Podcast appearances and mentions of Glenn Miller

This week, we discuss the medicinal and edible uses of Periwinkle, or Vinca.  THis pretty, little spring flower has quite a bit of medicinal value.  We also discuss using medicinal herbs in cooking... specifically, sausage.  I tell you why veganism is evil and vegeterianism is unhealthy and then rant against industrial agriculture and illegal immigration.  ENJOY!Also, I am back on Youtube Please subscribe to my channel: @judsoncarroll5902   Judson Carroll - YouTubeTune of the week:Anytime on guitarI show you how to play a thumb style version of "Anytime" - this is truly one of my absolute favorite songs! You may know it as an Eddy Arnold song, but it was first done by Emmett Miller. Emmett Miller was a blackface comedian from Georgia, who was a big star in the 1920s. He was the first singer to truly combine blues, country and jazz into the form that would shape American popular music to this day. His band included Eddie Lang, Scatman Crothers, Tommy Dorsey, Jimmy Dorsey and Glenn Miller at various times! He is one of the most important figures in American music, and the one history has tried hardest to erase.https://youtu.be/4JY94v4Q_VwEmail: judson@judsoncarroll.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/southern-appalachian-herbs--4697544/supportRead about The Spring Foraging Cookbook: https://southernappalachianherbs.blogspot.com/2024/01/the-spring-foraging-cookbook.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0CRP63R54Medicinal Weeds and Grasses of the American Southeast, an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2023/05/medicinal-weeds-and-grasses-of-american.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47LHTTHandConfirmation, an Autobiography of Faithhttps://southernappalachianherbs.blogspot.com/2023/05/confirmation-autobiography-of-faith.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47Q1JNKVisit my Substack and sign up for my free newsletter:https://judsoncarroll.substack.com/Read about my new other books:Medicinal Ferns and Fern Allies, an Herbalist's Guide https://southernappalachianherbs.blogspot.com/2022/11/medicinal-ferns-and-fern-allies.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BMSZSJPSThe Omnivore's Guide to Home Cooking for Preppers, Homesteaders, Permaculture People and Everyone Else: https://southernappalachianherbs.blogspot.com/2022/10/the-omnivores-guide-to-home-cooking-for.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BGKX37Q2Medicinal Shrubs and Woody Vines of The American Southeast an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2022/06/medicinal-shrubs-and-woody-vines-of.htmlAvailable for purchase on Amazon https://www.amazon.com/dp/B0B2T4Y5L6andGrowing Your Survival Herb Garden for Preppers, Homesteaders and Everyone Elsehttps://southernappalachianherbs.blogspot.com/2022/04/growing-your-survival-herb-garden-for.htmlhttps://www.amazon.com/dp/B09X4LYV9RThe Encyclopedia of Medicinal Bitter Herbs: https://southernappalachianherbs.blogspot.com/2022/03/the-encyclopedia-of-bitter-medicina.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0B5MYJ35RandChristian Medicine, History and Practice: https://southernappalachianherbs.blogspot.com/2022/01/christian-herbal-medicine-history-and.htmlAvailable for purchase on Amazon: www.amazon.com/dp/B09P7RNCTBHerbal Medicine for Preppers, Homesteaders and Permaculture People: https://southernappalachianherbs.blogspot.com/2021/10/herbal-medicine-for-preppers.htmlAlso available on Amazon: www.amazon.com/dp/B09HMWXL25Podcast:  https://www.spreaker.com/show/southern-appalachian-herbsBlog: https://southernappalachianherbs.blogspot.com/Free Video Lessons: Herbal Medicine 101 - YouTube https://www.youtube.com/playlist?list=PL7QS6b0lQqEclaO9AB-kOkkvlHr4tqAbs

In this episode, SCSH Board President Barbara Prezlock and City Development Coordinating Committee Chair Jerry Conrad welcome Indio Councilmember Glenn Miller. Tune in to learn the latest information about what is happening in the city, specifically North Indio. Links: City of Indio Website City of Indio Newsletter My Indio App: Apple App Store Google Play Do you have an idea for a podcast episode? Contact Bob Firring at podcast@scshca.com. This is an audio-only episode.

Spring Training has marked the end of winter in Florida for more than 100 years. Babe Ruth, Ted Williams, Mickey Mantle, Jackie Robinson, Roberto Clemente, Hank Aaron, Mike Schmidt, Greg Maddux, and today's stars have begun their legendary seasons and careers in places like Sarasota, Dunedin, Vero Beach, and Clearwater.On this episode, longtime southwest Florida newspaperman Glenn Miller, who's attended spring training games since the 1960s and covered the games since the 1980s, joins us to discuss Spring Training's history and characters in Florida. Pinch hitting for regular co-host Chadd Scott is his wife, sports reporter, podcaster, author, baseball fan, and annual spring training in Florida attendee, Kristi Dosh.

Send a textIntro: Cruising Down the River by Russ Morgan and His Orchestra (1949)10. I'll Never Smile Again by Tommy Dorsey and His Orchestra with Frank Sinatra (1940)9. Nature Boy by Nat "King" Cole (1948)8. Don't Fence Me In by Bing Crosby & The Andrews Sisters (1944)7. Chattanooga Choo Choo by Glenn Miller and His Orchestra (1941)6. Buttons and Bows by Dinah Shore (1948)

