Podcasts about The Girl from Ipanema

STANDARS SEMANAL.-The Girl From Ipanema.-JAZZANIVERSARIO.-THE TRUMPET OF PETE CANDOLI-BLUES,WHEN YOUR LOVER HAS GONE.-JAZZACTUALIDAD.LA HAPPY BAND-TRENCACLOSQUES

Hay canciones que lo cambian todo, la vida de sus autores, la de sus intérpretes y la de los oyentes. En 1964 un experimento musical dio como resultado The Girl From Ipanema, una canción eterna que frenó la conquista mundial de los Beatles y que elevó la bossa nova a una nueva categoría.Firmado por Stan Getz y Joao Gilberto, el disco cuenta también con Tom Jobim al piano, y autor también de las canciones, y presenta al mundo a Astrud Gilberto, la joven mujer de Joao. Astrud llegó de casualidad al proyecto y el éxito de los dos temas que cantó la convirtió en una estrella.Esta semana invitamos al Sofá Sonoro a Arturo Lezcano para adentrarnos en la historia de este disco y de sus personajes para entender cómo se gestó este histórico disco y que supuso para sus intérpretes, que volvieron a coincidir en nuevos proyectos en los siguientes años.

Denne morgen dykker vi bl.a. ned i bossa nova smash-hittet 'The Girl from Ipanema' som for tiden fejrer 60-års jubilæum og som man kan høre mere til i den seneste udgave af det nye P8-program 'Uden Sidestykke'. Vært og tilrettelægger: Julian Svejgaard. Redaktør: Kasper Christensen. Skriv til Snooze med din morgenstemning eller med et bud på den bedste morgenmusik: Mail: p8jazz@dr.dk SMS: 1212, skriv jazz, mellemrum og din besked

4 Nisan 2024, Laflijazz bu hafta Brezilya'dan "The Girl From Ipanema"yı konuk ediyor. Antonio Carlos Jobim'in müziğini, Vinicius De Moraes'in de sözlerini yazdığı bu keyifli parçanın hikayesini konuşacağız.

Chers auditeurs, préparez-vous à plonger dans l'histoire fascinante de la rencontre entre deux légendes de la musique : Frank Sinatra et Antonio Carlos Jobim. Dans cet épisode de "La partition", vous découvrirez les coulisses de leur collaboration inoubliable, qui a donné naissance à des moments musicaux emblématiques.Imaginez-vous transporté en 1967, dans un studio d'Hollywood où deux génies de la musique se rencontrent. D'un côté, Frank Sinatra, à l'apogée de sa carrière, avec des succès mondiaux tels que "Strangers in the Night" et "Something Stupid". De l'autre, Antonio Carlos Jobim, le maître de la bossa nova, qui a révolutionné la musique brésilienne avec sa douceur envoûtante.Laissez-vous emporter par le récit captivant de cette collaboration où les deux artistes, malgré leur silence apparent, communiquent à travers la musique. Découvrez les détails de l'enregistrement de leur album commun, marqué par la voix retenue de Sinatra et l'élégance de Jobim.Et que dire de l'émouvante interprétation de "The Girl from Ipanema", ce standard de la bossa nova, par ces deux icônes de la musique ? Plongez-vous dans cette version classieuse et laissez-vous séduire par la magie de leur duo.Rejoignez-moi pour un voyage dans le temps, où la musique transcendait les frontières et unissait des talents exceptionnels. "La partition" vous invite à explorer les coulisses de ce moment historique, à en apprendre davantage sur ces artistes légendaires et à apprécier pleinement l'oeuvre qu'ils nous ont laissée en héritage.N'attendez plus et laissez-vous envelopper par la magie de Frank Sinatra et Antonio Carlos Jobim dans cet épisode captivant de "La partition". Une expérience musicale inoubliable vous attend.

We're counting down the best Breakdowns of 2023. Coming in at #4 - "The Real Girl from Ipanema." Support the show

Getz and Gilberto - an immortal pair of musical lovers - The Czar and Czarina of sexy insinuation. The coolest purveyors of cool jazz, swinging sweetly with a Portuguese inflection. Just try to listen to them without moving involuntarily -  you can't. Before you know it, your shoulders will be swaying gently in the fragrant summer breeze that perfumes the air all around you with longing and lust. This cut represents the epitome of what a Sunny Song should be: you can literally feel the warmth from old Sol on your face as you picture brown bodies frolicking along Rio's beaches. It may have emerged specifically out of the time and place of Brazil's Bossa Nova craze of the early 60s, but it's timeless. The sound, the feeling, the groove - immutable. Rich and I covered The Girl From Ipanema on a previous episode of Put On a Stack of 45s, so I won't rehash the particulars of Stan Getz and Astrud Gilberto's biographies. Let the music suffice to tell their story - and, It's so compelling that it leads one to wonder: were they, or were they not lovers? It doesn't matter, there is no mistaking the true meeting of the minds and loins in their melodious connection. 

THE JEREMIAH SHOW - Featuring Anaïs Reno! Anaïs is a SUNY Purchase jazz major. Having won several accolades including the Jazz Award in the American Traditions Competition, the Mabel Mercer Competition, and the Julie Wilson Award. Anaïs has performed in venues such as Birdland, Carnegie Hall, The Django, Dizzy's, Chris' Jazz Café, Madison Square Garden, the Caramoor Jazz Festival, and others. Her album, “Lovesome Thing”, celebrating Ellington and Strayhorn, rose to number 6 on the jazz chart. She sang "America the Beautiful'' for the Mets/Yankees 9/11 game in 2021 on national television. Anaïs will be releasing two records soon, one with London's PizzaExpress in February, and one with Peter Bernstein next year. Lovesome Thing: Anaïs Reno sings Ellington & Strayhorn featuring Emmet Cohen Year Released: 2021 Record Label: Harbinger Records Anaïs Reno NEW ALBUM “Anaïs Reno Live At PizzaExpress Live in London” features Anais' solid take on a collection of re-imagined jazz standards including ‘Yardbird Suite', ‘The Girl From Ipanema' and ‘Just Squeeze Me'. https://www.anaisreno.com/ Jeremiah on FaceBook & Instagram @jeremiahdhiggins Hosts - Jeremiah Higgins
 Executive Producer - Jeremiah D. Higgins 
Senior Sound Engineer - Richard Dugan evolve entertainment www.thejeremiahshow.com https://linktr.ee/jeremiahdhiggins

