Podcasts about Four Aces

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Play Episode Listen Later Aug 21, 2022 37:27

This week on the Classroom Double K and Mr Suave discuss the events of the NBA Offseason and the NFL Preseason. So tune in and enjoy...

Four Aces Presents: The Classroom w/The Doual

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Play Episode Listen Later Aug 14, 2022 50:40

This week Double K and The Doual discuss some of the hottest topics in Sports...

Four Aces Presents: The Classroom w/OMalley

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Play Episode Listen Later Aug 7, 2022 46:37

This week Double K and OMalley talk about the hottest opics in Sports today...

LIV Bedminster/Rocket Mortgage Recap!!!

The 73rd Hole

Play Episode Listen Later Aug 1, 2022 79:27

A motivated Stenson wins in Bedminster. Are the Four Aces a super-team? Finau's putter stays hot for back-to-back wins. Trump Bedminster vs Detroit GC. Ian Davis claims the State Am. Davis Love III said what?!?!?! MUCH MORE!!!

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Four Aces Presents : The Classoom w/Mr. Suave

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Play Episode Listen Later Jul 31, 2022 39:13

This week Double K and Suave debate the hottest topics from the NBA Finals and the NBA Offseason

Four Aces Presents: The Classroom ft. OMalley

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Play Episode Listen Later Mar 27, 2022 51:46

This week Double K and OMalley talk the Warriors season and the craziness of the NFL offseason...

Episode 111: The Year In Music 1955

Deeper Roots Radio Podcast

Play Episode Listen Later Mar 19, 2022 117:31

The year was 1955. Bill Haley's Rock Around The Clock blasted off and just around the corner on the charts was Elvis who had a minor hit in 1954 that made some waves with That's Alright, Mama and Good Rockin' Tonight. RCA bought his contract from Sun Records for $35K. The minimum wage reached new heights of $1.00 per hour. The Brooklyn Dodgers defeated the New York Yankees in the World Series. The Honeymooners and Gunsmoke debuted on television. And we'll be digging through the top ten charts of country, rhythm & blues, and pop in a year where the Cold War was a fact of life leading us to duck and cover. Tune in for some Webb Pierce, Eddy Arnold, Four Aces, Mitch Miller, Fats Domino, and Chuck Berry this week on our show that browses those dusty digital bins on a weekly basis on Community Radio here in Sonoma County.

Four Aces Presents: The Classroom Ep.1 (Lakers & More w/Doual)

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Play Episode Listen Later Mar 6, 2022 37:24

This week Double K is back on this new debate show on 4ACES jfirst up to the plate is The Doual of WCB...

The Four Aces

Golden Gems

Play Episode Listen Later Feb 4, 2022 7:18

The Four Aces are an American male traditional pop music quartet, popular since the '50s ( the Golden Days of Radio).

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43: The Story of the Four Preps with Bruce Belland

The Cowsills Podcast

Play Episode Listen Later Jan 19, 2022 83:38

The Four Seasons, the Four Aces, the Four Tops, the Four Freshmen, the Four Lads...well today on "The Cowsill's Podcast" we are visiting with Bruce Belland of THE FOUR PREPS!!!! In terms of audience reaction to the Four Preps think Beatles and Frank Sinatra. They were mobbed after their concerts. Do you remember watching Ozzie and Harriett and waiting for Ricky Nelson to sing the song at the end of the episode? Remember the band that always stood there with Ricky? That's the Four Preps plus James Burton. That's Bruce Belland to Ricky's right. The Four Preps were Ricky's college buddies on the TV show. Imagine what is must have been like when your band is riding high and the Beatles arrive on the scene and change the whole landscape and there's no room for you anymore. We were new to the story of the Four Preps since they were a little before our time but it just blew us away so we wanted to have Bruce on to share his story with everybody and he was gracious to accept the invitation. You have to read his biography at brucebelland.com and you will be AMAZED! Remember "26 Miles (Santa Catalina)"? It sold 10 million records! That's The Four Preps!! Hope you enjoy the episode.Song of the Week: A Letter To The Beatles by The Four Preps

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Down Home Cajun Music- Leo Soileau's Four Aces 1935-1936

Down Home Cajun Music

Play Episode Listen Later Oct 29, 2021 29:16

Down Home Cajun Music- Leo Soileau's Four Aces 1935-1936Leo Soileau was the first Cajun fiddler to record back in 1928. After the Depression Leo returned to recording with a group in the string band style and recorded for Decca. While the group recorded songs in Cajun French; they also covered songs by the Carter Family and other country groups, as well as pop hits of the day. This episode features their English string band songs.Leo's Four Aces was comprised of Leo along with Floyd Shreve and Bill (Dewey) Landry. It is speculated that some of these recordings features Tony Gonzales on drums.Leo Soileau's Four Aces- Green Valley Waltz (Decca 5102)Leo Soileau's Four Aces- Corrine, CorrinaLeo Soileau's Four Aces- Nobody's Buisness If I DoLeo Soileau's Four Aces- Frankie and JohnnieLeo Soileau's Four Aces- Red River Valley Leo Soileau's Four Aces- Birmingham JailLeo Soileau's Four Aces- The Unexplained BluesLeo Soileau's Four Aces- KC RailroadLeo Soileau's Four Aces- Little Darling Pal of MineLeo Soileau's Four Aces- Wreck of Old No. 9*All selections from the original 78 rpm records

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Episode 221 - The Orioles Draw Four Aces

This Week In Baseball History

Play Episode Listen Later Sep 30, 2021 72:53

The Orioles of the late '60s and early '70s were one of the best teams in baseball, with a strong and stable rotation that peaked 50 years ago this week when Jim Palmer became the 4th Baltimore starter to win 20 games on the year. Mike and Bill discuss this staff and the epic run that fell just short of winning it all. Plus, happy birthday to Jelly Gardner and Hunky Shaw!

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EL GUATEQUE T07C032 Muchos han llorado el adiós de Charlie Watts (06/09/2021)

EL GUATEQUE

Play Episode Listen Later Sep 6, 2021 56:40

En El Guateque estamos de vuelta de las vacaciones, que viene a ser el fin del verano, las despedidas. Hoy despedimos a JUANA GINZO. Inimitable, personal y única, su voz era grave, con un timbre precioso, versátil, limpio, pero sobre la voz se imponía la propia Juana, con su actitud, su modo de ser. También se nos fueron Mikis Theodorakis - con su composición en 1964 de 'Zorba el griego', protagonizada por Anthony Quinn y dirigida por Michael Cacoyannis, Theodorakis consiguió llevar la música popular griega al mundo entero, y también fue el autor de una melodía utilizada en la película “Luna de miel” (en la que participó el bailarín Antonio). La discográfica de Gloria Lasso encargó al excelente poeta y actor Rafael de Penagos una letra en español que Gloria grabó con su espléndida y sensual voz.Otro recuerdo emocionado para los Everly Brothers, uno de los grupos más influyentes en el mundo de la música popular. Yo diría que el dúo más importante, sin desmerecer a otros. Este verano también nos dejó Don Everly, el mayor de los hermanos, el de la voz más grave y el que solía cantar los solos.Muchos han llorado el adiós de Charlie Watts. El punto es que nada de lo que han hecho los Rolling Stones hubiera sido posible, sin el impasible e imperturbable Charlie Watts.‘All Summer Long' podría parecer una tonta canción veraniega , pero la historia es algo más que un reflejo de una fantasía de quinceañeros en el verano, porque al final se recuerda que todos aquellos momentos felices serán sólo recuerdos de aquel largo verano. Muy poético, escrito por Mike Love . La melodía es del gran Brian Wilson, que se esmeró mucho en los arreglos vocales, con ese absolutamente maravilloso falsete.La película Grease dejaba la imagen del fin del verano, de despedida de un amor de verano, en esa escena de playa con la fuerza de las olas que protagonizaron Olivia Newton John y John Travolta . La canción apareció originalmente en un drama romántico dirigido por Henry King, La colina del adiós (Love is a Many-Splendored Thing) con William Holden y Jennifer Jones en los papeles principales. La película obtuvo tres Oscar: Mejor Canción Original, Mejor Banda Sonora Drama y Mejor Vestuario. La composición interpretada por The Four Aces se ha convertido en todo un clásico, y la grabaron, entre otros, Nat King Cole Brigitte Bardott canta A LA FIN D'ETÉ . Una canción compuesta por Gérard Bourgeois con el que colaboraba habitualmente Jean-Max Rivière , que se encargaba de los textos. Compuso casi toda la discografía de la Bardott y algunas canciones para Gloria Lasso..Gelu nos llena de esperanzas para esta temporada con una canción que interpretó Bobby Darin. Y este Guateque reúne también a Dusty Springfield. Fórmula V. Los Ángeles, Rocky Kan, Luis Aguilé, Bruno Lomas, Los Puntos, Caterina Valente

Ep. 153: Four Aces of Arts Unveiled

SPOTLIGHT Radio Network

Play Episode Listen Later Jul 27, 2021 16:36

As many of you know, I'm a firm believer that a robust arts scene is critical for a region to be considered vibrant. Michigan has long been a hot spot for the arts, and the talent seems to be gathering momentum. Joining Chris to discuss a new faction of the arts are a pair of the Four Aces of Arts - Sarah Sanders & Autumn Hopkins, and the Owner & Director of Opportunity Arts, Mike Marriott!

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Ep. 153: Four Aces of Arts Unveiled

Michigan Reimagined

Play Episode Listen Later Jul 27, 2021 16:36

Love @ the Crossroads - G. Love & Philly's Special Sauce | MUSIC is not a GENRE - Season 3 Episode #26

