; demolition derbies; Thunder Hollow; old rivals; the school bus of death; revisiting the past; Doc Hudson's legacy; playing smarter not stronger; Willie's Butte & whether or not this the last ride theatrically for the Cars franchise.

As Disneyland releases full details for its 2023 Halloween celebrations, we discuss which Disney resort is the best when it comes to Halloween. Is Halloween better at Walt Disney World or Disneyland? This story, plus Disney's real-life Soarin' adventure is back.Disneyland Resort Announces Return of Halloween Time and Plaza de la Familia Sept. 1, Plus 2023 Oogie Boogie Bash DatesHalloween Time at Disneyland ResortHalloween Time runs at Disneyland Resort from September 1 through October 31, 2023. Seasonal décor and characters in their Halloween best will appear in both parks, along with the Main Street Pumpkin Festival in Disneyland park and Radiator Screams in Disney California Adventure park.At Disneyland park, Jack Skellington and the crew from The Nightmare Before Christmas will once again appear in the Haunted Mansion. A themed gingerbread house will be displayed in the spooky attraction's ballroom though Sandy Claws has kept this year's design a secret. Every night through October 31, the Halloween Screams nighttime spectacular will summon supernatural projections, special effects and music on Main Street, U.S.A., Sleeping Beauty Castle, Rivers of America and in front of it's a small world. Fireworks join in on select nights, usually weekends. As a result, Wondrous Journeys is scheduled to make its final performance of the year on August 31.At Disney California Adventure park, three attractions will undergo seasonal transformations with Halloween spins – and drops. The family-friendly Mater's Junkyard Jamboree in Cars Land and Luigi's Rollickin' Roadsters opt for happily hair-raising soundtracks to become Mater's Graveyard JamBOOree and Luigi's Honkin' Haul-O-Ween. For the first time, resident “car-acter” Guido will sport a ghoulish “car-stume” as he welcomes guests to the Casa Della Tires.Guardians of the Galaxy – Mission: BREAKOUT! transforms into Guardians of the Galaxy – Monsters After Dark, a scream-worthy adventure to save Groot from creatures running amok in The Collector's Fortress.From September 8 through November 1, Disney character-themed pumpkins will be hidden around the Downtown Disney District for Pluto's Pumpkin Pursuit; with the purchase of a map from participating locations and you can commemorate your search with a collectible keepsake. Downtown Disney District will also feature fall décor, entertainment and special offerings from select locations.Plaza de la Familia and Tributes to Día de los MuertosHonoring the Mexican traditions of Día de los Muertos (Day of the Dead), the vibrant Plaza de la Familia cultural experience will bring brilliant marigolds, entertainment and family crafts to Paradise Gardens in Disney California Adventure park from September 1 to November 2. At Paradise Garden Grill, you can feast on menu items inspired by Mexican cuisine.Several times per day, A Musical Celebration of Coco will present a talented company of Folklórico dancers, plus Mariachi singers and musicians, that recount Miguel's adventure to the Land of the Dead. You can also meet Miguel, dance along to Mariachi music, add remembrance notes to the Memory Wall, and more.Over in Cars Land, Ramone will honor Día de los Muertos at his detailing shop with an “ofrenda” celebrating the town's good friend, Doc Hudson.Disneyland park will pay tribute to Día de los Muertos with its traditional, vibrant display in Frontierland, adorned with marigolds and banners of papel picado. Oogie Boogie Bash – A Disney Halloween PartyOogie Boogie Bash – A Disney Halloween Party will take over Disney California Adventure park for more nights than ever before, bringing rare characters, villains and spellbinding experiences on 25 select evenings between September 5 and October 31, 2023. Kids and trick-or-treaters of all ages are invited to wear Halloween costumes for a wickedly fun evening of attractions (some of which have shorter wait times), themed food and beverages, and more. Admission to the after-hours event also includes entrance to Disney California Adventure park three hours before the party begins and unlimited Disney PhotoPass digital photo downloads from the party.Partygoers can also enjoy special offerings, such as “Mickey's Trick and Treat” show, the “Frightfully Fun Parade” led by the Headless Horseman of Sleepy Hollow, and the immersive Villains Grove.Tickets will go on sale to the general public on June 29 (no earlier than 9:00 a.m. PT). On June 27 (no earlier than 9:00 a.m. PT), a limited amount of Oogie Boogie Bash tickets go on pre-sale for Magic Key holders at Disneyland.com/OogieBoogieBash. Tickets for Oogie Boogie Bash are limited so don't delay if you want to go. Here are all 25 nights of the Oogie Boogie Bash: Tuesday, September 5; Thursday, September 7; Sunday, September 10; Tuesday, September 12; Thursday, September 14; Sunday, September 17; Tuesday, September 19; Thursday, September 21; Sunday, September 24; Tuesday, September 26; Thursday, September 28; Sunday, October 1; Tuesday, October 3; Thursday, October 5; Sunday, October 8; Tuesday, October 10; Thursday, October 12; Sunday, October 15; Tuesday, October  17; Thursday, October 19; Sunday, October 22; Tuesday, October 24; Thursday, October 26; Sunday, October 29; and Tuesday, October 31, Halloween night.Fall celebrations will be here before we know it, so start getting the autumn outfits and pumpkin spice ready!-- Disney Parks Around The World – A Private Jet Adventure Returning in 2024Adventures by Disney has announced the return of Disney Parks Around The World – A Private Jet Adventure in 2024, a 24-day worldwide private jet vacation. You will have the chance to experience all 12 Disney Parks and three Disney studios, plus three iconic landmarks in India, Egypt and France. With space limited to 150 Guests across two departures, make sure you secure your client's spot on this magical carpet ride around the world. The booking cadence will be: June 12 – Adventure Insiders with 3+ previous Adventures June 14 – Adventure Insiders with 1-2 previous Adventures June 16 – Golden Oak Residents and Club 33 members June 19 – Bookings open for the general public To learn more, visit the Disney Parks Around The World – A Private Jet Adventure landing page for detailed itinerary and pricing information. Prices start from $114,995--Thank You for Listening to the Disney Travel PodcastThank you very much for listening to this episode, Amelia and I hope that you enjoyed it. If you did, we would be very grateful if you could rate, review and subscribe to the show on Apple Podcasts/iTunes (or on whichever app you choose to listen). A brief review about what you liked most about an episode truly helps to keep the show going by exposing it to new listeners. We look forward to continue producing new episodes each week.Sharing the podcast with your friends and on social media is also extremely helpful and very much appreciated.Contact 1923 Main StreetThank you for listening to the Disney Travel News Podcast at 1923MainStreet.com. As always, we love to get feedback and questions from our listeners and to hear your suggestions and ideas for future episodes.Please be sure to follow along on Twitter, Instagram, Pinterest and Facebook.Thank you for listening and have a magical day!Mike Belobradic and Amelia Belobradic--Media provided by Jamendo