Thanks for the shout out Anaïs! Having won several accolades including the Jazz Award in the American Traditions Competition, the Mabel Mercer Competition, and the Julie Wilson Award. Anaïs has performed in venues such as Birdland, Carnegie Hall, The Django, Dizzy's, Chris' Jazz Café, Madison Square Garden, the Caramoor Jazz Festival, and others. Her album, “Lovesome Thing”, celebrating Ellington and Strayhorn, rose to number 6 on the jazz chart. She sang "America the Beautiful'' for the Mets/Yankees 9/11 game in 2021 on national television. Anaïs will be releasing two records soon, one with London's PizzaExpress in February, and one with Peter Bernstein next year. Lovesome Thing: Anaïs Reno sings Ellington & Strayhorn featuring Emmet Cohen Year Released: 2021 Record Label: Harbinger Records Anaïs Reno NEW ALBUM “Anaïs Reno Live At PizzaExpress Live in London” features Anais' solid take on a collection of re-imagined jazz standards including ‘Yardbird Suite', ‘The Girl From Ipanema' and ‘Just Squeeze Me'. www.anaisreno.com/ Jeremiah on FaceBook & Instagram @jeremiahdhiggins Hosts - Jeremiah Higgins
 Executive Producer - Jeremiah D. Higgins 
Senior Sound Engineer - Richard Dugan evolve entertainment www.thejeremiahshow.com linktr.ee/jeremiahdhiggins Anaïs Reno is a SUNY Purchase jazz major. Having won several accolades including the Jazz Award in the American Traditions Competition, the Mabel Mercer Competition, and the Julie Wilson Award. Anaïs has performed in venues such as Birdland, Carnegie Hall, The Django, Dizzy's, Chris' Jazz Café, Madison Square Garden, the Caramoor Jazz Festival, and others. Her album, “Lovesome Thing”, celebrating Ellington and Strayhorn, rose to number 6 on the jazz chart. She sang "America the Beautiful'' for the Mets/Yankees 9/11 game in 2021 on national television. Anaïs will be releasing two records soon, one with London's PizzaExpress in February, and one with Peter Bernstein next year. Lovesome Thing: Anaïs Reno sings Ellington & Strayhorn featuring Emmet Cohen Year Released: 2021 Record Label: Harbinger Records Anaïs Reno NEW ALBUM “Anaïs Reno Live At PizzaExpress Live in London” features Anais' solid take on a collection of re-imagined jazz standards including ‘Yardbird Suite', ‘The Girl From Ipanema' and ‘Just Squeeze Me'. www.anaisreno.com/ Jeremiah on FaceBook & Instagram @jeremiahdhiggins Hosts - Jeremiah Higgins
 Executive Producer - Jeremiah D. Higgins 
Senior Sound Engineer - Richard Dugan evolve entertainment www.thejeremiahshow.com linktr.ee/jeremiahdhiggins

Corcovado (2.31) The Girl From Ipanema (6.35) A Water to Drink (2.09) Only Trust Your Heart (4.27) Voce E Eu (3.28) Vivo Sonhando (Dreamer) (2.05) A Felicidade (2.48) Frevo (2.28) It Might As Well Be Spring (4.24) Photograph (2.12) Dindi (2.43) Take Me to Aruanda (2.31) The Gentle Rain (2.26) Berimbau (2.22) The Girl From Ipanema (3.01)

Andre on IG: @andre.on.film   CineStill on YouTube: https://www.youtube.com/@CineStillFilm   The CineStill Sounds playlist on Spotify: https://open.spotify.com/playlist/3jNVuyeRCiA5CQP7JAxg52?si=2348922cfd2a4c69   One of the places Andre goes to discover new music is KEXP: https://www.youtube.com/@kexp   Andre grew up listening to traditional Brazilian music based on his parents's preferences including Bossa Nova, Samba and Ferro. He talked some about Joao Gilberto and his collaboration with Stan Getz. But specifically mentioned their iconic song The Girl From Ipanema: https://open.spotify.com/track/4qGfJb2KByjvzrwo8HNibg?si=df575c28be794f37   One of the groups Andre was enjoying recently: https://open.spotify.com/track/1sFffnBCubNMh57xaOenqK?si=87d01085a0f6465e   The infamous episode 100 giveaway show from Negative Positives (Andre's trip to Louisville is documented in shows 98 - 100): https://open.spotify.com/episode/3Da1iOFwjmUhm6IvCIbPRy?si=9Xwf-3QiRhGVvdqEn_AFWA   Theme song “Timeless” from Mike Gutterman available at mikegutterman.bandcamp.com   Sunny 16: sunny16presents@gmail.com   The show on IG: @musicandphotographypodcast The show on Twitter: @musicnphotopod

Dr. Jake Jacobs discusses the Trans-Queer agenda to destroy sexual reality.

In episode 167 Tom tells us all about the The Girl From Ipanema: the place, the song, the backstory, the songwriters, and the singers. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tomreadsyourstory/message

Can you imagine a festival that combines vibrant colors, ancient legends, and delicious food? Join us as we explore the ancient Persian summer rain festival, Tirgan. We'll share how you can dance, recite poetry, and serve mouthwatering traditional dishes like spinach soup and sholezard to celebrate this unique event. Learn the significance of the rainbow-colored wristbands, the legend of Aarash, and making wishes, all while discovering how to incorporate Tirgan into your own summer celebrations!   In the second part of the episode we answer a listener Ask The Beats question about our favorite tunes to cook to, from lively Persian dance music to sultry Mexican melodies. We even share a hilarious story about a car wash pickup line and the enchanting music of Girl From Ipanema. Don't miss this colorful and entertaining episode that will leave you hungry for culture, celebration, and scrumptious food! Take our listener survey! It's quick and a great opportunity for you to let us know how we're doing and what you'd like to hear in the future. Here is the link: LISTENER SURVEY! All Modern Persian Food podcast episodes can be found at: Episodes   Sign up for the email newsletter here!   Subscribe+ to the Modern Persian Food podcast on your favorite podcast player, and share this episode with a friend.   Podcast production by Alvarez Audio

The super-trouper of gentle enquiry alights this week upon … … why bands are at their biggest when they're over the hill. … Fats Waller v Morrissey song titles: can YOU tell your Waller from your Wallower? … how could Dylan have written Queen Jane Approximately aged only 24? … why you should hear Pieces Of Treasure by Rickie Lee Jones, particularly the track All The Way. … the social media bin-fire that's shredding the reputation of Bobby Gillespie and how Twitter loves a character assassination - “Pound shop Mick Jagger! Always a charlatan!” … was anyone worse equipped for the rigours of the pop circus than Nick Drake? … “big” 20-album record collections, board games and no telly: fond memories of real life in late ‘60s London.   … Richard Thompson and Nick Drake's painfully awkward tube journey. … what risible sum Astrud Gilberto was paid for The Girl From Ipanema. … and why Springsteen was called “the Boss”.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content!: https://www.patreon.com/wordinyourearGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

On this week's show, we...  spend quality time with new records from Jenny Lewis, Foo Fighters & Jason Isbell and the 400 Unit  bid adieu to the iconic Astrud Gilberto & the legendary Tina Turner  celebrate 45 years of my all-time favorite record - Bruce Springsteen's Darkness on the Edge of Town  All this & much, much less!Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

The super-trouper of gentle enquiry alights this week upon … … why bands are at their biggest when they're over the hill. … Fats Waller v Morrissey song titles: can YOU tell your Waller from your Wallower? … how could Dylan have written Queen Jane Approximately aged only 24? … why you should hear Pieces Of Treasure by Rickie Lee Jones, particularly the track All The Way. … the social media bin-fire that's shredding the reputation of Bobby Gillespie and how Twitter loves a character assassination - “Pound shop Mick Jagger! Always a charlatan!” … was anyone worse equipped for the rigours of the pop circus than Nick Drake? … “big” 20-album record collections, board games and no telly: fond memories of real life in late ‘60s London.   … Richard Thompson and Nick Drake's painfully awkward tube journey. … what risible sum Astrud Gilberto was paid for The Girl From Ipanema. … and why Springsteen was called “the Boss”.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content!: https://www.patreon.com/wordinyourearGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The super-trouper of gentle enquiry alights this week upon … … why bands are at their biggest when they're over the hill. … Fats Waller v Morrissey song titles: can YOU tell your Waller from your Wallower? … how could Dylan have written Queen Jane Approximately aged only 24? … why you should hear Pieces Of Treasure by Rickie Lee Jones, particularly the track All The Way. … the social media bin-fire that's shredding the reputation of Bobby Gillespie and how Twitter loves a character assassination - “Pound shop Mick Jagger! Always a charlatan!” … was anyone worse equipped for the rigours of the pop circus than Nick Drake? … “big” 20-album record collections, board games and no telly: fond memories of real life in late ‘60s London.   … Richard Thompson and Nick Drake's painfully awkward tube journey. … what risible sum Astrud Gilberto was paid for The Girl From Ipanema. … and why Springsteen was called “the Boss”.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content!: https://www.patreon.com/wordinyourearGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Your Humble Host has returned with Sounds Like Radio Volume 139 and it's anniversary time on the Great Gildersleeve as Marjorie & Bronco wish to renew their wedding vows on their 1st anniversary. They'd like a nice private ceremony but, uh oh, Gildersleeve, well, he has a different idea for the occasion. Could be trouble in the home, we'll find out today, as we listen to a Gildy show from May 9, 1951. Helping to sort all this out will be this week's team of singers-Vaughn Monroe, Al Jolson, Joanie Sommers, Bing Crosby & John Conlee. And in addition we will be remembering a special little singer, the girl from Ipanema herself-Astrud Gilberto. She just died recently and coincidentally we featured her just a couple weeks ago on our show. Today we look back and listen to the magic that Astrud made whenever she sang and Your Humble Host even has a rare 1965 commercial Astrud did and we'll hear that too. It's a nice salute and we hope you'll enjoy.