1 - Blue as a Heart Ache - Tex Williams and his Western Caravan – 19482 - I'm as Free as a Breeze - Sam Nichols with his Melody Rangers – 19473 - Fit as a Fiddle - Pvt. Cecil Gant: The GI Sing-sation – 19454 - High as a Georgia Pine - Roosevelt Sykes and his Original Honeydrippers – 19475 - Light as a Feather - John F. Burckhardt – 19176 - Loose as a Goose - Cecil Gant – 19467 - You're as Pretty as a Picture - Dolly Dawn with George Hall and his Orchestra – 19388 - Pretty as a Butterfly - Charles P. Lowe - 19109 - Pretty as a Queen - Hal "Lone Pine" and his Mountaineers – 195310 - Right as the Rain - Jimmy Saunders with Charlie Spivak and his Orchestra – 194411 - Soft as Spring - Helen Forrest with Benny Goodman and his Orchestra – 194112 - Snug as a Bug in a Rug - Bon Bon with Jan Savitt and his Tophatters – 193913 - Sharp as a Tack - Harry James and his Orchestra – 194114 - Stubborn as a Mule - Margie Day with The Griffin Brothers - 195115 - Sweet as a Song - Donald King with Roy Smeck and his Serenaders – 193816 - Fresh as a Daisy - Marion, Jack and Tex with Glenn Miller and his Orchestra – 1940

Depuis 1996, le producteur français Francis Falceto a ouvert au monde les musiques éthiopiennes avec la collection Ethiopiques (Buda Musqiue). Qui n'a pas été surpris en entendant la musique de Mulatu Astatqé dans un film de Jim Jarmush ? L'éclosion de groupes entre folk et rock expérimental, chanter en amharique. Le seul responsable : Francis Falceto ! Une soixantaine de voyages en Éthiopie plus trad, Éthiopiques affiche 2 volumes de musique ! À l'occasion de la sortie des volumes 31 et 32 de la collection Éthiopiques, Francis Falceto est notre invité. Francis Falceto programme différentes musiques du monde au Confort Moderne de Poitiers lorsqu'il fait la découverte en 1984 des 33 tours de Mahmoud Ahmed grâce à Bernard Gallodé. Il entreprend alors en 1985 un voyage en Éthiopie (via Moscou en raison du régime du Derg) pour rencontrer Mahmoud Ahmed, puis, en 1986, réédite sur le label bruxellois Crammed Discs l'album d'éthio-jazz Erè Mèla Mèla (1975) du chanteur et musicien éthiopien. Après le succès en Europe et aux États-Unis du disque, il décide de créer en 1996 la collection « Éthiopiques » avec l'éditeur Buda Musique afin d'exhumer et faire redécouvrir l'ensemble des succès des artistes de la musique éthiopienne de la période 1950-1975, la plupart produits par Amha Eshèté pour le label Amha Records et Ali Abdella Kaifa pour Kaifa Records. Il en acquiert l'intégralité des droits – ou exploite une licence renouvelable tous les cinq ans selon ses déclarations –, ce qui n'est pas sans créer des tensions avec certains artistes, dont Mulatu Astatke, après le succès international important de la collection. Il anime, également dans ce but, de nombreuses conférences sur le sujet. Francis Falceto propose également à Lili Boniche de réaliser un retour sur scène au début des années 1990 et deviendra son imprésario.   Éthiopiques 31- Muluken C'est Muluken qui a inauguré les éthiopiques, voilà vingt ans et plus, avec Hédètch alu, face B de son premier 45 tours (AE 440, publié par Amha Eshèté en février 1972). Trahissant l'extrême jeunesse du chanteur (il n'avait alors pas 18 ans), sa voix séraphique a trompé plus d'un auditeur qui pensait avoir affaire à des accents féminins. Il n'a pas 22 ans lorsqu'il publie en 1976 son dernier vinyle sur Kaifa Records (KF 39LP), et l'un des derniers publiés en Éthiopie avant que la cassette ne devienne le médium roi de la diffusion musicale. Éthiopie 1976. Depuis un an déjà, les cassettes laminent inexorablement le marché des disques vinyles. L'album 33 tours de Muluken Mellesse [ሙሉቀን፡መለሰ፡ Muluqèn Mèllèssè / Muluqän Mälläsä], KF 39, qu'Ali Abdella Kaifa – Ali Tango ! – produit cette année-là sur son label Kaifa Records est historique à plus d'un titre. Il est l'un des derniers vinyles publié en Éthiopie, mais surtout le chef-d'œuvre absolu de l'Ethiopian Groove – et son chant du cygne. Il laisse à la postérité une idée claire du niveau de sophistication et de maîtrise qu'avait atteint la musique moderne éthiopienne avant qu'elle ne soit écrabouillée sous la botte militaro-stalinienne du Derg – le sigle qui résume la sanglante révolution en cours depuis 1974. ► Album Éthiopiques 31 - Muluken (Éthiopiques / Buda Musique 2025)   Ethiopiques 32 – NALBANDIAN l'Éthiopien - Either / Orchestra feat. Ethiopian Guests L'Éthiopie est ici au milieu des années 1950, au début des années 1960, à la veille de l'éclosion, ou plutôt de l'explosion du Swinging Addis. Rock'n Roll, Rhythm and Blues, Soul et Twist n'ont pas encore fait irruption et l'on baigne dans l'atmosphère big band d'après-guerre dont In the mood de Glenn Miller figura durablement l'hymne planétaire, à parité avec la vogue latine à la même époque. Mais la joie de vivre d'après-guerre est déjà là, avec la paix retrouvée après la terrible invasion italo-fasciste (1935-1941). Le redéploiement de la musique moderne fait pleinement partie de la reconstruction. C'est d'abord la génération des jeunes parents des baby boomers qui savoure cette résurrection, avant que ces derniers ne prennent le relais en électrisant définitivement la bande son de la fin de règne impérial. Ce sont des apatrides d'origine arménienne, Kevork Nalbandian, et surtout son neveu Nersès, qui vont contribuer à révolutionner la musique éthiopienne moderne. Il faut le souligner avec force, le grand parrain historique de cette musique est un émigrant arménien, profondément éthiopianisé, Nersès Nalbandian – Moussié Nersès –, Nalbandian l'Éthiopien. Orgie de cuivres, discipline bien comprise, innovations sans relâche et pédagogie révolutionnaire feront le reste, dès 1955. Ces étrangers qui composeront deux hymnes nationaux éthiopiens et un hymne continental (rien moins que l'hymne de l'O.U.A – Organisation de l'Unité Africaine), sont aussi et surtout la véritable origine de ce qui deviendra le Swinging Addis des années 1960. Nersès se verra conférer la nationalité éthiopienne en 1957 pour services rendus aux musiques d'Éthiopie. Avec le concours primordial des Bostoniens de l'Either / Orchestra, cet enregistrement représente le chaînon moderniste initial qui manquait jusqu'à présent dans les éthiopiques. ► Album Éthiopiques 32 – NALBANDIAN l'Éthiopien (Ethiopiques / Buda Musique 2025). Culture Prime YouTube  Catalogue Ethiopiques Buda Musique.

