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2 episodes with Fred Waring
2 episodes with Fred Waring
3 episodes with Fred Waring
2 episodes with Fred Waring
El programa se lanzó el 3 de febrero de 1935, originalmente como una emisión de relleno entre la cobertura del juicio de Bruno Hauptmann, el secuestro y posterior asesinato del hijo de Charles Lindbergh a manos de un carpintero del Bronx. Con José Manuel Corrales.
El Cotton Club era en gran medida un producto de la Prohibición. A principios de la década de los años 20, la banda del mafioso Owney Madden se topó con el Club DeLuxe, dirigido por el campeón de los pesos pesados Jack Johnson. Con José Manuel Corrales.
OK, it's not really Fibber and Molly, but as promised in last week's episode, this is the replacement program featuring Fred Waring and his Pennsylvanians, while Fibber and Molly take…
Dave and Alonso send you a free episode of their Patreon podcast of the television for the holiday season. Those Prada housewares ads, a vintage Pennsylvanians x Ronald Reagan collab, and fond reminiscences of Cher, Captain Kangaroo, and Sealab 2021. Want more LKTV? Join our Patreon.
Songs include: Here Comes Santa Claus by Bing Crosby and the Andrews Sisters, Jingle Bells by Les Paul, Oh Come All Ye Faithful by Kate Smith, Boogie Woogie Santa Claus by Patti Smith, the Russian Dance from the Nutcracker by Herbert von Karajan and the 12 Days of Christmas by Fred Waring.
Fred Waring & His Pennsylvanians - Grandma's Thanksgiving
Uur 1 1. Make someone happy – Carmen McRae 2. Çe Lundi-là – Michel Delpech 3. Nu jij dan bent geboren – Ernst Jansz 4. Adia – Sarah McLachlan 5. I go to sleep – Peggy Lee 6. I don't care to dance – J.E. Sunde 7. Todo cambia – Mercedes Sosa 8. Caroline – Laura Marling 9. To beat the devil – Kris Kristofferson 10. Zondagmiddag Lilian – Louis Neefs 11. God only knows – Mary Coughlan 12. Cançao dos velhos amantes – Trio Esperança 13. Forever blue – Little River Band Uur 2 1. Just like a woman – Bob Dylan 2. Dry bones – Fred Waring & His Pennsylvanians 3. Kambaya – Tchéga 4. De een is de ander niet – Henny Vrienten 5. Broadway – Alison Krauss 6. Steppin' out – Trevor Horn & Seal 7. Junta a un canaveral – Guillermo Portabales 8. Laat me gaan – Elly Aerden & Maarten Decombel & Jan van Rossem 9. Give me the night – George Benson 10. Fly me to the moon – Frank Sinatra 11. Koortsdroom (nooit spijt) – Vic Willems 12. See Emily play – Martha Wainwright 13. Les p'tits bonheurs – Thomas Dutronc 14. Got to give up – Marvin Gaye
What would you like me to play next? email me at Buckbennyotr@gmail.com Dinah Shore's Open House Thursday, January 4, 1945 Dinah Shore's Open House Thursday, March 22, 1945 Fred Waring 1943 Fred Waring Tuesday, February 20, 1945 Guy Lombardo Monday, March 12, 1945 Guy Lombardo Monday, April 16, 1945 Your Hit Parade Saturday, September 9, 1944 Mail Call 1945 Mail Call 1945 Mail Call 1945 Melody Hour Monday, December 11, 1944 Melody Hour Monday, February 12, 1945 Melody Hour Monday, April 23, 1945 Melody Hour Monday, July 2, 1945 Morgan & Brice 1940s Concert Hall 1940s Concert Hall 1940s John Charles Thomas Sunday, December 10, 1944 Intermezzo 1940s Intermezzo 1940s Intermezzo 1940s Intermezzo 1940s Melody Round-Up 1944 Melody Round-Up 1944 Melody Round-Up 1944 Melody Round-Up 1944 Melody Round-Up 1945 Lum and Abner Wednesday, April 12, 1944 Lum and Abner Thursday, April 13, 1944 Lum and Abner Monday, April 17, 1944 Lum and Abner Tuesday, April 18, 1944 Lum and Abner Wednesday, April 19, 1944 Lum and Abner Thursday, April 20, 1944 Lum and Abner Monday, April 24, 1944 Lum and Abner Tuesday, April 25, 1944 Lum and Abner Wednesday, April 26, 1944 Lum and Abner Thursday, April 27, 1944 Lum and Abner Monday, May 1, 1944 Lum and Abner Tuesday, May 2, 1944 Lum and Abner Wednesday, May 3, 1944 Lum and Abner Thursday, May 4, 1944 Lum and Abner Monday, May 8, 1944 Lum and Abner Tuesday, May 9, 1944 Lum and Abner Wednesday, May 10, 1944 Lum and Abner Thursday, May 11, 1944 Lum and Abner Monday, May 15, 1944 Lum and Abner Tuesday, May 16, 1944 Lum and Abner Wednesday, May 17, 1944 Lum and Abner Thursday, May 18, 1944 Lum and Abner Monday, May 22, 1944 Lum and Abner Tuesday, May 23, 1944 Lum and Abner Wednesday, May 24, 1944 Lum and Abner Thursday, May 25, 1944 Lum and Abner Monday, May 29, 1944 Lum and Abner Tuesday, May 30, 1944 Lum and Abner Wednesday, May 31, 1944 Lum and Abner Thursday, June 1, 1944 Lum and Abner Monday, June 5, 1944 Lum and Abner Tuesday, June 6, 1944 Lum and Abner Wednesday, June 7, 1944 Lum and Abner Thursday, June 8, 1944 Lum and Abner Monday, June 12, 1944 Lum and Abner Tuesday, June 13, 1944 Lum and Abner Wednesday, June 14, 1944 Lum and Abner Thursday, June 15, 1944 Lum and Abner Monday, June 19, 1944 Lum and Abner Tuesday, June 20, 1944 Lum and Abner Wednesday, June 21, 1944 Lum and Abner Thursday, June 22, 1944 Lum and Abner Monday, June 26, 1944 Lum and Abner Tuesday, June 27, 1944 Lum and Abner Wednesday, June 28, 1944 Lum and Abner Thursday, June 29, 1944 Bing Crosby-Rosemary Clooney Show, The Monday, September 11, 1961 Bing Crosby-Rosemary Clooney Show, The Tuesday, September 12, 1961 Bing Crosby-Rosemary Clooney Show, The Wednesday, September 13, 1961 Bing Crosby-Rosemary Clooney Show, The Thursday, September 14, 1961 Bing Crosby-Rosemary Clooney Show, The Friday, September 15, 1961 Bing Crosby-Rosemary Clooney Show, The Monday, September 18, 1961 Bing Crosby-Rosemary Clooney Show, The Tuesday, September 19, 1961 Bing Crosby-Rosemary Clooney Show, The Wednesday, September 20, 1961 Bing Crosby-Rosemary Clooney Show, The Thursday, September 21, 1961 Bing Crosby-Rosemary Clooney Show, The Friday, September 22, 1961 Bing Crosby-Rosemary Clooney Show, The Monday, September 25, 1961 Bing Crosby-Rosemary Clooney Show, The Tuesday, September 26, 1961 Bing Crosby-Rosemary Clooney Show, The Wednesday, September 27, 1961 Bing Crosby-Rosemary Clooney Show, The Thursday, September 28, 1961 Bing Crosby-Rosemary Clooney Show, The Friday, September 29, 1961 Bing Crosby-Rosemary Clooney Show, The Monday, October 2, 1961 Bob Crosby Show, The 1950s Bob Crosby Show, The 1950s Bob Crosby Show, The 1950s Bob Crosby Show, The 1950s Stars on Parade Friday, November 24, 1950 Stars on Parade Friday, December 1, 1950 Stars on Parade Friday, April 27, 1951 Stars on Parade Friday, May 4, 1951 It Pays to Be Ignorant Friday, October 6, 1944 It Pays to Be Ignorant Friday, October 13, 1944 Guest Star Sunday, September 12, 1954 Of These We Sing May 1952 Let Freedom Sing May 1952 Let's Go to Town 1950s Let's Go to Town 1950s Let's Go to Town 1950s Let's Go to Town 1950s Let's Go to Town 1960 Let's Go to Town 1960 Charlie Barnet Show, The 1957 Charlie Barnet Show, The 1957 Navy Swings, The 1950s Navy Swings, The 1950s Guest Star Sunday, June 23, 1957 Guest Star Sunday, June 30, 1957 Guest Star Sunday, February 17, 1957 Guest Star Sunday, February 24, 1957 Manhattan Melodies 1958 Manhattan Melodies 1958 Manhattan Melodies 1958 Manhattan Melodies 1958 Melody Round-Up 1945 Melody Round-Up 1940s Melody Round-Up 1940s Melody Round-Up 1940s Melody Round-Up 1940s Melody Round-Up 1940s Melody Round-Up 1940s Melody Round-Up 1940s Melody Round-Up 1940s Music America Loves Best Sunday, March 11, 1945 Major Bowes' Original Amateur Hour Thursday, April 3, 1941 Major Bowes' Original Amateur Hour Thursday, May 22, 1941 Major Bowes' Original Amateur Hour Thursday, May 29, 1941 Major Bowes' Original Amateur Hour Thursday, July 24, 1941 Major Bowes' Original Amateur Hour Thursday, July 31, 1941 Jubilee 1950s Sports Answer Man, The 1947 Sports Answer Man, The 1947 Lone Ranger, The Lone Ranger, The Wednesday, May 3, 1950 Lone Ranger, The Monday, March 20, 1950 Lone Ranger, The Monday, July 24, 1950 Lone Ranger, The Wednesday, July 5, 1950 Lone Ranger, The Monday, July 10, 1950 Lone Ranger, The Wednesday, June 28, 1950 Lone Ranger, The Friday, March 24, 1950 Lone Ranger, The Monday, August 28, 1950 Lone Ranger, The Friday, August 4, 1950 Lone Ranger, The Monday, July 17, 1950 Eternal Light, The Radio Short Stories 1930s Chet Huntley Friday, January 11, 1952 For The Record Monday, August 21, 1944 NBC Symphony 1940s General Tire Program, The Friday, May 18, 1934 General Tire Program, The Friday, August 3, 1934 One Night Stand Sunday, October 8, 1944 Log Cabin Jamboree Saturday, October 23, 1937 General Tire Program, The Friday, August 24, 1934 New York Philharmonic Symphony, The November 1950 New York Philharmonic Symphony, The Sunday, December 24, 1950 Shadow, The Sunday, October 23, 1938 Shadow, The Sunday, October 30, 1938 Shadow, The Sunday, November 5, 1939 Shadow, The Sunday, November 12, 1939 Shadow, The Sunday, November 19, 1939 Shadow, The Sunday, November 26, 1939 Shadow, The Sunday, December 31, 1939 Shadow, The Sunday, January 7, 1940 Shadow, The Sunday, January 21, 1940 Shadow, The Sunday, October 13, 1940 Shadow, The Sunday, October 20, 1940 Shadow, The Sunday, December 29, 1940 Shadow, The Sunday, January 5, 1941 Shadow, The Sunday, January 19, 1941 Shadow, The Sunday, December 8, 1946 Shadow, The Sunday, December 15, 1946 Shadow, The Sunday, November 9, 1947 Shadow, The Sunday, November 16, 1947 Shadow, The Sunday, November 23, 1947 Shadow, The Sunday, November 30, 1947 Shadow, The Sunday, March 14, 1948 Shadow, The Sunday, March 21, 1948 Shadow, The Sunday, March 28, 1948 Shadow, The Sunday, April 4, 1948 Shadow, The Sunday, January 11, 1948 Shadow, The