On a special episode of Pop Goes The Classics, Andy Atherton rides solo to do a live watch of 2011's Cars 2. Originally broadcasted live on Stream Lounge, he gives his thoughts on the casting of Michael Caine as Finn McMissle; spy movie tropes; Spy Hunter the video game; the tribute to Doc Hudson; Tonka Trucks; electric cars; NASCAR vs. Indy Car; eating too much wasabi; Japanese bathrooms; Mater's Tall Tales; informants; cars that are lemons; the value of dents; downhill race courses; the different settings for the races; voice activation; Mater the case breaker & funny bumper stickers. To watch along on Stream Lounge, click this link: https://www.streamlounge.io/watch/2815583f-4b87-4a60-9f00-7e4b341256fc

The Fabulous Hudson Hornet was a legendary race car who went on to become a doctor, the crew chief for one of the most decorated race cars of all time (Lightning McQueen), and a close friend to all of the residents of his home: Radiator Springs. But what did Doc Hudson do to become a famous race car? Why did he return to racing? And how was he remembered after he died? OUR PATREON

On a special episode of Pop Goes The Classics, Andy Atherton rides solo to do a live watch of 2006's Cars. Originally broadcasted live on Stream Lounge, his gives their thoughts on how the plot is very similar to “Doc Hollywood”; the difference between the three contenders for The Piston Cup; the underrated voice cast; racing video games; bumper ointment; driving tired; Snot Rod; car pick-up lines and insults; NASCAR vs. IRL; asking for directions; home field advantage; cruising low and slow; tractor tipping; Frank the combine; rusty old cars; Doc Hudson's big secret; going for a drive; rogue tractors; Radiator Springs growing on Lightning McQueen; the great character arc of Lightning; Guido with the greatest pit stop in history; Chick Hick's dirty driving and Mater's wish come true.   To watch along on Stream Lounge, click this link: https://www.streamlounge.io/watch/37205fa2-3c60-4e50-9229-277480a35071

Welcome to episode #48 of the Last Call Trivia Podcast! We start off with a round of general knowledge questions before hopping into this week's theme round of “-isms” Trivia.Round OneOur game begins with a Celebrities Trivia question about the person who voiced Doc Hudson in the Pixar film, Cars.Next, we have a Sports Trivia question about a Canadian Football League team that was named after a group of ancient Greek heroes.The first round concludes with a History Trivia question about the U.S. state in which both the Hamilton-Burr duel and the Hindenburg disaster both took place.Bonus QuestionToday's Bonus Question is a follow-up to the History question from the first round.Round TwoWhether you're into altruism, stoicism, skepticism, or anything in between, we welcome you to join in for today's theme round. Let's dive into some “-isms” Trivia!The second round kicks off with an Art Trivia question about a 20th-century art movement pioneered by Pablo Picasso and Georges Braque.Next, a Religion Trivia question challenges the Team to identify the type of Creationism that is indicated by the acronym YEC.Round Two concludes with a Phrases Trivia question that asks the Team to name the author credited with coining the phrase “seeing pink elephants,” a euphemism for drunken hallucinations.Final QuestionWe've reached the Final Question of the game, and today's category of choice is People. It's time for the “who's who” of Rogers!