Marc Alghini's Music Monday segment on The Greg and Dan Show features a Gone But Not Forgotten tribute to legendary jazz vocalist Astrud Gilberto. This week's list includes iconic rocker Joan Jett's new single “If You're Blue,” a cover of “Mary Jane's Last Dance” from Free Fallin – A Tom Petty Experience performing at the Peoria Riverfront this weekend, and Astrud Gilberto's classic “The Girl From Ipanema.”See omnystudio.com/listener for privacy information.

This past week the planet lost Astrud Gilberto, whose mega-hit ‘Girl From Ipanema' became one of the most-recorded tunes ever - the tune is bossa nova's bridge to worldwide ubiquity. Phoole's been obsessed with bossa nova and samba forever, particularly their influence on shibuya-kei and lounge-core sounds, so this week's Phoole & the Gang is a Bossa Nova LoungeCore Special, with tunes from all over the world echoing Brazilian grooves through myriad genre lenses, from the sublime to the absurd! Originally broadcast live worldwide via https://slipmat.io/phoole, https://twitch.tv/phoole, & https://mixcloud.com/live/phoole on Friday, 9 Jun 2023, 6:00 p.m. Central US time. https://phoole.com

On this episode Scott, Jack, Mark and Lou talk Bossa Nova Legend Astrud Giberto and bands that should have maybe gone further than they did.

Dean Richards, entertainment reporter for WGN, joins Wendy Snyder (in for Bob Sirott) to provide the latest news in entertainment. Wendy and Dean talk about his visit to an iconic Chicago restaurant Lou Mitchell’s and the death of Astrud Gilberto. They also share details about Cuba Gooding Jr.’s rape case settlement, the auction of the […]

Thousands of people are being evacuated from southern Ukraine, where the destruction of the Russian-controlled Nova Kakhovka dam has caused extensive flooding. Water has reached 80 towns and villages on both sides of the Dnipro river. A pro-Putin member of the Russian parliament, Evgeny Popov, tells Newshour that Ukraine was behind it. Also today: the Taliban goes into battle against opium production; and the Brazilian singer Astrud Gilberto, who brought Bossa Nova to the world with her version of The Girl From Ipanema, has died at the age of 83. (Photo: Ukraine's President Zelensky holds an emergency meeting with top state and regional officials concerning the Kakhovka dam destruction. June 6, 2023. Ukrainian Presidential Press Service/Handout via Reuters)

Common Man Hour 2 --Five Questions --Girl From Ipanema --Vegas Expansion Advantages --Twins

Common Man Hour 2 --Five Questions --Girl From Ipanema --Vegas Expansion Advantages --Twins

AP correspondent Margie Szaroleta reports on Obit-Astrud Gilberto.

The Girl from Ipanema" recalls so much loungey, easy-listening kitsch, but that's not the fault of Bossa Nova's history-making song and certainly not Astrud Gilberto, who wasn't even supposed to sing it.  A playlist of this and other songs relevant to the episode can be found here: https://open.spotify.com/playlist/3sF2lmLbhbwrq98noI40Me?si=cc58aee82d8d44e6You can read The Best Song Ever (This Week) for free at bestsong.substack.com. See omnystudio.com/listener for privacy information.

D-Day 79 years ago, Astrid Gilberto passed away, Eric from Duluth was allegedly roughed up by the police, Mark called to share a similar situation too... See omnystudio.com/listener for privacy information.

Common Man Hour 2 --Five Questions --Girl From Ipanema --Vegas Expansion Advantages --Twins

Dom L'Amour speaks with my old roommate, the rosencranz to my guldenstein. the one the only Jeremy Barrett about Long term relationships without getting married and having kids, having a good support system, changing careers, and so much moreOpening quote by Ajaero Tony MartinsOpening and Closing Theme song: Produced by Dom L'AmourTransition Music from Mad Chops Vol. 2 by Mad Keysand from Piano Soul Vol.1(Loop Pack) by The Modern Producers TeamFeatured song : "Girl From Ipanema" Preformed by Dom L'AmourCover art by Studio Mania: Custom Art @studiomania99Please subscribe to the podcast, and give us a good rating. 5 stars please and thank you. Follow me on @doml_amour on Instagram. Or at domlamour.comLastly, If you are interested in supporting the podcast directly, here is a easy way! We are looking for supporters to help raise money for promotion of the podcast! Use this link and the rest is up to you. Thank you so much for the love.Support the show

For this week's City Scenes twe've landed in a city that is a goldmine when it comes to amazing music. This is a city that lives and breathes music, located in south America, with a population of more than 6 million people, famous for its beaches, its carnival and of course its music. This week we are in Rio De Janeiro The breathtaking city of Rio De Janeiro or Cidade Maravilhoso as it is known, is the 2nd biggest city in Brazil after Sao Paulo and a cultural and artistic hub. It is also a popular tourist spot and for many people when they think of Rio De Janeiro they think of one thing - And that is Carnival. Every year millions of people take to the streets in Rio De Janeiro for the spectacle of the carnival parades, a huge celebration of brazillian culture soundtracked by the sound of a music style known as samba. Samba is a form of brazilian music that brings together a wide variety of percussion instruments and portuguese brazilian singing. The origins of samba has routes in the traditional music of African slaves that were forcibly transported to brazil dating back to the 16th century. These days samba is a national symbol for brazil and is recognised as part of the intangible cultural heritage of humanity by UNESCO. Brazil's Colonial past is in fact directly linked to the sounds that have been created in the country over the years. This melding of cultures, traditions and music from portuguese settlers, african slaves that were brought to brazil, indigenous people of brazil as well as the influence of american and european popular music throughout the ages is what has given Brazil such a unique cultural and musical identity. These conditions have led to the birth of innovative genres of music that are totally unique to Brasil such as samba, Bossa nova, Tropicalia and MPB or musica popular brasileira. In the late 1950s and early 60s a pioneering guitarist and recording artist called Joao Gilberto, introduced Brazil to a new sound. Using a nylon string guitar played with the fingers rather than a pick, introducing unconventional chords, accompanied by some subtle familiar samba rhythms and using two microphones at once to record guitar and vocals separately, meaning that the vocals could be sung softly and still have the same presence on a recording, Gilberto began to call this new style of music Bossa Nova. Bossa nova went on to become hugely popular all over the world and that is in no small part thanks to a track that Gilberto recorded along with his wife Astrud and a famous American Jazz musician called Stan Getz. The Girl From Ipanema is a song named after the famous Ipanema beach in Rio that would immortalise the legend of Rio Janeiro and Bossa Nova in music. Moving on From Bossa Nova, we look at another genre that was invented in Brasil in the 1960s and which like Bossa Nova built up on the foundation of Samba that already has such a huge place in Brazilian culture by this point. In the 1960s, an artist from Rio De Janeiro called Jorge Ben rose to fame with the release of a Bossa Nova song called Mas Que Nada. Jorge Ben would continue to innovate Brazilian music though and is known as the godfather of a genre called Samba Rock which took the rhythmic elements of samba and combined them with elements of american rock and soul that were also popular in Brazil at the time. In the 1970s Brasil had a thriving soul, funk and boogie scene and there's been a huge resurgence in popularity for music from that period in nightclubs around the world in recent years. In the 90s another pioneering musician called Fernanda Abreu was one of the first brazilian artists to use sampling and digital recording to create her own brand of downtempo Funk and R&B which gained her the title of “Brazil's first lady of funk”.