Sunday, September 14, 1947 Shadow, The Sunday, February 15, 1948 Shadow, The Sunday, December 29, 1946 Frontier Town Friday, September 26, 1952 Frontier Town Friday, October 3, 1952 Frontier Town Friday, October 10, 1952 Frontier Town Friday, March 27, 1953 Frontier Town Friday, April 17, 1953 Frontier Town Friday, April 24, 1953 Frontier Town Friday, May 15, 1953 Frontier Town Friday, May 22, 1953 Gunsmoke Saturday, January 24, 1953 Gunsmoke Saturday, January 31, 1953 Gunsmoke Saturday, February 21, 1953 Gunsmoke Saturday, February 28, 1953 Gunsmoke Saturday, May 9, 1953 Gunsmoke Saturday, May 30, 1953 Gunsmoke Saturday, November 28, 1953 Gunsmoke Saturday, December 5, 1953 Gunsmoke Monday, September 6, 1954 Gunsmoke Sunday, August 9, 1959 Hopalong Cassidy Sunday, April 16, 1950 Hopalong Cassidy Sunday, March 19, 1950 Hopalong Cassidy Sunday, April 16, 1950 Hopalong Cassidy Sunday, May 21, 1950 Hopalong Cassidy Saturday, February 3, 1951 Hopalong Cassidy Saturday, February 10, 1951 Hopalong Cassidy Saturday, February 17, 1951 Hopalong Cassidy Saturday, February 24, 1951 Hopalong Cassidy Saturday, June 23, 1951 Hopalong Cassidy Saturday, June 30, 1951 Hopalong Cassidy Saturday, September 22, 1951 Hopalong Cassidy Saturday, September 29, 1951 Hopalong Cassidy Saturday, October 6, 1951 Hopalong Cassidy Saturday, October 13, 1951 Whistler, The Friday, July 2, 1943 Whistler, The Saturday, June 5, 1943 Suspense Tuesday, June 1, 1943 Suspense Tuesday, June 8, 1943 Suspense Tuesday, June 29, 1943 Suspense Tuesday, July 6, 1943 Suspense Tuesday, June 15, 1943 Suspense Tuesday, June 22, 1943 Suspense Thursday, December 5, 1946 Suspense Wednesday, September 2, 1942 Suspense Tuesday, February 2, 1943 Suspense Tuesday, February 16, 1943 Suspense Wednesday, September 16, 1942 Suspense Wednesday, September 30, 1942 Suspense Tuesday, July 20, 1943 Suspense Tuesday, July 27, 1943 Suspense Tuesday, April 20, 1943 Suspense Tuesday, April 27, 1943 Suspense Saturday, August 28, 1943 Suspense Thursday, September 2, 1943 Suspense Tuesday, April 6, 1943 Suspense Tuesday, April 13, 1943 Suspense Tuesday, December 22, 1942 Suspense Wednesday, September 23, 1942 Suspense Wednesday, August 19, 1942 Suspense Tuesday, November 24, 1942 Stars Over Hollywood Saturday, November 10, 1951 Suspense Tuesday, November 10, 1942 Suspense Tuesday, August 3, 1943 Suspense Tuesday, August 10, 1943 Suspense Tuesday, May 4, 1943 Suspense Tuesday, October 27, 1942 Suspense Tuesday, December 1, 1942 Suspense Tuesday, November 17, 1942 Suspense Tuesday, May 11, 1943 Suspense Tuesday, May 18, 1943 Suspense Saturday, January 17, 1948 Suspense Strange Dr Weird, The Tuesday, November 14, 1944 Strange Dr Weird, The Tuesday, November 28, 1944 Strange Dr Weird, The Friday, January 5, 1945 Strange Dr Weird, The Friday, January 5, 1945 Strange Dr Weird, The Friday, January 5, 1945 Strange Dr Weird, The Friday, January 5, 1945 Strange Dr Weird, The Sunday, November 11, 1945 Strange Dr Weird, The Thursday, January 11, 1945 Strange Dr Weird, The Tuesday, April 17, 1945 Strange Dr Weird, The Thursday, January 11, 1945 Strange Dr Weird, The Wednesday, January 24, 1945 Strange Dr Weird, The Wednesday, January 24, 1945 Strange Dr Weird, The Tuesday, April 17, 1945 Strange Dr Weird, The Tuesday, April 17, 1945 Strange Dr Weird, The Wednesday, February 21, 1945 Strange Dr Weird, The Wednesday, February 21, 1945 Strange Dr Weird, The Wednesday, March 7, 1945 Strange Dr Weird, The Wednesday, March 7, 1945 Strange Dr Weird, The Wednesday, March 21, 1945 Strange Dr Weird, The Wednesday, March 21, 1945 Strange Dr Weird, The Wednesday, April 4, 1945 Strange Dr Weird, The Wednesday, April 4, 1945 Strange Dr Weird, The Wednesday, April 25, 1945 Strange Dr Weird, The Wednesday, April 25, 1945 Strange Dr Weird, The Wednesday, May 2, 1945 Strange Dr Weird, The Wednesday, May 2, 1945 Strange Dr Weird, The Wednesday, May 23, 1945 Strange Dr Weird, The Wednesday, May 23, 1945 Stars Over Hollywood Saturday, November 24, 1951 Stars Over Hollywood Saturday, December 1, 1951 Stars Over Hollywood Saturday, January 12, 1952 Stars Over Hollywood Saturday, March 1, 1952 Stars Over Hollywood Saturday, March 8, 1952 Stars Over Hollywood Saturday, March 15, 1952 Suspense Thursday, April 5, 1951 Suspense Monday, June 2, 1952 Tales of the Texas Rangers Sunday, January 7, 1951 Tales of the Texas Rangers Sunday, January 14, 1951 Family Theater Thursday, February 13, 1947 Family Theater Thursday, February 20, 1947 Family Theater Thursday, February 27, 1947 Family Theater Tuesday, March 4, 1947 Family Theater Tuesday, March 11, 1947 Family Theater Tuesday, March 18, 1947 Musical Varieties Musical Varieties Musical Varieties Victory Parade of Spotlight Bands, The Monday, April 23, 1945 Family Theater Tuesday, March 25, 1947 Family Theater Thursday, April 3, 1947 Family Theater Thursday, April 10, 1947 Family Theater Thursday, April 17, 1947 Family Theater Thursday, April 24, 1947 Family Theater Thursday, May 1, 1947 Family Theater Thursday, May 8, 1947 Family Theater Thursday, May 15, 1947 Family Theater Thursday, May 22, 1947 Family Theater Thursday, May 29, 1947 Family Theater Thursday, June 5, 1947 Family Theater Thursday, June 12, 1947 Family Theater Thursday, June 19, 1947 Family Theater Thursday, June 26, 1947 Family Th
The Skagit Valley Chorale was founded in 1984 by Joan Penney with the support of the Skagit Valley College Foundation. Under the current direction of Dr. Yvette Burdick it numbers 80 some singers. Skagit Valley Chorale's twice annual and highly popular performances are its "Heralding Christmas" concert, presented shortly after Thanksgiving and featuring classical and contemporary choral works along with a variety of seasonal favorites, and its "Celebrating in Song" concert, presented in the spring and featuring classical choral works as well as a variety of choral music by contemporary composers representing the diversity of world traditions and cultures. With its Celebrating in Song 2024 concert just a few weeks away, I talk with Dr. Burdick about her musical journey -- and how it led from the woods east of Clallam Bay to McIntyre Hall and the artistic leadership of a beloved choral group. We also talk about the history of Skagit Valley Chorale and what it takes to be a part of it. Our discussion takes a historical turn with the topic of the upcoming concert, which features the choral works of Fred Waring and the Pennsylvanians and an homage to the dawn of the Age of Television. Suffice it to say that the music you'll be hearing on May 4-5 at McIntyre Hall will be a one of a kind experience.
"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO: ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England aka “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album. Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1: Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast: December 15, 1971 Hill Auditorium, Ann Arbor, MI SHOW No. 2: Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set. Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version. SHOW No. 3: God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone. Story here is the way Jerry and David play so tight, trading off leads and filling in gaps. A great sound for a traditional tune. There are many sides of Jerry and we don't get to see all of them. Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4: Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”. On some occasions, Jerry was known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st: August 30, 1978Last: June 18, 1995 Giants Stadium OUTRO: Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00 Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de “Así la escuché yo...” El reconocido cantante español Raphael, grabó en 1965 su álbum “Raphael canta la Navidad” el cual contenía una versión al español de una canción navideña titulada “Carol of the drum” (Villancico del tambor). Raphael la grabó bajo el título “La canción del tamborilero”. Así la escuché yo… El grupo The Trapp Family Singers grabó por primera vez, en 1951, “Carol of the drum”, la cual con el tiempo fue conocida popularmente como “The Little drummer boy” (El tamborilero), basado en una partitura de la compositora estadounidense Katherine Kennicott Davis. Con el tiempo, muchos artistas han grabado esta canción navideña y, para la muestra, aquí está la versión del gran Frank Sinatra del año 1964. ¿Y tú, conocías el origen de esta canción? Autora: Katherine Kennicott Davis - Adaptación al inglés: Henry Onorati & Harry Simeone - Versión al español Manuel Clavero La canción del tamborilero - Raphael (1965) “Raphael canta la Navidad” álbum (1965) Raphael (nombre real Miguel Rafael Martos Sánchez, español) Carol of the drum - The Trapp Family Singers (1951) “Christmas with The Trapp Family Singers” álbum (1951) The little drummer boy - Frank Sinatra & Fred Waring and his Pennsylvanians (1964) single “The little drummer boy/I heard the bells on Christmas Day” (1964) Frank Sinatra (nombre real Francis Albert Sinatra, estadounidense) ___________________ “Así la escuché yo…” Temporada: 1 Episodio: 66 Sergio Productions Cali – Colombia Sergio Luis López Mora
Songs include: Sonny Boy, Ramona, I Can't Give You Anything But Love, Old Man River, Black and Tan Fantasy and Struttin With Some Barbecue. Performers include: Al Jolson, Duke Ellington, Fred Waring, Louis Armstrong, Bing Crosby, Gene Austin and Cliff Edwards.
