American actor and singer
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8 episodes with Frankie Avalon
3 episodes with Frankie Avalon
6 episodes with Frankie Avalon
4 episodes with Frankie Avalon
3 episodes with Frankie Avalon
2 episodes with Frankie Avalon
2 episodes with Frankie Avalon
2 episodes with Frankie Avalon
5 episodes with Frankie Avalon
On the newest recap episode, Len discusses his plans to marry Pete Crow-Armstrong. We also talk the Cleveland Guardians' relative struggles and the White Sox's relative improvement. The NBA Conference Finals are set and they make their predictions on who will win. Len discusses the Chicago Sky's bad start out of the gate, while Beave obsesses over the Golden State Valkyries. Plus "I Recommend", where Len talks about the Sheepdogs and Beave questions why Elvis Costello seems to have a problem with the Doobie Brothers. Beave disses Frankie Avalon and celebrates Avant. And Len talks New Yorker as well. Tune in!
Steve & Izzy continue 2025 the Year of the Apocalypse celebrating movies after the fall of man, as they are joined by Mario of the Superiority Complex Podcast to discuss 1962's "Panic in Year Zero!" starring Ray Milland, Frankie Avalon, Jean Hagen & more!!! Seen any good Westerns lately? Need any tips for living with Dementia? How about surviving the Apocalypse? Do you know how to make a proper stop sign?!? Let's find out!!! So kick back, grab a few brews, come on... ... come on, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
Ski Party (1965) AIP Production #6508 / 6548 Jeff and Cheryl risk multiple broken bones while watching Ski Party. Produced by Gene Corman Written by Robert Kaufman Directed by Alan Rafkin Starring: Frankie Avalon as Todd Armstrong Dwayne Hickman as Craig Gamble Deborah Walley as Linda Hughes Yvonne Craig as Barbara Norris Robert Q. Lewis as Mr. Pevney Bobbi Shaw as Nita Elksberg Aron Kincaid as Freddie Carter The Hondells as themselves James Brown & The Famous Flames as themselves Lesley Gore as herself An American International Pictures release You can stream Ski Party on Prime Video or rent on Apple TV+ or Fandango at Home View the Ski Party trailer here. Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast Get your American International Podcast merchandise at our store.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)
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Join us as we breakdown a classic episode of this iconic sitcom. There's lots of Lucy, lots of Donny Osmond, lots of peanut butter sandwiches, and too much Frankie Avalon! Unfortunately, not enough Jan Brady. But there is...Seinfeld! Come join the fun!
This episode of The Other Side of the Bell, featuring trumpeter, Scott Belck, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Scott: Dr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet. He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra. His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet. He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions. He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur. He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters. Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.
Salli Sachse is more than just a beautiful girl in a bikini on the beach in more than a dozen Beach Party films. As a model, a counselor with a Masters Degree and as an artist and photographer, she's done it all. Join me now for a sit down interview with Salli from being plucked off the beach in La Jolla, California to be a mainstay of the teen hit films, to her award winning artwork. You can see her past and her present at www.sallisachse.com. Let's go for a ride inside Beach Blanket Bingo and many more, including her time with rock stars David Crosby and his group Crosby, Stills and Nash, along with Joni Mitchell.
National cheesburger day. Entertainment form 1974.1st chiropractor, 1st cup of noddles, 1st credit card. Todays birthdays - Greta Garbo, Jack Warden, Robert Blake, Fred Willard, Franie Avalon, James Gandolfini, Holly Robinson Peete, Ricky Bell, Jada Pinkett Smith, James Marsden, Jason Sudeikis. Jimi Hendrix died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Cheeseburger in paradis - Jimmy BuffetI shot the sherriff - Eric ClaptonI wouldn't want to live if you didn't love me - Don WilliamsBirthdays - In da club - 50 Cent http://50cent.com/Venus - Frankie AvalonPoison - Bell Biv DevoeBleed all over me - Wicked WisdomPurple haze - Jimi HendrixExit - It's not love - Dokken http://dokken.net/Follow Jeff Stampka on facebook and cooolmedia.com
GGACP keeps the summer vibe alive with this ENCORE of a 2014 interview with singer-actor and star of the "Beach Party" movie series, Frankie Avalon. In this episode, Frankie talks about breaking into show business as a child prodigy, receiving 12,000 pieces of fan mail per week and working alongside Hollywood greats Jack Benny, Jackie Gleason, Buster Keaton, Lucille Ball, and Groucho Marx. Also, Frankie looks back at his humble beginnings in South Philly, his years as a teen heartthrob and his decades-long friendship with onscreen love interest Annette Funicello. PLUS: Remembering "Skidoo"! “Dr. Goldfoot and the Bikini Machine”! Dueling Draculas! The Duke makes Laurence Harvey cry! And Cesar Romero and Arnold Stang hit a strip joint! Learn more about your ad choices. Visit megaphone.fm/adchoices
Hosts Sonia Mansfield and Margo D. drink two Stunned Mullets and dork out about 1987's BACK TO THE BEACH, starring Frankie Avalon, Annette Funicello, Lori Loughlin, Demian Slade, and Connie Stevens. Also discussed, HIT MAN, PERFECT MATCH, and THE FIRST OMENDork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify Tune In Stitcherhttp://dorkingoutshow.com/https://bsky.app/profile/dorkingout.bsky.social https://www.threads.net/@dorkingoutshow https://www.instagram.com/dorkingoutshow/ https://www.facebook.com/dorkingoutshowhttps://twitter.com/dorkingoutshow
Muscle Beach Party (1964) AIP Production #6401/6422 Jeff and Cheryl try to ignore the obnoxious body-builders camped out next door in Muscle Beach Party. Directed by William Asher Screenplay by Robert Dillon Story by Robert Dillon and William Asher Produced by Robert Dillon and James H. Nicholson Starring: Frankie Avalon as Frankie Annette Funicello as Dee Dee Luciana Paluzzi as Contessa Juliana ("Julie") Giotto-Borgini John Ashley as Johnny Don Rickles as Jack Fanny Peter Turgeon as Theodore Jody McCrea as Deadhead Dick Dale as Himself Candy Johnson as Candy Rock Stevens as Flex Martian Valora Noland as Animal Delores Wells as Sniffles Donna Loren as Donna Morey Amsterdam as Cappy Little Stevie Wonder as Himself Buddy Hackett as S.Z. Matts (rich business manager) Dan Haggerty as Biff Larry Scott as Rock Gordon Case as Tug Gene Shuey as Riff Chester Yorton as Hulk Bob Seven as Sulk Steve Merjanian as Clod Alberta Nelson as Lisa, Jack Fanny's assistant Amadee Chabot as Flo, Jack Fanny's assistant Peter Lorre as Mr. Strangdour An Alta Vista Production for American International Pictures You can stream Muscle Beach Party on Pluto TV and The Roku Channel, or rent it on Vudu, AppleTV+, or Prime Video. Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast.View the Muscle Beach Party trailer at here. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955).