TWiV notes Ashish Jha's call for doctors to combat a vacuum of medical information while ignoring our contributions, China CDC's surveillance of SARS-CoV-2 at the Huanan Seafood Market, and an experimental infectious attenuated COVID-19 vaccine that elicits superior mucosal and systemic immunity in hamsters. Hosts: Vincent Racaniello, Dickson Despommier, Alan Dove, Kathy Spindler, and Brianne Barker Subscribe (free): Apple Podcasts, Google Podcasts, RSS, email Become a patron of TWiV! Links for this episode Register for ASV 2023 MicrobeTV Discord Server Jha ignores TWiV contribution to disseminating science information (STAT) Surveillance of SARS-CoV-2 at the Huanan Market (Science) Pandas in the Huanan Market? (ArsTechnica) Infectious attenuated COVID-19 vaccine candidate (Nature Micro) Virus attenuation by codon pair deoptimization (Cell Rep) Timestamps by Jolene. Thanks! Weekly Picks Dickson – Jazz Project: Conductor/composer: Gill Evans. Produced Sketches of Spain, Porgy And Bess. Quincey Jones. Numerous albums, all kinds of music. Duke Ellington. Prolific musician, pianist, and composer. Antonio Carlos Jobim. Signature album: Sound track from the film – Black Orpheus. Signature songs: Girl From Ipanema; The Waters of March. Brianne – This is what it sounds like when plants cry Kathy – I know who you are by Barbara Rae-Venter Alan – Svalbard seed vault virtual tour Vincent – We're Asking the Impossible of Vaccines by Katherine Wu Intro music is by Ronald Jenkees Send your virology questions and comments to twiv@microbe.tv

听过 Stan Getz 演奏的人无不被他那浪漫的，细腻的萨克斯演奏风格所吸引。的确，从各方面讲，Stan Getz 都是爵士乐历史上最重要的萨克斯演奏家。尤其是他对于 Bossa Nova 这种音乐类型在美国的流行起到了至关重要的作用。那首 The Girl from Ipanema 便是出自他跟巴西音乐大师 Joao Gilberto 的著名专辑当中。然而透过音乐本身，当我们去看 Stan Getz 的时候，还听到了另一个版本的故事。Y4 致力于为都市生活提供陪伴与参考，欢迎大家光临我们位于上海市黄浦区成都南路128号的街头酒吧 - 饮料 Beverage。同时，Y4旗下摇摆舞组织 Why For Swing 持续为大家带来摇摆舞课程，具体可关注公众号 “Why For Swing”。Why for Jazz 开通了微信听友群。我会对进群的朋友一次性收取199元的入群费，作为对本节目的支持。想要进群的朋友可以添加微信号Y4JZXZS，在确认群规及转账成功之后，我会将你拉进本节目的微信群。爵士乐的现场性导致了单纯的音频没办法表现它的全部魅力，因此 Why for Jazz 在小红书和B站开通了视频号。我会在上面分享一些非常哇塞的爵士乐现场，也会发一些自己的视频，欢迎大家点赞关注 Why for Jazz 视频号，作为播客伴侣，配合使用。Playlist of the Show:[00:00] Samba Dees Days[07:44] Early Autumn[13:21] We (My Honey and Me)[22:32] I Can't Get Started[31:45] The Girl From Ipanema[41:35] People Time

We've got a cure for this winter's Seasonal Affective Disorder: the sunny Samba stylings of master Sax-smith Stan Getz along with the sensual murmurings of Astrud Gilberto - in one of the most "audio-erotic" recordings of all time: THE GIRL FROM IPANEMA.Jobim's masterpiece started  the Bossa Nova craze, and became on of the most covered songs in history, and your dogged musicologists, Bill and Rich, will attempt to uncover why.  From: https://theculturetrip.com/south-america/brazil/articles/the-mystery-behind-the-girl-from-ipanema/So who was the girl that inspired such beautiful lyrics? She was Heloísa Eneida Menezes Paes Pinto (now Heloísa Pinheiro) who was just 17 years old at the time. She lived in Ipanema and would go out shopping or to the beach, often accompanied by wolf-whistles from locals. Morales later wrote a book called Revelação: a verdadeira Garota de Ipanema – Revealed: The Real Girl from Ipanema – where he describes Pinheiro and the effect she unintentionally had on him and Jobim. He says she is the true paradigm of a Carioca girl, “the golden girl, mixed with flower and mermaid, full of light and grace but whose vision is also sad, because she carries with her, on the way to the sea, the feeling of what passes, of beauty that is not only ours – it is a gift of life in its beautiful and melancholy and steady flow.”This song propelled Pinheiro into the spotlight where she became a successful model, including modeling as a Playboy Playmate in 1987 and again in 2003 when aged 58. “The Girl from Ipanema” was also used during the opening ceremony of the 2016 Olympics in Rio, which consequently led to the song being streamed on Spotify an incredible 40,000 times a day seeing it once again entering the Billboard charts in the U.S.

Listen to Bo Snerdley's Rush Hour from Thursday, February 16th, 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to Bo Snerdley's Rush Hour from Thursday, February 16th, 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

R.E.M. "I'm Gonna DJ"The Hold Steady "Most People Are Djs"The Low Anthem "Yellowed By the Sun"Jason Isbell and the 400 Unit "Kid Fears (feat. Brandi Carlile & Julien Baker)"The Crystals "And Then He Kissed Me"Louis Armstrong "I Ain't Gonna Give Nobody None of This Jelly Roll"Kitty Wells "Do Right Woman, Do Right Man"13th Floor Elevators "You're Gonna Miss Me"Kris Kristofferson "Maybe You Heard"The Undertones "Teenage Kicks"The Tammys "Egyptian Shumba"The White Stripes "Hello Operator"Muddy Waters "Baby I Done Got Wise"D'Angelo "Feel Like Makin' Love"Dolly Parton "Don't Drop Out"John R. Miller "Motor's Fried"Aimee Mann "In Mexico"Bob Dylan & The Band "Goin' to Acapulco"The Flies "I'm Not Your Stepping Stone"Clem Snide "Moment in the Sun"Neko Case "John Saw That Number"My Morning Jacket "The Way That He Sings"The Supremes "You Can't Hurry Love"Willie Nelson & Wynton Marsalis "Rainy Day Blues"Oscar Peterson Trio "The Girl From Ipanema"Leslie Gore "Maybe I Know"The Velvet Underground "Oh! Sweet Nuthin'"Cat Clyde "Sheets of Green"Lightnin' Hopkins "Ride in Your New Automobile"Matt Sweeney "I Am a Youth Inclined to Ramble"Townes Van Zandt "Still Looking For You"The Shirelles "Will You Love Me Tomorrow"Gram Parsons "The Angels Rejoiced Last Night"Doc Watson "Little Darling Pal of Mine"Tom Verlaine "There's a Reason"Television "See No Evil"Neutral Milk Hotel "In the Aeroplane Over the Sea"Phoebe Bridgers "I Know The End"Shaver "The Earth Rolls On"Solomon Burke "Diamond in Your Mind"Dave Rawlings Machine "Pilgrim (You Can't Go Home)"