MUSIC is not a GENRE

Play Episode Listen Later May 3, 2021 34:31

SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE I'm from Philly. Born there, lived there a little, grew up near there & was there every week for decades. It's in my blood in more ways than one. But that pales in comparison to my dad's experience. He was born there, lived there 30 years, and visited family there every week for many MORE decades. Why does this matter? Because place matters. Not just for family but for culture too. And that very much includes music. Now that I've spent over 20 years in NYC, I can tell you there's one big difference in the two cities: pressure. Both cities are a crossroads of cultures. Both have tons of options & influences & sounds. But whereas NYC is one giant pressure cooker, constantly testing you, Philly lets you breathe, doesn't ask you to be any more than you are. It's why so many stage shows & musicians have historically gone there first to get into fighting shape. You NEED to be in fighting shape to thrive in NYC. Philly doesn't just let you live, it encourages it. In NYC you can do whatever you want too, but you're on your own until you can prove you're worth the trouble. This is why Philly music fans, venues & radio are so much better, so much easier to find your place in and be supported. It's also why Philly music is way more of a mix of styles than NYC music. In NYC, you have every imaginable style of music, but they're segregated into silos that rarely mix in any significant way. And they're way more self-conscious about it all. In Philly, every kind of music talks to every other kind just because, and the results are new amalgams that couldn't have been born anywhere else. Does that make Philly the greatest music city in the US? Probably not. There are too many worthy competitors – New Orleans, Memphis, Chicago, etc. But it does put Philly WELL in the top 5, and I'd say even the top 3. G. Love & Special Sauce are a great example of the Philly amalgam. Led by Garrett Dutton, they mix hip-hop, funk, psychedelica, folk, blues, soul & alt rock in a way only a Philly band could do. There are so many other examples of this kind of mixing through the decades. The Philadelphia Sound itself – funk-soul-dance mixed with lush orchestral strings & percussive horns. Think Hall & Oates – folk roots turned to funk-soul-pop-rock. Lil Uzi Vert – lo-fi emo rap rock. Below is a very incomplete list of other well-known artists from the Philly area. Note the variety of styles, both among and within the artists: The Four Aces, Danny & the Juniors, Frankie Avalon/Fabian/Bobby Rydell/Chubby Checker/Nicky DeMatteo, McCoy Tyner, Todd Rundgren & Nazz, Jim Croce, Hall & Oates, Gamble & Huff/McFadden & Whitehead/The Stylistics/Harold Melvin & the Blue Notes/Teddy Pendergrass/Sister Sledge/The Delfonics, Patti LaBelle, Joan Jett, Robert Hazard & the Heroes, The Hooters, Cinderella/Britny Fox, Pretty Poison, The Dead Milkmen, Live, Ween, Schoolly D, DJ Jazzy Jeff & Fresh Prince, Boyz II Men, The Roots, Jill Scott, G. Love & Special Sauce, Ape Café, Nick DeMatteo & REC, Huffamoose, Disco Biscuits, Circa Survive, Low Cut Connie, Eve, Chiddy Bang, Meek Mill, Lil Uzi Vert, Tierra Whack. Every single thing I have ever done has Philly in it somewhere. Here's the most complete playlist to date of my solo & band work: The Semi-Complete Nick DeMatteo - Spotify playlist Do you have any ties to Philly music? Do you know G. Love? What other areas of the country are as fertile a ground for music mixing as Philly? Discuss dammit! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nick-dematteo/support

Rudy II

Napalm Nanny and The Shack

Play Episode Listen Later Feb 6, 2021 23:55

Once again with a two tone beat, here's this weeks playlist dedicated to one of the greats who set the foundation for ska, Prince Buster...so skank your way over...go on...git-The Four Aces. Just One Little Girl-Eddie Perkins. My Darling-Stranger and Gladdy. Chances-Prince Buster. Al Capone-Millie Small. Oh, Henry-Andy and Joey. You're Wondering Now-Jackie Opel. You're too Bad-Patsy Millicent Todd. You Took my LoveBackground: Los Caballeros Orchestra. Keino Ska

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Laura Cheadle ~ Christmas Wishes And A Side of Songs with Bruce Hilliard

Better Each Day Podcast Radio Show with Bruce Hilliard

Play Episode Listen Later Dec 11, 2020 23:16

Award Winning Singer Songwriter Laura Cheadle has but one wish for the holidays – to lift her fans’ spirits and bring back the true meaning of Christmas. The self-proclaimed purveyor of positivity, has released a pair of seasonal songs and videos “Christmas In My Life” and “Red Ain’t Everything (The Rudolph Blues)" – available now on all DSPs – that she hopes will evoke “that nostalgic Christmas feeling, no matter where they are on Christmas.” “Christmas In My Life,” which showcases Cheadle’s more pop-infused sound with its upbeat tempo and catchy, sing-a-along chorus, was originally written by Cheadle in 2017 and reworked this year with the help of her father and Philadelphia music icon James Cheadle (Cheadle has worked with everyone from Jerry Ross for Jerry Butler, Harold Melvin, The Blue Notes and The O'Jaysto DJ Jazzy Jeff, Don Cornell, The Four Aces, Grover Washington Jr. and The Soul Survivors) during Covid. An accompanying lyric video is available now at https://youtu.be/U0SJwv-j2wE (https://youtu.be/U0SJwv-j2wE). Support this podcast

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Laura Cheadle ~ Christmas Wishes And A Side of Songs with Bruce Hilliard

Better Each Day Podcast Radio Show with Bruce Hilliard

Play Episode Listen Later Dec 11, 2020 23:16

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Puisque vous avez du talent - Le quatuor de guitares ' Four Aces ' : ' Et si Mozart avait joué de la guitare... ' (Nouvelle diffusion) - 15/11/2020

Puisque vous avez du talent

Play Episode Listen Later Nov 15, 2020 116:53

Nouvelle diffusion, ce dimanche, de la rencontre avec Stein Verrelst et Maarten Vandenbemden, deux membres du quatuor de guitares ' Four Aces '. C'était ce 27 octobre 2019. "Et si Mozart avait joué de la guitare", c'est à partir de ce postulat, aussi sympathique, saugrenu, sérieux qu'intrigant qu'est né "Tabula Rasa" le 4e disque du "Four Aces guitar quartet" Le quatuor "Four aces", est comme son nom le dit un quatuor de guitares constitué de Menno Buggenhout, Inti De Maet, Stijn Verrelst et Maarten Vandenbemden . Fondé en 2009, il publie en ce moment son 4e disque "Tabula rasa". Deux de ses membres sont nos invités : les guitaristes Stein Verrelst et Maarten Vandenbemden. " Tabula rasa " tente de répondre à une question que s'est posée le quatuor : "Que se serait-il passé si de grands Maîtres comme Jean-Sébastien Bach, Mozart, Chopin, Rachmaninov ou Bizet avaient composé pour la guitare ? " On se surprend bien sûr lorsqu'on ne connaît pas le monde de la guitare, à découvrir que ces grands compositeurs ne se sont pas intéressés à cet instrument !! La guitare a donc manifestement souffert d'un manque d'intérêt et de considération évidents, au cours des siècles passés. C'est pour pallier ce manque, pour ouvrir de nouveaux horizons au public et aux guitaristes, mais surtout pour se faire plaisir que les 4 membres du "Four Aces guitar quartet" se sont attelés à la transcription de chefs d'oeuvre du répertoire, de JS Bach, à Rachmaninov et Debussy, en passant par Mozart, Bizet et Scriabine. Essentiellement des oeuvres pour piano. Le résultat est d'abord un disque à la finition technique impeccable, mais c'est surtout dans la finesse des transcriptions que s'expriment le talent et la créativité de cette formation. " Une transcription doit bien sûr d'abord respecter le texte original ", nous confiera le guitariste Maarten Vandenbemden, " Mais elle doit aussi tenter d'y apporter une valeur ajoutée. " Une mission accomplie avec brio donc, en particulier dans la célèbre Marche Turque de Mozart qui clot ce disque. Le charme des transcriptions du "Four Aces guitar quartet", c'est aussi de nous donner à entendre davantage et autre chose que la partition originale. Le cas des "Estampes" de Claude Debussy est exemplaire à cet égard, tant la finesse des quatre voix donnent à Debussy une palette de couleurs, rarement entendue dans la version originale pour piano. Cela étant dit, ces transcriptions ne devraient pas non plus laisser penser qu'on n'a pas écrit du tout pour la guitare au cours des siècles passés! Le répertoire est abondant, en particulier à l'époque baroque, au 20e et à notre 21e siècle. On pense par exemple à des figures aussi importantes que Luciano Berio ou Toru Takemitsu. "Tabula rasa" et ce postulat "Et si Mozart avait joué de la guitare..." sont donc une vraie réussite. C'est d'abord un travail d'orfèvre qui ravira les mélomanes avertis, mais aussi un voyage sensoriel charmant, par la beauté des mélodies originales, et l'inventivité de leurs transcriptions : le "Four Aces guitar quartet" parvient ainsi à toucher un large public. "Tout le monde a une histoire avec la guitare", nous dira le guitariste Maarten Vandenbemden. " Que ce soit via un père, une soeur, une amie ou un cousin. Tout le monde connaît, de près ou de loin, quelqu'un qui a joué cet instrument ! " "Tabula Rasa" est publié chez Beeldenstorm Bonne écoute ! Réalisation et présentation: Laurent GRAULUS

Puisque vous avez du talent - Le quatuor de guitares ' Four Aces ' : ' Et si Mozart avait joué de la guitare... ' (Nouvelle diffusion)

Les derniers podcasts de la RTBF.be

Play Episode Listen Later Nov 15, 2020 116:53

Episode 142, “1940s Weather,”

Sam Waldron

Play Episode Listen Later Oct 18, 2020 58:05

Episode 142, “1940s Weather,” includes 17 songs and stories about storms, sunshine, rain, wind, and snow. Performers include Perry Como, Sister Rosetta Tharp, Jimmy Dorsey, Sammy Kaye, Johnny Cash, and The Four Aces with Al... Read More The post Episode 142, “1940s Weather,” appeared first on Sam Waldron.

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Sitting on Top of the World

Bon Temps Rouler

Play Episode Listen Later Oct 6, 2020 54:23

A l'approche des élections américaines, il est légitime de s'interroger sur les incompréhensions générées par nos subtiles différences culturelles, qu'on pouvait jusque là considérer comme mineures. Regardant une fonction qui influe indirectement mais considérablement sur notre quotidien, c'est fâcheux. « Sitting on Top of the World » cette semaine dans Bon Temps Rouler. Playlist : Sittin' On Top Of The World, Jerry Reed, Oh What A Woman! Sittin On Top Of The World, Doc Watson, Doc Watson Sitting On Top Of The World, Eddie Shaw, Four Decades Of Eddie Shaw Sittin' On Top Of The World, Van Morrison & Carl Perkins, The Healing Game Sittin' on Top of the World (Live), Reverend KM Williams, We All Sing the Blues: Live in Deep Ellum I'm Sittin' On Top Of The World, The Nitty Gritty Dirt Band, Will The Circle Be Unbroken Volume Two Sittin' On Top Of The World, Willie Nelson, Milk Cow Blues Come On In My Kitchen, Robert Johnson You Gotta Move, Sam Cooke, Night Beat Sitting On Top Of The World, Memphis Slim, The Blues Sittin' On Top Of The World, The Four Aces, Mood For Love Sittin' On Top Of The World, Jeff Healey, Mess Of Blues When Things Go Wrong (It Hurts Me Too), Big Bill Broonzy, Trouble In MindHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Poker (four aces) Sophia, Fleet Foxes, Idles & Thurston Moore

Afternoon Tunes Podcast

Play Episode Listen Later Sep 27, 2020 99:42

Yo La Tengo, Sophia, Fleet Foxes, Idles, Daniel Johnston, Sleaford Mods, Fontaines Dc, Ghostpoet, Thurston Moore, Holy Motors, Emmanuelle Sigal

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Poker (four aces) Sophia, Fleet Foxes, Idles & Thurston Moore

Afternoon Tunes Podcast

Play Episode Listen Later Sep 27, 2020 99:42

Yo La Tengo, Sophia, Fleet Foxes, Idles, Daniel Johnston, Sleaford Mods, Fontaines Dc, Ghostpoet, Thurston Moore, Holy Motors, Emmanuelle Sigal

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Louise Episode 75- only you

Louise – BFF.fm

Play Episode Listen Later Sep 26, 2020 120:00

Good Morning, This is Louise. Episode 75 - only you featuring music byThe Creatures, The Platters, Frank Ocean, Summer Walker, King Tubby & Scientist, The Four Aces, Georgia Gibbs, Serena Isioma, Sevyn Streeter, Jackie Gleason, François de Roubaix, Dimitri Tiomkin, Arlo Parks, TeaMarrr, Jo Boyer, Monica & Lil Baby, Franz Waxman, Bernard Herrmann, and Shigeru Umebayashi with ambient field recordings by Rambalac programmed and produced by @small_ernst Thank you for listening Namo Guan Shi Yin Pusa