Depuis 1996, le producteur français Francis Falceto a ouvert au monde les musiques éthiopiennes avec la collection Ethiopiques (Buda Musqiue). Qui n'a pas été surpris en entendant la musique de Mulatu Astatqé dans un film de Jim Jarmush ? L'éclosion de groupes entre folk et rock expérimental, chanter en amharique. Le seul responsable : Francis Falceto ! Une soixantaine de voyages en Éthiopie plus trad, Éthiopiques affiche 2 volumes de musique ! À l'occasion de la sortie des volumes 31 et 32 de la collection Éthiopiques, Francis Falceto est notre invité. Francis Falceto programme différentes musiques du monde au Confort Moderne de Poitiers lorsqu'il fait la découverte en 1984 des 33 tours de Mahmoud Ahmed grâce à Bernard Gallodé. Il entreprend alors en 1985 un voyage en Éthiopie (via Moscou en raison du régime du Derg) pour rencontrer Mahmoud Ahmed, puis, en 1986, réédite sur le label bruxellois Crammed Discs l'album d'éthio-jazz Erè Mèla Mèla (1975) du chanteur et musicien éthiopien. Après le succès en Europe et aux États-Unis du disque, il décide de créer en 1996 la collection « Éthiopiques » avec l'éditeur Buda Musique afin d'exhumer et faire redécouvrir l'ensemble des succès des artistes de la musique éthiopienne de la période 1950-1975, la plupart produits par Amha Eshèté pour le label Amha Records et Ali Abdella Kaifa pour Kaifa Records. Il en acquiert l'intégralité des droits – ou exploite une licence renouvelable tous les cinq ans selon ses déclarations –, ce qui n'est pas sans créer des tensions avec certains artistes, dont Mulatu Astatke, après le succès international important de la collection. Il anime, également dans ce but, de nombreuses conférences sur le sujet. Francis Falceto propose également à Lili Boniche de réaliser un retour sur scène au début des années 1990 et deviendra son imprésario.   Éthiopiques 31- Muluken C'est Muluken qui a inauguré les éthiopiques, voilà vingt ans et plus, avec Hédètch alu, face B de son premier 45 tours (AE 440, publié par Amha Eshèté en février 1972). Trahissant l'extrême jeunesse du chanteur (il n'avait alors pas 18 ans), sa voix séraphique a trompé plus d'un auditeur qui pensait avoir affaire à des accents féminins. Il n'a pas 22 ans lorsqu'il publie en 1976 son dernier vinyle sur Kaifa Records (KF 39LP), et l'un des derniers publiés en Éthiopie avant que la cassette ne devienne le médium roi de la diffusion musicale. Éthiopie 1976. Depuis un an déjà, les cassettes laminent inexorablement le marché des disques vinyles. L'album 33 tours de Muluken Mellesse [ሙሉቀን፡መለሰ፡ Muluqèn Mèllèssè / Muluqän Mälläsä], KF 39, qu'Ali Abdella Kaifa – Ali Tango ! – produit cette année-là sur son label Kaifa Records est historique à plus d'un titre. Il est l'un des derniers vinyles publié en Éthiopie, mais surtout le chef-d'œuvre absolu de l'Ethiopian Groove – et son chant du cygne. Il laisse à la postérité une idée claire du niveau de sophistication et de maîtrise qu'avait atteint la musique moderne éthiopienne avant qu'elle ne soit écrabouillée sous la botte militaro-stalinienne du Derg – le sigle qui résume la sanglante révolution en cours depuis 1974. ► Album Éthiopiques 31 - Muluken (Éthiopiques / Buda Musique 2025)   Ethiopiques 32 – NALBANDIAN l'Éthiopien - Either / Orchestra feat. Ethiopian Guests L'Éthiopie est ici au milieu des années 1950, au début des années 1960, à la veille de l'éclosion, ou plutôt de l'explosion du Swinging Addis. Rock'n Roll, Rhythm and Blues, Soul et Twist n'ont pas encore fait irruption et l'on baigne dans l'atmosphère big band d'après-guerre dont In the mood de Glenn Miller figura durablement l'hymne planétaire, à parité avec la vogue latine à la même époque. Mais la joie de vivre d'après-guerre est déjà là, avec la paix retrouvée après la terrible invasion italo-fasciste (1935-1941). Le redéploiement de la musique moderne fait pleinement partie de la reconstruction. C'est d'abord la génération des jeunes parents des baby boomers qui savoure cette résurrection, avant que ces derniers ne prennent le relais en électrisant définitivement la bande son de la fin de règne impérial. Ce sont des apatrides d'origine arménienne, Kevork Nalbandian, et surtout son neveu Nersès, qui vont contribuer à révolutionner la musique éthiopienne moderne. Il faut le souligner avec force, le grand parrain historique de cette musique est un émigrant arménien, profondément éthiopianisé, Nersès Nalbandian – Moussié Nersès –, Nalbandian l'Éthiopien. Orgie de cuivres, discipline bien comprise, innovations sans relâche et pédagogie révolutionnaire feront le reste, dès 1955. Ces étrangers qui composeront deux hymnes nationaux éthiopiens et un hymne continental (rien moins que l'hymne de l'O.U.A – Organisation de l'Unité Africaine), sont aussi et surtout la véritable origine de ce qui deviendra le Swinging Addis des années 1960. Nersès se verra conférer la nationalité éthiopienne en 1957 pour services rendus aux musiques d'Éthiopie. Avec le concours primordial des Bostoniens de l'Either / Orchestra, cet enregistrement représente le chaînon moderniste initial qui manquait jusqu'à présent dans les éthiopiques. ► Album Éthiopiques 32 – NALBANDIAN l'Éthiopien (Ethiopiques / Buda Musique 2025). Culture Prime YouTube  Catalogue Ethiopiques Buda Musique.