The Brian Setzer Orchestra: Jingle Bells // JD McPherson: What’s That Sound? // The Divine Comedy: Christmas With The Hannons // Christine Hunter: Santa Bring Me Ringo // PP Arnold: It Won’t Be Christmas Without You // Margo Guryan: I Don’t Intend To Spend Christmas Without You // Andy Partridge: Let There Be Snow // Aventuras De Kirlian: Hiru izar // Javier Sun: Canción navideña // Undercovers (Xabier Montoia & Javi Pez): M. C. Alka-Seltzer // Mikel Erentxun: Navidad en mi corazón // Joserra Senperena / Juan Luis Zabala / Idoia Asurmendi: Elur-ama // Barón Roskow La Momia Acústica: Mon Oncle // J’aime: Silent Night / Noche de paz // The Light Music Company: Swinging Christingle // Dropkick: All I Want For Christmas Is A Rest (Is It Only Another Day?) // Eli Paperboy Reed: Merry Christmas To Me // Low: Long Way Around The Sea // The Crookes: You’re Just Like Christmas // Chris Isaak: Almost Christmas // Al Caiola, Riz Ortolani: The Little Drummer Boy // The Blue Hawaiians: Christmas Time Is Here // Gene Autrey & Rosemary Clooney: Look Out The Window // Tony Bennett: All I Want For Christmas Is You // Bing Crosby, Frank Sinatra, Fred Waring & the Pennsylvanians: We Wish You The Merriest // Barón Roskow La Momia Acústica: Mon Oncle Elur-ama Elurrarekin jolasteko gogoa izan nahi nuke lehen nuen bezala, haur nintzenean. Baina tristatu egiten naiz ordea zu gabe ez baita elurra alaia. Non zaude, ama? Zuri-zuri dago dena baina ilun dut gogoa. Zu falta zara. Non zaude, ama? Non, non? Non, non? Non, non, non, non? Ez egin negar, erantzun dit telurrak, neu nauzu amatxo zugana etorria. Zu alaitzera! Zuri-zuri dago dena eta argi daukat gogoa. Nirekin zaude. Ama, zu zara! Zu zu. Zu zu. Zu, zu, zu, zu. Zu zu. Zu zu. Zu, zu, zu, zu. (Juan Luis Zabala) Me gustaría tener ganas de jugar con la nieve como tenía antes, cuando era niño. Pero me pongo triste porque sin ti no la nieve no es alegre. Todo está blanco, pero no estoy animado. Me faltas tú. ¿Dónde estás, ama? Dónde? Dónde? Dónde? No llores, me ha dicho la nieve, yo soy la madre que ha vuelto contigo. Para alegrarte! Todo está blanco y estoy contento. Estás conmigo. Ama, eres tú! Tú. Tú. Tú. (Juan Luis Zabala)
This episode is a Christmas special looking at the stories and connections with some awesome Christmas tunes including Bing Crosby, The Andrews Sisters, Fred Waring, Greg Lake and Aled Jones.Wise Choice is an official Wise Music Group podcast celebrating 50 years of Wise Music and taking the opportunity to delve into the vast catalogue of incredible songs and artists that are part of the Wise family. The show is hosted by Wise Music songwriting and composing team Adam and Paula Pickering aka The Daydream Club. They asked the Wise Music teams from all over the world to choose their absolute favourite songs from the Wise Music catalogue (their Wise Choice). From this list Adam & Paula look into the history surrounding the songs and where the story leads them with connections to other notable versions, covers and samples.New episodes every other Wednesday.If you liked this you might also enjoy Composing Myself - an official Wise Music podcast featuring interviews with composers and songwriters, taking an in-depth look at their process.Tracklist:Here Comes Santa Claus - Bing Crosby & The Andrews SistersWe Three Kings - Fred Waring & His PennsylvaniansI Believe In Father Christmas - Emerson, lake and PalmerChristmas Wish - She & HimSnow - Sleeping At LastSilent Night - Lullaby CornerChristmas Will Really Be Christmas - Black PumasWalking In The Air - Aled Jones Hosted on Acast. See acast.com/privacy for more information.
Shellac Stack No. 289 wanders away with Fred Waring's Pennsylvanians then walks back with Doc Evans' Band. Along the way, we hear from Earl Hines, Marion Harris, Cy Walter, Isham Jones, Johnny Hamp, Don Byas, Benny Goodman, and more. Thank you for supporting the “Shellac Stack” on Patreon: patreon.com/shellacstack
This week we feature, Command Performance and their second episode starring Fred Waring and Joe Louis This episode aired March 9, 1942. Fred Waring (b. June 9, 1900 - d. July 29, 1984) was a popular musician, bandleader and radio-television personality. Joe Louis (b. May 13, 1914 - d. April 12, 1981) was a very famous professional African-American boxer, known as "The Brown Bomber." Command Performance aired from 1942 to 1949, on the Armed Forces Radio Network (AFRS) and transmitted by shortwave to the troops overseas — with few exceptions, it was not broadcast over domestic U.S. radio stations. My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- THE COMPLETE ORSON WELLES. You can subscribe to my channels to receive new post notifications, it's 100% free to join. If inclined, please leave a positive rating or review on your podcast service. Instagram @duane.otr Thank you for your support. This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp
Sein Rauswurf aus dem Studentenchor an der Uni wurmt ihn derart, dass er auf eigene Faust eine steile Musikkarriere hinlegt. Fred Waring expandiert in Sachen Bandgröße, arrangiert selbst große Orchester und Chöre und wird schließlich selbst Gesangslehrer. Der Mann, der Amerika das Singen beibrachte.
Uur 1 1. How about you – Judy Garland 2. Voce abusou – Maria Creuza 3. Litanie bij een terugkeer – Beatrice van der Poel 4. The head and the heart – Chris de Burgh 5. Libertango – Sharon Shannon & Kirsty MacColl 6. Demain demain – Blick Bassy, Clou e.a. 7. Goodnight moon – Shivaree 8. Zilverspar – Joris Linssen & Caramba 9. You and I – Stevie Wonder 10. You are the sunshine of my life – Frank Sinatra 11. Tower of song – Willie Nelson 12. Del o brishind – Bela Lakatos & Gypsy Youth Project 13. El burro song – Calexico 14. I wish – Stochelo Rosenberg Uur 2 1. Factory – Bruce Springsteen 2. Dry bones – Fred Waring's Pennsylvanians 3. Moete gij nie werken – Gerard van Maasakkers 4. Kompliziertes Innenleben – Dota Kehr & Konstantin Wecker 5. Wow – Kate Bush 6. Oradour – Anna Linde 7. Ruimtevaarder – Kommil Foo 8. Mon amour – Stromae 9. Wanting things – Mathilde Santing 10. What's new pussycat – Bob Marley & His Wailing Wailers 11. Dans met mij het leven door – Laroux 12. She's waiting for me – A.J. Croce 13. Adelita – Sergent Garcia 14. Stay – Scott Bradlee's Postmodern Jukebox 15. Little by little – Dusty Springfield 16. Watermelon man – Mongo Santamaria
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
The series began on NBC Radio as a summer replacement situation comedy in 1944, featuring vocalist Bea Wain. It then moved to ABC Radio with Jean Gillespie portraying Young's girlfriend Betty. The program was next broadcast by NBC for a 1946–47 run and was off in 1948. When it returned to NBC in 1949, Louise Erickson played Betty and Jim Backus was heard as wealthy and snobbish playboy Hubert Updike III, a character he later adapted as Thurston Howell III in Gilligan's Island.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
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It's time to put on your top hat and do some stepping out, cuz it's New Year's Eve!00:00 Fred Waring31:31 Jack Benny1:00:57 Suspense1:22:39 Phil Harris1:52:49 outrohttps://archive.org/download/211231-new-years-eve/211231%20New%20Year%27s%20Eve.mp3
This week on the RTC Weekly Download: Happy New Year! Featuring a special NBC New Years broadcast of Fred Waring and The Pennsylvanians and an episode of "Casey, Crime Photographer"
Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de “Así la escuché yo...” El reconocido cantante español Raphael, grabó en 1965 su álbum “Raphael canta la Navidad” el cual contenía una versión al español de una canción navideña titulada “Carol of the drum” (Villancico del tambor). Raphael la grabó bajo el título “La canción del tamborilero”. Así la escuché yo… El grupo The Trapp Family Singers grabó por primera vez, en 1951, “Carol of the drum”, la cual con el tiempo fue conocida popularmente como “The Little drummer boy” (El tamborilero), basado en una partitura de la compositora estadounidense Katherine Kennicott Davis. Con el tiempo, muchos artistas han grabado esta canción navideña y, para la muestra, aquí está la versión del gran Frank Sinatra del año 1964. ¿Y tú, conocías el origen de esta canción? Autora: Katherine Kennicott Davis - Adaptación al inglés: Henry Onorati & Harry Simeone - Versión al español Manuel Clavero La canción del tamborilero - Raphael (1965) “Raphael canta la Navidad” álbum (1965) Raphael (nombre real Miguel Rafael Martos Sánchez, español) Carol of the drum - The Trapp Family Singers (1951) “Christmas with The Trapp Family Singers” álbum (1951) The little drummer boy - Frank Sinatra & Fred Waring and his Pennsylvanians (1964) single “The little drummer boy/I heard the bells on Christmas Day” (1964) Frank Sinatra (nombre real Francis Albert Sinatra, estadounidense) ___________________ “Así la escuché yo…” Temporada: 1 Episodio: 66 Sergio Productions Cali – Colombia Sergio Luis López Mora
November 11, 1934 - In this early episode Jack Benny plays the Chinese detective Charlie Chan from the film series of the same name. References include the record breaking streamline train, California Governor Frank Merriam, Popeye the sailor, Babe Ruth visiting Japan (ballplayers Dizzy Dean, Daffy Dean, Hack Wilson and Frankie French), Senator Huey Long getting a black eye, boxers Max Baer and Jack Dempsey, comedian Lou Holtz, the Marx brothers (Harpo in particular), the song "Carioca", orchestras Fred Waring and his Pensilvanians, Guy Lombardo and his Royal Canadians, Abe Lyman's Californians, and movie stars John Barrymore, Mirna Loy, Greta Garbo, Joan Crawford, Gloria Swanson, Kay Francis and Miriam Hopkins. Not to mention mention "Charlie Chan in London".