During the dessert course of their lunch together, Frankie and Paul reflect on life lessons from Frank Sinatra, Sammy Davis Jr. and Dean Martin. They pair look back on their experiences as some of the first Western pop musicians to perform behind the Iron Curtain in the early ‘60s, and Frankie explains why he almost passed on his iconic role in Grease. See omnystudio.com/listener for privacy information.
With Skip out of town on business, Paul has lunch chat with another dear friend: Frankie Avalon! Their pair reflect on 60 years of rock 'n' roll history, swapping stories from the road with Chuck Berry, Bobby Darin and James Brown, and what it was like coming up as teen idols in the 1950s. Frankie also recalls his nights hanging out at Elvis' house — and the time his future-wife turned down a date with the King of Rock! See omnystudio.com/listener for privacy information.
Francis Thomas Avallone, better known as Frankie Avalon is an American actor, singer, and former teen idol.
GREASE is the word (is the word that you heard) as NostalgiaCast returns to Rydell High for a boppier, bouncier-than-expected discussion of what is arguably the quintessential '70s musical, directed by Randal Kleiser and starring John Travolta and Olivia Newton-John. Jonny and Darin chat about the energetic performances, irresistible songs, and R-rated innuendos, lyrics, and visual gags that have been inadverdently enjoyed by families for almost half a century. With relish!
Operation Bikini (1963)AIP Production #6315 Jeff and Cheryl suit up for an underwater adventure in Operation Bikini.Directed by Anthony CarrasWritten by John TomerlinProduced by Lou Rusoff and James H. Nicholson with Samuel Z. Arkoff Starring:Tab Hunter as Lieutenant Morgan Hayes Frankie Avalon as Seaman Joseph Malzone Scott Brady as Captain Emmett Carey Jim Backus as First Mate Ed Fennelly Gary Crosby as Seaman Floyd Givens Michael Dante as Lieutenant William Fourtney Jody McCrea as Seaman William Sherman Eva Six as Reiko Aki Aleong as Seaman Ronald Davayo David Landfield as Lieutenant Cale Richard Bakalyan as Seaman Hiller Joe Finnegan as Seaman Morris Vernon Scott as Seaman Fowler Raymond Guth as Seaman Rich Tony Scott as Chief Petty Officer Perez Steve Mitchell as Seaman Nolan Mickey McDermott as Seaman Fairly Wayne Winton as Seaman Patterson Duane Ament as Seaman Kingsley Jody Daniels as Seaman Jones Marc Cavell as Paul Raynum K. Tsukamoto as Kawai Lan Nam Tuttle as Mika Alicia Li as Native Girl #3 Nancy Dusina as Roxanne, Dream Girl Back Home and Judy Lewis as Dream Siren Produced by Alta Vista Productions and American International Pictures. Stream Operation Bikini on YouTube.Follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)
On this episode of the podcast, Phillip is joined by Dave Lizerbram from Rock Docs Podcast and the Little Slugger Podcast. First though, Phillip promotes his friend Tim's new project, The Ones Across The Pond, and his older projects https://www.youtube.com/@indyfilmfanatics6248/videos So check those out. Dave then asks a question for the listeners; What is a good movie for his 6 almost 7 year old son to watch? He had his son watch Wizard of Oz and they tried to show him Jacques Tati's Playtime, but he didn't like the later. They talk a little about their New Beverly experiences. Phillip then reads a little of the surfer style production notes that he received from Erik Clapp. After playing a tv spot for Hardbodies from 1984, Phillip reads the general information about the movie. It's then time for Listener Opinions from Twitter, Instagram, and Facebook. Then the two of them discuss the movie and a little bit about the Frankie Avalon and Annette Funicello beach movies. It's a silly and fun conversation. They then answer the question of whether they notice anything that Quentin may have liked or used in a film. Then it's time to individually rate the movie. It's then time to talk about whether they would buy, rent, or find this movie for free. Phillip gives his Phil's Film Favorite of the Week which is Poor Things. Dave then gives his favorite that he watched this week; The Greatest Night in Pop (2024) (Netflix). He also mentions a great documentary called Who is Harry Nilsson (And Why Is Everybody Talkin' About Him?) (2010). Then it's time to tell the listeners what's coming next week. Rob Papp from The Cinemigos Podcast and the Circle of Jerks Podcast will be back to discuss The Wrecking Crew (1968). So come back then. Thanks for listening. --- Send in a voice message: https://podcasters.spotify.com/pod/show/makingtarantinothepodcast/message
Dr. Goldfoot and the Bikini Machine (1965) AIP Production #6578 Jeff and Cheryl fall through a trap door into a mad scientist's sexy lair in Dr. Goldfoot and the Bikini Machine.Directed by Norman TaurogScreenplay by Elwood Ullman and Robert KaufmanStory by James Hartford (James Nicholson)Produced by James H. Nicholson and Samuel Z. Arkoff Starring:Vincent Price as Dr. GoldfootFrankie Avalon as Craig GambleDwayne Hickman as Todd ArmstrongSusan Hart as DianeJack Mullaney as IgorFred Clark as D. J. PevneyAlberta Nelson as Reject No. 12Milton Frome as Motorcycle copHal Riddle as NewsvendorJoe Ploski as Cook Produced by American International Pictures. Find this movie available to rent on Apple TV+, Prime Video or Vudu.Follow the American International Podcast on Letterboxd and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast.View the Dr. Goldfoot and the Bikini Machine trailer here.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)