Creed Taylor was an inspiration to generations of music lovers. He was behind some of the greatest records ever made. He passed away on August 22 at the age of 93. For forty years, Creed Taylor was one of a small handful of jazz record producers and label managers who shaped and defined the sound of jazz recording. Through his work with the Bethlehem, ABC, Impulse!, Verve, and CTI labels, he produced classic albums for countless artists. He introduced us to "The Girl From Ipanema," "Mister Magic" and showed us "The Blues and the Abstract Truth." He produced both hits and critically acclaimed albums, and his sound defined an era. He made the history (for us to study), set the bar (for us to dance on), and paved the road (that many are still on). Needless to say, it was an honor to talk to him! We met at his apartment on the upper east side of Manhattan in the summer of 2015 and talked about some of his most memorable experiences. www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/studios

Frank Sinatra and Antonio Carlos Jobim – Bossa Nova. A magical collaboration. From the 1967 album, Francis Albert Sinatra & Antonio Carlos Jobim, here is The Girl from Ipanema. Music by Antonio Carlos Jobim, Portuguese lyrics by Vinicius de Moraes , English lyrics by Norman Gimbel. Arranged and conducted by Claus Ogerman. Credits: Theme music by Erik Blicker and Glenn Schloss Edited by Katie Cali Mixing and mastering by Amit Zangi Send comments to sinatramatters@gmail.com

Welcome to this week's episode of Low Season Traveller Insider Guides. This week we're in Rio de Janeiro to learn more about the city, the cariocas and the low season experience. In this episode, I caught up with the charming Juliana Girao, who works at the Sol Ipanema Hotel which is superbly located right in the heart of Ipanema Beach.    Juliana was born and raised in Ipanema and we think you'll agree that she is the perfect guest to help us to learn more about this amazing city by the beach. This episode was recorded at the Sol Ipanema, overlooking Ipanema Beach just as the sun was setting…oh how I would love to be back there… Huge thanks to Juliana for joining us for this episode and please do take a look at her fabulously located property at www.solipanema.com.br The rooftop pool and bar provide possibly some of the finest views of Rio you will ever see! Do join us next week where we'll be bringing you to the famous Copacabana Beach for our roundup of low season Rio. But until then, please do check out our live broadcasts on Facebook and Instagram so you can see for yourself what the low season experience is like in Rio.

"The Girl from Ipanema" recalls so much loungey, easy-listening kitsch, but that's not the fault of Bossa Nova's history-making song and certainly not Astrud Gilberto, who wasn't even supposed to sing it. A playlist of this and other songs relevant to the episode can be found here: https://open.spotify.com/playlist/3sF2lmLbhbwrq98noI40Me?si=cc58aee82d8d44e6You can read The Best Song Ever (This Week) for free at bestsong.substack.com.

想听什么主题什么歌？可以在微博超话#李峙#发帖点播。还可以添加李峙私号lizhizhubo，听主播朋友圈里的歌~边听边聊：你生命中最重要的女性是谁？妇女节、女王节、女神节、女士节……在这些称谓里，你最喜欢哪一个？节目歌单：01 范晓萱 - Rain02 徐怀钰 - 我是女生03 自然卷 - 像我这样的女孩04 锦绣二重唱 & 李心洁 - 对面的男孩看过来05 Naomi & Goro & 菊地成孔 - The Girl From Ipanema封面插画：麻衣布衣

After a whirlwind tour of all the golf courses in Bermuda, and endless repeats of The Girl From Ipanema, we went back to NY and "real life." We finally settled in Hoboken, NJ, home of Frank Sinatra and up-and-coming addendum to NYC. It was a good place to start. I have a Patreon page! Please check it out. If you make a small pledge you'll get to see photos and clips from my journals and hear a bit more about some of the stories. This is a fun way that I can share visuals with you. Check it out HERE. Or at patreon.com/dianathebard If you want to hear more on any particular subject, or if you want to ask a question or simply connect, you can find me on Instagram at https://www.instagram.com/dianathebard or email me at bardofhudson@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Girl From Ipanema. The Girl From Ipanema - Stan Getz, João Gilberto, Astrud GilbertoThe Girl from Ipanema - Charlie ByrdThe Girl From Ipanema - Amy WinehouseThe Girl From Ipanema - Frank Sinatra, Antônio Carlos Jobim24 / 7 / 365 - SurfacesLink to the playlist:https://open.spotify.com/playlist/2VQH5FDWkoDqFDVXCfUFmR?si=e5d83b19045a4cacSocials:https://linktr.ee/wayltphttps://twitter.com/WAYLTP1https://www.instagram.com/wayltp/Resources:Guest application link: https://forms.gle/g1x92uDw9FfvS15N8 Email: info@wayltp.com