From The Vault: Hit Parade Jukebox #1

Danny Lane's Music Museum

Play Episode Listen Later Aug 6, 2020 59:09

The Hit Parade Jukebox series highlights the music from the days when the jukebox dominated our after-school social activities. And the songs we played with our nickels, dimes, and quarters determined the “hits” of the day. This episode features: (1) Music, Music, Music by Teresa Brewer (w/ The Dixieland All-Stars) (2) L-O-V-E by Peggy Lee (3) Oh Baby Mine by The Four Knights (4) You'd Be So Nice To Come Home To by Nancy Wilson (5) Round And Round by Perry Como (6) Sweet Pumpkin by Freda Payne (7) Snootie Little Cutie by Bobby Troup (8) Are You Certain by Sarah Vaughan (9) Teach Me Tonight by The DeCastro Sisters (10) Come Fly With Me by Frank Sinatra (11) Opus No. 1 by The Mills Brothers (12) Heart Of My Heart by The Four Aces (13) Bugle Call Rag by The Modernaires (14) Midnight Flyer by Nat King Cole (15) Just for Old Time's Sake by The McGuire Sisters (16) Comes Love by Billie Holiday & Her Orchestra (17) Route 66 by The Four Freshmen (18) Melodie D'Amour by The Ames Brothers (19) The Lady Is A Tramp by Sammy Davis Jr (20) Send Me The Pillow You Dream On by Dean Martin (21) Allegheny Moon by Patti Page (22) Where The Blue Of The Night (Meets The Gold Of The Day) by Tommy Mara

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Melodías Pizarras - Broche de oro a la temporada - 25/07/20

Melodías pizarras

Play Episode Listen Later Jul 25, 2020 58:45

Para este último programa de la duodécima temporada pizarra, desde la mesa camilla del Torreón, les tenemos reservado un repertorio acorde con tan magno acontecimiento... The Four Aces, Milton Brown and His Brownies, Cab Calloway y Amos Milburn, serán algunos de los titanes de la noche. A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

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Wild Bill Hickok - 510000 Four Aces For Death

Wild Bill Hickok

Play Episode Listen Later Jul 18, 2020 25:22

A new episode

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Wild Bill Hickok - 510000 Four Aces For Death

Wild Bill Hickok

Play Episode Listen Later Jul 18, 2020 25:22

A new episode

death wild bill hickok four aces

Team Building Exercise: The 2011 Phillies' Four Aces

Student of the Game

Play Episode Listen Later May 8, 2020 8:26

From 2008 to 2011, the Phillies enjoyed one of the most fruitful periods in their franchise's history, and their pitching staff was largely responsible. In this Team Building Exercise, we look back at how the Phillies built their dominant rotation, and how the famed "Four Aces" came together for a memorably dominant 2011 season. --- Support this podcast: https://anchor.fm/student-of-the-game2/support

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Parenting Basics – The Four Aces (Episode 306)

Have a New Kid by Friday Podcast

Play Episode Listen Later Mar 24, 2020 21:51

It's time to go back to the basics! There are four aces up your sleeve that you can play at any time with your kids. Listen in to today's episode to learn how to win at the card game called, "parenting". **Special Offer– March 1 – 31: Have a New Kid by Friday ebook for $2.99 at Amazon, Barnes & Noble, or wherever you get your ebooks** Show Sponsored by Revell, a division of Baker Publishing Produced by Unmutable™

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DISCOVERY TAROT-2- The Four Aces

Witch School

Play Episode Listen Later Feb 25, 2020 28:00

Join the INDIGO DOOR Waitingroom on Facebook for the next training cycle. Global Tarot Association is an organization where one can learn may ways to study the Tarot and approaches to reading the Tarot that fits your sensibilties. Found in StephanieLeonNeal.com

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Lovely Radio Show- 20th show on the Four Aces Presents Network

Lovely Radio Show

Play Episode Listen Later Jan 30, 2020 66:37

Lovely Radio Show is back with more artist submissions new music and new classics!

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Tímaflakk með Bergsson og Blöndal 12. janúar 2020

Tímaflakk með Bergsson og Blöndal

Play Episode Listen Later Jan 12, 2020

Já ágætu hlustendur við festum okkur enn og aftur í fortíðinni og skoðum dagana í kringum 12 janúar á árunum 1955, 65, 75 og 85. Árið 1955 voru kvikmyndirnar 12 á hádegi með Gary Cooper og Litli Rauður með Robert Mitchum sýndar í Alþýðuhúsinu á Ísafirði og auglýstar í blaðinu Ísfirðingi. Á Írlandi bar það til tíðinda árið 1965 að ráðamenn á Írlandi og N Írlandi funduðu í fyrsta sinn í 43 ár. Árið 1975 sló Alþýðublaðið því upp að liðið fiskveiðiár væri það fjórða besta í sögu lýðveldisins Íslands og árið 1985 var hin goðsagnakennda rokkhátíð Rock in Rio þar sem Queen og Iron Maiden komu fram á fyrsta kvöldinu fyrir framan 350 - 500 þúsund manns en við byrjum á öðrum og miklu hógværari nótum. Hér eru Four Aces frá 1955 Tímaflakk með Bergsson og Blöndal er alla sunnudaga kl. 15.02 á Rás 2

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Tímaflakk með Bergsson og Blöndal 12. janúar 2020

Tímaflakk með Bergsson og Blöndal

Play Episode Listen Later Jan 12, 2020

rock rio iron maiden robert mitchum gary cooper four aces bergsson

Aeropuerto Jazz Café 0016

Aeropuerto Jazz Café

Play Episode Listen Later Nov 11, 2019 60:00

www.aeropuertojazzcafe.com Programa 0016 Jimmy Dludlu, Andy Narell, Anthony Brancati, The Cannonball Band, Roomful of Blues, The Four Aces.

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Aeropuerto Jazz Café 0016

Aeropuerto Jazz Café

Play Episode Listen Later Nov 11, 2019 60:00

www.aeropuertojazzcafe.com Programa 0016 Jimmy Dludlu, Andy Narell, Anthony Brancati, The Cannonball Band, Roomful of Blues, The Four Aces.

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Deliverybros Episode 119: lets talk about the Bay w/The Saint aka the host of Four Aces Presents Now Vs Then Radio

Deliverybros

Play Episode Listen Later Sep 30, 2019 86:58

In this Episode We take a Ride to Sac town aka Sacramento to talk to Oakland Native and Podcaster The Saint. From his beginnings in Oakland, to the evolution of music culture growing up, and his love for music the saint brings his insight on his passions and his network Four Aces presents Radio. It’s a podcast full of wisdom and more-Anything on the table anything on the menu-Deliverybros For More on The Saint and Four Aces Network check out on these awesome platforms where you can find their content. Four Aces Facebook:https://m.facebook.com/fouracespresentsradio/ Now Vs Then Network Facebook:https://m.facebook.com/nowvsthen/ Instagram: @Saintoffouraces @Fouracespresentsradio Twitter: @NowVsThen For Deliverybros Podcast Youtube https://www.youtube.com/channel/UCkoN5tkqeEAxk23J5FzAuYQ/?disable_polymer=trueMreg Spotify https://open.spotify.com/show/3jw3D2cMyIT588jlOcnhu1 stitcher https://www.stitcher.com/podcast/deliverybros Podbean https://www.podbean.com/media/share/dir-4a9vb-600bdd5 Anchor https://anchor.fm/deliverybros Apple Podcasts https://itunes.apple.com/us/podcast/deliverybros/id1445345188?mt=2&uo=4 S/O to our sponsors: Jarheads Mobile Welding: Facebook: https://www.facebook.com/jhmwkc Instagram: https://www.instagram.com/jarheads_mobile_welding/ Twitter: https://twitter.com/eric_brack Carleton's Grand Jerky: Facebook: https://www.facebook.com/Carletons-Grand-Jerky-478951355496829/ Website: https://grandjerkysd.com Morris Envio Facebook:https://www.facebook.com/pg/morrisenviro If you would like to support the Deliverybros check out the links below: Patreon: https://www.patreon.com/deliverybros Paypal: paypal.me/anthonyanthem Gofundme: https://www.gofundme.com/f/1lymc5hlc0?sharetype=teams&member=2073784&rcid=r01-156741773435-1918f0bb9f6e4203&pc=ot_co_campmgmt_w --- Send in a voice message: https://anchor.fm/deliverybros/message

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Do Websites Still Matter? - EP007

MVP Radio Show

Play Episode Listen Later Jul 8, 2019 9:39

We are starting a new series today based on a formula called the Four ACES. This formula will lay the groundwork as to how your website plays a part in your online presence. In This Episode You'll Learn: Your Website Is The Foundation Of Your Online Presence You Have Control Over Your Website You Can Use Your Website To Build Digital Assets The Introduction to The Four ACES --- Send in a voice message: https://anchor.fm/mvpradioshow/message

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Forever Plaid - February 20, 2019

KRCB-FM: Second Row Center

Play Episode Listen Later Feb 20, 2019 4:00

Musical zombies rise from the dead to sing an evening of ‘50’s pop standards. Let me try that again. On February 4, 1964, The Plaids, an eastern Pennsylvania-based vocal quartet, were headed for a major gig at the Fusel-Lounge at the Harrisburg Airport Hilton when their cherry red Mercury was broadsided by a bus full of Catholic schoolgirls. The girls, who escaped unscathed, were on their way to see the Beatles on The Ed Sullivan Show. The Plaids went on to that Great Performance Hall in the Sky… or at least the green room of the Great Performance Hall in the Sky. Rather than spend an eternity waiting to “go on”, they make their way back to earth to give the concert that never was. That is the plot upon which Stuart Ross and James Raitt hang twenty-four musical standards in their very popular jukebox musical Forever Plaid, running through March 3 at the Lucky Penny Community Arts Center in Napa. Frankie (F. James Raasch), Sparky (Scottie Woodard), Jinx (Michael Scott Wells), and Smudge (David Murphy) were high school friends who dreamed of musical glory. Following the path created by ‘50’s versions of what we now refer to as “boy bands” (The Four Lads, The Four Aces, The Crew-Cuts, etc.), they formed The Plaids and specialized in four-part harmonies. And that’s what you’ll hear over the Michael Ross-directed show’s one hour and 45-minute running time. “Three Coins in the Fountain”, “Sixteen Tons”, “Chain Gang”, and “Love is a Many Splendored Thing” are just some of the 20-plus songs performed by the crisply costumed gents (courtesy Barbara McFadden) with matching choreography by Woodard. Music is nicely performed by a trio consisting of music director Craig Burdette (keyboards), Quentin Cohen (drums), and Alan Parks (bass). The guys are good with each one getting a solo shot to go along with the group work. Their stock characters (the shy one, the funny, etc.) banter with each other between numbers and amusingly engage with the audience. The comedic numbers are particularly well done with the show’s highlight being a three-minute recreation of The Ed Sullivan Show, though it helps to have some familiarity with that show. The same can be said for the music. Yes, it’s a trip down memory lane, but if toe-tapping, hand-squeezing and perpetual grinning are any indications, Forever Plaid hits all the right notes with an audience willing to make the trip. ’Forever Plaid' plays through March 3rd at the Lucky Penny Community Arts Center in Napa. Thursday evening performances are at 7pm; Fridays and Saturdays are at 8pm. There’s a Sunday matinee at 2pm. For more information, go to luckypennynapa.com