S2E8 - The Lost Barbie Episode w/ Muscle Beach Party (1964) & Back to the Beach (1987) In our #Noivember Rain episode, we promised that you'd have a Barbie under your tree for Christmas and here she is! Now that the SAG AFTRA strike is finally over, we can finally post THE LOST BARBIE EPISODE without getting Philena in trouble as Warner Bros' BARBIE was definitely a struck work back when. We did not trim this episode down so you can hear how much the OMFYS crew underestimated the power of pink in our mostly laughable predictions of BARBIE's box office. We also talk about Mattel's history of industrial espionage and the potential for a prestige BRATZ movie. For this episode's movies, we go back to the wildly successful beach party movies of the 60s that inspired Barbie's movie to Malibu with MUSCLE BEACH PARTY (1964). In this second beach movie from American International Pictures, Frankie Avalon and Anette Funicello find their precious strip of sand is overrun by oiled-up body builders who are harshing their vibes! Can they deal??? Bringing the jokes that mostly don't land are Don Rickles, Morey Amsterdam and Buddy Hackett with musical performances by Dick Dale (a regular in the beach party series) and STEVIE WONDER!!! After that Frankie and Annette go BACK TO THE BEACH in 1987, and those jokes do land this time around in this smart and loving satire of the kooky 60s source material. Like BARBIE, Back to the Beach is directed by a woman, Lyndall Hobbs, but it did not get enough love in the late 80s despite two thumbs way up from Siskel AND Ebert. Also starring Connie Stevens and future felon Lori Laughlin along with cameos by a cavalcade of 50s and 60s sitcom stars including Alan Hale Jr. & Bob Denver (The Skipper & Gilligan), Jerry Mathers (the Beaver), Tony Dow (Wally), Barbara Billingsley (Wally and the Beav's mom), and Don Adams (Get Smart) + a PEE WEE HERMAN (rip) showing up to rock SURFIN' BIRD! If all that wasn't enough, we've got DICK DALE and STEVIE RAY VAUGHAN rockin' WIPE OUT and Cory's pals FISHBONE performing Jamaica Ska and dancing through the sand with Annette. This is just a wonderful 80s relic by way of the 60s that everyone should check out. This was one of our most fun episodes, and we really wish we could've gotten it to you when it was still more timely, but we're all about timeless here at OMFYS. BARBIE is definitely that, so we hope the LOST BARBIE EPISODE is too. Wishing everyone a Happy Holidays, Hanukkah, Kwanzaa, Christmas with enough CBD in your seasonal strains to help you deal with your most difficult aunts and uncles at the family gatherings. And here's hoping for a stony AF New Year. Co-hosts: Philena Franklin, Cory Sklar, Greg Franklin and Bob Calhoun Theme song & Christmas Funk: Chaki the Funk Wizard Barbie commercial audio courtesy of Archive.org Check out our new website: www.oldmoviesforyoungstoners.com Thanks Rosie! Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com
The_Jack_Benny_Program_-_Frankie_Avalon_Show
Hey Full House Fans, Angela Bowen here, the host of Oh Mylanta Holy Chalupas: An Unofficial Full House Fuller House Podcast. Today, I covered the next episode in Joey's Comedy Career Series, Full House S4E23: Joey Goes Hollywood, which aired on March 29, 1991. In this episode when Joey leaves for Los Angeles to begin filming his new television series with a prolific actor, the rest of the Tanner family decides to join him. I thought this was a good episode. Joey and the family get to meet Frankie Avalon and Annette Funicello. Stephanie being teased about her name at school decides to change it to Dawn Ariel Tanner. Someone loves The Little Mermaid (1989) After hearing Michelle call Annette "Annette Funny-jello", I can't unhear it. Speaking of Michelle, she racks up DJ's phone bill by calling Tokyo (well hear about this city in Japan again in Season 6, Road To Tokyo) constantly since the person on the other end and her are on a first name basis. All she's doing is attempting and failing to count to 100. In Joey's "I'm Famous and a BIG Star fantasy" Kimmy is his biggest fan and she jumps on him and starts kissing his neck. I'm not okay with this scene even if it is for a funny bit in a TV Show. Join me next week when I conclude Joey's Comedy Career Journey with, Full House S5E6: The Legend of Ranger Joe, which aired on October 22, 1991. In this episode In this episode, Joey hits a string of great luck! He gets free cable, concert tickets and job interviews, he even gets a date with a hot girl, but then his luck runs short when his interview comes along. Michelle learns to tap and really annoys Stephanie, who taught her to tap. She annoys her so much that one day the shoes go missing...who do you think took them? Jesse debates what to name his twins, when they are born, and accidentally reveals to DJ that he has a secret about his past. We later find out that he got his name changed in kindergarten. Have a great week and I hope you enjoy the Podcast Episode!
Hey Full House Fans, Angela Bowen here, the host of Oh Mylanta Holy Chalupas: An Unofficial Full House Fuller House Podcast. Today, I covered the next episode in Joey's Comedy Career Journey Series, Full House S4E23: Joey Goes Hollywood, which aired on March 29, 1991. In this episode when Joey leaves for Los Angeles to begin filming his new television series with a prolific actor, the rest of the Tanner family decides to join him. I thought this was a good episode. Joey and the family get to meet Frankie Avalon and Annette Funicello. Stephanie being teased about her name at school decides to change it to Dawn Ariel Tanner. Someone loves The Little Mermaid (1989) After hearing Michelle call Annette "Annette Funny-jello", I can't unhear it. Speaking of Michelle, she racks up DJ's phone bill by calling Tokyo (well hear about this city in Japan again in Season 6, Road To Tokyo) constantly since the person on the other end and her are on a first name basis. All she's doing is attempting and failing to count to 100. In Joey's "I'm Famous and a BIG Star fantasy" Kimmy is his biggest fan and she jumps on him and starts kissing his neck. I'm not okay with this scene even if it is for a funny bit in a TV Show. Join me next week when I conclude Joey's Comedy Career Journey with, Full House S5E6: The Legend of Ranger Joe, which aired on October 22, 1991. In this episode In this episode, Joey hits a string of great luck! He gets free cable, concert tickets and job interviews, he even gets a date with a hot girl, but then his luck runs short when his interview comes along. Michelle learns to tap and really annoys Stephanie, who taught her to tap. She annoys her so much that one day the shoes go missing...who do you think took them? Jesse debates what to name his twins, when they are born, and accidentally reveals to DJ that he has a secret about his past. We later find out that he got his name changed in kindergarten. Have a great week and I hope you enjoy the Podcast Episode!