Episode one hundred and thirty-one of A History of Rock Music in Five Hundred Songs looks at “I Hear a Symphony” by the Supremes, and is the start of a three-episode look at Motown in 1965. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Rescue Me" by Fontella Bass. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as too many of the songs were by the Supremes. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era. The Supremes biography I relied on most is The Supremes by Mark Ribowsky, which seems factually accurate but questionable in its judgments of people. I also used this omnibus edition of Mary Wilson's two volumes of autobiography. This box set contains everything you could want by the Supremes, but is extraordinarily expensive in physical form at the moment, though cheap as MP3s. This is a good budget substitute, though oddly doesn't contain “Stop in the Name of Love”. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hi, this is Andrew. Between recording this episode and it going live, three great musicians, two of whom have been the subject of episodes of this podcast, sadly died. We lost Don Everly, Charlie Watts, and Tom T. Hall, and I just wanted to acknowledge them and their contributions to music before the episode starts. They'll all be missed. [theme music] Just a brief note before we start to say that this episode contains brief mentions of eating disorders, so if that might be a problem for you, check the transcript to make sure it's safe. Thanks. We've spent much of the last few months looking at the intersections of three different movements, each of which was important -- the influence of the Beatles and to a lesser extent the other Merseybeat bands, the influence of Bob Dylan and the folk and protest movement, and the British R&B guitar bands who were taking their interpretation of the sound of Chess Records back to the USA. But of course, while these guitar bands were all influencing everyone, they were also being influenced by the growth of soul, and in particular by Motown, and Motown's groups were among the few American acts who managed to keep having hits during the British Invasion. Indeed, 1965 was as much of a creative and commercial peak for the label as for the white guitar bands we've been looking at. So for the next few weeks we're going to move over to Detroit, and we're going to look at Motown. And this week and next week we're going to continue our look at the Holland-Dozier-Holland collaboration, and at the groups they were writing for. So today, we're going to look at the Supremes, at the career of the only Black act to seriously challenge the Beatles for chart dominance in the sixties and at the start of the inter-group rivalries that eventually took them down. We're going to look at "I Hear a Symphony” by the Supremes: [Excerpt: The Supremes, "I Hear a Symphony"] When we last looked at the Supremes, they had just had their second number one single. After having spent years being called "the no-hit Supremes" and recording third-rate material like "The Man With the Rock and Roll Banjo Band", they'd been taken on by Holland, Dozier, and Holland, Motown's new star songwriting team, and had recorded two songs written and produced by the team -- "Where Did Our Love Go?" and "Baby Love" -- both of which had reached number one. But there were already tensions in the group. Most notably, there was the tension between Florence Ballard and Diana Ross. Ballard had always considered herself the lead singer of the group, and almost everyone who knew the group at the time agreed that Ballard was the better singer. But Berry Gordy, the owner of Motown, thought that Ross was the member of the group who had actual star potential, and insisted that she be the lead vocalist on everything the Supremes cut. At first, this didn't matter too much -- after all, no matter who the lead singer on the records was, they were having the huge hits they'd always dreamed of -- but it inevitably led to friction within the group. But in late 1964, at least, everyone was on the same page. Berry Gordy, in particular, was delighted by the group's continued success -- they had been the *only* act other than the Beatles or Bobby Vinton to have more than one number one on the pop charts in 1964 -- and by the end of the year, they had released their third, "Come See About Me". "Come See About Me" actually got released only a month after "Baby Love", before the latter had even reached the top of the charts, and it seems like a ridiculous idea to release another single so close to that one. But it came out so early to make sure the Supremes had the hit with it. Because a soundalike had come out on Wand Records even before the Supremes' single came out. A fourteen-year-old girl called Nella Dodds had decided that she could sing quite a bit like Diana Ross, and since the Supremes were the biggest female group in the country at this point, she had a chance at being a star, too. She'd auditioned for Wand by singing along with the whole of the first Supremes album, and Wand Records had decided that she sounded enough like Ross that it was worth a shot putting out a single by her. They chose "Come See About Me", which had been released as an album track on that album, and put out this: [Excerpt: Nella Dodds, "Come See About Me"] Dodds' version of the track was cut to be a soundalike, and was so similar to the Supremes version that it's actually quite easy to cut between the two records. You can hear the joins, but they're *spookily* similar: [Excerpt: The Supremes and Nella Dodds, "Come See About Me", alternating phrases] That wasn't the only time a Holland-Dozier-Holland production would be copied wholesale -- we'll hear another, slightly less blatant, example later this episode. As Dodds' single started to rise up the charts, Berry Gordy got furious. If the record sounded good enough to be a hit single, his label was going to have the hit with it, and so the Supremes' version of "Come See About Me" was rush-released. It went to number one, and Nella Dodds vanished into obscurity. The group having three number one hits in a row focused everyone's minds, and Gordy held a meeting with Holland, Dozier, and Holland, and told them that from that point on the Supremes had to be their number one priority. They should drop everything they were doing and concentrate on making Supremes hits while the Supremes were having their moment of success. And so of course they did just that -- and in January 1965 they recorded the album which would contain the Supremes' fourth number one in a row: [Excerpt: The Supremes, "Stop! In the Name of Love"] The story of how "Stop! In the Name of Love" was conceived tells us a lot about the kind of life that the people at Motown were living, now they were all successful and making a great deal of money. The way Lamont Dozier tells the story, his marriage had fallen apart, and he was sleeping with multiple women, some of whom thought they were the only one. Dozier would regularly head to a motel near Hitsville for some of these assignations, and one day while he was there with one of his women, another one tracked him down. The woman he was with made her escape, and Dozier tried to make excuses, claiming he had just got very tired at work and booked a motel room to have a rest so he wouldn't have to go all the way home. His girlfriend didn't believe this rather transparent lie, and started throwing things at him. Dozier started yelling at her to stop it, and eventually mangled the phrase "Stop in the name of the law", shouting instead "Stop in the name of love!" Dozier immediately saw this line as the basis of a song, and his burst of inspiration amused the woman, who started laughing. It defused the situation, and led to a hit record. [Excerpt: The Supremes, "Stop! In the Name of Love"] Indeed, Dozier wasn't the only one whose experiences made up part of the lyrics for the song. All three of Holland, Dozier, and Holland were having complex love lives and going through the breakup of their first marriages. Eddie Holland has said that he used his own experiences in that regard in writing the lyrics to that song. All three men were having affairs with multiple women, but two of those affairs were important in their working lives -- Brian Holland was dating Diana Ross, while Lamont Dozier was seeing Mary Wilson. According to Eddie Holland, Florence seemed to think that this meant that the  remaining members of their respective trios should also pair up, but Holland didn't think that he should get involved, given Florence's mental fragility and his own promiscuous nature. Both Lamont and Brian later split up with their respective Supremes partners, but luckily everyone was professional enough that they were all able to continue working together. After "Stop! In the Name of Love" came "Back in Your Arms Again", making five number ones in a row for the combination of the Supremes and Holland-Dozier-Holland. On top of this, Holland-Dozier-Holland were busily making hits for the Four Tops, who we'll hear more about next week, and for the Isley Brothers, as well as writing odd songs for other artists like Marvin Gaye. To put this into perspective, at this point the *only* act ever to have had five number ones in a row on the US charts was Elvis, who had done it twice. The Beatles were about to hit their fifth, and would eventually get to six number ones in a row -- they had eleven in the UK, but many more Beatles singles were released in the US than in the UK, so there were more opportunities to break the streak. That was the company the Supremes were in. It's important to stress how big the Supremes, Motown, and Holland-Dozier-Holland were in 1965. There were twenty-seven Billboard number one singles that year, and six of them were from Motown -- compared to five from the Beatles and two from the Rolling Stones. Of those six number one Motown singles, five of them were Holland-Dozier-Holland productions, and four were by the Supremes. Of course, number one records are not the only measure of success in the music industry, but they are definitely a measure. By that measure, the Supremes were bigger than anyone except the Beatles, but this led to a certain amount of dissatisfaction among the rest of the Motown acts. They were being told that a rising tide would lift all boats, but the way they saw it, everyone who wasn't a Supreme was being ignored, unless they were named Smokey Robinson or Marvin Gaye. The Vandellas, for example, thought that records like "Dancing in the Street", which made number two in the charts, could have easily made number one had they been given the same kind of promotion as the Supremes. This was, to them, particularly evident when it came to the first British tour of the Motortown Revue, in March 1965. While the various Motown acts were on tour in the UK, the opportunity came up to do a TV special for Granada TV, presented by Dusty Springfield, who was the driving force behind the special. Springfield was particularly an admirer of Martha and the Vandellas, and got Martha to duet with her on her own hit "Wishin' and Hopin'": [Excerpt: Dusty Springfield and Martha Reeves, "Wishin' and Hopin'"] Yet while all the acts on the tour -- the Vandellas, Stevie Wonder, the Miracles, and the Temptations -- got their moments in the spotlight on the show, the Supremes did seem to dominate it, with more songs than any of the other acts. This was partly just good sense -- Motown was only just starting to have a presence in the UK, and to the extent it did the Supremes were almost the only Motown artists that had made any impression on the public consciousness at all at this point -- but it was also because Berry Gordy was becoming increasingly infatuated with Diana Ross, and they finally consummated their relationship in Paris at the end of the tour. Now, it is important to note here that this is always portrayed in every book about the group or Motown as "scheming Diana Ross used her feminine wiles to seduce hapless Berry Gordy, who was helplessly under her spell.” That's certainly one way to look at it. Another way to look at it is that Berry Gordy was a thirty-five-year-old married man sleeping with an employee of his who had only just turned twenty-one, and who had been his employee for several years. I wouldn't mention any of this at all -- I despise the gossiping nature of much music writing -- except that it is impossible to read anything at all about the Supremes without getting a take on the group's career from this point on that has Ross using her sexuality to manipulate Gordy in order to fulfil her own scheming ambition. I think there's no question at all that Ross was ambitious, but I think most of the narrative about her is rooted in misogyny, and a very deep misunderstanding of the power dynamics in her relationship with Gordy. But there is absolutely no question that Gordy saw the Supremes as the most important act on Motown -- and that he saw Diana Ross as the most important part of the Supremes. And decisions made for the benefit of Ross were not always decisions that would benefit her colleagues. For example, at this point in time, the fashion was for women to be very curvy, rather than thin. Ross was extremely thin, and so the group's outfits were padded. This wasn't such a problem for Mary, who had her own issues about a lack of curves, but for Florence, who was bigger than the other two, it was humiliating, because it made her look bigger than she was, and there was no question of the padding being removed from her clothes -- the decisions were being made on the basis of what made Diana look good. Of course, fashions change, and with the rise of the supermodel Twiggy, suddenly a more emaciated look became popular, so the group were able to drop the padding -- but that still left Florence as the unfashionable-looking one. She became deeply insecure about this, though she would hide it with humour -- after Twiggy became popular, there was a scripted bit of the show where Ross would say "thin is in", and Florence ad libbed "but fat is where it's at!", and her ad lib became part of the routine. After the Supremes' run of five number one singles, it might have seemed that they were invulnerable, but in September 1965, "Nothing But Heartaches" came out, and it only made number eleven: [Excerpt: The Supremes, “Nothing But Heartaches”] For any other act, this would be a major hit, but for an act that had had five number one hits in a row, it was a failure, and it was treated as such, even though it sold over a million copies. Berry Gordy actually sent out a memo to all Motown creative staff, saying "We will release nothing less than top ten product on any artist: and because the Supremes' world-wide acceptance is greater than the other artists, on them we will only release number-one records". Of course, that was easier said than done -- every songwriter and producer wanted only to be making number one records, after all, but it's a symptom of the attitudes that were showing up at Motown by this point -- a number eleven hit for a group that two years earlier had been laughed at for being the "no hit Supremes" was now regarded as a failure to be punished, while major successes were just to be considered the norm. But it's also a tribute to how successful Holland, Dozier, and Holland were by this point that the next Supremes single was, once again, another number one hit. The inspiration for "I Hear a Symphony" came from Dozier thinking about how characters in films often had musical motifs on the soundtrack, and how ridiculous it would be if people in real life walked around with their own musical accompaniments. But it might also be that the writing trio had something else in mind. In August, just over a month before the recording of "I Hear a Symphony", a girl group called The Toys had released a single called "A Lover's Concerto": [Excerpt: The Toys, "A Lover's Concerto"] That song had been based on a piece of music usually incorrectly attributed to Bach, but actually by the Baroque composer Christian Petzold, and had been written by Sandy Linzer and Denny Randell, two writers who usually wrote for the Four Seasons, whose four-on-the-floor style was very similar to that of Holland, Dozier, and Holland. Linzer and Randell had even put in a little nod to the Supremes in the song. Compare the intro of the Toys record: [Excerpt: The Toys, "A Lover's Concerto"] With the intro from "Stop! In the Name of Love!": [Excerpt: The Supremes, "Stop! In the Name of Love!"] The section from eight through sixteen seconds on the Toys record is so close to the section from eleven through nineteen seconds on the Supremes one that you can play them almost together -- I had to do a tiny splice five seconds in here because the musicians on the Toys record don't have the perfect timing of the Funk Brothers and drifted by 0.1 seconds, but I hope you can see just how close those two sections are: [Excerpt: The Supremes and The Toys together] See what I mean? The Toys' record reached number two on the charts -- not a number one, but better than the most recent Supremes record. So it might well be that Holland, Dozier, and Holland were also thinking about the Toys' record when they came to make their new one -- especially since it had contained a little nod to their own work. And the odd thing about that section is it's not integral to the Toys record at all -- it's just there, I think, as a nod and a wink to anyone listening for it. Certainly, Holland, Dozier, and Holland were aware of the Toys record -- they had the Supremes cut a cover version of it for the I Hear a Symphony album. That album also contained the Supremes' version of the Beatles' "Yesterday" -- another hit which had, of course, referenced classical music, with its string quartet backing. One hit record referencing classical music might be a fluke, but two was a pattern, and so whatever the writers' later claims about the inspiration, it's reasonable to suspect that at the very least they were paying close attention to this pattern. The lyrics to "I Hear a Symphony" were written in a rush. The original plan had been for the group to release a song called "Mother Dear" as their next single, but then Brian Holland and Lamont Dozier came up with the track and title for "I Hear a Symphony", and knew it would be a winner. There was one problem, though -- the single needed to be out relatively quickly, and the Supremes were travelling to the UK in two days' time. When the instrumental track had been cut, Brian Holland phoned his brother, waking him up, and telling him they needed a set of lyrics for the very next day. Holland was actually already a little burned out that day -- he'd just been working on "Road Runner" by Junior Walker and the All-Stars, which was intended as the follow-up to their big hit "Shotgun": [Excerpt: Junior Walker and the All-Stars, "(I'm a) Road Runner"] At least, Holland says that was what he was working on, though it came out five months later – but Motown often delayed releases by minor acts. "Road Runner" was not normal Holland-Dozier-Holland material, it had been difficult to write, and not only that they'd discovered that Walker couldn't play the saxophone part in the same keys that he could sing the song, so they'd had to varispeed the track in order to get both parts down. Holland had had a tiring day, and had just gone to sleep when the phone had rung. Brian Holland had a copy of the backing track couriered over to Eddie in the middle of the night, and Eddie stayed up all night writing the lyrics, eventually finishing them in the studio while he was teaching Diana Ross the song: [Excerpt: The Supremes, "I Hear a Symphony"] Because it had to be recorded in such a hurry, the Supremes were in London when the mixing was finalised -- as was Berry Gordy, who normally ran Motown's quality control meetings, the meetings in which the executives and producers all checked all the work that was going out to make sure it met the company's standards. Normally, if Gordy was out of town, Brian Holland would take over the meeting, but a new Supremes single was important enough to Gordy that he made an international phone call to the meeting and listened to the record over the phone. Gordy insisted that the vocal was too high in the mix, but Brian Holland pushed back, and Gordy eventually agreed to let the record go out as it was, despite his reservations. He agreed that he had been wrong when the record went to number one. It wouldn't start another streak of number ones, but the next eight singles would all go top ten, and the group would have another six number ones, including a streak of four in late 1966 and early 1967. There were other records, as well -- Christmas singles (which don't tend to get counted as "real singles", because Christmas records got put on their own special charts), and promotional efforts, like "Things Are Changing For The Better". That was a song that Brian Wilson and Mike Love of the Beach Boys had originally written for the Ronettes, under the title "Don't Hurt My Little Sister", but while Spector had cut a backing track, the song hadn't been considered worth the Ronettes adding their vocals, and the Beach Boys had cut their own version as an album track: [Excerpt: The Beach Boys, "Don't Hurt My Little Sister"] But a year later, the Advertising Council wanted a public information song, to promote the Civil Rights Act of 1964 and the subsequent Voting Rights Act of 1965, two landmark acts that between them meant that for the first time discrimination against Black people wasn't legal. They turned to Spector to come up with something, and Spector, not wanting to waste a hit on them, came up with some new lyrics for the unused backing track, using the various slogans the Advertising Council wanted. Spector got his assistant Jerry Riopelle to finish the track off, and three versions were cut with different vocals over the same backing track. Riopelle produced a version with the Blossoms on vocals, another version was performed by the white pop group Jay and the Americans, and finally Motown put out a version with the Supremes singing over Spector's track. It's not the greatest track ever recorded or anything, but it is the only collaboration between the three biggest American hit-makers of the early sixties -- the Beach Boys, Spector, and the Supremes -- even if they didn't actually work together on it, and so "Things Are Changing For The Better" is interesting as a capsule of American pop music in 1965: [Excerpt: The Supremes, "Things Are Changing For The Better"] But Gordy had plans for the Supremes that involved them moving away from being merely pop stars, and the title of “I Hear a Symphony” worked well for Gordy's plans. Like Sam Cooke before them, he wanted them to move into the more lucrative middle-class white market, and like Sam Cooke that meant playing the Copacabana. We talked a little about the Copacabana -- or the Copa as it was universally known -- in the episode on "A Change is Gonna Come", but it's hard to get across now what an important venue it was. It was a mob-controlled nightclub in New York, and while it was only a nightclub, not a huge-capacity venue, headlining there was considered a sign that an act had made it and become part of the elite. If you could headline at the Copacabana in the early sixties, you were no longer a transitory pop act who might be gone tomorrow, you were up there with Tony Bennett and Sammy Davis Jr and Martin and Lewis. Of course, that whole showbusiness world has largely gone now, and the entertainment industry was going through massive changes in the early sixties that would soon make whether an act had headlined at the Copa as irrelevant to their future prospects as where they had gone to school, but nobody at the time knew that the changes that were happening -- thanks in large part to labels like Motown -- were going to be lasting ones, rather than just fads. So Gordy decided that his flagship group were going to headline at the Copa -- even though he had to agree to a deal which meant that for their initial three-week residency  the group members only made sixty dollars a show each before expenses. And they were going to do a "classy" show. Yes, they would include a few of the hits, but most of the songs would be things like "Somewhere" from West Side Story, the Barbra Streisand song "People" -- which would be Florence's one lead vocal in the show -- the Guy Lombardo song "Enjoy Yourself, It's Later Than You Think", and of all things "Rock-a-bye Your Baby With a Dixie Melody": [Excerpt: The Supremes, "Rock-A-Bye Your Baby With a Dixie Melody"] The rest of the repertoire was show tunes, a gender-swapped version of "The Girl From Ipanema" retitled "The Boy From Ipanema", a parody of Roger Miller's "King of the Road" titled "Queen of the House", and a medley of Sam Cooke's hits. Other than the Cooke material and the brief run-throughs of their own number ones, the setlist was tailored entirely for the Copa's clientele, which barely overlapped at all with the Motown audience. The Copa residency was a triumph, and led to the Supremes making regular appearances at the venue for seven years, but it came at a great cost to the group members. Ross was so stressed she lost a stone of her already low weight, the first sign of the anorexia which she would deal with for many years to come. Meanwhile, Florence had to miss a chunk of the rehearsals as she became seriously ill with the flu, though she got herself well enough to make the opening night. And while it was what Berry Gordy had been working towards for years, it couldn't have come at a worse time for him personally -- his elder sister Loucye died suddenly of a brain haemorrhage shortly before the residency, and her funeral was actually the morning of the opening night. The opening night went exactly as Gordy had planned, except for one ad-lib -- during the song "You're Nobody 'Til Somebody Loves You", after Ross sang the line “But gold won't bring you happiness,” Florence interjected a joking line -- "Now wait a minute, honey. I don't know about all that." The audience loved her ad-lib -- Sammy Davis Jr., who was in the audience, yelled out "All right, girl! You tell it like it is!" -- and the line got added as a regular part of the performance: [Excerpt: The Supremes, “You're Nobody 'Til Somebody Loves You”] along with a rather less fun bit where Florence would mention "little old me", and Ross would snarkily respond "Little?" But even though it worked, Gordy was furious, partly just because he was understandably in a bad mood after his sister's funeral, partly because it was a deviation from the carefully-scripted performance, and partly because it was a moment in the spotlight for someone other than Diana Ross. As retaliation, a couple of days later he had Harvey Fuqua tell the group that they were dropping "People" -- Florence's only lead vocal -- from the set because there were too many show tunes. Then, a week or so later, "People" was added back to the set, but with Ross singing lead. (Mary Wilson had also asked to have her own lead vocal in the set, but Gordy had just looked at her sadly and said "Mary, you know you can't sing".) Florence was devastated. She was already drinking too much, but that escalated after the Copa engagement. Even though the group had never been as close as many groups are, they had all genuinely attempted to create a bond with each other, even all moving on to the same street. But now, that physical closeness just became an opportunity for the women to note the comings and goings at each other's houses and pass snarky comment on it. Ballard was fast becoming considered a liability by the powers that be at Motown, and even the existence of the Supremes was starting to be seen as something that was merely a hindrance for Diana Ross' career, rather than them being seen for what they were -- a massively successful group, not just a lead singer and her backing vocalists. Florence wasn't very long for the group, and when we next look at them, we'll no longer be looking at the Supremes, but at Diana Ross and the Supremes...