STANDARSEMANAL.-The Girl From Ipanema.-VINILOS MITICOS DEL JAZZ-.BUDDY DEFRANCO - And The Oscar Peterson Quartet.-JAZZACTUALIDAD.-.MARTINA SABARIEGO BIG BAND-FORCES AND BATTLEMENTS Bonifacio Ferdinand Leonard "Buddy" DeFranco (Camden, Nueva Jersey, 17 de febrero de 1923 − Panama City, Florida, 24 de diciembre de 2014)[1]​ fue un clarinetista de jazz estadounidense. De origen italiano, comenzó a tocar el clarinete en 1935 con sólo 12 años para ayudar a su padre ciego a mantener a su familia muy pobre que vivía en el sur de Filadelfia. A los 16 años ya era un músico que giraba a través de los Estados Unidos con varias bandas. Su carrera se desarrolló en lo que se considera la época dorada del swing jazz y las big bands, que tenía como principales clarinetistas a Artie Shaw, Benny Goodman y Woody Herman. Pero él fue el primero en dedicarse con su instrumento al bebop y a la música de Charlie Parker, y con Tony Scott se convirtió en uno de los pocos clarinetistas en ese tipo de la historia del jazz. También fue el primero en utilizar el clarinete bajo en el jazz con resultados extraordinarios. Entre sus colaboraciones más importantes se encuentran las que tocó con Count Basie, Sonny Clark y Tal Farlow. De 1966 a 1974 fue líder de la orquesta de Glenn Miller. También tocó con George Shearing, Gene Krupa, Charlie Barnet, Art Tatum, Oscar Peterson, Terry Gibbs, Art Blakey, Tommy Gumina y muchos otros. Se le dedicó una hermosa biografía en el libro: Una vida en la edad de oro del Jazz. También fue organizador del festival de jazz para jóvenes talentos Buddy DeFranco Jazz Fest y en 1996 como maestro y profesor publicó su versión del método Hanon para el aprendizaje de clarinete de jazz. Junto con su amigo de Tony Scott es considerado el más grande de todos clarinetista de jazz de su tiempo. Agotado desde hace mucho tiempo, este LP, reeditado por el sello «WaxTime» en 2018, presenta al brillante clarinetista Buddy DeFranco con el Oscar Peterson Quartet, o lo que es lo mismo, el trío habitual del orondo pianista de Toronto, con el añadido del baterista, Louie Bellson. Si bien las seis tomas son todas estándares, DeFranco y Peterson producen swing a raudales y con un ritmo alejado del habitual “tempo” de Oscar Peterson. DeFranco suena impecable en el clarinete, lo que hace que suene tan fácil de tocar como un rayo; pocos clarinetistas se han acercado alguna vez a esta velocidad. Disco muy recomendable para ver tocar el piano a Óscar Peterson fuera de su zona de confort, si es que alguna vez estuvo en ella. Martina Sabariego Big Band Forces And Battlements La compositora y multiinstrumentista de Xirivella, Martina Sabariego, presenta Forces and Battlements, su segundo álbum y el primero escrito y grabado para big band. Un trabajo con cuatro piezas que ponen el foco en la cultura valenciana, explorando nuevos paisajes sonoros con una mirada personal y valiente. El proyecto se ha materializado en Boston, gracias al apoyo del New England Conservatory, y consolida la proyección internacional de una artista que debutó con Xano Xano. Forces and Battlements ya está disponible en: https://martinasabariego.bandcamp.com/album/forces-and-battlements-2 --- Lista de temas: 1. Vida y Muerte de la Devesa 06:58 2. Muixeranga 04:15 3. Elvira 07:39 4. Alquería Coca 08:54 --- Repertorio y solos: 1. Vida y Muerte de la Devesa  Solos de Jason Ryu, Walker McSween, Nadav Brenner y Carlo Kind 2. Muixeranga 3. Elvira  Solos de Nick Isherwood y Joey DuBois 4. Alquería Coca  Solos de Pavle Zvekic, Juan Saus, Albert Climent y Carlo Kind --- Integrantes de la big band: Saxofón Alto 1 (a soprano): Lenka Molcanyiova Saxofón Alto 2 (a flauta): Juan Saus Saxofón Tenor 1 (a clarinete en Sib): Gabriel Nieves Saxofón Tenor 2: Ella Wilhemina Saxofón Barítono: Noa Zebley Trompeta 1: Shota Syamaguchi Trompeta 2: Joey DuBois Trompeta 3: Walker McSween Trompeta 4 Maddoc Johnson Trombón 1: Jason Ryu Trombón 2: Albert Climent Trombón 3: Aiden Coleman Trombón Bajo: David Paligora Guitarra Eléctrica: Nadav Brenner Piano: Pavle Zvekic Contrabajo: Nick Isherwood Batería: Carlo Kind --- Compuesto, arreglado y dirigido por: Martina Sabariego Ingeniero de grabación: Sam McCarthy Ingeniero de mezcla: Adrià Serrano Grabado en The Record Co., en octubre de 2024, Boston (MA) Agradecimientos especiales al New England Conservatory of Music por la beca EM.

Send a textIntro: Blues in the Night by Woody Herman and His Orchestra (1941)15. You'll Never Know by Frank Sinatra (1943)14. Pistol Packin' Mama by Bing Crosby (1943)13. Moonlight Cocktail by Glenn Miller and His Orchestra (1941)12. Till the End of Time by Perry Como with Russ Case and His Orchestra (1945)11. Frenesi by Artie Shaw and His Orchestra (1940)

Eine Fahrt mit einer Dampflok von New York nach Tennessee als Big-Band-Swing.