Chad Cunningham continues our series on the book of Philippians covering verses 19 through 30 of chapter two. In this section, with the help of Doc Hudson from the movie Cars, Chad depicts the idea that "within life & challenging circumstances, as you give up what you have, you gain what you truly need & want." He then breaks down what it means to be a faithful Christian: grounded in eternity, characterized by grace, demonstrate partnership in ministry, & exhibit learned behavior. Just like Mater from from the film, we can learn from Doc Hudson because when it comes to servanthood, "If you are going hard enough left, you'll find yourself turning right." Turn Left to Go Right (video clip) - https://www.youtube.com/watch?v=_ss9nd-tImc greatadventurechurch.org anchor.fm/thegac

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Ian today welcomes Doc Hudson, the founder of Odin Materials, who will talk more about his production of hemp wood and how it might be a future for wood production. Doc explains what his product is and what exactly are the benefits of hemp wood. Doc also mentioned some future plans that he wants to realize as the company moves forward. Doc mentions future products, future plans and how he envisions the company moving forward. Don also explains the specific process behind making his product and how the plant of hemp can be used to make two separate products. Don says his goodbyes and invites everybody who is interested in hemp products to have a look at his website or to contact him personally. Parts: Guest Intro (0:07) Hemp Wood (4:00) Future Plans (9:57) Production Method (19:24) Guest Outro (25:13) More about Doc Hudson: Doc Hudson is a United States Army veteran who served for 9 years and left service with an honorable discharge in 2013. He hopes to eventually use their hemp products to create synthetic lumber that is renewable and more durable than real wood. With this lumber, he hopes to build affordable homes for the people that need them. You can find Doc Hudson here: https://www.linkedin.com/in/doc-hudson-01b502206/ https://odinmaterials.com/ ///////// Have a question you want us to answer? Tell us what you want answered on a future episode: https://www.petermanfirm.com/youtube-question-submission/ ///////// Want to work with us? Connect with us about your project: https://www.petermanfirm.com/connect/ ///////// Learn about Ian Peterman's process for developing successful products by downloading the Peterman Method™: https://www.petermanfirm.com/peterman-method/ /////////

In this show i talk about what i love about the character Doc Hudson from 2006's Cars

