Podcast appearances and mentions of ernest gold

Today I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 – 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattle children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. Reminiscences of Marni are provided by my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. This episode features a cross-section of this stunning artist's extensive recorded output, recorded over six decades, including repertoire from Webern to Rodgers and Hammerstein. In between we have examples of Nixon's performances of songs by Schoenberg, Stravinsky, Debussy, Ives, Fauré and her former husband Ernest Gold; concert and song repertoire by Villa-Lobos, Boulez, Castelnuovo-Tedesco, Copland, and Gershwin; plus a few outliers, from a live performance of Korngold's Mariettas Lied to the jazzed-up exotica of Buddy Collette's Polynesia to Mr. Magoo's Mother Goose Suite, not to mention a spoonful of Mary Poppins. Overall, “It's a Jolly ‘Oliday with Marni!” Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

The Dank Diplomat Ngaio Bealum is back on OMFYS and he's picked a pair of movies to get high to from Criterion Channel's current series HOLLYWOOD CRACK-UP: THE DECADE AMERICAN CINEMA LOST ITS MIND. First, LEE MARVIN is punching dudes in the nuts and throwing them out of high-rise windows all to get his $93,000 back in POINT BLANK (1967). It's heavy on the testosterone but has lots of psychedelic and French New Wave touches from then-young director JOHN BOORMAN, who went on to make some of the trippiest movies ever made with EXCALIBUR (1981) & ZARDOZ (1974). Also starring Angie Dickenson, Sharon Acker, Carrol O'Connor (Archie Bunker), and introducing John Vernon (Dean Wormer from Animal House). Then SIDNEY POITIER is a prison psychiatrist trying to unravel the twisted psyche of a deranged but dangerous nazi played with menace by crooner BOBBY DARIN. This movie is chock full of the tripped-out dream sequences that we live for on this podcast, all set to an awesome jazz theremin score by Ernest Gold and photographed with intensity by Ernest Haller, the man who shot GONE WITH THE WIND and REBEL WITHOUT A CAUSE. This is the forgotten collaboration between producer Stanley Kramer and Poitier, who also made THE DEFIANT ONES (1958) and GUESS WHO'S COMING TO DINNER (1967), but Bob thinks PRESSURE POINT is their best. And if all that ain't enough, we've got a young PETER FALK thrown in here for good measure. Both movies are now streaming on CRITERION CHANNEL, which is really knocking it out of the park these days. Follow Ngaio on Instagram, Facebook & X (Twitter) at ngaio420 And see Ngaio with Paul Conyers at the Alameda Comedy Club on June 28-29: https://www.alamedacomedy.com/events/91745 Hosts: Bob Calhoun & Greg Franklin Cory Sklar & Philena Franklin are on assignment Old Movies for Young Stoners theme by Chaki the Funk Wizard "Hard Times" by Mike Lisk & Chaki the Funk Wizard with additional dialog by "The American Dream" Dusty Rhodes "Blue Mood" by Robert Munzinger & "Sicko" by Yung Logos courtesy of YouTube Audio Library Trailer audio via Archive.org Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Here's the second record of a two disk set that spent as much time among my own records as it did my dad's. There was a point where neither one of us remembered whose collection it actually belonged in. Like I've said in the past, my dad and I had similar taste in music. The featured artist is just as much among my favorites as he was my dad's. I still remember sitting in the Richfield Coliseum awestruck at what I was witnessing him do on the stage. And I witnessed that performance with my dad and my mom. When we get done with this episode you'll know why they called him Mr. Show Business. So get ready to hear music written over the course of four decades and then rearranged for one of the best overall stage entertainers the world ever saw in Volume 177: Sammy Record 2. More information about this album, see the Discogs webpage for it.  Promised link to a story on Sammy's conversion to Judaism. Promised link to research used in above story. Credits and copyrights Sammy Davis, Jr. – Sammy Label: Sessions (2) – ARI-1001 Format: 2 x Vinyl, LP, Compilation Released: 1976 Genre: Jazz, Pop Style: Vocal, Swing We'll hear 7 of the 13 songs from record 2. Chicago (Toddling Town) written by Fred Fisher and published in 1922. Sammy recorded it live several times. Go right into next song Birth Of The Blues composed in 1926 by Ray Henderson, with lyrics by Buddy DeSylva and Lew Brown It was a song he recorded in 1955 for the album Starring Sammy Davis Jr. You're Nobody Till Somebody Loves You  written by Russ Morgan, Larry Stock, and James Cavanaugh and published in 1944. He recorded a studio version of that with Count Basie for the 1965 album Our Shining Hour The Impossible Dream composed by Mitch Leigh, with lyrics written by Joe Darion.  Sammy recorded a version for the 1969 album The Goin' Great. Exodus composed by Ernest Gold. This track was recorded sometime around 1972, and was never released on any of his official "albums", however it was also released in 1975 on this K-Tel LP entitled "The Sounds Of Sammy Davis Jr." I've Gotta Be Me composed and written by Walter Marks in 1967 Sammy Davis Jr. recorded the song in 1968, as the title track of Davis' 1968 Reprise album. Spinning Wheel Written by David Clayton-Thomas of Blood, Sweat & Tears in 1968. This was taken from his 1970 LP Something for Everyone. I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