Easy Jazz - The Best of

Send us a textIntro: Smoke! Smoke! Smoke! (That Cigarette) by Tex Williams (1947)25. (I've Got a Gal in) Kalamazoo by Glenn Miller and His Orchestra (1942)24. I'll Be Seeing You by Bing Crosby (1944)23. As Time Goes By by Dooley Wilson (1942)22. Rudolph the Red-Nosed Reindeer by Gene Autry (1949)21. God Bless the Child by Billie Holiday (1942)

durée : 00:04:30 - Les Bateliers de la Volga : de Balakirev à Marie Laforêt - par : Max Dozolme - A la découverte d'une chanson populaire qui évoque le travail fastidieux des haleurs, les bateliers de la Volga qui tractent les navires depuis les rives du fleuve. Un air traditionnel repris par Stravinsky, Glenn Miller et son big band ou encore la chanteuse Marie Laforêt. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Send us a textIntro: Let It Snow! Let It Snow! Let It Snow! by Vaughn Monroe (1945)35. In the Mood by Glenn Miller and His Orchestra (1939)34. I Don't Want to Set the World on Fire by The Ink Spots (1941)33. I'm Looking Over a Four Leaf Clover by Art Mooney (1948)32. Ballerina by Vaughn Monroe (1947)31. Amapola by Jimmy Dorsey and His Orchestra (1941)

Send us a textIntro: The Anniversary Song by Al Jolson (1946)40. Tuxedo Junction by Glenn Miller and His Orchestra (1940)39. Jingle Jangle Jingle by Kay Kyser and His Orchestra (1942)38. The Christmas Song by Nat "King" Cole (1946)37. Open the Door, Richard by Count Basie and His Orchestra (1947)36. You Always Hurt the One You Love by The Mills Brothers (1944)

Cinquième émission de la saison 2025-2026, avec Jérémie Kermarrec, traducteur de jeux vidéo, responsable du site Final Fantasy World, et auteur de livres sur Final Fantasy et sur la musique de Final Fantasy. Émission diffusée le 25 janvier 2026 sur Radio Campus Paris. Au programme :– La chronique de Tizona qui n'a hélas pas le temps de rattraper son backlog et qui prêche pour les jeux courts.– La chronique de Gomeisa qui s'intéresse à comment Terra Nil du studio Free Lives déconstruit le city builder.– 1ère pause musicale : The Vestige composée par Masashi Hamauzu pour l'OST de Final Fantasy XIII.– L'entretien avec Jérémie Kermarrec, et la 2ème pause musicale : Aeolic Guardian composée par Masashi Hamauzu pour l'OST de Musashi: Samurai Legend.– La chronique de Calypso qui s'est glissée dans les conversations de Coffee Talk.– La discussion du mois : Qu'est-ce qu'une bonne musique de jeu vidéo ?– Musique de clôture : Moonlight Serenade (∞-Climax Mix) composée par Glenn Miller et ré-arrangée par Seiji Hotta pour l'OST de Bayonetta 3. Références :– C'est quoi, une bonne musique de jeu vidéo ?, Furolith, canardpc.com, 1er décembre 2025. Casting :– Calypso Meszaros, chroniqueuse– Gomeisa, chroniqueur·euse– Lazare Jolly, réalisateur, monteur et responsable technique– Maxime Mohr, chargé de l'entretien avec l'invité·e– Tizona, chroniqueuse– Vincent Boutin, programmateur musical Discord : https://discord.gg/68zqVXkfCyBluesky : https://bsky.app/profile/assopixelup.bsky.socialKo-Fi : https://ko-fi.com/associationpixelup Production : Pixel Up! en partenariat avec Radio Campus Paris.

Send us a textIntro: If I Didn't Care by The Ink Spots (1939)10. All or Nothing at All by Frank Sinatra (1939)9. Sing, Sing, Sing (With a Swing) by Benny Goodman (1937)8. Begin the Beguine by Artie Shaw (1938)7. Can the Circle Be Unbroken (By and By) by The Carter Family (1935)6. Moonlight Serenade by Glenn Miller (1939)Outro: Mood Indigo by Duke Ellington (1931)

AFRS I Sustain the Wings 1943-12-18- Glenn Miller AAF Christmas Program

The world's most famous bandleader, Glenn Miller, was last seen on December 15th, 1944 - after hitching a ride on a small plane to Paris. Desperate to ensure his band could perform for Allied troops, Miller had flown from Britain against advice, his early death shocking fans around the world. Glenn Miller wasn't just a celebrity; he was a musical juggernaut. Leading the Army Air Forces Band during WWII, Miller assembled what is now considered one of the best big bands in history. And his contributions went beyond the stage—he revolutionized military music, turning stuffy marches into jazz-infused anthems. At his peak, he boasted 16 number-one hits and 69 top-10 tracks in just three years. Arion, Rebecca and Olly dig into the conspiracy theories surrounding his death; reveal the chilling letters he sent his wife and brother just days before his final flight; and consider what his legacy might have been, had he survived… Further Reading: • ‘Major Glenn Miller: The Loss of an Icon' (The National WWII Museum, New Orleans): https://www.nationalww2museum.org/war/articles/major-glenn-miller-loss-icon • ‘Glenn Miller's plane went missing on Christmas Eve' (The Washington Post, 2019): https://www.washingtonpost.com/history/2019/12/24/glenn-miller-is-missing-years-ago-big-band-mega-star-vanished-flight-over-english-channel/ • 'Glenn Miller - In The Mood | Colorized (1941) 4K' (Classic Hits Studio, 2022): https://www.youtube.com/watch?v=aME0qvhZ37o Love the show? Support us!  Join 

Back on this day in 1944 legendary band leader Glenn Miller disappeared. KTAR Timeline is  brought to you by Beatitudes Campus. 