This week, a new party is coming for Christmas, where to find new villains at Oogie Boogie Bash, a fun detail in Cars Land, two food sculptures for Halloween, how the crowds have been, we talk to Emmie about infants and toddlers in the parks, and more! Please support the show if you can by going to https://www.dlweekly.net/support/. If you want some DLWeekly Swag, you can pick some up at https://www.dlweekly.net/store/. Book your travel through ConciEARS at no extra cost to you! Be sure to mention that you heard about ConciEARS from DLWeekly at booking! If you want some awesome headwear or one of a kind items, be sure to visit our friends over at All Enchanting Ears! You can use the promo code DLWEEKLY10 to get 10% off your order! News: Walt Disney World has offered after hours Christmas parties for a few years now, and this year Disneyland is getting in on the game! Disney Merriest Nites at Disneyland Park is a new, seperate ticketed event, taking place over five nights through November and early December. Tickets start at $165 per person and give access to 6 parties put on by Minnie Mouse, snow moments on Main Street, an appearance from Santa Claus, admission to Disneyland starting at 5pm, A Christmas Fantasy Parade, attractions excluding Toontown, Critter Country and Star Wars: Galaxy's Edge, photo ops, characters, treats, and of course merchandise. For complete details and to get tickets, visit the link in the show notes. – https://disneyparks.disney.go.com/blog/2021/09/celebrate-the-holiday-season-in-a-merry-new-way-with-disney-merriest-nites-an-all-new-after-hours-event-at-disneyland-park/ For those listeners going to the Oogie Boogie Bash and looking forward to the new villains, we have the locations! Agatha Harkness from WandaVision has set up in the Ancient Sanctum in Avenger's Campus. Sid from Toy Story has set up a sideshow circus, called “The Sid Show Circus” on Pixar Pier in the stage area formerly used by the Pixar Philharmonic. Rounding out the new villains is Cruella DeVille, who is putting on a fashion show in the Hollywood Backlot. – https://www.micechat.com/301430-new-characters-bewitch-the-oogie-boogie-cast-preview/ A fun detail has returned to Cars Land. The ofrenda for Doc Hudson is back this year near Ramone's House of Body Art. The setup looks very much like the memorial setup that was in Cars 2. – https://www.disneyfoodblog.com/2021/09/12/whats-new-at-disneyland-resort-a-huge-edible-halloween-display-a-new-avengers-campus-character-and-spooky-treats/ The edible Oogie Boogie sculpture in the Grand Californian has returned to the lobby this year. Near the display is a coffee cart that has been setup to offer drinks and some treats (and to encourage guests not to eat the display!). – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ Once again, the Haunted Mansion Holiday has received its centerpiece of the Gingerbread House in the ballroom scene. We have talked about the hundreds of pounds of ingredients, hours and hours of work to bring it to life and more. This week, we got a look at how the gingerbread house is moved into the Mansion and assembled for guests to see. – https://disneyparks.disney.go.com/blog/2021/09/celebrate-20-seasons-of-spook-tacular-fun-with-the-haunted-mansion-holiday-gingerbread-house-at-disneyland-park/ As with every good Disney event, there is new merchandise for Oogie Boogie Bash! A set of pins for this years event featuring different villains, as well as a tumbler donning the Oogie Boogie Bash 2021 logo. – https://www.micechat.com/237070-oogie-boogie-bash-halloween-party-disneyland-resort/ and https://dlnewstoday.com/2021/09/photos-new-vampire-tow-mater-straw-clip-cruises-into-disney-california-adventure-for-halloween/ This Thursday, September 16th, the Carnation Cafe will finally reopen to guests! When it reopens, it will serve breakfast and lunch from 8am to 2pm daily. For those of you who have not dined at this location, it is a great place to take in Main Street and people watch while you get some good food. – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ New Orleans Square has almost completely returned to normal after the scrims in the area have finally come down. The area looks great now, with just one scrim still up in front of Le Bat en Rouge. Hopefully this will also result in the Royal Street Veranda reopening soon. – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ Now that the Magic Key Program has been in effect for a couple of weeks, how has this impacted the crowd levels of the parks? Weekdays are delightful, with low waits for attraction and comfortable crowds walking around. In the evenings, more locals are coming in after work to catch the Halloween Screams show. On weekends, they have been busier, but not back to the levels of pre-covid. Overall, it is a great time to visit the parks, especially when compared to what it was like before the shutdown. – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ and https://dlnewstoday.com/2021/09/photos-new-magic-key-popcorn-bucket-available-at-disneyland-resort/ A change has come to the virtual queue system for Rise of the Resistance and Web Slingers. Guests can login to the Disneyland app and confirm their boarding party up to one hour before the virtual queue opens. This cuts down on the time to secure a place in the queue right at opening. This is a welcome change to the system. Hopefully, Web Slingers and Rise will phase out the virtual queue system sooner than later. – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ Some great news for those looking forward to igniting the night again soon. The fountains and infrastructure around Tom Sawyer Island that supports Fantasmic! has been under refurbishment! The area around the water jets have been drained and work is being performed. Hopefully this means that a return of the popular nighttime show is not far off! – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ Guests arriving to the Mickey and Friends and Pixar Pals parking structures are sometimes surprised that the parking lot trams are still not back, requiring a long walk to the front gates. Some are opting to park over in the Toy Story parking lot, which has busses that will drop guests off closer to the gates. The busses that are in use are small, and do not currently have air conditioning. – https://www.micechat.com/301811-disneyland-update-holiday-humbugs-hopeful-happenings/ This week, the Tenaya Stone Spa in Disney's Grand Californian Hotel and Spa officially opens! The Disney Parks Blog posted all the details of the story and design elements of the new spa. The inspiration for the spa comes from the spirit of nature, indigenous cultures of California, and the Craftsman design of the hotel itself. One of the unique details is the tree root chandelier, which looks like the roots of a tree are growing through the ceiling. – https://disneyparks.disney.go.com/blog/2021/09/interior-design-elements-tell-the-story-of-new-tenaya-stone-spa-at-disneyland-resort/ Discussion Topic: Emmie – Infants and Toddlers in the Parks Toddler Friendly Attractions Map – https://cdn1.parksmedia.wdprapps.disney.com/dam/disneyland/preschool/disney-family-toddler-friendly-attractions.pdf Feedback: Hi Tage & Teresa! I just wanted to let you know how much I appreciated the recent episode on food allergies in the parks.  As a mother of a child with severe tree nut & peanut allergies it is a subject near and dear to my heart.  While food labeling and safety measures in places like schools are improving greatly from when I was a kid, I always appreciate raising awareness in the general population.  I, like all of your listeners, love the Disney parks and love them even more for the care they take in providing safe and magical experiences for all of their guests- allergic guests and all. Towards the end of the episode you and asked Ellie about general resources for people to use in regards to food allergies.  I think this is so important because whether you or a loved one suffers form good allergies or not, if your child goes to school you will probably have to send allergy safe snacks/treats at some point.  I've relied on: https://snacksafely.com/ They have a snack safe guide that breaks down popular brands and products you find in any grocery store and marks whether they are safe for all of the 8 different food allergies.  They also include information on allergen labeling and whether products were made in a facility with major allergens or not if cross contamination is a concern.  You can download the snack guide, and they update the information periodically as manufacturing processes change over time, and it takes them to contact the manufacturers and research their cleaning/labeling practices. Thanks again for your thoughtful discussion topics that help us realize all the amazing resources we can take advantage of in the Disney parks! Whitney Nolden

This episode, we talk about the horrifying scale and depth of the Cars extended universe. Head over to patreon.com/sundaymorningpod to listen to the full episode!

Arun and Patricia discuss: Donald Trump gives bizarre press conference on a small table. Justice Dept. rule change could allow federal executions by electrocution or firing squad. Solomon Islands set to ban Facebook in the name of 'national unity'. Toy Story 2 is now 21 years old. 3 Year Anniversary of Hey Arnold! The Jungle Movie. ‘Cowboy Bebop’: Six Cast In Netflix Live-Action Remake Of Cult Anime TV Series. ‘Gremlins 3’: Chris Columbus Offers Update on Sequel, Says Creatures Won’t Be CGI. Cars 3 Almost Showed the Death of Paul Newman's Doc Hudson. Why Santa Claus could be the last role Kurt Russell ever plays. TRAILER: The Boss Baby: Family Business. Pokémon Teases 'Very Special' 25th Anniversary Celebrations For 2021. Super Rare Vintage Nickelodeon Legends Of The Hidden Temple Set Piece on Ebay. --- Support this podcast: https://anchor.fm/old-school-lane/support

Donald Trump gives bizarre press conference on a small table. Justice Dept. rule change could allow federal executions by electrocution or firing squad. Solomon Islands set to ban Facebook in the name of 'national unity'. Toy Story 2 is now 21 years old. 3 Year Anniversary of Hey Arnold! The Jungle Movie. ‘Cowboy Bebop': Six Cast In Netflix Live-Action Remake Of Cult Anime TV Series. ‘Gremlins 3': Chris Columbus Offers Update on Sequel, Says Creatures Won't Be CGI. Cars 3 Almost Showed the Death of Paul Newman's Doc Hudson. Why Santa Claus could be the last role Kurt Russell ever plays. TRAILER: The Boss Baby: Family Business. Pokémon Teases 'Very Special' 25th Anniversary Celebrations For 2021. Super Rare Vintage Nickelodeon Legends Of The Hidden Temple Set Piece on Ebay.