From PALM SPRINGS, join the BIG W for the next hour as he explores, with a drink in hand, Capitol 2-track "Z" reel-to-reel tapes from 1957 & 1958.....in LIVING STEREO! Playlist for show 419: When Your Lover Has Gone - Keely Smith Elks' Parade - Glen Gray Nice Work If You Can Get It - Ray Anthony Begin The Beguine - Gordon Macrae Ring For Porter - Harry James Lover - Stan Kenton What Is There To Say - George Shearing Quintet There Is Nothin' Like A Dame - Fred Waring & His Pennsylvanians This Was - Nelson Riddle Stardust - Nat King Cole A Cottage For Sale - Nat King Cole Love Is The Thing - Nat King Cole The Commuter - Les Baxter I'm Gonna Wash That Man Right Out Of My Hair - Les Baxter Monkey Dance Of Bali - Les Baxter Ol' Man River - Gordon Macrae Lonely Night In Paris - Ray Anthony I Get Along Without You Very Well - Stan Kenton Where Are You? - Frank Sinatra Baby Won't You Please Come Home - Frank Sinatra Symphony In Riffs - Glen Gray When Day Is Done - Keely Smith
Music includes: The Star Spangled Banner, God Bless America, Lift Every Voice And Sing, Blues From An American In Paris, Boogie Woogie Bugle Boy, American Patrol and El Capitan. Performers include: Sousa's Band, Edwin Franco Goldman, The Andrews Sisters, Fred Waring, Ralph Flanagan, The Boston Pops Orchestra and Horace Heidt.
Sein Rauswurf aus dem Studentenchor an der Uni wurmt ihn derart, dass er auf eigene Faust eine steile Musikkarriere hinlegt. Fred Warning expandiert in Sachen Bandgröße, arrangiert selbst große Orchester und Chöre und wird schließlich selbst Gesangslehrer- Der Mann, der Amerika das Singen beibrachte.
Fibber and the gang!
You're listening to Fred Waring and his Pennsylvanians with Coast Guard Forever.
https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr12021/LOL120.mp3 We hear from The Alan Young Show on this week's A Legacy Of Laughs. From January 16, 1945, here's his episode titled, Alan Wants To Hire Fred Waring. Download LOL120
At 10AM eastern time on the morning of Wednesday, December 22nd, 1948, Fred Waring and his Pennsylvanians signed on NBC with the most expensive daytime show on radio. Waring’s enormous glee club gave his show a distinctive musical body and spirit. He was described as genial and affable away from the bandstand, but a tireless perfectionist at work. His people talked of constant rehearsals, sometimes lasting eight hours. He prepared twice the material needed, then chose numbers that were fresh despite the hours of rehearsal. Waring also arranged tunes three ways—in straight time, as a waltz, and in jive. He wouldn’t reveal which he wanted until the Pennsylvanians were on the air. It kept the group alert and ready to play anything.
In Breaking Walls episode 110 we continue our mini-series on the 1948-49 radio season by focusing on news and programming during Christmas week, 1948. —————————— Highlights: • Jack Benny: Leaving for CBS • A northeast blizzard starts holiday week • Edgar Bergen: Also leaving NBC • Walter Winchell’s big new ABC deal • Soaps, Queens, and the Chesterfield Supper Club • Monday night belongs to CBS • Lunch with WOR while NBC still owns Tuesday evenings • Fred Waring and Yukon King Gear up For Xmas • Blackie, Gildy, Duffy, and Bing • Abbott, Costello, and Jolson fade, while Suspense soars on Thursday • ABC wins Friday while Skelton gets ready to leave NBC too • Merry Christmas from the Royal Roost in Manhattan • Mary Lee, Grand Central, and Elgin Celebrate Xmas • Sinatra’s up-and-down 1948 • Benny and Bergen say goodbye to NBC —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • On the Air — By John Dunning • Network Radio Ratings, 1932-53 — By Jim Ramsburg As well as articles from: • Broadcasting Magazine • The Los Angeles Times • NationalParkService.gov • The New York Daily News • Radio Daily • WhiteHouseHistory.org —————————— On the interview front: • Edgar Bergen, Mel Blanc, Himan Brown, Ken Carpenter, Gale Gordon, Jim Jordan, Harold Peary, Alan Reed, Lurene Tuttle, and Don Wilson were with Chuck Schaden. Hear their full chats at SpeakingOfRadio.com. • Edgar Bergen, Hans Conried, John Gibson, Jim Jordan, and Jan Miner were with Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these at Goldenage-WTIC.org. • Ralph Bell, Himan Brown, and Jack Johnstone were with SPERDVAC. For more information, go to SPERDVAC.com • Bing Crosby and John Scott Trotter were with Same Time, Same Station • Eve Arden was with John Dunning • Phil Harris with Jack Carney • Bob Hope with Johnny Carson • Jo Stafford with Michael Feinstein • Frank Sinatra with Larry King • Red Skelton was with Dini Petty —————————— Selected music featured in today’s episode was: • It’s the Most Wonderful Time of the Year — By Andy Williams • Christmas Dreaming — By Frank Sinatra • Somewhere in My Memory and Star of Bethlehem — By John Williams for Home Alone • Christmas Blues — By Washboard Pete • Tomorrow Shall Be My Dancing Day — By The Marlborough Cathedral Choir • Christmas Carols for 1928 — By Elsie Holt • White Christmas — By Bing Crosby • Have Yourself a Merry Little Christmas — By Mel Torme • Ya Viene La Vieja — By JP Torres —————————— Subscribe to Burning Gotham—the new audio drama set in 1835 New York City. It’s available everywhere you get your podcasts and at BurningGotham.com. —————————— A special thank you to Ted Davenport and Jerry Haendiges: two radio show collectors who helped supply material for this episode. They’re who the large retailers go to. Ted’s got a Facebook group - https://www.facebook.com/otrteddavenport/ For Jerry, please visit http://otrsite.com/ I’d also like to thank Walden Hughes and John and Larry Gassman of SPERDVAC - http://sperdvac.com/ —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Briana Isaac Thomas M. Joyce Ryan Kramer Barry Nadler Christian Neuhaus Aimee Pavy —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - thewallbreakers.com
The Alan Young Show is an American radio and television series presented in diverse formats over a nine-year period and starring British-Canadian-American actor Alan Young.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------
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Fibber McGee and Molly was an American radio comedy series. A staple of the NBC Red Network for the show's entire run and one of the most popular and enduring radio series of its time, the prime time situation comedy ran as a standalone series from 1935 to 1956, then continued as a short-form series as part of the weekend Monitor from 1957 to 1959. The title characters were created and portrayed by Jim and Marian Jordan, a real-life husband and wife team that had been working in radio since the 1920s.---------------------------------------------------------------------------Sherlock Holmes Radio Station Live 24/7 Click Here to Listenhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441----------------------------------------------------------------------------
Fibber McGee and Molly was an American radio comedy series. A staple of the NBC Red Network for the show's entire run and one of the most popular and enduring radio series of its time, the prime time situation comedy ran as a standalone series from 1935 to 1956, then continued as a short-form series as part of the weekend Monitor from 1957 to 1959. The title characters were created and portrayed by Jim and Marian Jordan, a real-life husband and wife team that had been working in radio since the 1920s.---------------------------------------------------------------------------Sherlock Holmes Radio Station Live 24/7 Click Here to Listenhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441----------------------------------------------------------------------------Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Another hour of bubblegum pop brilliance! A dramatic reading from a Hawaii Five-O novel, followed by a rare Sammy Davis, Jr. recording of the theme song with the words! Tributes to breakfast food! An Echo Valley Time Machine classic by Fred Waring and His Pennsylvanians! First appearance of the What We Love About Bubblegum segment! Plenty of great bubblegum music by Paul Revere and the Raiders, Josie and the Pussycats, Banaroo, The Foundations, Neil Diamond, Michael Carpenter, Flame, The Fifth Estate, Tommy Roe, The Fun and Games, Slim Goodbody and Friends, The Archies, The Amazing Pickles, The Good Earth and Capt. Groovy and his Bubblegum Army!
Welcome to There's No Choir Like Show Choir! In our first episode Allison and Vince introduce us to the world of show choir as the answer the age old question: "*What is Show Choir*" [ShowChoir.com](https://showchoir.com) [Show Choir Wikipedia Page](https://en.wikipedia.org/wiki/Show_choir) [Pitch Perfect](https://www.youtube.com/watch?v=8dItOM6eYXY) [Glee](https://www.youtube.com/watch?v=sefQqCMusJI) [Show Choir Performances](https://www.youtube.com/watch?v=gzyVJ08c-Ak) [History of Show Choir Article](http://www.angelfire.com/or3/tcsingers/SChistory.htm) [Fred Waring Wikipedia Page](https://en.wikipedia.org/wiki/Fred_Waring)
You’re listening to Fred Waring and his Pennsylvanians with Coast Guard Forever.
Shellac Stack No. 177 dusts the keys with Frank Westphal, rumbas with Fred Waring's Pennsylvanians, dreams with Jack Shilkret's Orchestra, and stomps with the Basin Street Six. Along the way we hear from Ruth Etting, Chick Webb, the 5 Red Caps, and more.