El 15 de diciembre de 1944, falleció el músico estadounidense Glenn Miller, trombonista, director de Big Man y compositor.

On the December 15 edition of the Music History Today podcast, the Spice Girls premiere, Glenn Miller disappears, the original version of Folsom City Blues is released, & happy birthday to Tim Reynolds of Dave Matthews Band For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayChapters: 00:00 Intro 00:16 What happened on this date in music history01:37 Music award ceremonies that were held on this date in music history01:54 Albums released on this date in music history 03:14 Singles released on this date in music history 04:09 Podcast advertisement 28:52 Birthdays of music artists on this date in music history 05:45 Passings of music artists on this date in music history 06:32 What's on tomorrow's episode

Miguel Ángel González Suárez te presenta el Informativo de Primera Hora en 'El Remate', el programa matinal de La Diez Capital Radio que arranca tu día con: Las noticias más relevantes de Canarias, España y el mundo, analizadas con rigor y claridad. El Teide recibe la mayor nevada en casi 10 años. La Agencia Estatal de Meteorología (Aemet) ha pronosticado para este lunes en Canarias intervalos nubosos con probabilidad de precipitaciones débiles ocasionales en el norte de las islas, temperaturas con pocos cambios y heladas débiles en cumbres de las islas centrales y de La Palma. Hoy hace 2 años: Barómetro sanitario CIS. La media de espera para ir al médico de cabecera bate récords y se eleva a 9,48 días, en 2025 ha sido de 8,85 días. Hoy hace 2 años: La Ley de Dependencia cumple 17 años: Canarias sigue tardando más de 365 días en tramitar la ayuda pese a los avances, en 2025 es de 478 días (más de un año y 3 meses). … y hoy hace 2 años: Canarias, con la esperanza de vida más baja por comunidades, 82,8 años, en 2025 seguimos igual. Hoy se cumplen 1.402 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 292 días. Hoy es lunes 15 diciembre de 2025. Día Mundial del Otaku. Los aficionados al manga y al anime están de enhorabuena porque el 15 de diciembre se celebra el Día Mundial del Otaku. Son muchos los perfiles que rinden homenaje a los apasionados a la cultura japonesa. Este término se emplea para nombrar a una persona con aficiones relacionadas con el manga o el anime, aunque también se emplea para describir a una persona a la que le gusta el cosplay (del inglés costume play o sinónimo de disfrazarse), haciendo referencia a alguien a quien le gusta disfrazarse, sobre todo de personajes relacionados con el mundo de los videojuegos, o personajes de manga o anime. 1913: en Madrid, Pablo Iglesias y Melquíades Álvarez encabezan una fiesta en protesta contra la invasión de Marruecos. 1959: Entre Madrid y Barcelona se inaugura el Talgo. 1960.- El rey Balduino de Bélgica contrae matrimonio con la española Fabiola de Mora y Aragón. 1973: De acuerdo con la Asociación Estadounidense de Psiquiatría, la homosexualidad deja de ser considerada una enfermedad. 1976: En España ―tras la dictadura de Francisco Franco― se lleva a cabo un referéndum sobre la reforma política que dará paso a un nuevo modelo político. Comienza la democracia. 1982.- Apertura de la verja de Gibraltar, después de 13 años de bloqueo. 1995: En Madrid, los estados miembros de la Unión Europea acuerdan la creación de una moneda común europea, el euro. 2000.- Ucrania cierra oficialmente la central nuclear de Chernóbil, causante de la mayor catástrofe atómica de la historia. 2005: En España se aprueba la ley antitabaco. Santos Nina, Fortunato, Marcos, Maximino y Valeriano. Al menos 12 muertos en un ataque terrorista contra una celebración judía en una playa de Sídney. 'Me Too' en el PSOE: el aumento de casos pone en jaque a Sánchez y sus socios ven la legislatura "difícil" Sánchez defiende "optar por la verdad, aunque duela" tras los casos de acoso en el PSOE y cree que su Gobierno "renta" Argüello plantea opciones para un cambio de Gobierno y Sánchez le insta a ir a las elecciones con Abogados Cristianos. La principal playa urbana de Lanzarote, cerrada más de un mes por vertidos fecales y sin solución a la vista. Salud Pública y el Ayuntamiento de Arrecife han decidido prohibir el baño hasta que las entidades responsables encuentren el foco de las incidencias. Ninguno de los puntos de vertido localizados en la zona están autorizados. El gobierno de Arona bate un récord negativo al dejar de gastar 33,2 millones de euros al cierre de 2024. PP, CC y Más por Arona confirmaron el pasado año la mala ejecución que ya dejaron en 2023 (gestionando medio año, eso sí), cuando sobraron 28,5 millones de euros, lo que contrasta con los tres del último presupuesto gestionado totalmente por el PSOE (2022) y, sobre todo, con el 1,2 que no se aprovechó en 2021. Tal día como hoy, 15 de diciembre de 1944, Glenn Miller, uno de los artistas discográficos más vendidos de su tiempo, muere cuando su avión del Ejército de los EE. UU. desapareció por el Canal de la Mancha. Algunas de sus grabaciones más populares incluyen, «In the Mood»

Executive Director of the Newport Opera House Association, Laura Kessler is here as we talk about the Glenn Miller Orchestra returning to the Opera House stage on Sunday November 23rd.  This will be the 3rd year in a row they have come to Newport.  We talk about the history of Glenn Miller, how his music is timeless, what one would expect, dancing is encouraged, and more.  Plus we discuss Laura's history, the Newport Opera House Association, and more.

Boogie-woogie went mainstream in America during the war, as evidenced by the music of Glenn Miller and the Andrews Sisters.