Oh Lightning McQueen full of arrogance and a right royal hot head, after his first attempt proved a disaster Doc Hudson decides to play the hotshot at his own game and challenges Lightning to a race with the terms being if Lightning wins he's free to leave but if Doc wins Lightning has to stay and fix the road properly Here on this latest edition of the what i love about pixar podcast we talk about what I love from this scene and I take Doc Hudson's advice and give Lightning a piece of my own mind

In this show i talk about what i love about the scene from Cars that I refer as Doc Hudson's Challenge

That's right folks. Hollywood's greatest movie pitcher's are back at again at the Krispy Kreme. This time, we've come prepared to present to you: The perfect Cars Prequel. To get it done, we are going back to Thomasville, Doc Hudson's hometown, to explore the world of high school racing, moonshine running, and a community divided. (Basically, we rip off the Mighty Ducks. And Rocky. And Footloose. And Breakfast Club, I think? But hey, those are good movies, so this one has to be, right?)

In the 3rd episode of PixMix, Patricia and Arun discuss about the 3rd installment of the Cars trilogy. In this movie, Lightning McQueen is competing against newer and modern race cars and is seeing as an old, washed up has been. He has to train and learn to keep up with these new racers otherwise he'll be fired or forced to retire. So, he receives training from a car named Cruz Ramirez who had looked up to him as a hero and role model. When Lightning isn't able to grasp the new training and machines, he decides to find Smokey, Doc Hudson's old trainer, to learn from him. He's hoping to get the training he needs to win against the new racing champion Jackson Storm before he loses his reputation as a great racer. When the movie premiered in theaters, it received mixed to positive reviews from critics and viewers making over $383 million dollars on a $175 million dollar budget. Arun and Patricia had never seen any of the Cars movies. Does the most recent film in the trilogy interest them to see the rest?

BLOODY EPISODE 51 New Years Day 2020! China Box Office: 'Star Wars: The Rise of Skywalker' Flops Spectacularly. The Mandalorian Renewed for a Season 2, CLIFFORD gets a live action film and I cannot wait to see that big snoot booping things, Ryan Reynolds Says ‘Deadpool 3’ Is in the Works at Marvel, CES 2020: annual Tech Convention (CES consumer electronics show) Showcasing the latest and greatest consumer technology coming in 2020 such as 5G smartphones, lightning speed laptops and visual entertainment, Its where tech giants such as Samsung, NVIDIA, Intel, LG and AMD get to show off their new cash money makers however this Year speculation says that Sony may reveal more details about the PS5, After The Witcher streams on Netflix, people are playing The Witcher 3: Wild Hunt more than ever before- no surprise the show is actually great. 2c3pod Does the Cinema: Jumanji: The Next Level----more---- @2c3pod Aussie Pop Culture Podcast ~ 2 Episodes every Wednesday and Friday + YOUTUBE bonus content. PodbeanSpotifyApple Podcasts Youtube Check out our social accounts to keep in contactTwitterFacebookInstagram Twitchwww.twitch.tv/mitchell_tctpwww.twitch.tv/dylan_tctp