The speaking industry is going through huge changes at the moment. And in order to survive and thrive in this new age my guest today believes that you need to disrupt yourself. His name is Tom Sligting (AKA Tom Lightning) and he is a keynote speaker based in Amsterdam and a Professional Member of PSA Holland. In this episode of The Speakers Life we talk about how to add humour to your speeches. Moving from standup comedian to international speaker Does humour travel? Fredrik Haren Tailor-made speeches Visualisation exercises The best version of yourself Seeing your speech as an audio track Using mindmaps to write jokes Zig Ziglar's 7 minute rule for adding humour to speeches Ricky Gervais 'work in progress' shows Why you should think globally as a speaker Speaker stage props Being the speaker that people remember Show don't tell Disrupting yourself SpeakersU Tools: Whiteboard Book: How To Be A Global Keynote Speaker by Fredrik Haren Speaker Bag: Cameras, Grips, External microphone, Zoom audio recorder https://nextglobalspeaker.com/ Artificial Intelligence Generated Transcript Below is a machine-generated transcript and therefore the transcript may contain errors. Hey, there is James Taylor and I'm delighted today to welcome my guest, the Tom Lightning. The speaking industry is going through massive changes at the moment. And if you want to survive and thrive in this new age, my next guest believes that you need to disrupt yourself. His name is Tom lightning. He's a keynote speaker based in Amsterdam, and is also a professional member of PSA Holland. It's my great pleasure to welcome Tom with us today. So welcome, Tom. Thank you very much, James, nice to see you again. Thank you, it's great to have you here. So share with everyone what's happening in your world just now. Well, I, well, everybody, it's summer now. So it's July for if people watch this later, and everybody's outside on the beach or having holidays. And I'm actually 10 or 12 or 15 hours a day you my studio, preparing because I'm so excited about a lot of new stuff. I I developed a lot of new stuff I think about and there is a lot of work to do, actually. And so I'm really into that I'm building your website, I've got my new weekly flocks. You know, I've been to Singapore for a couple of times. And every time you hear you need to to to to get out there. Well, I don't have to tell you if you are out there every hour, I guess. So what I'm building on the whole speaker business perspective. So take it Take us back. I mean, how did you get into this very strange world of, of international speaking? That's very good question. Because international speaking, I haven't been a speaker for the last 25 years. So that's, that's a strange angle to be a professional speaker. And I sometimes I've spoken in England or or important goal. So. But now my mindset is to be a global speaker, a global keynote speaker. And so I see that I see this way that I'm having my ship, and I'm just adjusting my ship, make it bigger, wider, and the range is going to be longer. So it's not that I'm going to change something it's not I'm going to be from a consultant to speaker or a doctor to Speaker, I have been a speaker for the last 25 years. But it is a big difference. If you work in the domestic market in Holland, to do company gigs, or you want to be an international global keynote speaker that is, but I really like to challenge. And that's why I invested a lot in Well, the PSA Holland and the BCI international have been to Antwerp to Paris to Singapore. Tonight, I've got a meeting with a free for international speakers. So I'm really well last two, three years, do as much as possible to see what is that world about? and talk to the leaders who are who are in that market right now. So tell us as you were you were starting to meet this, this transition from being a speaker in Holland primarily for the market there. I'm guessing you're speaking mostly in Dutch, you're speaking there having to make that transition to now speaking internationally. And I'm thinking you're obviously going to speaking more in English there as well. Tell me, you know, as you were, first of all, what what was the key reasons that you decided you want to go international? Cuz I know a lot of speakers who do really well, and they just focus on their home territory, they don't really travel outside? What was it about speaking internationally that, what made you want to do that? And then also, when you did make that decision, what were the first couple of steps that you took in order to start maybe researching or thinking about where you wanted to speaking? Like, for the last 25 years, I am also a stand up comedian. And I do tailor made shows for companies. And I'm always booked as last speaker, because the last 2025 minutes, I just make everybody crazy. And that's why people know me, that's why people booked me. And that's what, that's what I'm good at, because I've got a lot of experience in that area. But I have also seen Well, I've done more than thousand companies show. So I've also seen thousands of keynote speakers. And to be quite honest, I mean, some of them are really good. And you can learn a lot from them. But I also have seen a lot of keynote speakers who were not that good. And then I and that's actually I'm glad, because that's actually why they booked me, they know there will be a speaker who will be having a good story, or a good message, but he will be a little bit low energy or a little bit dull or a little bit, you know, predictive. And that's why they booked me because they said well, we have to end high, we have to end with a lot of energy and positive vibe. So I'm glad not all the keynote speakers have that well, because that's why I made a living last 25 years. But your second question is why the transition? Then I thought, Okay, wait a minute, I'm getting a little bit older, I have seen the whole comedy scene in Holland and Belgium and, and then I thought, Wait a minute, what what if I was on that spot, and I combined all the years of experience and all the CEOs I've talked to the last 25 years or 20 years. That is a lot of content, a lot of information. And if I if I if I embrace that and make it some sort of bro, professionalize it, then I will be that keynote speaker. And that was just a decision I made three years ago. And then actually, the PSA Holland asked me, would you be a member, so I didn't even approach they said, because we don't have something, something someone like you in our group, you know, there are a lot of different speakers. And I think that's the best thing also, in companies, if you have a lot of different people from different angle, to do to be better and to learn from each other. So they didn't had somebody with the background I have with a lot of speeches and the company. So I want you to be silent. And in the beginning, it was a little bit, I just said to Luke, and I thought it was hard that you have to go somewhere and pay for it. You know, I mean, if I open my mouth, I get paid. Now, of course, but you know, normally you know what I mean? If you do the performance, you get paid. But when you in the group of the P say Holland or UK or United States, thank you, we're a group and you have to do it for each other. So it was a mindset thing. And then I said, Okay, I'm going to do it, and I want to learn as much as possible. And I just stood high. And and, and a lot of doors were opening for me when I made that decision was really, really nice. I mean, you'd already obviously built up this, you were very comfortable on stage spoken a lot years, because you had that improv comedy background as well, you were very comfortable, but playing with audiences and the energy of audiences as well. Well, who the speakers are whether any speakers that you saw, who transitioned from being speakers, primarily in their home country, English wasn't their first language, their mother tongue, to actually speaking in English, and really building an international speaking business. That actually, to be quite honest, there were no real examples. For me, the only thing I knew that in the Dutch group where I am in, they're all Dutch. And they're all the first language is Dutch. And I think from the 12 people that I really work with 10 of them also speak in English. And that's the second language. And for me, that was something, you know, to, it's also a mindset thing, I've got to work on it and work on it every day. And I also acknowledge that I also see that I'm when I'm three days in Singapore, or I've been at a mastermind in London, and you talk to three days in English that is getting better and better. So it's, you have to say to yourself, if you're not native English, just go for it. And I know, I make a lot of mistakes. I know there's some time I sent since I'm not that well, but it's all about communication. So if you have the right energy, and you prepare, and you don't care about the mistakes, I think a lot of people will will go for it. And if I say one more thing about that, I mean, Frederick Aaron told me once, because he's easy. He's He's an example for me. And I see all the other flocks he's been named to. But that's, that's normal, because he is. He's a really brilliant guy. And I asked him, because he's from Sweden, and this is not English, too. And he said, Well, it's only approximately 1% of all the English that he's been spoken in the world. It's a native Englishman, to a native Englishman, and the rest of the world is bad English. So he just said, welcome to the Welcome to the club. Okay, you're in the 99%. I mean, the 99% bad English was welcome in the club, you know, it's, you, you see it like that, you know, it's, it's just you have to do it. And some friends of mine said, well, it's terrible, and you shouldn't do it. And it only makes me stronger, to just go out there and, and don't even think about it. But I do think that people from Holland, you do have a, you have an advantage over a lot of maybe other non native countries vision non native English speakers, because I don't know, when it goes back to the homes always have a strong trading country. And so most people I know, from Holland, they speak five languages, multiple languages, very good at languages. So I guess that puts you a little bit of an advantage because you don't just know Dutch, you know, English of your French and German. Yeah, and maybe Flemish, you know, the other other languages as well. So you are in a bit of an advantage there. So you kind of started to launch yourself into the speaking industry, globally. And in this industry industry. I first saw you speak in Singapore, and I've never seen you before. And I didn't know anything about you and you got up on stage. And you were you were really funny. And you were playing with the audience and you're trying different things. And it was it was a great energy. And I just assumed you'd be an international speaker for you know, 20 years or something. So it came as an absolute surprise to me when you said that was like one of the first big speeches international speaker son, yeah, in English. So how did how did that feel? Because not only were you doing an international speech in Singapore in English, absolutely. Speaking to 300 or something professional speakers. So that was a real hard gig. And it was the tailor made show. So it was not my standard keynote. All right. Frederick, Karen asked me because that's why he, that's why I met him. He asked me can you make a real Taylor made show about humor in speeches, and you have half an hour? And that is pretty, you know, that's a challenge. But I have, you know, that's all I've got to do with with mindset. And as a professional speaker, you have to have the right mindset and have an insight how I look at it. I just focused myself, how would I be if I looked at myself? Would I would I like me, I would I like my own speech. And let us for a professional speaker or maybe any profession. That's a wise thing, because then you step out yourself. And you've got to be honest. And you and I see myself working. So two days before the event started, I was sitting in that room. And you know, I see myself walking, I see the power, the energy, the the the be murder, everything I had on on stage. And then you just imagined, do you want to be the normal guy or the regular keynote speaker that they are? Do you want to be outstanding? And you want to even love yourself when it's finished? Well, I mean, the answer should be number two of costs. And that's what you have to focus on. So never focused on what if people don't listen? What if they don't like it? What if I forget my lines, what if it's all I don't, I don't even have one of those in my in my area. In my in my vision. My whole vision is I'm doing the utmost best speech. And, and that is because I've been in a lot of situations that I needed that technique. I've played for four or 5000 people I've played before Julio Iglesias, and people didn't even know that I was on, I flew to Afghanistan, I had the most difficult performances ever. And that's the only way to survive, to see yourself do vision shot you got your yourself and and see the best version of yourself. And that's actually a phrase that I use in my speech right now, but I come up with that one that's real, genuine, the best version of yourself. If you focus on that one, well, the possibility of the outcome that it will be the best version of yourself is much higher here. Then all the all the difficulties you see, and if you see well maybe I cannot do it because if that's the vision, you will you will drop out. I love seeing even great comedians on stage or great speakers you really a very comfortable using humor and and and so the jokes well in what they do. Because I know how much work goes into crafting those things. Everyone outside it looks like wow, this person just naturally funny. And they're obviously love naturally going to get this huge amounts of thinking writing creating material. So for those speakers are watching this just now what what any kind of smooth, simple piece of advice, if they want to add more humor to the speech, if maybe they feel like that you just