Hey Full House Fans, Angela Bowen here, the host of Oh Mylanta Holy Chalupas: An Unofficial Full House Fuller House Podcast. Today, I covered the next episode in Joey's Comedy Career Series, Full House S4E23: Joey Goes Hollywood, which aired on March 29, 1991. In this episode when Joey leaves for Los Angeles to begin filming his new television series with a prolific actor, the rest of the Tanner family decides to join him. I thought this was a good episode. Joey and the family get to meet Frankie Avalon and Annette Funicello. Stephanie being teased about her name at school decides to change it to Dawn Ariel Tanner. Someone loves The Little Mermaid (1989) After hearing Michelle call Annette "Annette Funny-jello", I can't unhear it. Speaking of Michelle, she racks up DJ's phone bill by calling Tokyo (well hear about this city in Japan again in Season 6, Road To Tokyo) constantly since the person on the other end and her are on a first name basis. All she's doing is attempting and failing to count to 100. In Joey's "I'm Famous and a BIG Star fantasy" Kimmy is his biggest fan and she jumps on him and starts kissing his neck. I'm not okay with this scene even if it is for a funny bit in a TV Show. Join me next week when I conclude Joey's Comedy Career Journey with, Full House S5E6: The Legend of Ranger Joe, which aired on October 22, 1991. In this episode In this episode, Joey hits a string of great luck! He gets free cable, concert tickets and job interviews, he even gets a date with a hot girl, but then his luck runs short when his interview comes along. Michelle learns to tap and really annoys Stephanie, who taught her to tap. She annoys her so much that one day the shoes go missing...who do you think took them? Jesse debates what to name his twins, when they are born, and accidentally reveals to DJ that he has a secret about his past. We later find out that he got his name changed in kindergarten. Have a great week and I hope you enjoy the Podcast Episode!
This week on the podcast, Phillip is joined by his friend Jason Bromley. The two of them discuss the Frankie Avalon movie' The Haunted House of Horror from 1969 (The movie is available on YouTube for free.). It doesn't really live up to it's title, but it was still an interesting film. Phillip reads the general information about the movie with a little facts sprinkled in. Then it's time for Listener Opinions from Twitter, Instagram, and Facebook. Phillip and Jason then discuss the good and the bad of the movie, and who they thought the killer was. They then have a fun discussion about what a sequel would maybe look like. Phillip reads some contemporary reviews of the time, and then they individually rate the movie. They talk about whether they would buy, rent, or find this movie for free. Phillip then gives his Phil's Film Favorite of the Week; The Covenant (2023). It's then time for the randomizer to pick next week's film. The movie that is picked for October 6th is City of the Living Dead AKA The Gates of Hell (1980) (The movie can be found on YouTube, Vudu, Tubi, or Pluto with ads.). Thanks for listening. Be on the look out for Jason's new podcast, Horror Pop Extravaganza coming on October 13th. --- Send in a voice message: https://podcasters.spotify.com/pod/show/makingtarantinothepodcast/message
DJ & Toppie discuss the trivia behind the 1987 Comedy, Musical "Back to The Beach" starring Frankie Avalon & Annette Funicello with a special appearance by Paul Reubens as Pee-Wee Herman. Join us again Live on YouTube as we continue Season Six on Fri 10/06 at 9pm EDT Write to DJ & Toppie at matineeminutiae@gmail.com Leave a comment on our page at matineeminutiae.com Follow the show on Twitter. View our our videos on YouTube. Friend DJ on Facebook This podcast is powered by Pinecast.
Sergeant Deadhead (1965)AIP Production #6510/6553 Jeff and Cheryl perform an interstellar experiment to determine if two Frankie Avalons are better than one in Sergeant Deadhead.Directed by Norman TaurogWritten by Louis M. HeywardProduced by James H. Nicholson and Samuel Z. Arkoff Starring Frankie Avalon as Sergeant O. K. Deadhead/Sergeant DonovanDeborah Walley as Airman Lucy TurnerCesar Romero as Admiral StonehamFred Clark as Gen. Rufus FoggGale Gordon as Captain WeiskopfHarvey Lembeck as Private McEvoyJohn Ashley as Private FilroyBuster Keaton as Private BlinkenReginald Gardiner as Lieutenant Commander TalbottEve Arden as Lieutenant KinseyPat Buttram as The PresidentDonna Loren as Susan Produced by Alta Vista Productions and released under American International Pictures. Find this movie streaming on Amazon Prime, MGM+ or on Spectrum TV.Follow the American International Podcast on Letterboxd, Twitter and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)
PBS, ABCLarry Chance ( 1940-2023)A Year Ago, I Had the Pleasure of Speaking with Larry Chance about his Long Successful Career, He Transitioned a week ago. He was Touring & Recording New Music till The End. Here is a Tribute to one of the Best Vocalists in Doo Wop, Many Genre's of Music & Wonderful Gentleman!I LOVE Music History, I Get to go Back BEFORE my Time!Larry Chance was the driving force behind the group's formation and success. Chance grew up in Philadelphia and attended high school with Chubby Checker, Frankie Avalon, and Danny Rapp of Danny & the Juniors. But it was not until 1957 that he moved with his parents to the Bronx after high school, that his musical career took off.Chance formed a group at the Tecumsa Social Club, known as the Hi-Hatters. The group was Chance, Bob Del Din, Eddie Harder, Larry Palombo and John Wray. Later, in 1961, the Earls lost their original member Larry Palombo in an army skydiving accident. In 1961, Rome released the Earls' first record – "Life is But a Dream" (Rome 101 – 1961) The group then performed with Murray the K and on Dick Clark's American Bandstand show. In 1962, the group hooked up with Stan Vincent and recorded "Remember Then" for Old Town Records (Old Town 1130). It was a hit, peaking at #24 on the US Billboard Hot 100 chart in 1963. Chance co-wrote the group's next single The group scored another hit in 1963 on Old Town with "Eyes" (Old Town 1141). Later, a demo "I Believe" was released (Old Town 1149–1963) .I Believe" became a much bigger record from the 1970s onward as it received heavy airplay on NYC oldies radio.In 1989, they were on Broadway performing in the original production of A Bronx Tale, a one man play by Chazz Palminteri.A Bronx Tale. They received a BMI Award of Recognition of a Musical Work. LarryChanceandtheEarls.com© 2023 Building Abundant Success!! All Rights ReservedJoin Me ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
On this episode of Our American Stories, not many teen idols are able to carve a successful career for themselves as they mature, but Frankie Avalon is one of these exceptions. Avalon had 31 Billboard singles, including number one hits, "Venus" and "Why" in 1959. Avalon is also well-known for his role in the musical film Grease as Teen Angel, in which he sings "Beauty School Dropout." He appeared on American Idol to sing for Simon Cowell on his birthday. Here's Frankie Avalon to tell his story! Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.