"Crazy Man Crazy" by Bill Haley and the Comets

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jan 21, 2019 35:37

Welcome to episode sixteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "Crazy Man Crazy" by Bill Haley and the Comets. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Unfortunately, there aren't many good books about Bill Haley available. There are two biographies which are long out of print -- one by John Swenson which I read as a very small child, and one from the nineties by one of Haley's sons. Another of Haley's sons has a biography due out in April, which might be worthwhile, but until then the only book available is a self-published biography by Otto Fuchs. I relied on volume one of Fuchs' book for this post -- it's very good on the facts -- but it suffers from being written by someone whose first language is not English, and it also *badly* needs an editor, so I can't wholly recommend it. This box set, which is ridiculously cheap, contains almost every track anyone could want by Haley and the Comets, and it also includes the early country music sides I've excerpted here, as well as tracks by the Jodimars (a band consisting of ex-Comets). Unfortunately it doesn't contain his great late-fifties singles "Lean Jean" and "Skinny Minnie", but it has everything else. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've talked before about how there were multiple different musics that got lumped together in the mid-fifties under the name "rock and roll". There's rockabilly, Chicago rhythm and blues, doo-wop, New Orleans R&B, the coastal jump bands, and Northern band rock and roll. We've looked at most of these – and the ones we haven't we'll be looking at over the next few weeks – but what we haven't looked at so far is Northern band rock and roll. And in many ways that's the most interesting of all the rock and roll musics, because it's the one that at first glance has had almost no obvious impact on anything that followed, but it's also the one that first came to the attention of the white American public as rock and roll – the one that made the newspapers and got the headlines. And it's the one that had only one real example. While the other styles of music had dozens of people making them, Northern band rock and roll really only had Bill Haley and the Comets. A whole pillar of rock and roll – a whole massive strand of the contemporary view of this music – was down to the work of one band who had no peers and left no real legacy. Or at least, they seem to have left no legacy, until you look a bit closer. But before we look at where the Comets' music led, we should look at where they were coming from. Bill Haley didn't set out to be a rock and roll star, because when he started there was no such thing. He set out to be a country and western singer. He played with various country bands over the years – bands with names like The Down Homers and the Texas Range Riders – before he decided to become a band leader himself, and started his own band, the Four Aces of Western Swing. Obviously this wasn't a full Western Swing band in the style of Bob Wills' band, but they played a stripped-down version which captured much of the appeal of the music – and which had a secret weapon in Haley himself, the Indiana State Yodelling Champion. Yes, yodelling. Let me explain. Jimmie Rodgers was a huge, huge, star, and his gimmick was his yodelling: [excerpt "Blue Yodel (T For Texas)": Jimmie Rodgers] Every country singer in the 1940s wanted to sound like Jimmie Rodgers – at least until Ernest Tubb and Hank Williams came along and everyone wanted to sound like them instead. And that's the sound that Bill Haley was going for when he started the Four Aces of Western Swing. [excerpt of "Yodel Your Blues Away" by the Four Aces of Western Swing] That's how Bill Haley started out – as a Jimmie Rodgers imitator whose greatest strength was his yodelling. It definitely doesn't sound like the work of someone who would change music forever. You'd expect, without knowing the rest of his history, that the Four Aces of Western Swing would become a footnote to a footnote; a band who, if they were remembered at all, would be remembered for one or two singles included on some big box set compilation of vintage country music. Much of their music was derivative in the extreme, but there were a handful of more interesting tracks, some of which would still be of interest to aficionados, like "Foolish Questions". [Excerpt of "Foolish Questions" by the Four Aces of Western Swing] But without Bill Haley's future career, it's unlikely there'd be any more attention paid to the Four Aces than that. They don't really make a dent in country music history, and didn't have the kind of career that suggested they would ever do so. Most of their records didn't even get a proper release – Haley was signed to a label called Cowboy Records, which was a Mafia-run organisation. The first five thousand copies of every Cowboy release went to Mafia-owned jukeboxes, for free, and artists would only get royalties on any records sold after that. Since jukeboxes accounted for the majority of the money in the record business at this point, that didn't leave much for the artists – especially as Haley had to pay his own recording and production costs, and he had to do any promotion himself – buying boxes of records at $62.50 for two hundred and fifty copies, and sending them out to DJs through the post at his own expense. It was basically a glorified vanity label, and the only reason Haley got any airplay at all was because he was himself a DJ. And after a few unsuccessful singles, he decided to give up on performance and become just a DJ. But soon Haley had a new band, which would become far more successful – Bill Haley and his... Saddlemen. Yes, the Saddlemen. By all accounts, the Saddlemen weren't Haley's idea. One day two musicians turned up at the radio station, saying they wanted to join his band. Billy Williamson and Johnny Grande were unhappy with the band they were performing in, and had heard Haley performing with his band on the radio. They had decided that Haley's band would be a perfect showcase for their talents on steel guitar and accordion, and had travelled from Newark New Jersey to Chester Pennsylvania to see him. But they'd showed up to discover that he didn't have a band any more. They eventually persuaded him that it would be worth his while going back into music, and Haley arranged for the band to get a show once a week on the station he was DJing on. While Haley was the leader on stage, they were an equal partnership – the Saddlemen, and later the Comets, split money four ways between Haley, Williamson, Grande, and the band's manager, with any other band members who were later hired, such as drummers and bass players, being on a fixed salary paid out by the partnership. The band didn't make much money at first -- they all had other jobs, with Williamson and Grande working all sorts of odd jobs, while Haley was doing so much work at the radio station that he often ended up sleeping there. Haley worked so hard that his marriage disintegrated, but the Saddlemen had one big advantage – they had the radio station's recording studio to use for their rehearsals, and they were able to use the studio's recording equipment to play back their rehearsals and learn, something that very few bands had at the time. They spent two whole years rehearsing every day, and taking whatever gigs they could, and that eventually started to pay off. The Saddlemen started out making the same kind of music that the Four Aces had made. They put out decent, but not massively impressive, records on all sorts of tiny labels. Most of these recordings were called things like "Ten Gallon Stetson", and in one case the single wasn't even released as the Saddlemen but as Reno Browne and Her Buckaroos. This was about as generic as country and western music could get. [excerpt: “My Sweet Little Gal From Nevada” – Reno Browne and Her Buckaroos] But Bill Haley had bigger plans, inspired by the show that was on right before his. The radio had changed enormously in a very short period of time. Before the Second World War, playing records on the radio had been almost unknown, until in 1935 the first recognised DJ, Martin Block, started his radio show "Make Believe Ballroom", in which he would pretend to be introducing all sorts of different bands. The record labels spent much of the next few years fighting the same kind of copyright actions they would later fight against the Internet -- in this case aided by the Musicians' Union, but harmed by the fact that there was no federal copyright protection for sound recordings until the 1970s. Indeed a lot of the musicians' strikes of the 1940s were, in part, about the issue of playing records on the radio. But eventually, the record labels -- especially the ones, like RCA and Columbia, which were also radio network owners -- realised that being played on the radio was great advertising for their records, and stopped fighting it. And at the same time, there was a massive expansion in radio stations -- and a drop in advertising money. After the war, restrictions on broadcasting were lifted, and within four years there were more than twice as many radio stations as there had been in 1946. But at the same time, the networks were no longer making as much money from advertising, which started going to TV instead. The solution was to go for cheap, local, programming -- and there was little programming that was cheaper than getting a man to sit in the studio and play records. And in 1948 and 49, Columbia and RCA introduced "high fidelity" records -- the 33RPM album from Columbia, and the 45RPM single from RCA. These didn't have the problems that 78s had, of poor sound quality and quick degradation, and so the final barrier to radio stations becoming devoted to recorded music was lifted. This is, incidentally, why the earlier musicians we've talked about in this series are largely forgotten compared to musicians from even a few years later -- their records came out on 78s. Radio stations threw out all their old 78s when they could start playing 45s, and so you'd never hear a Wynonie Harris or Louis Jordan played even as a golden oldie, because the radio stations didn't have those records any more. They disappeared from the cultural memory, in a way the fifties acts didn't. And the time we're talking about now is right when that growth in the radio was at its height, and all the new radio stations were turning to recorded music. But in the early fifties, only a handful of stations were playing black music, only for an hour or two a day at most. And when they did, the DJ was always a white man -- but usually a white man who could sound black, and thought himself part of black culture. Zenas Sears in Atlanta, Dewey Phillips in Memphis, Alan Freed in Cleveland, Johnny Otis in LA -- all of these were people who even many of their black listeners presumed were black, playing black records, speaking in black slang. All of them, of course, used their privilege as white men to get jobs that black people simply weren't given. But that was the closest that black people came to representation on the radio at the time, and those radio shows were precious to many of them. People would tune in from hundreds of miles away to hear those few DJs who for one hour a day were playing their music. And the show that was on before Bill Haley's country and western show was one of those handful of R&B shows. "Judge Rhythm's Court" was presented by a white man in his forties named Jim Reeves (not the singer of the same name) under the name of "Shorty the Bailiff". Reeves' theme was "Rock the Joint" by Jimmy Preston and the Prestonians: [excerpt "Rock the Joint", Jimmy Preston and the Prestonians] Haley liked the music that Reeves was playing -- in particular, he became a big fan of Big Joe Turner and Ruth Brown -- and he started adding some of the R&B songs to the Saddlemen's setlists, and noticed they went down especially well with the younger audiences. But they didn't record those songs in their rare recording sessions for small labels. Until, that is, the Saddlemen signed up to Holiday Records. As soon as they started with Holiday, their style changed completely. Holiday, and its sister label Essex which also released Saddlemen records, were owned by Dave Miller, who also owned the pressing plant that had pressed Haley's earlier records for the Cowboy label, and Miller had similar mob connections. Haley would later claim that while Miller always said the money to start the record labels had come from a government subsidy, in fact it had been paid by the Mafia. His labels had started up during the musicians' union strikes of the 1940s, to put out records by non-union musicians, and Miller wasn't too concerned about bothering to pay royalties or other such niceties. Haley also later claimed that Miller invented payola – the practice of paying DJs to play records. This was something that a lot of independent labels did in the early fifties, and was one of the ways they managed to get heard, even as many of the big labels were still cautious about the radio. Miller wanted to have big hits, and in particular he wanted to find ways to get both the white and black markets with the same records, and here he had an ally in Haley, who took a scientific approach to maximising his band's success. Haley would try things like turning up the band's amplifiers, on the theory that if customers couldn't hear themselves talking, they'd be more likely to dance – and then turning the amps back down when the bar owners would complain that if the customers danced too much they wouldn't buy as many drinks. Haley was willing to work hard and try literally anything in order to make his band a success, and wasn't afraid to try new ideas and then throw them away if they didn't work. This makes his discography frustrating for listeners now – it's a long record of failed experiments, dead ends, and stylistic aberrations unlike almost any other successful artist's. This is someone not blessed with a huge abundance of natural talent, but willing to work much harder in order to make a success of things anyway. Miller was a natural ally in this, and they hit on a formula which would be independently reinvented a couple of years later by Sam Phillips for Elvis' records – putting out singles with a country song on one side and an R&B song on the other, to try to appeal to both white and black markets. And one song that Dave Miller heard and thought that might suit Haley's band was "Rocket 88" This might have seemed an odd decision – after all, "Rocket 88" was a horn-driven rhythm and blues song, while the Saddlemen at this point consisted of Haley on acoustic guitar, double-bass player Al Rex, Billy Williamson on steel guitar, and Johnny Grande, an accordion player who could double on piano. This doesn't sound the most propitious lineup for an R&B song, but along with ace session guitarist Danny Cedrone they actually managed to come up with something rather impressive: [excerpt of "Rocket 88"] Obviously it's not a patch on the original, but translating that R&B song into a western swing style had ended up with something a little different to the hillbilly boogie one might expect. In particular, there's the drum sound.... Oh wait, there's no drumming there. What do you mean, you heard it? Let's listen again... [excerpt of "Rocket 88"] There are no drums there. It's what's called slapback bass. Now, before we go any further, I'd better explain that there's some terminological confusion, because "slap bass" is a similar but not identical electric bass technique, while the word "slapback" is also used for the echo used on some rockabilly records, so talking about "rockabilly slapback bass" can end up a bit like "Who's on first?" But what I mean when I talk about slapback bass is a style of bass playing used on many rockabilly records. It's used in other genres, too, but it basically came to rockabilly because of Bill Haley's band, and because of the playing style Haley's bass players Al Rex and Marshall Lytle used. With slapback bass, you're playing a double bass, and you play it pizzicato, plucking the strings. But you don't just pluck them, you pull them forward and let them slap right back onto the bridge of the instrument, which makes a sort of clicking sound. At the same time, you might also hit the strings to mute them – which also makes a clicking sound as well. And you might also hit the body of the instrument, making a loud thumping noise. Given the recording techniques in use at the time, slapback bass could often sound a lot like drums on a recording, though you'd never mistake one for the other in a live performance. And at a time when country music wasn't particularly keen on the whole idea of a drum kit – which was seen as a dangerous innovation from the jazz world, not something that country and western musicians should be playing, though by this time Bob Wills had been using one in his band for a decade – having something else that could keep the beat and act as a percussion instrument was vital, and slapback bass was one of the big innovations that Haley's band popularised. So yes, Bill Haley and the Saddlemen's version of "Rocket 88" had no drum kit on it. Despite this, some people still cite this, rather than Jackie Brenston's original, as "the first rock and roll record". As we've said many times, though, there is no such thing. But Haley's recording makes an attractive candidate – it's the mythical "merging of black R&B with white country music", which of course was something that had been happening since the very start, but which people seem to regard as something that marked out rock and roll, and it's the first recording in this style by the person who went on to have the first really massive rock and roll hit to cross over into the pop charts. "Rocket 88" wasn't that big hit. But Haley and Miller felt like they were on to something, and they kept trying to come up with something that would work in that style. They put out quite a few singles that were almost, but not quite, what they were after, things like a remake of "Wabash Cannonball" retitled "Jukebox Cannonball", and then they finally hit on the perfect formula with "Rock the Joint", which had been in Haley's setlist off and on since he heard it on Jim Reeves' programme. The original "Rock the Joint" had been one of the many, many, records that attempted to cash in on the rock craze ignited by Wynonie Harris' version of "Good Rockin' Tonight", but it hadn't done much outside of the Philadelphia area. Haley and the band went into the studio to record their own version, which had a very different arrangement – and listen in particular to the solo... [excerpt "Rock the Joint" – Bill Haley and the Saddlemen] That solo is played by the session musician, Danny Cedrone, who played the lead guitar on almost all of Haley's early records. He wasn't a member of the band – Haley kept costs low in these early years by having as small a band as possible, but hiring extra musicians for the recordings to beef up the sound -- but he was someone that Haley trusted to always play the right parts on his records. Haley and Cedrone were close enough that in 1952 – after "Rocket 88" but before "Rock the Joint" – Haley gave Cedrone a song for his own band, The Esquire Boys. That song, "Rock-A-Beatin' Boogie", would probably have been a hit for Haley, had he recorded it at the time -- instead, he didn't record it for another three years. But that song, too, shows that he was on the right track. He was searching for something, and finding it occasionally, but not always recognising it when he had it. (Excerpt: "Rock-A-Beatin' Boogie" by The Esquire Boys) "Rock the Joint" was a massive success, by the standards of a small indie country label, reportedly selling as much as four hundred thousand copies. But even after "Rock the Joint", the problems continued. Haley's next two records were "Dance With a Dolly (With a Hole in Her Stockin')" – which was to the tune of "Buffalo Gals Won't You Come Out Tonight?" – and "Stop Beatin' Around the Mulberry Bush", which was a rewrite of "Here We Go Round the Mulberry Bush" as a hillbilly boogie. But "Stop Beatin' Around the Mulberry Bush" was notable for one reason – it was the first record by "Bill Haley and Haley's Comets", rather than by the Saddlemen. The pun on Halley's comet was obvious, but the real importance of the name change is that it marked a definitive moment when the band stopped thinking of themselves as a country and western band and started thinking of themselves as something else – Haley didn't pick up on the term "rock and roll" til fairly late, but it was clear that that was what he thought he should be doing now. They now had a drummer, too – Dick Richards – and a sax player. Al Rex was temporarily gone, replaced by Marshall Lytle, but Rex would be back in 1955. They were still veering wildly between rhythm and blues covers, country songs, and outright novelty records, but they were slowly narrowing down what they were trying to do, and hitting a target more and more often – they were making records about rhythm, using slang catchphrases and trying to appeal to a younger audience. And there was a genuine excitement in some of their stage performances. Haley would never be the most exciting vocalist when working in this new rock and roll idiom – he was someone who was a natural country singer and wasn't familiar with the idioms he was incorporating into his new music, so there was a sense of distance there – but the band would make up for that on stage, with the bass player riding his bass (a common technique for getting an audience going at this point) and the saxophone player lying on his back to play solos. And that excitement shone through in "Crazy Man Crazy", which became the Comets' first real big hit. This was another example of the way that Haley would take a scientific approach to his band's success. He and his band members had realised that the key to success in the record business was going to be appealing to teenagers, who were a fast-growing demographic and who, for the first time in American history, had some real buying power. But teenagers couldn't go to the bars where country musicians played, and at the time there were very few entertainment venues of any type that catered to teenagers. So Bill Haley and the Comets played, by Johnny Grande's count, one hundred and eighty-three school assemblies, for free. And at every show they would make note of what songs the kids liked, which ones got them dancing, which ones they were less impressed by, and they would hone their act to appeal to these kids. And one thing Haley noted was that the teenagers' favourite slang expression was "crazy", and so he wrote... [excerpt: Crazy Man Crazy, Bill Haley and the Comets] That went to number fifteen on the pop charts, a truly massive success for a country and western band. Marshall Lytle, the Comets' bass player, later claimed that he had co-written the song and not got the credit, but the other Comets disputed his claims. This is another of those records that is cited as the first rock and roll record, or the first rock and roll hit, and certainly it's the first example of a white band playing this kind of music to make the charts. And, more fairly to Haley, it's the first example of a band using guitars as their primary instruments to get onto the charts playing something that resembles jump band music. "Crazy Man Crazy" is very clearly patterned after Louis Jordan, but those guitar fills would be played by a horn section on Jordan's records. With Danny Cedrone's solos, Bill Haley and the Comets were responsible for making the guitar the standard lead instrument for rock and roll, although it took a while for that to *become* the standard and we will see plenty of piano and saxophone, including on later records by Haley himself. So why was Haley doing something so different from what everyone else did? In part, I think that can be linked to the reason he didn't stay successful very long – he wasn't part of a scene at all. When we look at almost all the other musicians we're talking about in this series, you'll see that they're all connected to other musicians. The myth of the lone genius is just that – a myth. What actually tends to happen is that the "lone genius" is someone who uses the abilities of others and then pretends it was all himself – and it almost always is a him. There's a whole peer group there, who get conveniently erased. But the fact remains that Haley and the Comets, as a group, didn't have any kind of peer group or community. They weren't part of a scene, and really had no peers doing what they were doing. There was no-one to tell them what to do, or what not to do. So Bill Haley and the Comets had started something unique. But it was that very uniqueness that was to cause them problems, as we'll see when we return to them in a few weeks...