"Les inconnus connus" d'Éric Russon : Un exode à l'envers. L'écrivain français Régis Jauffret pour son roman "Dans le ventre de Klara" (Éditions Récamier). De juillet 1888 à avril 1889, Klara Hitler porte dans son ventre celui qui est destiné à devenir l'incarnation du mal absolu. Pour la première fois, la mère du monstre prend la parole sous la plume magistrale de Régis Jauffret, et nous confie le récit de sa grossesse funeste. Neuf mois de violence et de religiosité étouffante, desquels naîtra celui qui incarnera le nazisme et la Shoah. Neuf mois durant lesquels Klara est traversée, habitée, possédée déjà par l'innommable, partagée entre l'amour pour son enfant à venir et les visions qu'elle reçoit malgré elle des crimes que ce foetus, une fois devenu homme, commettra contre l'humanité tout entière. "J'entends des voix" de Laurence Bibot : La voix du crayon entre les dents. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

During a flight from Paris the other day, my friend David, who is also the owner of our new label Team Nowhere, listened to the podcast. When he landed, he called me and said, "I have figured out what you are doing with the podcast". Curious, I inquired, “What is it that I am doing?". With his usual wit, he replied, "This is not just an interview, it's a rock n' roll psychoanalysis!". In retrospect, I think he's right. As an interviewer, I'm always interested in the musical journeys of the artists I speak with. However, I'm also curious about our histories as artists because I think there's a link between personal history and art. The way I see it, art is a chemical reaction that is formed by our upbringing, our environments (private and public) as well as the things that happen in the world. By asking my interviewees their personal stories, I try to unearth what led to their art. My experience has shown that it begins even before they are born more often than not. Cosmo Gold traces its lineage back to Emily Gold's grandparents. Her grandmother was singer Marni Nixon, who famously dubbed Natalie Wood's singing parts in West Side Story and Audrey Hepburn's in My Fair Lady. Her grandfather, Ernest Gold, was an Austrian-born composer who won an Academy Award for his work on the movie Exodus. That's quite a musical heritage! In Emily's case, her music is even more closely tied to her dad's, Andrew Gold's. He was not only a talented musician but also a passionate UFOlogist, which, as we'll see, had a significant impact on the music of Cosmo Gold. As well as making music for himself, such as the recently resurrected viral mega-hit "Spooky Scary Skeletons," Andrew Gold has contributed to the hits of others like Linda Ronstadt. Cosmo Gold embraces Andrew's musical freedom and sci-fi appetite. A pop space odyssey, Krong, their debut album, is a concept album about a friendly alien who abducted the band and taught them the secret to a peaceful civilization. The band is grateful to Krong for teaching them the virtue of doubt. In a world of self-confidence, entitlement, and where feelings take the place of facts, it seems wise indeed. Aside from the beautiful message and homage found in Krong, there is also a real sense of musicianship. Krong's arrangements show the band's skill and maestria. Compare the stripped down live version of Krong they taped in our studio with the album version, and you'll see what I mean. Founded in 2019, Cosmo Gold is an LA-based alt-pop band featuring Emily Gold (vocals, guitar, synth, keys), Mike Deluccia (drums, synth, keys, guitar), and Stephen Burns (bass, guitar, vocals). You can fly to Krong on any platform of your choice and escape our world. https://www.instagram.com/cosmogold4real/?hl=en https://linktr.ee/cosmogold Call Krong:

Mark Nelson, managing director of the Radiant Energy Group, joins us for his second masterclass, this time all about coal. Much maligned by environmentalists, and a significant source of air pollution and carbon emissions, coal still constitutes a whopping 25% of our primary energy consumption, and over 30% of global electricity production. What is it, where does it come from, how did it change the world, and why is it so difficult for even the most affluent and environmentally conscious countries to stop using it? Intro music: "Exodus Song (This Land Is Mine)" by Ernest Gold, performed by Mark Nelson live after our interview. Listen to Mark Nelson's Natural Gas Masterclass: https://www.decouplemedia.org/podcast/episode/1ebfcc84/a-natural-gas-masterclass-feat-mark-nelson