# frankie avalon venus # one of the greatest songs ever # cool vocalist # respect --- Support this podcast: https://podcasters.spotify.com/pod/show/mr-maxxx/support
This week The Joy of Cruising Podcast is delighted to welcome MC Extraordinaire Jason Venner. In a section called "Specialty Cruising: Fun and Quirky," I wrote about Jason in Cruising Interrupted—Cruise Entertainment Producer, Director, Creator, MC Extraordinaire! Jason Venner has spent essentially his entire adult life in the cruise world, mostly in a variety of cruise music and entertainment capacities. In other words, bringing the fun! Jason got his start in cruising in 2002 as a DJ with Holland America Line (HAL), a high-end cruise line owned by Carnival Corporation. At HAL, Jason progressed through the ranks from a DJ to over 10 years as a Cruise Director, to Corporate Trainer, to three years as Producer and Host of the joint ABC/BBC HAL production, Dancing with the Stars: At Sea. Since 2015, Jason has been self-employed as a Producer, Director, and Host of full-ship music charter cruises, primarily in partnership with StarVista LIVE, a leading theme cruise operator. For StarVista LIVE, Jason hosts the following annual cruises, each of which features scores of legendary performers as well as comedians, activities, and ship décor in keeping with the musical genre: Malt Shop Memories Cruise; Soul Train Cruise; The Country Music Cruise; Flower Power Cruise; Ultimate Disco Cruise, and more. The hundreds of entertainers Jason has introduced, interviewed, escorted, and accompanied include Smokey Robinson, Frankie Avalon, Kenny Rogers, Charley Pride, Chubby Checker, Lynyrd Skynyrd, The Beach Boys, Earth, Wind & Fire, and The Temptations. “It's crazy to be on a first-name basis with the legends of the music industry.”Support the show
GGACP ushers in the official start of the summer season with this mini-episode celebration of AIP's "Beach Party" movies of the 1960s -- and the legendary and soon-to-be-legendary performers (Boris Karloff, Buster Keaton, Paul Lynde, Don Rickles) who appeared in them (not to mention series star and "Amazing Colossal Podcast" guest Frankie Avalon). Also in this episode: Little Stevie Wonder! Remembering Harvey Lembeck! The expertise of Eddie Deezen! “The Ghost in the Invisible Bikini”! And Annette Funicello exposes her navel! Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. This week we're celebrating the end of the school year across the country, so all of the songs will be about school. On today's episode, Keith Langston is watching “Beauty School Dropout” by Frankie Avalon from 1978. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=FrqioiAcyiY
The Million Eyes of Sumuru (1967) AIP Production #6672/6701 Jeff and Cheryl cheer on Sumuru and her squad as they attempt to rid the world of the insufferable Frankie Avalon and George Nader. Directed by Lindsay Shonteff creenplay by Kevin Kavanagh from a story by Peter Welbeck, based on the story Sumuru by Sax Rohmer Produced by Harry Alan Towers Starring Frankie Avalon as Tommy Carter George Nader as Agent Nick West Shirley Eaton as Sumuru Wilfrid Hyde-White as Colonel Sir Anthony Baisbrook Klaus Kinski as President Boong Patti Chandler as Louise Salli Sachse as Mikki Ursula Rank as Erna Krista Nell as Zoe Maria Rohm as Helga Martin Paul Chang Chungas as Inspector Koo Essie Huang as Kitty Jon Fong as Colonel Medika Released under American International Pictures. Stream this movie on Tubi or rent on Amazon Prime or Apple TV+. Follow the American International Podcast on Letterboxd, Twitter and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast. View the Million Eyes of Sumuru trailer here. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)
On this episode of Made in Hollywood Mark and William discuss and breakdown a top 20 Hollywood movie star list! You may also hear irrelevant things in this episode about Adam Sandler, Tom Hanks, Kevin Hart, Melissa McCarthy, Dwayne Johnson, Morgan Freeman, Julia Roberts, Brad Pitt, Tom Cruise, Arnold Schwarzenegger, George Clooney, Denzel Washington, Will Smith, Leonardo DiCaprio, Johnny Depp, Kevin Hart, Keanu Reeves, Sandra Bullock, Ryan Reynolds, Paul Rudd, Harrison Ford, Robert Downey Jr., Angelina Jolie, Morgan Freeman, Chris Hemsworth, Timothee Chalamet, Michael B. Jordan, Zendaya, Jennifer Lawrence, Chris Pratt, Jurassic World, Guardians of the Galaxy, Parks and Recreation, Super Mario Bros., Everwood, Florence Pugh, Marvel, AMC Theaters, Grease, John Travolta, Olivia Newton-John, Randall Kleiser, Frankie Avalon, Into the Woods, John Farrar, Blue Lagoon, White Fang, Jury Duty, Joe Schmo, The Bachelor, Sonic, and James Marsden.
Amy covers the day the music died because she is a Don McLean superfan. Joe tells us all about the world record for longest flight set in 1959. Speaking of records, we have a radio record, breath-holding record, and a phone booth stuffing record! Also Flavor Flav and Sting were born! Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include: Race Relations in Virginia: No Desegregation of the Heart Yet, By Tom Sherwood and Mary Battiata, Aerolifeaviation.com ,The Mirror and Simpleflying.com Popculture.us, Wikipedia, New York Times, IMDB & Youtube. Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!