[Ramone shows up while Flo is talking, having yellow paint and a bit of purple and his orange and yellow flame on his sides.] Ramone: Yellow, baby. [chuckles] Flo: Mm! You smoking hot! Sheriff: [noticing McQueen and come towards them] There he is! Lightning McQueen: Oh My Gosh! Did you know Doc is a famous race-car?! Folks: [All of the residents stay silent for a few seconds, then all of them except Sheriff laugh.] Sheriff: Doc? Our Doc? Sarge: Not Doc Hudson. [The screen shows inside Doc Hudson's garage as he then grumpily watches the conversation outside.] Lightning McQueen: No no no no no, it's true! He's a real racing legend. He's The Fabulous Hudson Hornet! Flo: Fabulous? I never seen Doc drive more than 20 miles an hour. I mean, have you ever seen him race? Lightning McQueen: No, but I wish I could have of... They say he was amazing, he wins three Piston Cups! Tow Mater: [spits out on his drink] POOOHHH!!! He did what in his cup?! Listen to the best band in the history of music Dog Cops here: //open.spotify.com/track/2OWJCbojVJxQI7I9lFsNdQ?si=uY63DIaPQzy6KuEFEQl-Qw Listen to Coffee Clutch with Ron & Jill here: https://open.spotify.com/show/1BPoilP88vuA0UozeSiUBO?si=rN8_qcnmTjS2EFrx_uZUGA Listen to Tune Junkies Podcast here: https://open.spotify.com/show/3dv3JCy0sSKHnDcWBzlRu2?si=y6Q7ArKoRLiXpqFz493_Og --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at "Tutti Frutti" by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late -- health problems kept me from getting the edit finished). Also, a reminder for those who didn't see the previous post -- my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard's autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though -- it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried -- everyone from Captain Beefheart to Paul McCartney -- nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was -- and still is -- someone who is quite unlike anyone else. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story -- we've dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I'm talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we're talking about the middle of the twentieth century. I'm fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he's queer, I'm using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use "he" and "him" pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we're again going to see something we saw with Rosetta Tharpe, but on a much grander scale -- the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase "sex and drugs and rock and roll" and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil -- several times he's gone from one to the other. As of 2017, and the last public interview I've seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he's happy in his current situation. But at the time we're talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces -- wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn't much different to Vicks' VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with "Doc Hudson", and would sing the one non-religious song he knew, "Caldonia" by Louis Jordan: [Excerpt: Louis Jordan, "Caldonia"] The yelps and hiccups in Jordan's vocals on that song would become a massive part of Richard's own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name "Little Richard". However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, "Married Woman's Boogie"] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright's style into his performances. He also learned that Wright was using makeup on stage -- Pancake 31 -- and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English -- people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard's talent, he got them to sign him. Richard's first single was called "Every Hour", and was very much a Billy Wright imitation: [Excerpt: Little Richard, "Every Hour"] It was so close to Wright's style, in fact, that Wright soon recorded his own knock-off of Richard's song, "Every Evening". [Excerpt: Billy Wright, "Every Evening"] At this point Richard was solely a singer -- he hadn't yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as "Eskew" Reeder, after his initials, and that then became Esquerita, partly as a pun on the word "excreta". Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard -- who has never been unwilling to acknowledge the immense debt he owed to his inspirations -- has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita's, Esquerita was better. It's hard to tell for sure exactly how much influence Esquerita actually had on Richard's piano playing, because Esquerita himself didn't make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard's later style: [Excerpt: Esquerita: "Believe Me When I Say Rock And Roll Is Here To Stay"] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: "I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then." Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: "Ain't That Good News"] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of "Directly From My Heart To You", a song Richard would soon rerecord, and another song called "Little Richard's Boogie": [Excerpt: Little Richard with Johnny Otis and his Orchestra, "Little Richard's Boogie"] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for "lewd conduct" -- what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn't allowed to live in his home town any more. Things seemed pretty low. But before he'd moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price's label. The tape lay unlistened at Specialty for months, and it was only because of Richard's constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles' gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty's owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of "Wonderin'", and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, "Wonderin'"] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars -- one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa's studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey "Piano" Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit "The Rockin' Pneumonia and the Boogie-Woogie Flu" from a couple of years later: [Excerpt: Huey "Piano" Smith, "The Rockin' Pneumonia and the Boogie-Woogie Flu"] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino's style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino's records. However, the session didn't go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it "If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out." They did record some usable material -- "Wonderin'", which we heard before, came out OK, and they recorded "I'm Just a Lonely, Lonely, Guy" by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of "Directly From My Heart to You", a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, "Directly From My Heart to You"] So they had a couple of usable songs, but usable was about all you could say for them. They didn't have anything that would make an impact, nothing that would live up to Richard's potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard's career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. "Tutti Frutti" started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. "Tutti Frutti" in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable -- "A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don't fit, don't force it, you can grease it, make it easy". But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn't understand that songs had to have different melodies -- all her lyrics were written to the melody of the same song, Dinah Washington's "Blowtop Blues": [Excerpt: Dinah Washington, "Blowtop Blues"] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, "I'm Just a Lonely Lonely Guy", with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem -- Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn't have much choice, and Richard eventually agreed to sing it to her -- but only if he was turned to face the wall, so he couldn't see this innocent-looking young woman's face. (I should note here that both Richard and LaBostrie have told different stories about this over the years -- both have claimed on several occasions that they were the sole author of the song and that the other didn't deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie's new lyrics were rudimentary at best. "I got a girl named Sue, she knows just what to do". But they fit the metre, they weren't about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn't matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn't have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, "Tutti Frutti"] "Tutti Frutti" was, indeed, a massive hit. It went to number twenty-one on the pop charts. But... you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, "Tutti Frutti"] Now, notice that there, Boone changes the lyrics. In Richard's version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn't be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like "Tutti Frutti" for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate -- normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He'd got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn't want to get a reputation for missing gigs. There was only one thing to do -- hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction... Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than "Tutti Frutti" had been. If Pat Boone wanted to cover this one, he'd have to work a lot harder than he had previously. The basis for "Long Tall Sally" came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there's no such place -- Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt -- the "Aunt Mary" in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn't want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, "Long Tall Sally"] The song, about a "John" who "jumps back in the alley" when he sees his wife coming while he's engaged in activities of an unspecified nature with "Sally", who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, "Long Tall Sally"] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing "Ain't" rather than "Isn't". But he was also becoming a big star himself -- and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we'll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Edição de 16 de Maio 2019