De Amerikaanse zanger en studiomuzikant Andrew Gold is Dood maar niet vergeten. Hij overleed op 3 juni 2011 op 59-jarige leeftijd aan een hartstilstand. Andrew Maurice Gold is op 2 augustus 1951 geboren in Burbank, Californië. Hij was de zoon van componist Ernest Gold, die een Oscar won voor de muziek van de film Exodus. […]

This week, Lucy speaks with composer, Ernest Gold (It's A Mad Mad Mad Mad World, Exodus). The pair discuss Gold's early days in music, including the day that he became aware that he was a "Hollywood Composer". They also discuss the state of the American music business and the importance of art in the home. Let's Talk To Lucy is produced by SiriusXM.  Click here for a special offer:https://www.siriusxm.com/offers/lets-talk-to-lucy

Octava parte (y aún quedan) dedicada a grandes partituras del siglo XX, en esta ocasión con auténticos incunables: El poni rojo (Aaron Copland), Éxodo (Ernest Gold), Regreso al futuro (Alan Silvestri), La Isla de las Cabezas Cortadas (John Debney) y Hamlet (Dimitri Shostakovich). Sintonía compuesta e interpretada por Curro Martín. Audio: Pablo Silicato.

Octava parte (y aún quedan) dedicada a grandes partituras del siglo XX, en esta ocasión con auténticos incunables: El poni rojo (Aaron Copland), Éxodo (Ernest Gold), Regreso al futuro (Alan Silvestri), La Isla de las Cabezas Cortadas (John Debney) y Hamlet (Dimitri Shostakovich). Sintonía compuesta e interpretada por Curro Martín. Audio: Pablo Silicato.

De Week van de Jaren ?60 Uur 1 1. As time goes by ? Jimmy Durante 2. Professionals ? Gerard Cox 3. Exodus theme ? Ernest Gold & Sinfonia of London 4. Ankomme Freitag, den 13 ? Reinhard Mey 5. Love is just a four letter word ? Joan Baez 6. And I love her ? The Beatles 7. Zonder jou ? Conny Stuart 8. My funny Valentine ? Chet Baker 9. Il faut savoir ? Charles Aznavour 10. La mamma ? Corry Brokken 11. Mexican whistler ? Roger Whittaker 12. Sunny afternoon ? The Kinks 13. Kean tha despasees ? Harry Belanfonte & Nana Mouskouri 14. Cotton fields ? The Highwaymen 15. Nights in white satin ? Moody Blues Uur 2 1. Once I was ? Tim Buckley 2. How can I bes ure ? The Rascals 3. Pink Panther theme ? Henry Mancini 4. Cuando Sali de Cuba ? Celia Cruz 5. Ik ? Rob de Nijs 6. But I was cool ? Oscar Brown jr. 7. Wir wollen niemanls auseinandergehen ? Heide Bruhl 8. De slinger van de koffergrammofoon ? Toon Hermans 9. Auquarius ? Original Broadway Cast Hair 10. Frank Mills ? Bojoura 11. House of the rising sun ? The Animals 12. Er komen andere tijden ? Boudewijn de Groot 13. Right said Fred ? Bernard Cribbins 14. El porompompero ? Los Paraguayos 15. Heroes and vilains ? Beach Boys

Pasó a la historia del cine por su partitura para 'Èxodo', por la que ganó un premio Oscar. En el programa, de nuevo sin comentario, se hace un breve recorrido por la obra de Ernest Gold, e incluye las siguientes bandas sonoras; Éxodo (3) – El mundo está loco, loco, loco (2) – Vencedores o vencidos – El último atardecer – La clave de la cuestión, las fronteras de la piel -– El barco de los locos – Ángeles sin paraíso (2) – La cruz de hierro (2) – La hora final (2) – El secreto de Santa Vittoria (2) – Frenos rotos, coches locos (2).

Pasó a la historia del cine por su partitura para 'Èxodo', por la que ganó un premio Oscar. En el programa, de nuevo sin comentario, se hace un breve recorrido por la obra de Ernest Gold, e incluye las siguientes bandas sonoras; Éxodo (3) – El mundo está loco, loco, loco (2) – Vencedores o vencidos – El último atardecer – La clave de la cuestión, las fronteras de la piel -– El barco de los locos – Ángeles sin paraíso (2) – La cruz de hierro (2) – La hora final (2) – El secreto de Santa Vittoria (2) – Frenos rotos, coches locos (2).