Submitted without voiceover, here is yet another insight into Bob Bain's life. Today's podcast is a recording made by Bob at his home in 1965 for one of the epic Clark Family Christmas Eve parties. This cherished memory starts with Bob accompanying the Bain and Henderson kids on his composition “Relatives”, then Aunt Jean leads the Friley, Terry,  Branson and Schwartz kids through “Frosted Windowpanes”, “Nan's Carol” (sung to the tune of Girl From Ipanema), and the legendary “Rudolph The Red-Nosed Reindeer” (the Ting-A-Ling song). The recording paused, then picked up midway through the Clark Sisters incomparable version of “The Christmas Song” (regrettably, a noisy mic cable distracts here, but the performance is worth listening past that) and “Winter Wonderland”. Then we hear Pop Clark and Aunt Marguerite perform “Second Hand Rose” and “When It's Circus Day Back Home”. Note Pop's spot-on Fanny Brice accent, how cleverly he adapted the lyric gender, and his circus rap—pretty hip for a guy from North Dakota. Marguerite's chops as accompanist are first rate.  The music extravaganza continues with Pop and Mom Terry in the remarkably anti-war song “Not Me” and Pop runs through a couple of risqué jokes that would've played very well in vaudeville. These are the voices and songs of people now in the past, presented here for us to remember. 