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“Crazy Man Crazy” by Bill Haley and the Comets

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jan 21, 2019

Welcome to episode sixteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Crazy Man Crazy” by Bill Haley and the Comets. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Unfortunately, there aren’t many good books about Bill Haley available. There are two biographies which are long out of print — one by John Swenson which I read as a very small child, and one from the nineties by one of Haley’s sons. Another of Haley’s sons has a biography due out in April, which might be worthwhile, but until then the only book available is a self-published biography by Otto Fuchs. I relied on volume one of Fuchs’ book for this post — it’s very good on the facts — but it suffers from being written by someone whose first language is not English, and it also *badly* needs an editor, so I can’t wholly recommend it. This box set, which is ridiculously cheap, contains almost every track anyone could want by Haley and the Comets, and it also includes the early country music sides I’ve excerpted here, as well as tracks by the Jodimars (a band consisting of ex-Comets). Unfortunately it doesn’t contain his great late-fifties singles “Lean Jean” and “Skinny Minnie”, but it has everything else. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before about how there were multiple different musics that got lumped together in the mid-fifties under the name “rock and roll”. There’s rockabilly, Chicago rhythm and blues, doo-wop, New Orleans R&B, the coastal jump bands, and Northern band rock and roll. We’ve looked at most of these – and the ones we haven’t we’ll be looking at over the next few weeks – but what we haven’t looked at so far is Northern band rock and roll. And in many ways that’s the most interesting of all the rock and roll musics, because it’s the one that at first glance has had almost no obvious impact on anything that followed, but it’s also the one that first came to the attention of the white American public as rock and roll – the one that made the newspapers and got the headlines. And it’s the one that had only one real example. While the other styles of music had dozens of people making them, Northern band rock and roll really only had Bill Haley and the Comets. A whole pillar of rock and roll – a whole massive strand of the contemporary view of this music – was down to the work of one band who had no peers and left no real legacy. Or at least, they seem to have left no legacy, until you look a bit closer. But before we look at where the Comets’ music led, we should look at where they were coming from. Bill Haley didn’t set out to be a rock and roll star, because when he started there was no such thing. He set out to be a country and western singer. He played with various country bands over the years – bands with names like The Down Homers and the Texas Range Riders – before he decided to become a band leader himself, and started his own band, the Four Aces of Western Swing. Obviously this wasn’t a full Western Swing band in the style of Bob Wills’ band, but they played a stripped-down version which captured much of the appeal of the music – and which had a secret weapon in Haley himself, the Indiana State Yodelling Champion. Yes, yodelling. Let me explain. Jimmie Rodgers was a huge, huge, star, and his gimmick was his yodelling: [excerpt “Blue Yodel (T For Texas)”: Jimmie Rodgers] Every country singer in the 1940s wanted to sound like Jimmie Rodgers – at least until Ernest Tubb and Hank Williams came along and everyone wanted to sound like them instead. And that’s the sound that Bill Haley was going for when he started the Four Aces of Western Swing. [excerpt of “Yodel Your Blues Away” by the Four Aces of Western Swing] That’s how Bill Haley started out – as a Jimmie Rodgers imitator whose greatest strength was his yodelling. It definitely doesn’t sound like the work of someone who would change music forever. You’d expect, without knowing the rest of his history, that the Four Aces of Western Swing would become a footnote to a footnote; a band who, if they were remembered at all, would be remembered for one or two singles included on some big box set compilation of vintage country music. Much of their music was derivative in the extreme, but there were a handful of more interesting tracks, some of which would still be of interest to aficionados, like “Foolish Questions”. [Excerpt of “Foolish Questions” by the Four Aces of Western Swing] But without Bill Haley’s future career, it’s unlikely there’d be any more attention paid to the Four Aces than that. They don’t really make a dent in country music history, and didn’t have the kind of career that suggested they would ever do so. Most of their records didn’t even get a proper release – Haley was signed to a label called Cowboy Records, which was a Mafia-run organisation. The first five thousand copies of every Cowboy release went to Mafia-owned jukeboxes, for free, and artists would only get royalties on any records sold after that. Since jukeboxes accounted for the majority of the money in the record business at this point, that didn’t leave much for the artists – especially as Haley had to pay his own recording and production costs, and he had to do any promotion himself – buying boxes of records at $62.50 for two hundred and fifty copies, and sending them out to DJs through the post at his own expense. It was basically a glorified vanity label, and the only reason Haley got any airplay at all was because he was himself a DJ. And after a few unsuccessful singles, he decided to give up on performance and become just a DJ. But soon Haley had a new band, which would become far more successful – Bill Haley and his… Saddlemen. Yes, the Saddlemen. By all accounts, the Saddlemen weren’t Haley’s idea. One day two musicians turned up at the radio station, saying they wanted to join his band. Billy Williamson and Johnny Grande were unhappy with the band they were performing in, and had heard Haley performing with his band on the radio. They had decided that Haley’s band would be a perfect showcase for their talents on steel guitar and accordion, and had travelled from Newark New Jersey to Chester Pennsylvania to see him. But they’d showed up to discover that he didn’t have a band any more. They eventually persuaded him that it would be worth his while going back into music, and Haley arranged for the band to get a show once a week on the station he was DJing on. While Haley was the leader on stage, they were an equal partnership – the Saddlemen, and later the Comets, split money four ways between Haley, Williamson, Grande, and the band’s manager, with any other band members who were later hired, such as drummers and bass players, being on a fixed salary paid out by the partnership. The band didn’t make much money at first — they all had other jobs, with Williamson and Grande working all sorts of odd jobs, while Haley was doing so much work at the radio station that he often ended up sleeping there. Haley worked so hard that his marriage disintegrated, but the Saddlemen had one big advantage – they had the radio station’s recording studio to use for their rehearsals, and they were able to use the studio’s recording equipment to play back their rehearsals and learn, something that very few bands had at the time. They spent two whole years rehearsing every day, and taking whatever gigs they could, and that eventually started to pay off. The Saddlemen started out making the same kind of music that the Four Aces had made. They put out decent, but not massively impressive, records on all sorts of tiny labels. Most of these recordings were called things like “Ten Gallon Stetson”, and in one case the single wasn’t even released as the Saddlemen but as Reno Browne and Her Buckaroos. This was about as generic as country and western music could get. [excerpt: “My Sweet Little Gal From Nevada” – Reno Browne and Her Buckaroos] But Bill Haley had bigger plans, inspired by the show that was on right before his. The radio had changed enormously in a very short period of time. Before the Second World War, playing records on the radio had been almost unknown, until in 1935 the first recognised DJ, Martin Block, started his radio show “Make Believe Ballroom”, in which he would pretend to be introducing all sorts of different bands. The record labels spent much of the next few years fighting the same kind of copyright actions they would later fight against the Internet — in this case aided by the Musicians’ Union, but harmed by the fact that there was no federal copyright protection for sound recordings until the 1970s. Indeed a lot of the musicians’ strikes of the 1940s were, in part, about the issue of playing records on the radio. But eventually, the record labels — especially the ones, like RCA and Columbia, which were also radio network owners — realised that being played on the radio was great advertising for their records, and stopped fighting it. And at the same time, there was a massive expansion in radio stations — and a drop in advertising money. After the war, restrictions on broadcasting were lifted, and within four years there were more than twice as many radio stations as there had been in 1946. But at the same time, the networks were no longer making as much money from advertising, which started going to TV instead. The solution was to go for cheap, local, programming — and there was little programming that was cheaper than getting a man to sit in the studio and play records. And in 1948 and 49, Columbia and RCA introduced “high fidelity” records — the 33RPM album from Columbia, and the 45RPM single from RCA. These didn’t have the problems that 78s had, of poor sound quality and quick degradation, and so the final barrier to radio stations becoming devoted to recorded music was lifted. This is, incidentally, why the earlier musicians we’ve talked about in this series are largely forgotten compared to musicians from even a few years later — their records came out on 78s. Radio stations threw out all their old 78s when they could start playing 45s, and so you’d never hear a Wynonie Harris or Louis Jordan played even as a golden oldie, because the radio stations didn’t have those records any more. They disappeared from the cultural memory, in a way the fifties acts didn’t. And the time we’re talking about now is right when that growth in the radio was at its height, and all the new radio stations were turning to recorded music. But in the early fifties, only a handful of stations were playing black music, only for an hour or two a day at most. And when they did, the DJ was always a white man — but usually a white man who could sound black, and thought himself part of black culture. Zenas Sears in Atlanta, Dewey Phillips in Memphis, Alan Freed in Cleveland, Johnny Otis in LA — all of these were people who even many of their black listeners presumed were black, playing black records, speaking in black slang. All of them, of course, used their privilege as white men to get jobs that black people simply weren’t given. But that was the closest that black people came to representation on the radio at the time, and those radio shows were precious to many of them. People would tune in from hundreds of miles away to hear those few DJs who for one hour a day were playing their music. And the show that was on before Bill Haley’s country and western show was one of those handful of R&B shows. “Judge Rhythm’s Court” was presented by a white man in his forties named Jim Reeves (not the singer of the same name) under the name of “Shorty the Bailiff”. Reeves’ theme was “Rock the Joint” by Jimmy Preston and the Prestonians: [excerpt “Rock the Joint”, Jimmy Preston and the Prestonians] Haley liked the music that Reeves was playing — in particular, he became a big fan of Big Joe Turner and Ruth Brown — and he started adding some of the R&B songs to the Saddlemen’s setlists, and noticed they went down especially well with the younger audiences. But they didn’t record those songs in their rare recording sessions for small labels. Until, that is, the Saddlemen signed up to Holiday Records. As soon as they started with Holiday, their style changed completely. Holiday, and its sister label Essex which also released Saddlemen records, were owned by Dave Miller, who also owned the pressing plant that had pressed Haley’s earlier records for the Cowboy label, and Miller had similar