Matthew Sweet looks at the influence of Schoenberg on film music - not least in the scores of Leonard Rosenman, Miklos Rozsa, Scott Bradley, Jerry Goldsmith, David Shire, Ernest Gold, Johnny Mandel, Humphrey Searle, Benjamin Frankel and Elisabeth Lutyens. Although Schoenberg never wrote a score to accompany an actual film he was very interested in the medium and lived his final years in Hollywood where several of the leading Hollywood composers attended his composition classes. His revolutionary ideas about "twelve tone" composition made a sizable impact on film music as Matthew explores and illustrates in this programme.

Matthew Sweet with music for films that explore ideas of heredity and genetics in the week of the launch of the Irish-British thriller "I Am Not A Serial Killer". In Billy O'Brien's new film, based on Dan Wells's novel, a fifteen year boy, a diagnosed social-path, lives in fear that he is fated to become a serial-killer. The music for the film is by Adrian Johnston who has given us scores for "Becoming Jane" and the 2008 big screen version of "Brideshead Revisited" as well as music for some of Stephen Poliakoff's film dramas. The programme also includes music from "The Elephant Man"; "The Island of Dr Moreau"; "Splice"; "Jurassic Park"; "Never Let Me Go"; "The Boys From Brazil"; "Gattaca" and "Creation". The Classic Score of the Week is Ernest Gold's music for "Inherit The Wind.

Detroit, motor town, music townEn l'absence d'Andy ce soir, George vous propose une deuxième carte blanche, Reprends moi. Le principe est simple : chaque chanson a son histoire mais elle a aussi plusieurs vies à travers les reprises qui sont faites d'elle. Une chanson ne meurt pas tant qu'on la chante. Un peu comme la ville de Detroit, que George a choisi en fil rouge de cette heure. La ville de Détroit fut longtemps la capitale de l'industrie automobile. Mais il n'y avait pas que le bruit des usines Ford, Chrysler ou Dodge qui rythmait la vie des habitants de la ville. La bien nommée Motown (Motor Town), maison de disque légendaire, a imposé la soul music sur la scène américaine et mondiale. Détroit, elle même, est devenue une capitale de la musique rock, rap, techno,... Ce que le fondateur de la ville, le français Antoine Laumet de la Mothe, Sieur de Cadillac n'avait sûrement pas imaginé.La ville de Détroit a souffert des crises du pétroles, des crises économiques,... mais elle n'oublie pas sa devise :Nous espérons des temps meilleurs, elle renaîtra de ses cendres.►►► [REPLAY] Reprends Moi / 1er épisodeLa playlistThe Originals - The exodus song (1972) - reprise de Ernest Gold (1961) Eminem - Wanksta (2003) - reprise de Fifty Cents (2002) Diana Ross et Marvin Gaye - Stop, look, listen (to your heart) (1973) -  reprise des The Stylistics (1971)The Detroit Esmerald - And I love her (1971) - reprise des Beatles (1964) Madonna - Santa baby (1987) - repris de Eartha Kitt (1953)Jack White - Sittin on the top of the world (2003) - reprise des The Mississippi Sheiks (1930) Iggy Pop - We have all the time in the world (1997) - reprise de Louis Amstrong (1969)Bob Seger - If i were a carpenter (1972) - reprise de Tim Hardin (1968) The Miracles - California soul (1969) - reprise des The Messengers (1968) The Capitols - Knock on wood (1966) - reprise d'Eddy Floyd (1966) Aretha Franklin - A change is gonna come (1967) - reprise de Sam Cooke (1964)Wilson Pickett - She is looking good (1968) - reprise de Rodger Collins (1967) Big Sean - Minds playing Tricks on me (2009) - reprise des Geto Boys (1991)Stevie Wonder - We can work it out (1970) - reprise des Beatles (1965)[caption id="attachment_44951" align="aligncenter" width="1024"] Flickr - Creative Commons © soupstance[/caption]

The House/Electro/Progressive remix of the classic song, Exodus, by DJAYM(www.djaym.com) Hope you all like it.. DJAYM

why it was easy to quit Faith No More, playing in castles, Book T, Ernest Gold and Bruno Nicolai, The book of Exodus as surf music, why books are cool, Bellingham to Prague, “Gentrifying ethnic music.”, playing with feel, Angry fetishists, and more.

Matthew Sweet introduces film scores on the subject of money by Max Steiner, Ernest Gold and others, and profiles the music for the new cinema release from Martin Scorsese, "The Wolf of Wall Street". "There's nothing quite as wonderful as money on the this week's Sound Of Cinema - except of course when it's dirty, filthy, stolen and the root of all evil." The programme features music from - amongst others - "Rogue Trader"; "The Treasure of the Sierra Madre"; "Indecent Proposal"; "Glengarry Glen Ross"; "Trading Places" and "Wall Street" Matthew's Classic Score of Week is Ennio Morricone's "The Good, The Bad and the Ugly". "soundofcinema.