Brian Salyer of Redlands, CA writes another great round, this time, on Cars from Movies! From The Love Bug to Doc Hudson, see how many of these bad boys you can get right. HARRY POTTER TRIVIA TICKETS FRIDAY MAY 31st 7PM, UPLAND CA:  https://bit.ly/2ZrsVRl THE FIRST TRIVIA QUESTION STARTS AT 03:40 Theme song by www.soundcloud.com/Frawsty http://TriviaWithBudds.comhttp://Facebook.com/TriviaWithBudds http://Twitter.com/ryanbudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SUPPORT THE SHOW! New PATREON page is up at: www.Patreon.com/TriviaWithBudds Send me your questions and I'll read them/answer them on the show. Also send me any topics you'd like me to cover on future episodes, anytime! Cheers.  SPECIAL THANKS TO ALL MY PATREON SUBSCRIBERS INCLUDING: Manny Majarian, Alexis Eck, Alex DeSmet, Sarah McKavetz, Simon Time, Jess Whitener, Jen Wojnar, Kyle Bonnin, Douglas French, Erika Cooper, Feana Nevel, Brenda Martinez, Russ Friedewald, Luke Mckay, Wreck My Podcast, Dan Papallo, Greg Heinz, Mo Martinez, Lauren Ward, Sarah Kay, Jim Fields, Mona Bray, Sweet Abby Cakes, Denise Leonard, Anna Evans, Megan Acuna, Katie Smith, Brian Salyer, Greg Bristow, and Casey Becker!  

Ever wonder why so many movies made for kids are enjoyable for kids and adults alike? Well, maybe it’s because we’re seeing deeper meaning and messages hidden in them than our supposed “grown-up” movies contain and I’m about to show you a great example.

Dépassé par une nouvelle génération de bolides ultra-rapides, le célèbre Flash McQueen se retrouve mis sur la touche d’un sport qu’il adore. Pour revenir dans la course et prouver, en souvenir de Doc Hudson, que le n° 95 a toujours sa place dans la Piston Cup, il devra faire preuve d’ingéniosité. L’aide d’une jeune mécanicienne pleine d’enthousiasme, Cruz Ramirez, qui rêve elle aussi de victoire, lui sera d’un précieux secours...

We have special guest Christian Rivas to discuss with us movies of June. We talk Cars 3 and theorize on Doc Hudson's mysterious death and talk our thoughts oin Wonder Woman.

STEP ON THE BRAKES, THERE ARE SPOILERS AHEAD! Life is a highway, honey! This week we review the feminist masterpiece our generation has been waiting for - that's right it's CARS 3! We talk about why Doc Hudson gives us all the feels, how Cruz Ramirez broke the glass skylight, and even go through our favorite moments of pure Pixar predictability. And of course, we talk about what's making our Disney bones tingle in "What's the D?"  The best way you can show your support is through an iTunes review, so make sure you jump over there and leave us a little something! And be sure to share with your friends and loved ones. Thanks! You can find us at TheDPodcast.com Facebook.com/TheDPodcast Twitter.com/TheDPodcast Instagram.com/TheDPodcast http://TheDPodcast.Tumblr.com You can find our producer Friedrich at Instagram.com/friedrichvt

Movie Meltdown - Episode 398 This week we kick-off our coverage of WonderFest with the return of a certain cast member who has tales of an epic road trip. Plus we sit down and talk with our special guest... William Stout. Renowned as a master illustrator & paleo-artist, he has also spent a good portion of his life working in the film industry. As production designer for movies like "Return of the Living Dead" and "Masters of the Universe" to designing movie posters, drawing storyboards and creating character designs for a multitude of films. And while we try to keep our monster in the closet at bay, we also mention... working with Dan O'Bannon, 28 years of conventions, Doc Hudson, Roger Corman, R.L. Stine, Disney... and drawing... and cartoons, John McTiernan, Colorado Springs, Edith Head, the Nine Old Men, John Milius, neon cowboy dude, the murder capital of the world, Drew Struzan, a tiny frail little alien, let the problem dictate the solution, why would Dorthy want to go back, epic adventures, Evel Pie, Ravi Shankar, Rick Baker, I forbid you to use any of my designs, sucked into a magic box that contains a parallel universe, Ray Harryhausen and Jim Danforth, whore trading cards, Zoltar, The Chouinard Art Institute, tweaked aliens, The Warrior and the Sorceress, monsters and dinosaurs, Conan the Barbarian, delightfully tacky, The Manitou Mile, Elvis' everywhere, annual reports and movie posters, screwing up the end of Predator, Raiders of the Lost Ark, House, old coin-operated machines, Bernie Wrightson, The Winchester Mystery House, Godzilla, talk about being in the right place at the right time, George Lucas, principle zombies, Ron Howard, film is the currency of fame in our time, Men in Black, Penn & Teller, Steven Spielberg, the medium-sized canyon, Stan Winston, going to mortuaries and if you come up with something better... I'll use that and I'll take credit for it. "Making movies was sort of an accidental occurrence." For more on William's artwork and appearances go to: www.williamstout.com For more on WonderFest go to: www.wonderfest.com

Vroom! Vroom! Baconsale is ready to review the Cars sequel that may actually be worth talking about. It takes us a while to get on the right track/subject, but soon we're talking about Lightning McQueen's future, Doc Hudson's past and if there was enough Mater in this movie. Did Kent hate it? Did Joel love it? Did Jacob actually see it? Press play and find out!