mob connections. Haley would later claim that while Miller always said the money to start the record labels had come from a government subsidy, in fact it had been paid by the Mafia. His labels had started up during the musicians’ union strikes of the 1940s, to put out records by non-union musicians, and Miller wasn’t too concerned about bothering to pay royalties or other such niceties. Haley also later claimed that Miller invented payola – the practice of paying DJs to play records. This was something that a lot of independent labels did in the early fifties, and was one of the ways they managed to get heard, even as many of the big labels were still cautious about the radio. Miller wanted to have big hits, and in particular he wanted to find ways to get both the white and black markets with the same records, and here he had an ally in Haley, who took a scientific approach to maximising his band’s success. Haley would try things like turning up the band’s amplifiers, on the theory that if customers couldn’t hear themselves talking, they’d be more likely to dance – and then turning the amps back down when the bar owners would complain that if the customers danced too much they wouldn’t buy as many drinks. Haley was willing to work hard and try literally anything in order to make his band a success, and wasn’t afraid to try new ideas and then throw them away if they didn’t work. This makes his discography frustrating for listeners now – it’s a long record of failed experiments, dead ends, and stylistic aberrations unlike almost any other successful artist’s. This is someone not blessed with a huge abundance of natural talent, but willing to work much harder in order to make a success of things anyway. Miller was a natural ally in this, and they hit on a formula which would be independently reinvented a couple of years later by Sam Phillips for Elvis’ records – putting out singles with a country song on one side and an R&B song on the other, to try to appeal to both white and black markets. And one song that Dave Miller heard and thought that might suit Haley’s band was “Rocket 88” This might have seemed an odd decision – after all, “Rocket 88” was a horn-driven rhythm and blues song, while the Saddlemen at this point consisted of Haley on acoustic guitar, double-bass player Al Rex, Billy Williamson on steel guitar, and Johnny Grande, an accordion player who could double on piano. This doesn’t sound the most propitious lineup for an R&B song, but along with ace session guitarist Danny Cedrone they actually managed to come up with something rather impressive: [excerpt of “Rocket 88”] Obviously it’s not a patch on the original, but translating that R&B song into a western swing style had ended up with something a little different to the hillbilly boogie one might expect. In particular, there’s the drum sound…. Oh wait, there’s no drumming there. What do you mean, you heard it? Let’s listen again… [excerpt of “Rocket 88”] There are no drums there. It’s what’s called slapback bass. Now, before we go any further, I’d better explain that there’s some terminological confusion, because “slap bass” is a similar but not identical electric bass technique, while the word “slapback” is also used for the echo used on some rockabilly records, so talking about “rockabilly slapback bass” can end up a bit like “Who’s on first?” But what I mean when I talk about slapback bass is a style of bass playing used on many rockabilly records. It’s used in other genres, too, but it basically came to rockabilly because of Bill Haley’s band, and because of the playing style Haley’s bass players Al Rex and Marshall Lytle used. With slapback bass, you’re playing a double bass, and you play it pizzicato, plucking the strings. But you don’t just pluck them, you pull them forward and let them slap right back onto the bridge of the instrument, which makes a sort of clicking sound. At the same time, you might also hit the strings to mute them – which also makes a clicking sound as well. And you might also hit the body of the instrument, making a loud thumping noise. Given the recording techniques in use at the time, slapback bass could often sound a lot like drums on a recording, though you’d never mistake one for the other in a live performance. And at a time when country music wasn’t particularly keen on the whole idea of a drum kit – which was seen as a dangerous innovation from the jazz world, not something that country and western musicians should be playing, though by this time Bob Wills had been using one in his band for a decade – having something else that could keep the beat and act as a percussion instrument was vital, and slapback bass was one of the big innovations that Haley’s band popularised. So yes, Bill Haley and the Saddlemen’s version of “Rocket 88” had no drum kit on it. Despite this, some people still cite this, rather than Jackie Brenston’s original, as “the first rock and roll record”. As we’ve said many times, though, there is no such thing. But Haley’s recording makes an attractive candidate – it’s the mythical “merging of black R&B with white country music”, which of course was something that had been happening since the very start, but which people seem to regard as something that marked out rock and roll, and it’s the first recording in this style by the person who went on to have the first really massive rock and roll hit to cross over into the pop charts. “Rocket 88” wasn’t that big hit. But Haley and Miller felt like they were on to something, and they kept trying to come up with something that would work in that style. They put out quite a few singles that were almost, but not quite, what they were after, things like a remake of “Wabash Cannonball” retitled “Jukebox Cannonball”, and then they finally hit on the perfect formula with “Rock the Joint”, which had been in Haley’s setlist off and on since he heard it on Jim Reeves’ programme. The original “Rock the Joint” had been one of the many, many, records that attempted to cash in on the rock craze ignited by Wynonie Harris’ version of “Good Rockin’ Tonight”, but it hadn’t done much outside of the Philadelphia area. Haley and the band went into the studio to record their own version, which had a very different arrangement – and listen in particular to the solo… [excerpt “Rock the Joint” – Bill Haley and the Saddlemen] That solo is played by the session musician, Danny Cedrone, who played the lead guitar on almost all of Haley’s early records. He wasn’t a member of the band – Haley kept costs low in these early years by having as small a band as possible, but hiring extra musicians for the recordings to beef up the sound — but he was someone that Haley trusted to always play the right parts on his records. Haley and Cedrone were close enough that in 1952 – after “Rocket 88” but before “Rock the Joint” – Haley gave Cedrone a song for his own band, The Esquire Boys. That song, “Rock-A-Beatin’ Boogie”, would probably have been a hit for Haley, had he recorded it at the time — instead, he didn’t record it for another three years. But that song, too, shows that he was on the right track. He was searching for something, and finding it occasionally, but not always recognising it when he had it. (Excerpt: “Rock-A-Beatin’ Boogie” by The Esquire Boys) “Rock the Joint” was a massive success, by the standards of a small indie country label, reportedly selling as much as four hundred thousand copies. But even after “Rock the Joint”, the problems continued. Haley’s next two records were “Dance With a Dolly (With a Hole in Her Stockin’)” – which was to the tune of “Buffalo Gals Won’t You Come Out Tonight?” – and “Stop Beatin’ Around the Mulberry Bush”, which was a rewrite of “Here We Go Round the Mulberry Bush” as a hillbilly boogie. But “Stop Beatin’ Around the Mulberry Bush” was notable for one reason – it was the first record by “Bill Haley and Haley’s Comets”, rather than by the Saddlemen. The pun on Halley’s comet was obvious, but the real importance of the name change is that it marked a definitive moment when the band stopped thinking of themselves as a country and western band and started thinking of themselves as something else – Haley didn’t pick up on the term “rock and roll” til fairly late, but it was clear that that was what he thought he should be doing now. They now had a drummer, too – Dick Richards – and a sax player. Al Rex was temporarily gone, replaced by Marshall Lytle, but Rex would be back in 1955. They were still veering wildly between rhythm and blues covers, country songs, and outright novelty records, but they were slowly narrowing down what they were trying to do, and hitting a target more and more often – they were making records about rhythm, using slang catchphrases and trying to appeal to a younger audience. And there was a genuine excitement in some of their stage performances. Haley would never be the most exciting vocalist when working in this new rock and roll idiom – he was someone who was a natural country singer and wasn’t familiar with the idioms he was incorporating into his new music, so there was a sense of distance there – but the band would make up for that on stage, with the bass player riding his bass (a common technique for getting an audience going at this point) and the saxophone player lying on his back to play solos. And that excitement shone through in “Crazy Man Crazy”, which became the Comets’ first real big hit. This was another example of the way that Haley would take a scientific approach to his band’s success. He and his band members had realised that the key to success in the record business was going to be appealing to teenagers, who were a fast-growing demographic and who, for the first time in American history, had some real buying power. But teenagers couldn’t go to the bars where country musicians played, and at the time there were very few entertainment venues of any type that catered to teenagers. So Bill Haley and the Comets played, by Johnny Grande’s count, one hundred and eighty-three school assemblies, for free. And at every show they would make note of what songs the kids liked, which ones got them dancing, which ones they were less impressed by, and they would hone their act to appeal to these kids. And one thing Haley noted was that the teenagers’ favourite slang expression was “crazy”, and so he wrote… [excerpt: Crazy Man Crazy, Bill Haley and the Comets] That went to number fifteen on the pop charts, a truly massive success for a country and western band. Marshall Lytle, the Comets’ bass player, later claimed that he had co-written the song and not got the credit, but the other Comets disputed his claims. This is another of those records that is cited as the first rock and roll record, or the first rock and roll hit, and certainly it’s the first example of a white band playing this kind of music to make the charts. And, more fairly to Haley, it’s the first example of a band using guitars as their primary instruments to get onto the charts playing something that resembles jump band music. “Crazy Man Crazy” is very clearly patterned after Louis Jordan, but those guitar fills would be played by a horn section on Jordan’s records. With Danny Cedrone’s solos, Bill Haley and the Comets were responsible for making the guitar the standard lead instrument for rock and roll, although it took a while for that to *become* the standard and we will see plenty of piano and saxophone, including on later records by Haley himself. So why was Haley doing something so different from what everyone else did? In part, I think that can be linked to the reason he didn’t stay successful very long – he wasn’t part of a scene at all. When we look at almost all the other musicians we’re talking about in this series, you’ll see that they’re all connected to other musicians. The myth of the lone genius is just that – a myth. What actually tends to happen is that the “lone genius” is someone who uses the abilities of others and then pretends it was all himself – and it almost always is a him. There’s a whole peer group there, who get conveniently erased. But the fact remains that Haley and the Comets, as a group, didn’t have any kind of peer group or community. They weren’t part of a scene, and really had no peers doing what they were doing. There was no-one to tell them what to do, or what not to do. So Bill Haley and the Comets had started something unique. But it was that very uniqueness that was to cause them problems, as we’ll see when we return to them in a few weeks…