Have you ever met a professor of punk? I didn't even know such a thing existed, before I met Vivien Goldman. She lectures at New York University but way before she was an educator, Vivien was in the thick of it. She was writing about the scene back when it began; in fact she was one of the first people to explore the parallels between punk and reggae. And she lived in that realm too; Vivien was Bob Marley's first UK publicist and formed a strong bond with him. She made friends with The Slits, and sang back-up vocals alongside Neneh Cherry. Vivien Goldman has also authored six books, the latest of which is Revenge of the She-Punks: A feminist music history from Poly Styrene to Pussy Riot. After reading this, I wanted her to Take 5; she's lived such a wild and varied life, I knew she would have stories. But this goes beyond. It's a passionate education and exploration of the music histories we haven't heard about. There's a sense of rebellion and fire in all she does, and Vivien articulates brilliantly the very spirit of punk and just why it's been such an outlet for those who haven't always been let into the club.  Here are her hidden histories. Bob Marley & the Wailers – 'Do It Twice' The Slits — 'Newtown' Astrud Gilberto - 'The Girl From Ipanema' Kassav – 'Soleil' The Velvet Underground — 'Sunday Morning'

The first live recording event is now available for download.  Recorded at the World Famous Bull and Bush Pub in the Milk District. Listen and stew in the FOMO of not being there to see it live.  You can hear stories about Tori's Uncle [*****] and Jim's life growing up in Flori-DUH.   Special thanks to Jondai for The Girl From Ipanema  https://jondai1.bandcamp.com/album/ncsng