Join us as we speak with JASON JAMES - ROCK N ROLL !!! Performing Artist..... A powerful performer who brings his A game to the soundtrack and any performance he does. ROCK N ROLL !!! Performing Artist.... Born in Boston. Guitar Slingin' Piano Rockin' Rocker. Jason has worked 7 Years for Jerry Lee Lewis The Killer, has performed Nightly on world famous Beale Street Memphis, TN. Lower Broadway Nashville, TN. USO Tours.... 52 Shows at Graceland The Elvis Presley Estate in Memphis. Jason worked in Bo Diddley's Band as a Guitar Player. His Bands have included Little Richards Upsetters, Les Paul Jr, The Movers, Albert King Jr. Jason has appeared on The George Klein Show - Memphis Sounds, Opened for Jerry Lee Lewis, Southside Johnny & The Asbury Jukes, Roomfull Of Blues, J. Geils, Frankie Avalon and many others http://allmylinks.com/therocker https://www.youtube.com/@JASONJAMES74/featured --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemakingpod/support
Samantha and Kristen braved the wilds of the 2023 TCM Classic Film Festival again and are back with a king-sized slate of audio introductions and panels from your favorite stars. Whether you want to relive the festival or had to miss out, we hope you enjoy! Lineup: Opening Night with Steven Spielberg and Paul Thomas Anderson Mario Cantone and The Old Maid (1939) Cari Beachamp and No Man of Her Own (1932) Frankie Avalon before Beach Party (1963) Brian Henson and Muppets Take Manhattan (1984) Assisting the Classics Panel Butterfield 8 (1960) with Mario Cantone Leonard Maltin at Heaven Can Wait (1943) Ann-Margret at Bye Bye Birdie (1963) Rebecca De Mornay and Risky Business (1983) Casablanca (1942) with Eddie Muller and Ben Mankiewicz A Conversation With Russ Tamblyn
The legendary Harry Alan Towers: independent film producer, part-time pimp and full-time opportunist. Britain's answer to Roger Corman, Towers started off the 60s believing that your brain is the most powerful sexual organ. By the end of the Sixties, he accepted – like everybody else in the biz did – that, nope, your junk is. Turned on by the literary bone fides he'd get by adapting great books into great movies, Towers instead turned his attention instead to noted hate-crime enthusiast Sax Rohmer. His pet project focused on the most evil man who never lived: Dr. Fu Manchu.In this episode, Bart and Jenna sidestep Bootleg Bond by focusing on Fu Manchu films, a revival franchise that never would have existed if not for ‘60s Bond Mania. Jenna moans and bitches about how much she can't stand these admittedly dated and racist films even if she kinda secretly enjoys the pop-mod styled misandrist villains. And to his utter delight, Bart finally gets his vengeance for all of the Eurospy trash Jenna forced him to watch. You have not heard the last of…!The following films are discussed:• The Face of Fu Manchu (1965) Directed by Don Sharp Starring Christopher Lee, Nigel Green, Tsai Chin• The Brides of Fu Manchu (1966) Directed by Don Sharp Starring Christopher Lee, Douglas Wilmer, Tsai Chin• The Million Eyes of Sumuru (1967) Directed by Lindsay Shonteff Starring Shirley Eaton, Frankie Avalon, George Nader• The Vengeance of Fu Manchu (1967) Directed by Jeremy Summers Starring Christopher Lee, Douglas Wilmer, Tsai Chin• The Blood of Fu Manchu (1968) Directed by Jesús Franco Starring Christopher Lee, Richard Greene, Tsai Chin• The Girl from Rio (1969) Directed by Jesús Franco Starring Shirley Eaton, Richard Stapley, George Sanders• The Castle of Fu Manchu (1969) Directed by Jesús Franco Starring Christopher Lee, Richard Greene, Tsai Chin
Speaking at the TCM Classic Film Festival, the legendary star of late '50s/'60s rock 'n' roll and beach movies reflects on his path from trumpeter to teen idol, his experiences off screen and on with Annette Funicello and what his life is like today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Grease's franchise started out as a screenplay based on real life events. Now, there's a new prequel about this beloved musical. I tell the history of the music, movies, theme song, and new mini-series: Grease: Rise of the Pink Ladies. Theme Song: "Dance Track" by Jessica Ann CatenaGrease's Broadway Soundtrack (1972): https://open.spotify.com/album/5jxfJ5orMpRKB1EJ9UO8al?si=314f9132f7e044fdFamous cast members: https://en.wikipedia.org/wiki/Grease_(musical)#Notable_cast_membersGrease (1978) film: https://www.imdb.com/title/tt0077631/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_GreaseSoundtrack: https://open.spotify.com/album/5n47Dui0H3pGpZSOxITmoq?si=UndIw3GtRG2BrHqrbzdZOATitle sequence clip: https://www.youtube.com/watch?v=L1RVb9VNxYwEnd credits: https://www.youtube.com/watch?v=u240lCZCgL4Grease 2 (1982) film: https://www.imdb.com/title/tt0084021/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Grease%25202Soundtrack: https://open.spotify.com/album/5WVPtycFFSm3uGhufMKwGn?si=qNaUk37aQtCwV4e5v9AE6QGlee's episode: "Glease": https://www.imdb.com/title/tt2403617/Soundtrack: https://open.spotify.com/album/1mDqpftq052YKfV09jqhwk?si=_TSoWFMzSk2pSnaeeHIHvAGlease clips: https://www.youtube.com/results?search_query=GleaseGrease Live (2016): https://www.imdb.com/title/tt4366830/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Grease%2520LiveSoundtrack: https://open.spotify.com/album/6VeVzV7vR3UGZOJcnozYzR?si=j9sk0TSdQGaiHWTm4hOvjQGrease: Rise of the Pink Ladies: https://www.paramountplus.com/shows/grease-rise-of-the-pink-ladies/Soundtrack: https://open.spotify.com/artist/3bF30kGvclxPV6pFKdRdXQ?si=HhW_EiAZQoiqtRJeGp7O1ARelated Episodes:Ep. 32 - Graduation Songs Countdown: https://www.spreaker.com/episode/27547002Ep. 140 - Paul McCartney Top 10 Favs: https://www.spreaker.com/episode/50250199Ep. 148 - Olivia Newton-John Top 10: https://www.spreaker.com/episode/50907911Ep. 151 - End of Summer Playlist: https://www.spreaker.com/episode/51133534Ep. 181 - BET/VH1 HIstory & Mergers: https://www.spreaker.com/episode/53408793