tv american history chicago english internet rock holiday dj philadelphia radio world war ii court union cleveland columbia hole grande elvis rock and roll mafia cowboy djs rocket joint northern musicians djing boogie williamson essex reeves excerpt mixcloud fuchs shorty rock music rca comets hank williams sam phillips newark new jersey bill haley dave miller western swing louis jordan bob wills bailiff crazy man jimmie rodgers ruth brown jim reeves big joe turner alan freed ernest tubb 45rpm four aces johnny otis wabash cannonball mulberry bush new orleans r jackie brenston 33rpm martin block dewey phillips make believe ballroom john swenson

From the Archives: Michael Alley on Best Practices for Presenting Research - Bonus Clip # 2: The Four Aces for Projecting Confidence

Research in Action | A podcast for faculty & higher education professionals on research design, methods, productivity & more

Play Episode Listen Later Dec 3, 2018 6:39

Bonus Clip #2 [00:00-06:39]: The Four Aces for Projecting Confidence To share feedback about this podcast episode, ask questions that could be featured in a future episode, or to share research-related resources, contact the “Research in Action” podcast: Twitter: @RIA_podcast or #RIA_podcast Email: riapodcast@oregonstate.edu Voicemail: 541-737-1111 If you listen to the podcast via iTunes, please consider leaving us a review. The views expressed by guests on the Research in Action podcast do not necessarily represent the views of Ecampus or Oregon State University.

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From the Archives: Michael Alley on Best Practices for Presenting Research

Research in Action | A podcast for faculty & higher education professionals on research design, methods, productivity & more

Play Episode Listen Later Dec 3, 2018 31:26

On this episode, Katie is joined by Michael Alley. Holding a master of science in electrical engineering and a master of fine arts in writing, Michael Alley is an associate professor of engineering communication at Penn State. He is the author of The Craft of Scientific Presentations (Springer, 2013), which has been translated into Japanese and Chinese. Over the past decade, he has taught presentations to scientists and engineers on four continents, in sixteen countries, and at more than 150 institutions. He has presented at Google, MIT, Harvard Medical School, Texas Instruments, Simula Research Laboratory (Norway), Shanghai Jiao Tong University, and the European Space Organization in the high desert of Chile. Alley’s websites on presentations are top Google listings for the topics of "engineering presentations" and "scientific presentations." Segment 1: Best Practices for Scientific Presentations [00:00-09:35] In this first segment, Michael shares some of what he has learned about making effective research presentations. In this segment, the following resources are mentioned: Alley, M. (2013). The Craft of Scientific Presentations. New York: Springer. Michael Alley's website Segment 2: Investigations on Confidence in Speaking [09:36-16:25] In segment two, Michael discusses how researchers can be more confident as presenters. Segment 3: Rethinking the Way We Use PowerPoint [16:26-30:55] In segment three, Michael shares some of his thoughts on PowerPoint and best practices for using the tool. In this segment, the following resources are mentioned: Microsoft PowerPoint Reynolds, G. (2012). Presentation Zen. Berkely, CA: New Riders. Duarte, N. (2008). Slide:ology. Sebastopol, CA: O'Riley Media, Inc. Slides Carnival Canva assertion-evidence.com Bonus Clip #1 [00:00-02:48]: Tips for Presenting to Non-scientists Bonus Clip #2 [00:00-06:39]: The Four Aces for Projecting Confidence To share feedback about this podcast episode, ask questions that could be featured in a future episode, or to share research-related resources, contact the “Research in Action” podcast: Twitter: @RIA_podcast or #RIA_podcast Email: riapodcast@oregonstate.edu Voicemail: 541-737-1111 If you listen to the podcast via iTunes, please consider leaving us a review. The views expressed by guests on the Research in Action podcast do not necessarily represent the views of Ecampus or Oregon State University.

Ep021 | "Four Aces for Death"

The Adventures of Wild Bill Hickok | Old Time Radio

Play Episode Listen Later Nov 17, 2018 25:47

If you like this episode, check out https://otrpodcasts.com for even more classic radio shows! Learn more about your ad choices. Visit megaphone.fm/adchoices

death four aces

Lög úr kvikmyndum

Flugur

Play Episode Listen Later Oct 15, 2018 46:33

Leikin eru lög úr nokkrum kvikmyndum frá fyrri tíð. Flytjendur eru Frank Sinatra, Four Freshmen, Alice Faye, Bob Hope & Clark Sisters, Doris Day, Nat King Cole, Andy Williams, Audrey Hepburn og Four Aces. Umsjón: Jónatan Garðarsson.

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Show 36, “Top Hits of 1951,” includes every No. 1 Billboard best-selling record from that year plus a bit of interesting information about that year. Performers include Tommy Edwards, The Four Aces, Tony Bennett, Rosemary... Read More The post Episode 36, “Top Hits of 1951” appeared first on Sam Waldron.

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EL GUATEQUE T07 (09/09/2018)

EL GUATEQUE

Play Episode Listen Later Sep 8, 2018 52:58

France Gall, José Guardiola, The Four Aces, Los Ángeles, Bruno Lomas. Antonio Prieto, Los Puntos, Fórmula V, Andrés Do Barro, Luis Aguilé, Los Brincos, Pepa Flores, The Beach Boys, Hervé Vilard, Christophe

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TMBDOS! Episode 119: "The Fast and the Furious" (1955), "Five Guns West" (1955) & "Written on the Wind" (1956).