mentioned it earlier, that kind of speaker that goes up in their stages, it's very good, but maybe a little bit better than boring. And what they can do just to lighten it and add humor to the speeches. Well, if you if you see your speech as it your track, so let's say it's 3030 minutes, and you want people to laugh. If you have if you have audio track of a comedy show, it goes like like this. So why Mr. Yellow, red, yellow, red, yellow, red, yellow, red, that's too much. But if you if you record your speech, and you see only a green, a green area, that you know, wait a minute, there's not a lot of buzz, there's not a lot of, you know, so then you just have to find it. So you look at your speech, you said, Wait a minute, after 10 minutes, I've got this story about my son, there's gotta be something in it, then you just have to have to look for it. Because it doesn't happen just because you asked for it, you have to look for it, it's you have to work for it. But this is a way to look at it. Because people just want humor. And that's, that's, that's a big balloon, you know, that's, that's nothing, you have to grab it. But if you say after nine minutes, because it's called. And then I want about bias or an opening or at the half or then you know exactly where it is. And then you just try to try to find it. And it may not happen the first time. And then you work on it with the comedians do that to why a lot of comedians go to, to open mics. Because when they have a really, really good phrase or a really good one liner, it's you know, it's one out of 10 that they they instantly habit nine out of 10 they work on it and they shape it and they take a word off and they in between and and suddenly it's a totally totally different angle. And there is the best one liner that ever had. That is 123 months work. So when you wouldn't when you're let's say you've got that nine minutes and you think I need to have something I need to lift it I need to add some humor or something to to that that piece. Where do you start? You are you are you think do you use like visual, again, mind maps to can a map map? And in some communities you can a main maps? Or are you just going on long walks and playing with the ideas? Or Where's your inspiration coming from? For me? It's like like you said the mind map? So if I would be creative, never be creative behind a computer screen? Because then it's then it's analog, then it's 12345. and creative process is something that yes, well it's create creates while you're working on it. So if you get a big sheet of paper, I even work on flip over papers, because then you have endless crossing and arrows and red and white and yellow. So in the middle, you just say well, I want to joke about this. You don't even know why what what is all possible is that you're you're because you're a father because you did because that that and then suddenly, something comes out of it. And that can take one or two hours, but can also take two weeks. But that's the time you've got to invest. Yeah, if it's not your profession, if you're not trained to find the humor, it's going to be kind of take longer, go even paper, if you even you also have to have the skill to do it on stage and multiple times. So that's the biggest that's the biggest challenge and be willing to fail and be willing for that to try that thing. And it doesn't work or you don't get i was i was a work in progress show from a comedian recently a British me Ricky Jovi's great, really funny guy. And he was he was doing a whole series of trying at new material, and it's very small little club, and to see what was working. And even as he was because because everyone knew that is this is a work in progress. He would say things like, Okay, well, that was not going to make it Is it because you feel it in the room or like lovely, far too far. And that we actually bumped into him the next day. And then there was one particular line of jokes, which I'm not going to place it because they're so rude. And so out there that it's if you know, Ricky Jabez, you know that you can go out there by action. I said this, I said, I said to him, I said, I really liked what you will do it like that thing there. Were UN there. Yeah. And he said, Oh, no, I think I think I've got something there. But it's not quite, it's not quite there yet. So I could see it in his brain. He was like working through how I could How could develop it, how he could push a little bit further. And that's once again, these are all the skills that comedians use all the time. The things that speakers are trying and need to add into the shows as well. And if you've ever been in frame because when you make up a joke, don't bring it as a as a joke. That's very important. Because if you if you say something like, you know, if you say this as a line in between, and people laugh, it's great. If people don't laugh, you just go on. So it's not a big hustle. I mean, for a comedian, it's like a dun dun dun da bomb, there's got to be laughter because it's you push the one liner into the room, but a lot of laughs into keynote speaking or because people don't expect it because it's a serious talk. And then don't be bring it as like, because of that. No, oh, okay, it was. But if you just say it, and five people are laughing and say, okay, there must be something in it. And then you work on it, change your work next time. 10 people laughing and before you know, you've got it fixed. And then you can bring you this job because you believe in it. But before the job is finished, don't bring it as a job as a professional speaker. Just say yes. Just Just put it out there. I think I think it's exactly here. We said he tried to add him every seven minutes is a dog and seven minutes before adding something in otherwise, it's just it's too much. It can be too much for the audience. If you just said, you're saying you know going into the red you don't get near that level. Like what I said he just looking at speed seven minutes, it's got to be something seven minutes, and then you record it to do it. And it's beautifully, you know, and balanced for him. And for him is seven minutes. Okay, for an hour one is one good laugh, okay. For me, it's like, you know, every two or three minutes, it got to be something interaction, but left. But it doesn't have to be it just happens. So that's also important. I mean, you don't you don't need humor, it's something you you just use to to feel better. And because it's the sort of arrangement you make with the audience, and if they laugh, they love you a little bit more because there are some some empathy for you. And and the chance that they will listen to you even more focused is higher when they have laughed about you or something you sad because they respect you. And that's all in that in that package. Yeah. So and as you're you're making this transition from being a speaker in your own country to being an international speaker. I often think that humor is one of those challenging ones in terms of how to how humor travels. Yeah, I see some. There's actually a great speaker. It's called Tim Gods from America. Really, really funny, funny guy. And his humor is such a it's so International, so humanistic, it would work, whether it wherever we give it in the world doesn't matter, the face of America. And I saw another speaker the other day, Mike Walsh movies, a British British Hong Kong speaker. Yeah. Mike is a futurist. So it's very kind of high tech stuff. But he because he has a little bit of the British thing that's going on there. He uses a type of humor, which is almost like making fun of himself. And kind of downplay because it kind of takes the edge off the futurist part as well. When you've been, you know, either for yourself, when you see those speakers who are using humor that you really admire that are doing internationally, what what are they doing? Well, what those speakers are able to take humor and make it International. So watch any audience is any kind of things, patterns that you've noticed there? Well, the main is a very simple answer, but the most thing is think globally. Because if you say, if you got an opening line, like, you know, at the bus station near my house, no, it's I mean, even if you if you know, living near my house, you don't even know what I'm talking about. And some comedians do that. I mean, I work a lot with comedians from the United States. And they come over to Amsterdam, and I said, You know, I live in the Bronx, and you've got this and that there will be no, you know, and they go totally flat out. But if you say something about relationship, if you say something about your economic system, if you say something about Nike, or or Apple or something, everybody knows that. So you know, so think think globally. I mean, if if they've got phones in India, and they've got cars in Guadalupe, or so, and relationship and hate and love, and and everything between it. So your topic is got to be something that if you are in a bar in Singapore, or a convention in South America, people would have to say, Yes, I know what you're talking about. So that's, that's the most simple answer, globalizing. And one of the things that I think what, regardless of which audience where you're speaking in the world, is using props to do things because it's, it's a visual, it's a visual way of doing now, I think you're fantastic. You obviously love using props. I've seen you speak a couple of times. The last time we were both speaking at an event in Paris together, I think possibly is the only event I've ever spoken at where they had to lock the doors, because there was actual Riot going on outside. But anyway, that's the story. But you you actually put a prop along and and had real fun with us. Yeah, yeah, two props on that one. So tell me about why you use props, why you like using props, any, any things you've learned along the way that other speakers can learn from? Well, the first of all, is we're not making it up, I just do it. I never think what might people think and it's not real keynote thing. And, you know, it's like, if you make it up, just do it. And maybe I've done a lot of things that I stopped after five or 10 times. But now I've got something this crazy, credible sizer and I've got some some trust in it, that is going to be a sort of flagship for me. And there's, there's two two main reasons why I do it is, you know, maybe see whatever. The first one is, because I just make it up. I didn't, I didn't said I hadn't needed to Bro, I had a story about Angry Birds, because that's a crazy company, you know, 70 million customers in three months. And now, after three months almost bankrupt, you know, it is a crazy business model. So if you talk about disruption, they are a great example. And then you think, Well, where's How can I can I, you know, make this example more visible more and more engaged, mobile. And then it said, well, an angry bird is, you know, making stuff. They break stuff. And I want to interfere, I want to ask somebody in the audience, and then you have to say Angry Birds can be a microphone in it and wait a minute, then if you use a catapult, so it's ba, ba, ba, ba, ba, ba, ba, you know, it's just a creative process. I but I never, in a set of comedy, I never have used props and company gigs. I never use props, because you're the last 20 minutes you walk on, and you kill the show, and you go, but now as a keynote speaker, there are no boundaries for me. And maybe it's not normal. Maybe Booker's won't book me because they say well, magnificently, your Come on, it's going to be serious business. But that it gets to will be some Booker's who say, Man, we've never seen something like this. And we needed something totally different and give it a try. So and well, to be quite honest, let's say we've we've met in Paris, the 45 speakers, were there over there. And they're always three or four, you remember, not 4590 35, not even 25. And I've learned that from all the festivals I've played, I've played a lot of theater festivals. And even when I'm a speaker at a big con convention, and there are five or six or seven keynote speakers, and the director and the marketing guide, or 1230 speakers, they only remember you because of something. And I don't say it has to be abrupt, but it can be a beautiful image can be a beautiful sentence, it can be your stage performance, it can be your suit, it can be your interaction, or it can be a problem. And for me, it's a couple of those things I just said, and I know. I mean, I only have this crazy catapult Iser for one or two months. I'm not sure yeah, but you are going to be the guy with the catapult. Yeah, yeah. But you probably should own you should probably get a domain name, catapult. speaker.com. Well, look at it be because it's funny because people are I know number of speakers this which they don't almost used in their domain name, don't use their name. They use what they're kind of known for, like, exactly, Rob older woman is the wingman, your wing man calm. And we get to know them from that as well. But I think the other thing that that does having the visual prop. So now I'm sure everyone's gonna have to go online and see your cat. Please do. The nice thing is certainly that the catapult Iser is it was not a word in Google. catapult Iser, 25 pictures. So you can go find that one. But it's also that thing when people go into the office on the Monday morning, or the net, you know, a few days later, oh, you went to that conference? What, you know, what was it like, okay, and it's, it's what I think Malcolm Gladwell he calls them the n equals the the popcorn or the sweets or the candy or something where you might be at an event for two days. But you you you want to be happy to have the idea of the thoughts that you give to the audience, or the thing or some action or some prop that you put into the mind, which is easy for them when they get in the elevator on a Monday morning with their colleague, going from elevate, you know, grand grand level up to the sixth floor ever floor there on the exit? Oh, yeah, I saw this guy, he did this really funny thing with the such and such. And then it's then it goes from the