Beach Party (1963) AIP Production #6320 Jeff and Cheryl study the mating patterns of surfer dudes and beach bunnies as depicted in Beach Party. Directed by William Asher Screenplay by Lou Rusoff, William Asher and Robert Dillon Produced by Lou Rusoff and James Nicholson Starring:Bob Cummings as Professor Sutwell Dorothy Malone as Marianne Frankie Avalon as Frankie Annette Funicello as Dolores Morey Amsterdam as Cappy Harvey Lembeck as Eric von Zipper Jody McCrea as Deadhead Dick Dale and the Deltones as themselves Vincent Price as Big DaddyReleased under American International Pictures. Stream this movie on Pluto TV or rent on Prime Video.View the Beach Party trailer here.Follow the American International Podcast on Letterboxd, Twitter and Instagram @aip_pod and on Facebook at facebook.com/American International Podcast.Our open and close is comprised of clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)
Hola mi gente! Welcome to Siempre Pa'lante! Always Forward. I'm your host, Giraldo Luis Alvaré. Gracias for listening. In this episode, our guest is a Badass Bori from the Boogie Down Bronx. A self-taught DJ who moves the crowd from el corazón. Her relentless pursuit of perfecting her craft is the reason why she's one of the best to do it. A champion of the people. Always moving forward. Pa'lante como un elefante. From park jams to arenas, she brings that sofrito to every mix leaving the people wanting more. please welcome, two-time DMC US Champion, the Queen of the 1's & 2's, DJ Perly. Gracias for listening. Don't forget to rate, review, follow, subscribe, like and share. Check out my Linktree for more info. Pa'lante! https://linktr.ee/sp.alwaysforward DJ Perly Artist DJ Perly site | Linktree | YouTube | Instagram | Twitter | Facebook | Soundcloud DJ Perly site - https://www.djperlymusic.com/ Linktree - https://linktr.ee/djperly YouTube - https://www.youtube.com/djperly IG - https://www.instagram.com/djperly/ Twitter - https://twitter.com/djperly FB - https://www.facebook.com/DJPerly/ Soundcloud - https://soundcloud.com/djperly Frosted Perlz Snow Vid - https://www.youtube.com/watch?v=2kwnH-b_vtg 2017 DMC USA Finals - https://youtu.be/mD6ws_c9nXo 2022 DMC USA Finals - https://youtu.be/-T5r7kfJo-o NOTABLE MENTIONS DJ Perly, Badass Bori, Puerto Rico, Technics, DMC USA National Championship, Spanish Harlem, Fania All-Stars, Johnny Pacheco, Ray Barretto, La Lupe, Héctor Lavoe, Willie Colón, Marc Anthony, Studio 54, Elvis, Motown, Diana Ross, The Beatles MTV, TRL, Hot 97, Hip-Hop, Salsa, Park Jams, Native New Yorker, Odyssey, Frankie Avalon, Can't Take My Eye's Off You, Deee-lite, Groove is in the Heart, Q-Tip, Bootsy Collins, De La Soul, Trugoy the Dove, 3 Feet High and Rising, Delorean, Wu-Tang, A Tribe Called Quest, J Dilla, Lady Gaga, Madison Square Garden, MSG, EDM, Mark Ronson, A-Trak, Aaron LaCrate, Milkcrate Athletics, Kobe Bryant --- Support this podcast: https://anchor.fm/spalwaysforward/support
Learn more about your ad choices. Visit megaphone.fm/adchoices
The Brian D. O'Leary Show February 3, 2023 Today's show brought to you by O'Leary Beef and Southside Market & Barbecue. Set up your “Big Game” party with pit-roasted meats from Texas delivered to your front door. Fountain.FM Listen and support us at the same time over at Fountain.FM A tragic day, but “the Music” continued The legendary rock ‘n' roller Buddy Holly headlined a package show in early 1959, known as the Winter Dance Party. The itinerary was bananas. It covered twenty-four Midwestern cities in twenty-four days—there were no off days. The tour schedule crisscrossed the upper Midwest with no apparent logic. Overnight jaunts of several hundred miles—all in sub-freezing temperatures—were commonplace. Holly historian Bill Griggs had this to say about General Artists Corporation (GAC)—the operation which booked the tour: "They didn't care. It was like they threw darts at a map… The tour from hell—that's what they named it—and it's not a bad name." On February 2nd, the show in Clear Lake, Iowa ended, and the tour headed about 400 miles northwest from Clear Lake to Morehead, Minnesota. Holly famously chartered a plane for his band prior to the show. Buddy was concerned with getting some rest and making a head start to take care of some much-needed laundry for him and his tour mates. Ultimately, only the headliners of the show took the charter. Waylon Jennings, then playing bass guitar in Holly's band, said he felt more comfortable riding on the tour bus and voluntarily gave up his seat to J.P. Richardson, the Beaumont, Texas disc jockey and tour co-headliner, known as The Big Bopper. Richardson felt ill and needed rest. The Winter Dance Party consisted of several contemporary and would-be stars. Yet the party ended on February 3, 1959, for the 22-year-old Holly and 28-year-old Big Bopper when the plane went down in a blizzard shortly after takeoff, five miles northwest of Mason City, Iowa. Also perishing in the infamous crash was 17-year-old Ritchie Valens of “La Bamba” fame. Yet the tour played on. Sadly, in retrospect. Future chart-topper Bobby Vee, then but 15-years-old, had Buddy Holly's material down cold. So, the Minnesota child filled in—in place of Holly—on February 3 in Morehead. Jimmy Clanton, Frankie Avalon, and Fabian ultimately finished the tour in the place of the deceased stars. Waylon couldn't get to Holly's funeral. GAC wouldn't let him leave the tour. To add insult to injury, venue managers regularly threatened non-payment for shows because the original headliners didn't appear. It didn't matter that they had perished in a tragedy. After the crash, Jennings continued for two more weeks on the tour with doo-wop stars Dion and the Belmonts amongst others. Lead singer Dion DiMucci is the last original headliner still alive today and is in his early 80s. Jennings returned to Lubbock, Texas after the tour ended. Holly's father looked after young Waylon. In Waylon: An Autobiography, Jennings wrote: “Mr. Holley wanted to promote me, because he said Buddy believed in me, but I had enough sense to know that wouldn't be right. He bought me clothes and things like Buddy would.” Waylon returned to the job that got him noticed by Buddy Holly in the first place, as