They Must Be Destroyed On Sight!

Play Episode Listen Later Apr 16, 2018 98:25

Lee and Daniel are back for a special episode of TMBDOS!. This time out they take a look at three films of the recently departed actress Mary Dorothy Maloney (January 29, 1924 – January 19, 2018), known best as Dorothy Malone. This is not a detailed look at her entire lengthy career, but more of a fan discovery for the hosts, as they watch two films she did when no longer under contract by the big studios. Those being the Roger Corman-produced "The Fast and Furious" (1955), and the first film Corman directed, "Five Guns West" (1955). After that they look at the film that won her an Oscar for best supporting actress in 1956's "Written on the Wind". Also, Daniel and Lee play at remaking "Written on the Wind" and cover a large amount of listener comments. "The Fast and the Furious" IMDB "Five Guns West" IMDB "Written on the Wind" IMDB Featured Music: "It's Written on the Wind" by The Four Aces.

west guns wind fast and furious roger corman corman four aces dorothy malone

Wild Bil Hickok - Four Aces for Death

Western Wednesday

Play Episode Listen Later Mar 14, 2018 24:42

Wild Bil Hickok - Four Aces for Death http://oldtimeradiodvd.com

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Wild Bil Hickok - Four Aces for Death

Western Wednesday

Play Episode Listen Later Mar 14, 2018 24:42

Wild Bil Hickok - Four Aces for Death http://oldtimeradiodvd.com

death wild hickok four aces

Wild Bil Hickok - Four Aces for Death

Western Wednesday Classic Westerns

Play Episode Listen Later Mar 14, 2018 24:42

Wild Bil Hickok - Four Aces for Death http://oldtimeradiodvd.com

death wild hickok four aces

Rare & Scratchy Rock 'N Roll_047

Rare & Scratchy Rock 'N Roll Podcast

Play Episode Listen Later Oct 1, 2017 63:54

RARE & SCRATCHY ROCK 'N ROLL_047 – COUNTING DOWN THE TOP 40 ITALIAN-AMERICAN ROCK AND POP GROUPS OF ALL TIME – The impact of Italian-American singers and musicians on rock and pop music is incredible and immeasurable. Hundreds of acts. Thousands of songs. And an endless universe of solo stars that’s too vast to explore in just one show. So, for this episode, we’ve narrowed it down to only groups primarily composed of or fronted by Italian-Americans rather than showcasing individual singers. We’ll feature the 40 greatest Italian-American acts in rock and pop history – from the 1950s all the way to the present day. We’ll hear from the Four Seasons, the Duprees, Dion & The Belmonts, the Angels, Santo & Johnny, Joey Dee & the Starliters, the Outsiders, the Four Aces, Aerosmith, Bon Jovi, and Chicago among many others. Our resident rockologist, Ken Deutsch, joins us along with a special guest expert on Italian-American groups, Nay Nassar, to add some context to our countdown. Here it all here.

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Ep 47: Michael Alley on Best Practices for Presenting Research

Research in Action | A podcast for faculty & higher education professionals on research design, methods, productivity & more

Play Episode Listen Later Feb 20, 2017 30:56

On this episode, I am joined by Michael Alley. Holding a master of science in electrical engineering and a master of fine arts in writing, Michael Alley is an associate professor of engineering communication at Penn State. He is the author of The Craft of Scientific Presentations (Springer, 2013), which has been translated into Japanese and Chinese. Over the past decade, he has taught presentations to scientists and engineers on four continents, in sixteen countries, and at more than 150 institutions. He has presented at Google, MIT, Harvard Medical School, Texas Instruments, Simula Research Laboratory (Norway), Shanghai Jiao Tong University, and the European Space Organization in the high desert of Chile. Alley’s websites on presentations are top Google listings for the topics of "engineering presentations" and "scientific presentations". Transcript (.docx) Show Notes Would you like to incorporate this episode of "Research in Action" into your course? Download the Episode 47 Instructor Guide (.docx) or visit our Podcast Instructor Guides page to find additional information and past episode guides. Segment 1: Best Practices for Scientific Presentations [00:00-09:35] In this first segment, Michael shares some of what he has learned about making effective research presentations. Segment 2: Investigations on Confidence in Speaking [09:36-16:25] In segment two, Michael discusses how researchers can be more confident as presenters. Segment 3: Rethinking the Way We Use PowerPoint [16:26-30:55] In segment three, Michael shares some of his thoughts on PowerPoint and best practices for using the tool. Bonus Clip #1 [00:00-02:48]: Tips for Presenting to Non-scientists Bonus Clip #2 [00:00-06:39]: The Four Aces for Projecting Confidence To share feedback about this podcast episode, ask questions that could be featured in a future episode, or to share research-related resources, contact the “Research in Action” podcast: Twitter: @RIA_podcast or #RIA_podcast Email: riapodcast@oregonstate.edu Voicemail: 541-737-1111 If you listen to the podcast via iTunes, please consider leaving us a review.

Ep 47: Michael Alley - Bonus Clip # 2 - The Four Aces for Projecting Confidence

Research in Action | A podcast for faculty & higher education professionals on research design, methods, productivity & more

Play Episode Listen Later Feb 20, 2017 6:39

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Kay Starr at the Hyatt Regency, Vancouver 1982

Red Robinson's Legends

Play Episode Listen Later Nov 17, 2016 4:26

Kay Starr was 94 when she passed last week. She began her singing career in the Big Band era and went solo when she joined Capitol Records. She was a terrific singer and had some major hits: "Wheel Of Fortune" and "Rock And Roll Waltz". I met Kay when she came to Vancouver in late 1982. I introduced her when she performed with Frankie Laine and The Four Aces for a fundraiser at the Hyatt Regency Hotel. Kay Starr was one of my favorite singers. I will miss her distinctive voice.

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January Jones- Two Six Shooters Beat Four Aces-Barbara Marriott

Play Episode Listen Later Nov 8, 2016 32:00

Meet Barbara Marriott, author of "Two Six Shooters Beat Four Aces." Barbara's insatiable curiosity has sent her tumbling into some unique adventures. Her move to the west turned into several non-fiction history books including Annie's Guests, and Outlaw Tales of New Mexico which was awarded first place in the non-fiction book category by the Arizona Press Women, and a finalist by the National Association of Press Woman. www.barbaramarriott.com Her recent non-fiction books include the award winning In Our Own Words, the Federal Writers' project interviews with Arizona pioneer women, Images of America: Oro Valley, and Myths and Mysteries of New Mexico. Contact Creede, her latest book, is an historical fiction about a woman's wild romp through the mining camps of Colorado in 1893as she searches for a father who left her twenty years ago.

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January Jones- Two Six Shooters Beat Four Aces-Barbara Marriott

Play Episode Listen Later Sep 5, 2016 53:00

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January Jones- Two Six Shooters Beat Four Aces-Barbara Marriott

Play Episode Listen Later Jun 15, 2016 52:00

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January Jones- Two Six Shooters Beat Four Aces-Barbara Marriott

Play Episode Listen Later Aug 22, 2015 76:00

Meet Barbara Marriott, author of "Two Six Shooters Beat Four Aces." Barbara's insatiable curiosity has sent her tumbling into some unique adventures. Her move to the west turned into several non-fiction history books including Annie's Guests, and Outlaw Tales of New Mexico which was awarded first place in the non-fiction book category by the Arizona Press Women, and a finalist by the National Association of Press Woman. www.barbaramarriott.com Her recent non-fiction books include the award winning In Our Own Words, the Federal Writers' project interviews with Arizona pioneer women, Images of America: Oro Valley, and Myths and Mysteries of New Mexico.Contact Creede, her latest book, is an historical fiction about a woman's wild romp through the mining camps of Colorado in 1893as she searches for a father who left her twenty years ago.

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Jon Gay Interview

Play Episode Listen Later May 17, 2014 68:00

Interview with West Michigan player, Jon Gay. Jon has been doing well in the Firekeepers tournaments and shares his story of coming up in online poker before playing live tournaments and cash games. Also, Frank and Gambit talk about PLO8 at Four Aces and the MSPT at Firekeepers. Music by MC5.

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Guy Hickey of Four Aces

Play Episode Listen Later Mar 16, 2014 71:54

Four Aces owner, Guy Hickey is featured in this episode talking about the new Four Aces Club location and the charity rules changes. Frank and Gambit play the $100 tournament at Four Aces that day and breakdown a hand from that tournament. Music by Alfred English.

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Coach McGuirk Interview

Play Episode Listen Later Feb 26, 2014 70:27

This episode has an interview with Motor City Casino poker player, Coach McGuirk. Frank and Gambit also discuss Four Aces Club, Charity Poker Rule Changes, Tournament Soft Play and Full Tilt payouts. Music by DJ Carpool.

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Heartland Poker Tour at Soaring Eagle

Play Episode Listen Later May 23, 2013 54:37

Frank and Gambit go on location to Soaring Eagle Casino in Mt. Pleasant for the Heartland Poker Tour. Listen to an interview with Fred Bevill, host of the HPT, player interviews, and two big hands from cash game action! Music by 60 Second Crush.

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Pay4MySchool Goes to Vegas

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Play Episode Listen Later May 2, 2013 66:47

Pay4MySchool tells us about his first trip to Vegas and about some hands he played at the MGM Grand. Frank and Gambit also break down hands from Four Aces and Firekeepers Casino. Music by Dirty Americans.

icufish and 1game strategy Episode

Play Episode Listen Later Mar 24, 2013 72:42

Jason 'icufish' and Derek '1game' breakdown some of Gambit's play in an entertaining strategy segment. We also feature stories from casinos abroad with John 'rumrunner'. Music by Sufjan Stevens.

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Episode 30 - Four Aces

Funny, Cuz It's True

Play Episode Listen Later Jan 1, 2013 57:37

In observance of the one-year anniversary of the podcast, this episode features Kevin McGeehan’s one-man show FOUR ACES, told in its entirety. In October of 2009, U.S. Customs and Border Protection detained Kevin when a dog smelled an illegal substance on his body. He was taken to a back room and thoroughly and embarrassedly searched. One Customs Agent, a man who threatened incarceration found Kevin’s journal buried deep in his backpack. The Agent began reading it and soon discovered a startling connection between the two of them. The Customs agent completely changed his tune and made it his goal to get Kevin released without charges. FOUR ACES is the story of what he read in that journal.

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Four Aces Action and What Did You Have? Episode

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Play Episode Listen Later Apr 2, 2012 41:38

This is the episode for March 29, 2012, includes a trip reports from Four Aces, a discussion about what to say when someone asks, what did you have? Also, can you play poker for a living in Michigan and the Monster Hand of the Week.

JDoe and Motor City Action Episode

Play Episode Listen Later Jan 4, 2012 62:38

This is the episode for January 5, 2012, featuring local player, JDoe. We also have stories from home game action, Motor City Casino and Four Aces. Also, Frank and Gambit first ever sports picks!

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Village Idiot1 and Four Aces Action Episode