well Tell me more. And then obviously, when you tell me what what he's actually it was talking about disruption. That was that was really what I'm talking about. And so it's a big flag. Yeah, you put a flag in somebody's head. And and you will, you will just be remembered by that. And that's actually why they and it's a lot of fun. And I was talking about I'm talking about disruption, disruption my audience. So if you if you ain't a big catapult of two meters to an audience. Don't do this, you know. I mean, it's I mean, I didn't even know that when I made it up. But I it's you call it walk the talk. If you talk about disruption, I have to disrupt my own audience. So and that's what I do. And I will do it even more than that will be even more things. Because I'm not thinking, is it possible? Or what would people think? Just do it, you know, I just wrote a beautiful song, a jazz song, and I just want to close off with a jazz number. And song and all the, all the highlights of my keynote about digging deeper and better version of yourself are in the lyrics of that song. And we sing it along and people, well, sort of guilty pleasure thing. They hate singing. But they also if you do within a group, you see the lyrics, they will have to sing along, especially when you've got the microphone, you just push it somebody under his mouth, that's pretty disruptive. So I'm working on a lot of other stuff. Yes, because it's, it works. And for it's also fun, it's creates a lot of energy, it creates a lot of, you know, unique kind of, of keynote. And everybody should do that in her or his way. I mean, if you are a normal scientific speaker, be a normal scientific speaker, but I am this high energy, crazy creative guy on stage. So I have to be that it would be totally stupid. If I would talk for 45 minutes in a technical way, like a lot of blah, blah, blah. That is that that's not me. So you've got to be honest to yourself, that's the only only tip I can give. So you sweeten the medicine a little bit, I guess in terms of this disruption, because disruption could feel like maybe a negative thing that's going on, we're being disrupted, and it feels like something is happening to us. We you flip it around with the audience. And so you're known for his idea about disrupting yourself, you know, we can go as a huge area disruption, but I thought what might be useful to talk about just now, before we start to finish up is obviously your speakers you remember, you and I are working together? And what areas are you seeing the you finding is most disruptive just now in the speaking industry? And how can you trying to disrupt yourself as a speaker in order that you can build an international speaking career? Well, how can I disrupt myself, I think that it's got to do with, with guts. And that's, you know, I created all this content and and, and, and six staff to disrupt yourself and, and the chemical dyes are, and now I just have to go out there and shout of the roof that I do that. And that's exactly what I do. For the last eight weeks, I make days my make those weekly flocks. Actually, I'm a performer, I'm a speaker for 25 years. And the last two months, I only posted in English, because a lot of people from Malaysia, to Hong Kong to to Singapore, but Paris, they react on my on my stuff. And so I focus on the global speaking and I I act like a global speaker. That's that's, I mean, that's what you have to have to do. I mean, you you cannot wait that somebody calls you and asked what situation is, so I have to go out there. And I mean, we are in the mid summer. So that's why I just finished all my website, and I'm finished all my content for my flock for the next two months. So now I am just to catch up with you also, I hope is find some booking agencies who find to see my videos of that's credible ties through CD energy. I've got more than 45 testimonials of people, you've seen my show. And I mean, if you if I ever feel bad, I never feel that I've ever feel bad. I'm going to look those testimonials because then you see 45 loving reactions of people who like you were surprised were blown away. So that's also something you have to do. And last time in Paris, I said to two or three speakers, when they were finished. I mean, I mean, you're sitting here get asked testimonials. No, no, no, no. And I was asked, you've got to do it. And they they really think me with two hands after that. Because you have to go over that rich is stupid. You go to somebody, here's my iPhone, what do you think of me? What do you think of me? I mean, but you have to do it. It's so much worth and I mean, you need that, especially when people are going to look you up. You need some testimonials. I mean, I can make beautiful websites. But I could make a website have a bakery tomorrow, but I can bake bread. It's funny, you know that there is a us talk about the bridge bridging from someone, you're getting a testimony from the one I the one I've always used in the past is if I'm lucky enough that I'll have someone with me. And what if someone comes up with you, when you come offstage? invariably, people come up to you, and they want to talk to you. And I love that thing you mentioned there, or this thing really means a lot to me there or I'm going to try this. And and they'll say it to me. I said, That's fantastic. Would you mind saying that on camera just now. And then I just I basically just cost me just as a as the camera. And I we you know, you get a lot of those really, really, really quickly as well. Absolutely. So you know, you're you know, I love working with speakers like you as well, because, you know, every speaker is coming from a different place. And I think where someone like you is you're like, like a, you know, a great car, you've got that, you know, great engine, the body work great. All the technologies really, really there as well. And my job then is to provide that field. It's to provide that jet fuel in there. And you know, don't directing a little bit as well, because you have so many the component pieces. Yes. And now not every speakers have come to this party. It's funny you say this? I thought about it, if you would ask this question for how do you how do you feel this this afternoon because you know, speakers lose a lot of metaphors. I would have said I feel a little bit like a sort of Elon Musk, creating this Tesla. And everybody loves it, and everybody likes it. But you know, they have to be sold. Me. So that's exactly now you use this is metaphor. You are like this beautiful car, with engine with everything in it. And it's it's there behind a window. And everybody's Oh, man, look, it's great. I would like to ask one. Well, you know, there's got to be somebody you said, Well, he's out there, you know, you can drive from actually. So to be close to God, that's a great metaphor. You guys actually had that before to close off? Yeah, you definitely you definitely want to be in the Tesla as opposed to what was the name of the car they used in Back to the Future I adore. DeLorean a DeLorean Loria actually made in Northern Ireland, I think you were made those cars. I know what really great, interesting cars, but they're just like, it just did what Tesla, you know, it's just, they're really well made. They're well constructed. The technology is great. And it's just giving them the fuel. So So I mentioned to your speakers, your speakers, you members, well, what what, what things have you been finding, you know, being a speakers, you remember what you valued about your membership? Well, you know, I'm always honest. And the point is, I see speaker speakers, you as a big database. And what I mean by that is that you've got to do 95% of the work you've got to do by yourself. So if you really see speaker us as a coach, that is sort of you know, I will will take you along and that is not speakers you. So actually, I've been a member for one I've years and maybe three weeks ago, I opened the website, and I saw some interesting stuff that I needed. But that's okay. I say now into the mirror myself here. That's my fault. Because I could do that a year ago. But nobody taught me. And you don't have to tell tell me, maybe you could that's okay. But it's, you know, it's. So my point is, there is a lot of information, and I just downloaded the PDF what to do to go out there and that there are some interesting things. But it's not that you are going to mail me like Tom, I didn't hear something from you last month. And I thought we agreed this or that. So speaking you is a sort of that is a sort of train and but you've got to be on the on the platform, and you've got to step into the train. Yeah. And then everything is their beverage, food content, everything is there. But you you've got to have the initiative SS speaker, I think and I think, like you said, like the members they get most from it is those those who are they are self self motivated, in terms of doing the things and they can going line is it's funny, you know, different speakers will, will get feedback at different times some, it's almost every day, they're sending in questions, because they're working really intensely on something. And other times, I'll go for a couple of weeks or even a couple of months, because they're they're on the road speaking, they're actually out there doing the thing that the know they should be doing. And they come back as Oh, I've tried this, but this thing isn't working. And now I want to move into this new territory. And now think I'm about I'm on the road all the time. And I need to add some back end revenue streams, because I want to be more critical of the kind of gigs I do as well. So that's another level that you go to with them. So I'm good. I'm glad you're finding new things all the time as well. And I let's go to some other tools. What other tools or apps do you find very useful for yourself as a speaker tools or apps? Well, I, I don't use a lot of tools or apps, because I think it's a it's a pretty much a mind thing, you have to have everything in your head. And I've got this, this this little beautiful board over here and everything when I've got an idea I just write it on. And sometimes I look at it, and I just take something out of it and kind of work on it. Because that's also what happens in the creative process. You, you you, you have this and this and that. But you have to focus on one area, make it make it good, and then go to the booth, put it aside. And then you can focus on another area, like website or content or customers or opportunities or whatever. If you do it all at the same time flocks and social media, then it's going to be chaos. So I just have this this big board over here with a lot of words on it, I guess. Take one word one. Topic one pointed, I have to have to do. And I'm just work on it till it's done, actually. So one word, finish finish website. That's that's where mean two words. But that can be two weeks work. Yeah, a bit. But it's good to know that you're capturing those. A lot of people, I need to do this for them. They never capture it. And it never gets done. Because there's not it's not getting measured in any way. And what about a book, if there was one book you would recommend to speakers? It could be on speaking or could be on humor or on business description. What would that book be? I mean, I'm actually writing reading it down for the second time. And I think some other speakers said it to that it's being a global speaker of Frederick Heron. I mean, that is a sort of very simple, you know, it's like, yeah, sure, of course, yeah. I knew that are out there, don't do this. But you know, it's still it is something you know, if, like a small sentence, if you want to be a global speaker focus on global customers. That's one sensor said, but that's really powerful. You said in three minutes ago, sometimes you are in a sort of area of clients of schools, or or, you know, I mean, you won't be a global speaker, if you perform for schools. That's my opinion. So if you use that sentence, look for global companies, if you want to be global speaker that is very powerful. And that's only one sentence out of the book. So, I mean, that is a sort of, I mean, it's not a Bible, it's just a sort of mini hand pocket book that you have to reach. And everybody's got something different out of it. Yeah, I guess what because where you're based as well, there's a lot a lot of global companies that have their headquarters in Amsterdam or New York and Brussels and because to you as well, and many of them have been your clients over the years so then it's about using that relationship to be able to say you know, or go to Malaysia you know, as anyone I can speak you're in your Malaysia office, and to build those relationships. What about what's in your your speaker bag? You obviously have your capitalized? I don't know. How do you say it again, cap? Get appetizer has to bow ties and your capital ties a good word. But what else are you carrying with you to your speaking gigs? keras I always try to film my shows. And I've got new a bag with five cameras. Five cameras. Well, yeah. It's one 4k cameras. I've got one expensive camera. And actually, I bought four cameras secondhand. And maybe that's also good tip today's I guess I just had a look. What were the best cameras eight years ago. So if you would go to you, Japan eight years ago, that's not that that's that long ago. And every Sony is something they would say this is our flagship, you know, the best camera. And they are out there the market now for 2530 euros for 2530 pounds, because it's seven or eight years old. And people want the newest camera 4k. But actually, those cameras are pretty good. They have three CCD sensors in it so they can with different lights, they are really good. And I've got just 16 gigabyte memory card in it. And even if you lose one of somebody steals one, okay, whatever, you know, it's 30 euros, and I'm always my 4k, big Sony camera, I put with the technician forward for the big angle. And you can zoom in because nobody uses 4k. So you can do. But the other four cameras, you just put bomb bomb bomb bombs. One one from the back is always really nice, because then