a radio disc jockey. He bounced around west Texas and Arizona as a DJ for the better part of a decade before he reappeared in the public consciousness as a musician once again in the late 1960s. So, contrary to the schmaltz unleashed by Don McLean in 1971, “music" did not die that day. It is more than unsettling that American Pie, McLean's terrible—and entirely too long of a—song, is what the hacky news sites reference on a day like this, the anniversary of the plane crash. But never fear, it happens every February 3rd. Diving into the McLean biography is more than a little unsettling as well. To wit: after his second divorce (from his wife of nearly 30 years) with accusations of abuse hanging over him, the now 77-year-old McLean took up with a “model and reality star” 48 years his junior. McLean still lives off the reputation of that crappy half-century-plus old song. Unfortunately, in my early twenties, I purchased some McLean music, but it was because it was a double-album of McLean's and Jim Croce's music. Croce was good, if not great. He also died in a tragic airplane crash. We wrote about Croce a while ago. https://briandoleary.substack.com/p/if-i-could-save-time-in-a-bottle Anyway, this is all a long way of saying, rock out to some Buddy Holly today, or sing along with “La Bamba,” or get a little “Chantilly Lace” pumping through the airwaves. Perhaps go with a doo-wop session of Dion and the Belmonts. “The Wanderer” by Dion when he went solo is also a great tune. There is never a bad day to play Waylon Jennings music or play it loud. I already listened to the horrible American Pie today. I can confirm that it is as bad as I remember and I feel like less of a man for not trusting my memory. Links: Winter Dance Party Tour Schedule, 1959 Buddy Holly The Big Bopper Ritchie Valens Waylon Jennings Dion DiMucci Don McLean, 76, steps out with his model girlfriend Paris Dylan, 28, ahead of his performance at Manchester Bridgewater Hall Why the Beatles owe their success to the Comanche Indians For your premium meats: O'Leary Beef For all the rest of it, go to BrianDOLeary.com for more information.
Entertainment legend Pat Boone joins Dave to celebrate 88 years on the planet, 70 years in show business, hosting his own ABC television series “The Pat Boone Chevy Showroom,” which featured top-name guests including Ella Fitzgerald, Nat ‘King' Cole, Connie Frances, Roy Rogers, Frankie Avalon, and Tony Bennett, among many others. Among his numerous awards […]
Larry Meregillano is a Eclipse artist/clinician. He started his professional career playing in big bands in San Diego in the early 1970's. In 1976, he was hired to play in Tom Ranier's Show band at Disneyland. A year later, Mr. Meregillano joined the gospel group Truth and soon after went on to perform and tour with The Bill Gaither Trio. While traveling and recording with The Bill Gaither Trio, he also recorded with Sandi Patti, David T, Clydsdale, Ron Huff, Don Marsh and many others. In 1980, Larry returned to California and became the lead trumpet player for the world-famous Disneyland Band. In the late 1980's, Larry was hired to play in the PTL Television Orchestra with Jim and Tammy Faye Baker. From there he joined Princess Cruise lines as Musical Director. After many years, Mr. Meregillano moved to Orlando, Florida, where he performed with many bands at Walt Disney World, MGM Studios, Epcot Center, Universal Studios and Pleasure Island. He has also been the Musical Director and performer for many cruise lines including the world-famous Queen Elizabeth 2. Larry has toured with the Temptations and The Four Tops, and has been a sideman for Rosemary Clooney, Joe Williams, Jack Jones, Bob Hope, Celia Cruz, Frankie Avalon and many, many others. Mr. Meregillano has recorded with many artists including Hubert Laws, Latoya Jackson, and Rick Dees. Mr. Meregillano is a busy freelance musician playing recording dates, theater, and stage shows in the Los Angeles area and around the country.
On this episode of Our American Stories, not many teen idols are able to carve a successful career for themselves as they mature, but Frankie Avalon is one of these exceptions. Avalon had 31 charting U.S. Billboard singles from 1958 to late 1962, including number one hits, "Venus" and "Why" in 1959. Avalon is also well known for his role in the 1970s musical film Grease as Teen Angel, in which he sings "Beauty School Dropout" to Frenchy. He's recently appeared on American Idol to sing for Simon Cowell on his birthday. Here's Frankie Avalon to tell his story! Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.
Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London. But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.
Frankie Avalon was one of the original teenage heartthrob idols of the 1960's/70's. The star of many films of the 60's like Beach Blanket Bingo and Beach Party, he is forever identified with his co-star Annette Funicello. Avalon is perhaps best known to a later generation for his role in the 1970s musical film Grease as Teen Angel, in which he sings "Beauty School Dropout" to Frenchy. He had 31 charting U.S. Billboard singles from 1958 to late 1962, including number one hits, "Venus" and "Why" in 1959. Little known was his lucky break in December 1952, when Avalon made his American network television debut playing the trumpet in the Honeymooners "Christmas Party" sketch on The Jackie Gleason Show. In his 80's, and looking 30 years younger, Avalon still performs in Vegas and elsewhere and credits his youthful looks and energy to a line of Health Products he sells that you can learn more about on his website www.frankieavalon.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Join Disney's Ike Eisenmann, and author, Jonathan Rosen, as they chat with singer Donna Loren from Beach Blanket Bingo!Donna talks about working on the Beach movies with Frankie Avalon and Annette Funicello, being the original Dr. Pepper girl, being the featured singer on the musical program, Shindig, and much more!
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