Download, rate, and comment on iTunes for a shout out!: https://itunes.apple.com/us/podcast/disney-movie-news/id1049643532?mt=2 The PopcornTalk Network proudly presents Disney Movie News! In this vodcast series hosts Sarah Snitch, Keetin Marchi, and Renee Ariel break down all the Disney news! Today's stories: 1. What is Doc Hudson's role in Cars 3 and why/how is Paul Newman credited? 2. Pixar Announces all Latino cast of Coco. 3. Avengers Infinite War short featuring Thor 4. Guardians Breakout Easter Eggs 5. Beauty and the Beast Deleted scene (video embedded) 6. New scene from Cars 3 (video on site. not a youtube link) 7. Orlando talk 8. Pirates of the Caribbean review Follow Leo on Twitter! Follow Sarah On Twitter! Follow Keetin! Follow Renee On Twitter! HELPFUL LINKS: Website - http://popcorntalk.com Follow us on T --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Dan Lankford and Matt Robison talk about the 2006 Pixar movie, Cars. Some of the topics we discuss are old-school American cars, NASCAR (the good and the bad), the need for mattresses in this weird universe, the parallel character arcs of Lightning McQueen and Doc Hudson, respect for earlier generations, merchandising, the tenuous likability of Owen Wilson, what does a truck of recycled batteries actually represent in a universe of sentient automobiles, the laziness of Cars 2, and whether Cars 3 will be the Rocky 5 of Pixar.

We shed real tears at the loss of Paul Newman, whose legendary looks and powerful screen presence dominated the movies for years and whose charitable work (through the Hole in the Wall camps for seriously ill children and Newman's Own) set an elegant example of how one man can make the world a better place. The easiest way to introduce your kids to one of our greatest movie stars is to show them Butch Cassidy and the Sundance Kid. Starring Newman at the height of his confident power and featuring Robert Redford in his breakout role, the film is a giddy love-poem to the vanishing ways of the West. Cool, even vintage cool, always translates... The kids were immediately grinning along with the comedic relationship between the two stars and can quote the film's most famous lines , "Who ARE those guys?!". Butch Cassidy has plenty of gun play -- the two heroes famously head out to their deaths in the last frame of the picture -- and shows the men with prostitutes and drinking alcohol. But, we think this classic is fine for kids over 10, as long as parents get on the couch and discuss the racier scenes (fast forwarding works, too.) You'll remember the plot turns -- it's just like riding a bicycle, which is exactly what Redford and Newman do with Katherine Ross to the tune of "Raindrops Keep Falling on My Head". (Rated PG for violence, Directed by George Roy Hill). The Sting reunited Redford and Newman as two card-playing con men in a beloved and complicated film which won 7 Academy Awards, including Best Picture. Don't try to explain (or even understand) the plot. Just sit back and enjoy the Joplin rags as you watch these two movie stars win over a new generation. (Rated PG, also directed by George Roy Hill). Paul Newman played the voice of Doc Hudson in Cars, a great film for younger kids. We happen to have covered this film last week - for more, please visit our website. Kids get a charge out of knowing Newman was a race car driver in real life, placing second in Le Mans in 1979. (Rated G, directed by John Lassiter and Joe Ranft). If your kids know Newman only because they've seen his face on Newman's Own popcorn bags and salad dressing bottles, that's okay, too. Be sure to let them know that Newman's Own gives every single penny of profit to charity. For more about Newman, click here to last month's Vanity Fair article - the photos alone are worth five minutes.

Cars is one of those great family films that lures everyone from Grandpa to toddler with its old-fashioned values, cool car stars, hilarity and history. Our kids loved Lightning McQueen, the red-hot rookie race car with a big ego, who pulls off the fast lane and learns that sometimes you have to slow down in order to get where you need to be in life. On his way to the most important race of his life, the Piston Cup, Lightning gets lost and rips up the main road in Radiator Springs, a forgotten town on Route 66. Trapped in the small town while he fixes the road, Lightning falls for a beautiful Porsche, makes a new friend, and unearths a secret about the town's elder Statescar, Doc Hudson. In doing so, he learns about the value of friendship, the importance of keeping a promise, and what it means to be a winner. The movie's fabulous soundtrack and goofy humor gave the kids all the mileage they needed for dancing and laughing in their seats. Visiting a Car Museum with grandparents and kids in tow is a great way to bring the past alive and two generations together. Our kids have always loved the idea that a car could even be in a museum, and the shiny surfaces to be found in abundance will please even the youngest child. Our local museum has extensive collections dating back to the '20s, making it fun to track the evolution of the automobile. Kids who have grown up with car seats get their wheels blown off when they first see a rumble seat -- and when they heard how long it took their grandparents to travel from one city to another (in the "olden days"). Older kids start to get a sense of how automobiles and freeways changed lives, and our country. Our son, who is obsessed with contemporary high-end sports cars, loved seeing the glamour cars of the past -- while his grandpa whistled in amazement to hear how these cars have held their value over time. Just two boys lookin' at cars... some things never change.  Visit www.kidsoffthecouch.com for even more tips, information and great conversation starters.

Owen Wilson is the voice of Lightning McQueen, the superfast city boy race car who is on his way to California to win the Piston Cup, if only he can ever get out of little old Radiator Springs. Paul Newman is wise old Doc Hudson and Larry the Cable Guy is dumb old Larry the Cable Truck, or should have been. Bonnie Hunt is way sexier than an automobile has a right to be, which causes me to ponder car anatomy. I complain about the title of the film. I explain the concept of setup and payoff. And I explore the difference between American-style animation and Japanese-style animation. But I focus primarily on the two main stories that conflict and the two sub-plots that complicate things further and how the film manages to keep them all from tearing the film apart.