you see the audience. And then you can make a sort of semi professional editing instead of one camera. Because one camera is never professional. That's Yes, that's a nice footage. But it's never a movie. It's never too. You can never engage with one point of view. So these cameras that you're getting, are they like, former camcorder style cameras, or are they regular? Like, I guess you can call camcorder style. Yeah, Panasonic, but it's a three CCD, and they are 25 euros now. Second hand, but they had brilliant food. It's because those cameras were $900, seven years ago $900. I actually have one of those cameras. And I think I bought it secondhand. It was about $200 I got in Canada. And I feel I'm pretty much all of my first lot of courses for one of my other businesses on that. And the other day, I walked out how much money I'd made. And it was insane. The ROI of this one simple, Carol, I just put up on a tripod, the courses under there. So as you see it doesn't have to be overly technical. You have your cameras. I mean, did you have your tripods for the right part? Or? I bought some, some, some cloth. Yeah. with with with a with a mountain it? You know, they they really they because the tripod is always a big hustle. You know, it's like a big thing. Yeah, but if you've got a clot No, I have it right now. But it's something like like this. And there's a claw and you can just screw it somebody or somewhere like this and put it on. camera ready? Yeah, no, it's that really works well, because then I mean, it's not much based in my in my suitcase, also because it's a small clock. And you can there's always a pipe or or something that you can just screw it on. And you get four or five cameras, different angles, and you just, you know one hour that you can film 90 minutes with a full battery and a 60 gigabyte memory card. And you have the cameras as a visual. So what about the sound? Well, you doing to record the sound when you speaking? Well, if I've got this on my 4k camera, I've got an external microphone. And so that actually works really well. And if I if it's a real nice performance, I've got this zoom or or I can take it it's an external audio record system. Yeah, you just go to the technician. And you say I've got an XLR here. Do you have an output and Kudo? Of course, they always work along and you just put it there and you can you can put it in six hours before that you can put it on record, because you know that audio is not that much data. So even if I'm at four o'clock in the afternoon, I install it at 12 o'clock, I put it record and even if there were some really good key speakers, keynote speakers before you have you've got one on tape, you can listen tell it but no telling you. I'm also guessing that many of the speakers are speaking the same events for you. They might be coming up you afterwards see any chance I could get that footage like that? Yes. I just sent a big movie to Bob OE and and Lloyd Luna is a 30 minute movie with four cameras, I we transfer to Lloyd Luna, he was really happy with that. Fantastic. So I won't even have questions we finish up here. Imagine you woke up tomorrow morning. And you had to start from scratch. So no one knew who you were, you'd never been booked, you don't have any contacts anymore. You have to completely restart. What would you do? How would you restart your speaking business? research? I mean, you I mean, Fred Waring always says that you need to speak at least 100. People to to to to get your content. And actually, you know, I my content is actually like i said i did more than thousand company shows. And that is my, my big bucket of information. I talked to hundreds of people for two or three hours before I do a gig. And then you hear a lot of inside information. Sometimes you cannot even share this information about fusions or or or people who are getting fired, whatever. But then you also hear why and what we when we talk about disruption. Family, you know, little bit what is going on in this company and why is this division is doing well. And this division is doing so well. So that's all the insights I have. And the last couple of years I just started to go five years ago, I didn't even know I needed that information. But now I sort of remember all those kinds of conversations. And I make notes, of course. And when I look at those notes, I see a sort of pattern. And that's what I can use. When I talk about disrupt yourself. I know what it is when you're in that room. I know what it is to to work for a company and not everything goes well. And they ask a live too much. And so that's my area of research. But if I were to start over again, you meet your bucket of content, not from the internet, not not because you see a TEDx. But but it's got to be personal. It's got to be from you. Having those conversations, that's great, great advice. And if people want to reach out to you maybe to recommend you for a speaking gig or to connect with you to learn more about what you're doing, where's the best place to go and do that? Well, I've got this website next global speaker calm and it's working right now. It's I hope this afternoon it will be ready. Please have a look. Next Level speaker calm and of course LinkedIn. Tom slick think slash Tom lightning. I think if you google Tom lightning, I will be there because when I do SEO, I always put my names on every picture that I put on my website, whatever. So I mean, if you do a little bit of research, you will you would have, you will have to find Fantastic. Well, Tom, thank you so much for coming on today, sharing all about all the incredible stuff you've been doing how you been building your speaking career is great to have you as a speaker, as you member as well. It's always a delight working with you and seeing your speaking career go from strength to strength, and hopefully we'll be sharing a stage again together in the near future. Maybe you know, maybe if you're going there, Maybe yes, maybe yes. I'm telling you that too. So I mean, there's this it's a cool loud read right now. So we'll just we'll see you in the maybe anyway, February. You heard it here first. So you may see us in Namibia. Don, thank you so much. Take care. Thank you very much YouTube. How would you like to get paid to travel the world to share your message and expertise? How did it feel to get paid 5000 10,000 $25,000 to travel first class and stay in five star hotels in exotic locations. What I've just described is the lifestyle of international keynote speakers. And you can join me and over 100 of the world's best keynote speakers, and speaker trainers as they reveal their secrets to becoming a better speaker and getting booked to travel the world as a professional keynote speaker and Bestival. As it's an online summit You don't even have to leave home plus it's not going to cost you a single dollar euro pound ruble peso or yen. If you sign up for the free pass at International Speakers Summit calm you're going to receive access to never seen before video interviews over 40 of the world's best keynote speakers. In addition to this, you'll get access to archived interviews from some of last year's summit guests. So in total, you'll be able to watch in depth interviews with over 100 incredible speakers and speaker trainers. You'll have to find a theme for your keynote presentation how to craft your talk how to get booked as a speaker, how much to charge and ways to get paid to speak on stages all over the world. So what are you waiting for? Head over to http://internationalspeakerssummit.com/ now
or download show directly here: https://ia601409.us.archive.org/3/items/tips_20190712/tips.mp3Who knows, you might learn something! Featuring music by Electronic Concept Orchestra, Baroque Jazz Trio, Ghetto Brothers, Oiling Boiling, Fred Waring, Johnny Largo, Velvet Hammer, Wendell Austin, Barbara Moore, Johnny Largo, Johnny McGee, Virgin Insanity, Synthesia, Led Zeppelin, Mark Dinning, Malauwi, Spitfire Debs, "Whoopee" John Wilfahrt and His Band, and Bing Crosby with Woody Herman's Band.
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Nel 1957 Sinatra incide un intero album di canzoni natalizie, A Jolly Christmas from Frank Sinatra, in cui reinterpreta alcune delle canzoni che aveva già inciso e ne propone di nuove. Nel '64 poi Sinatra è - assieme a Bing Crosby e al bandleader Fred Waring - cointestatario dell'album 12 Songs of Christmas: Sinatra interpreta da solo tre canzoni - fra cui The Little Drummer Boy, una delle più curiose canzoni natalizie create negli Stati Uniti nel Novecento - e duetta con Crosby in altri due brani. A cura di Marcello Lorrai.
Nel 1957 Sinatra incide un intero album di canzoni natalizie, A Jolly Christmas from Frank Sinatra, in cui reinterpreta alcune delle canzoni che aveva già inciso e ne propone di nuove. Nel '64 poi Sinatra è - assieme a Bing Crosby e al bandleader Fred Waring - cointestatario dell'album 12 Songs of Christmas: Sinatra interpreta da solo tre canzoni - fra cui The Little Drummer Boy, una delle più curiose canzoni natalizie create negli Stati Uniti nel Novecento - e duetta con Crosby in altri due brani. A cura di Marcello Lorrai.
Nel 1957 Sinatra incide un intero album di canzoni natalizie, A Jolly Christmas from Frank Sinatra, in cui reinterpreta alcune delle canzoni che aveva già inciso e ne propone di nuove. Nel '64 poi Sinatra è - assieme a Bing Crosby e al bandleader Fred Waring - cointestatario dell'album 12 Songs of Christmas: Sinatra interpreta da solo tre canzoni - fra cui The Little Drummer Boy, una delle più curiose canzoni natalizie create negli Stati Uniti nel Novecento - e duetta con Crosby in altri due brani. A cura di Marcello Lorrai.
Shellac Stack No. 86 takes you from the sidewalks of New York to Old MacDonald's Farm via 17th century England! Along the way, we hear from bandleaders Ben Bernie, Ruby Newman, Fred Waring, Austin Wylie, Sam Lanin, and Benny Goodman. We also hear a rare Edison Diamond Disc by Sam Patterson, a colleague and friend … Continue reading »
Shellac Stack No. 84 goes “Steppin' Around” with Jan Garber, Ben Pollack, Ralph Williams, Fred Waring, and a few other “hot” bandleaders of the 1920s. We also hear some mountaineer songs from Ernest Stoneman and Kelly Harrell, take a trip “south of the border,” and play a guessing game.
Fred Waring A Christmas Song Medley 12-22-48 http://oldtimeradiodvd.com 6772
Joe, Kevin, and Toren are joined again by Dr. Rob Tarzwell for another Caustic Anatomy Class, this time on bones! We look at the structure and evolution of bones, the world's biggest, smallest, and most-broken, several weird bone diseases, the Oddfellows' closeted-skeletons, plus news and pop culture! Music: "Dem Bones" by Fred Waring & his Pennsylvanians Links Watch Happy Days on Hulu Richard III Death Blow Lost Skeleton of Cadavera on YouTube Heal Yourself Skeletor Images Videos http://www.youtube.com/watch?v=IXmRuJByoVs http://www.youtube.com/watch?v=oeJjgCtqPEI
Fred Waring-Twas The Night Before Christmas 12-15-48 lhttp://oldtimeradiodvd.com
Another hour of bubblegum pop brilliance! A dramatic reading from a Hawaii Five-O novel, followed by a rare Sammy Davis, Jr. recording of the theme song with the words! Tributes to breakfast food! An Echo Valley Time Machine classic by Fred Waring and His Pennsylvanians! First appearance of the What We Love About Bubblegum segment! Plenty of great bubblegum music by Paul Revere and the Raiders, Josie and the Pussycats, Banaroo, The Foundations, Neil Diamond, Michael Carpenter, Flame, The Fifth Estate, Tommy Roe, The Fun and Games, Slim Goodbody and Friends, The Archies, The Amazing Pickles, The Good Earth and Capt. Groovy and his Bubblegum Army!
Chuck Corson was the director of entertainment for Disneyland and Walt Disney World beginning in 1959. AUDIO INDEX :59 Production stage manager for Fred Waring and the Pennsylvanians, 1:35 Disney Night at the Hollywood Bowl and “Tinker Bell,” Tommy Walker, casting shows such as “Mickey Mouse Club,” and “Elfego Baca,” Jimmie Dodd 3:40 Disneyland’s start … Continue reading Interview: Chuck Corson (Fred Waring; Big Bands; Disneyland’s nighttime entertainment) →
With this being show 99, what better theme to adopt than that of ice cream! For those non-UK residents not able to make the connection: http://en.wikipedia.org/wiki/99_Flake. So every track on the show this week has a lovely soft whipped theme, … Continue reading →
This Fred Waring and Orchestra Radio Show is from 8/18/1947. He composed and/or performed dozens of patriotic songs, his most famous being "My America." In 1943, Waring acquired the Buckwood Inn in Shawnee on Delaware, Pennsylvania, and renamed the resort the Shawnee Inn. To promote the Inn, Waring centered his musical activities at the Inn itself. He created, rehearsed and broadcast his radio programs from the stage of Shawnee's Worthington Hall throughout the 1950s.
A popular 30s bandleader, Wayne King has been compared to Lawrence Welk and Fred Waring. Known as the "Waltz King," his repertoire was made up of waltzes, novelty songs and sentimental recordings. The sound was copied by other musicians and made Wayne King famous. It was radio broadcasts, such as the Lady Esther Serenade, his Victor recording contracts and performances on Chicago's Aragon Ballroom that sold millions of recordings for Wayne King. Besides being a successful bandleader, Wayne King was also a saxophonist, often playing his instrument in the Wayne King Orchestra.
This week David and Milt presents"Lets Have A Cup of Coffee"by Fred Waring, "Now's The Time To Fall In Love" by Gene Kardo, "You Can't Take That Away From Me" by Morey Sullivan & The Brazos Valley Boys, "We Just Can't Say Good Bye" By Annete Hanshaw and "Brother Can You Spare a Dime" by Bing CrosbyThe Music Museum is another one of the great Yesterday USA Old Time Radio Show Programs.After being broadcast on YUSA, this famous program is now available thanks to a special arrangement between Radio Nostalgia Network and Yesterday USA. Listen Live to YESTEDAY USA, http://yesterdayusa.comOnline Meetings Made Easy with GoToMeeting Try it Free for 45 days use Promo Code Podcast
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