Let's go back about 85 years. It's November, 1941, and America is about to enter World War II, when once again we will discover that we are a cold-footed, sockless nation. We have been here before. Think Revolutionary War, then the Civil War, and then World War I. But coming out of the Depression when there was not much money, we have evolved. We are now a nation of knitters--10 million knitters strong according to estimates from the National Dry Goods Association. So when the men pick up their guns, women pick up their needles once again, according to Anne Macdonald in No Idle Hands: The Social History of American Knitting. What's different? This time we have more music to knit by, like Glenn Miller's "Knit One, Purl Two" (you can ask Alexa to play it for you). Emily Post also decides on some rules of etiquette for knitting in public like "Do not wave long or shiny needles about in the air" (Macdonald, p. 304), so if you are doing that, stop it. But more than anything, accounts of knitting at the time speak to how it keeps us calm and connected, and in that way, it's good for everybody, knitters and wearers alike. Handknit garments helped the men at the front because they were"visible evidence that someone at home has been thinking about him--a lot. ... Nothing warms the hearts of the boys away from home like articles knitted by the loving hands of those they hold near and dear."Quoted in Anne L. Macdonald's No Idle Hands: The Social History of American Knitting (New York: Ballantine Books, 1988), p. 294.Knitting also helped the knitter, as writer Jane Cobb explained: Knitters "get satisfaction from the orderly row of stitches falling into patterns of accomplishment. In times like these there are few occupations that have that sort of effect. It is quite possible that women in wartime knit as much for the knitting as for what their knitting accomplished" (quoted in Macdonald, p. 298).So as we enter the season of thanks and perhaps some panic knitting for holiday gifts, stop waving your needles, ask Alexa to play "Knit One, Purl Two," and then take a breath and a moment to enjoy the "orderly row of stitches falling into patterns of accomplishment." Then make our Pecan Pie, and we have no doubt that many hearts will be warmed.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Chris Dalla Riva, author of the new book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves. Chris is a fixture here at Numlock, we're big fans of his newsletter Can't Get Much Higher and have been eagerly waiting for this book, which tracks the history of music by coasting along the top of the Billboard Hot 100. The book can be found at Amazon and wherever books are sold, grab a copy!This interview has been condensed and edited. Chris Dalla Riva, it is great to have you back on. Especially great this week, because you are finally out with a book that I know you've been working on for a very long time, Uncharted Territory. Thanks for coming back on.Yeah, thrilled to be back, but also thrilled to have the book come out. The book publishing world is one of the only worlds left in the world that moves slow enough where you're waiting for so long for something to happen.You have guest-written for Numlock before; you have been a staple of the Sunday editions in the past. You are definitely familiar to the audience at this point because you are doing some of the best music data journalism out there. You've been working on this thing for, I feel like, as long as I've known you, and it is just great to have it come out finally, man.Yeah, actually, I met you because I was working on this project. I was trying to track down some data that you'd used at FiveThirtyEight, and you responded to my email with your phone number. You were like, “This is easier to explain over the phone.”Yeah, I remember I had scraped the radio for months at FiveThirtyEight just to see where it went, and you hit me up with that. I think that you focused some of your energies on the newsletter, and that's been so fun to follow, but this is truly what you've been working at. It is great to get you on finally to talk all about it.What would you describe this book as? How would you describe it, either to folks who might be familiar with your newsletter or unfamiliar with your newsletter, about what you're setting out to do with this particular project?The subtitle, I think, is helpful. It's What Numbers Tell Us About the Biggest Hit Songs and Ourselves. My typical pitch is that it's a data-driven history of popular music that I wrote as I spent years listening to every number one hit song in history. You get a balance of music history, data analysis, just random music chart shenanigans. I wrote it over such a very long period of time that you get a little bit of how my life was intersecting with this book over the years as I tried to get it published.I love the angle on the No.1s being a place to go with, because it gives you a pulse on what's popular at the time and not necessarily what's the most influential at the time. You can see there's a lot of stuff that hit number one at one point or another that have no musical legacy whatsoever, but nevertheless are still interesting. It's dipping your toe in the stream, right? You can see that a lot of things that we assume about how the music industry works weren't always the case.You wrote a little bit about the early transition from big bands to singers as the front-facing people in their operation. That was informed in no small part by what was performing on the charts, but also, I think, labor action, right?An under-discussed part of music history in the last 100 years is that when thinking of any band now or any musical artist, you almost certainly think of the front person being the singer. But if you go look back at big bands of the 1930s and 1940s, anyone whose name was attached to the band was often not a singer. Some that come to mind are Glenn Miller, the Glenn Miller band. Glenn Miller was a trombone player. Artie Shaw was a clarinet player. If none of these names are familiar to you, that's okay. But you can ask your grandparents.Why does this transition happen: suddenly, the lead singer is always getting top billing in a band? There are a bunch of things that contributed to this. One thing I talk about pretty extensively is just the advent of better microphones. If a voice cannot be heard over the roar of an orchestra or a big band, you need a choir of people to sing. It makes the singer less identifiable. As we get better amplification, better microphones, you can get a wider range of vocal styles. Those vocalists can now compete with the sound of a ton of instruments.At the same time, something you mentioned that I think is a fun bit of history is how music used to be much better organized. They had better labor organization, the same way that Hollywood has much better labor organization than music these days. There still exists a group called the American Federation of Musicians. For two years, they had a strike for a work stoppage, when no new music was being recorded. This was during World War II. You weren't allowed to strike during World War II.They were frowned upon very much, it seems, yes.Yes, even if you were a musician. People were like, “Come on, why are the musicians striking?” There's a lot of interesting history there. One of the weird loopholes was that singers could not join the American Federation of Musicians. Because of that, some labels would get around the strike by just recording acapella songs or songs with instruments that were not eligible to be membership because they weren't “serious” enough, like the harmonica. There were weird harmonica songs that were popular at this time. By the time the strike ended, by the time World War II ended, suddenly, singers had a much more prominent role because they were the only ones allowed to perform.There is tons of weird stuff about this strike. Like, labels backlogged tons of recordings because they knew the strike was coming. “White Christmas,” maybe the best-selling record of all time, was one of those backlogged recordings — recorded in July of 1942 and put out however many months later.That's fun. That's basically why Tom Cruise is in a union but Bad Bunny isn't?I guess so. Music and labor have a history that I'm not an expert on. For some reason, musicians have had a much more difficult time organizing. It seemed to be a little bit easier back when there were these big bands that needed to be rolled out to perform in movie theaters or local clubs. You needed a tuba player and a trombone player and a sax player. I guess it was easier for those musicians to organize. Whereas now, things are so scattered and productions can be super small, and you could record something in your bedroom. They never got that level of organization. I think it's actually hurt artists to some degree because they don't have the protections that the film industry does.Because you're able to just coast along at the top of the charts throughout basically the century, you're able to get lots of different interweaving stories of labor and also legal disputes/legal outcomes, as well as this technological evolution. What are some of the ways that technology has informed how the music that we listen to changes or evolves over time? Or even some of the litigation that we have seen over the course of the century of musical creation. It just seems like it's a really fun way to track some of these bigger trends that we don't even know are really trends.Yeah, totally. I think one of the key themes of the book is that musical evolution is often downstream from technological innovation, which has a nice little ring to it. But in general, there's this idea that creativity is being struck by the muse, and you create something. Whereas in reality, there are usually physical constraints or technological constraints that shape the art that we make. One of the most basic examples is the length of songs. From the '40s up till the early, mid-60s, the pop song sits around 2.5 to three minutes. The reason for this is that vinyl singles could literally not hold more sound without degrading, which is completely backwards from the idea that there was an artist who chose to write a 2.5-minute song.I was like, “Well, you had to work within the constraint.” Then technology gets better, singles start to get longer. During the disco era, they actually made bigger discs to put out these long dance mixes. The single sat around like 3.5 to 4.5 minutes for decades until about 10 years ago, when it started to shorten again. People typically point to music streaming for this reason, because artists are paid if a song is listened to for more than 30 seconds, so it's really just a volume game. If you have a 14 minute song that someone listens to one time, they get paid once. But if I listen to a two-minute song seven times (which is again, the same amount of time spent listening), I will be paid out seven times. There is this financial incentive to shorten songs.I don't think artists are sitting in the studio thinking about this constantly. But what I see, what I saw again and again, is that artists were rational beings to some degree and would work within the constraints that they were given. They would usually push against those constraints. That's where a lot of great art comes out of.Even new mediums are offering new opportunities. You wrote a little bit about MTV and how that really changed a lot of what was able to be successful at the time. You had new types of acts that were able to really start competing there, and other acts that just weren't. Do you wanna speak a little bit about like what video did?Yeah, video certainly changed the game. There were artists who had visual presences earlier. The Beatles had a very visual presence. I think part of their success is tied to the fact that television was becoming a thing, and mass media was really becoming a thing. However, we associate musicians with visuals so much these days. That really emerged in the 1980s, where you needed your visual concepts to be as strong, if not stronger than, your musical concepts. I think because of that, you start seeing some artists break through who I don't think are considered great musicians.I always sadly point to the song, “Hey Mickey” by Tony Basil. If it's your favorite song, sorry. I don't think it's a masterful musical creation, but it had this fun music video where she's dressed up as a cheerleader. A lot of that song's success was just the fact that MTV was willing to put that in heavy rotation because it was a fun video to watch. We live in the shadow of that era where visuals matter just as much as anything else.When you think about the most popular artists, outside of maybe a handful, you think of their visual concepts. You think of what Beyoncé looks like, what her videos are like, same with Taylor Swift, as much as you think about their music. That really reshaped our relationship with popular music. We expect to know what artists look like. It's odd to think about that; it really wasn't a thing decades before. You could be a fan of an artist and not really know what they look like. How would you know? Maybe you saw them in a magazine. Maybe you caught them on one television show. The idea that we have access to what everyone looks like is a pretty new phenomenon.That's fun. It's just so interesting to see how a simple change, whether it's today an algorithm or then a medium of distribution, can just have material impacts on the popularity of British synth music in America.Yeah, that's the perfect example. There's a great book called I Want My MTV, and it's an oral history of MTV. They talked to one of the founders. Early MTV would play, as you're saying, all these British new wave acts. Think A Flock of Seagulls, Duran Duran or even someone like U2. They asked the founder, “Why were you playing so many British artists on early MTV?” He was like, “For some reason, British artists happened to make music videos. And there were about 200 music videos in existence. We had to fill 24 hours of programming.” A Flock of Seagulls was gonna get played a bunch of times just because they happened to make music videos.It is a weird thing. Why would anyone make a music video if there was nowhere to really play them? I don't know why specifically the British had more videos, but there were occasional times where television shows might show a video.They do love that over there, like Top of the Pops. I can see why.Music and television have always been connected. You even think Saturday Night Live still has musical acts. Back then, say your label didn't wanna send you out to Britain to go on Top of the Pops. Maybe they would send a video of you instead. There were videos that would float around on these variety shows, and some early videos were just concert footage. It was like, it was a chicken or the egg thing. Once some people had success on MTV, everyone started producing videos. MTV somehow pulled off the miracle of convincing labels that they needed to make videos and that they needed to front the cost for that. Then they had to give MTV the video for free. I don't know how MTV managed to do that.Well, all of Gen X can't be wrong. If you do wanna get it out there, you do have to get it out there. One really fun recurring thing in the book — which again, like I really enjoyed. I think it's a phenomenal work. I think it's a great history. I'm telling stories that I learned in your book to everybody. It is a really fun read in that regard, I wanna say.I do love how you occasionally clock a genre that really only exists briefly. There's one that always goes around for like the strangest things to hit number one, like the Ballad of the Green Berets. I think like there's a Star Wars disco track that I definitely have on vinyl at home about that. You wrote a lot about like teen tragedy songs. What are some of the fascinating like brief trends that only made a small splash and that all of us have forgotten ever existed, but nevertheless achieve some measure of immortality?Yeah, the teen tragedy song is a good one. That actually inspired the writing of this whole book because I got 50 No. 1s, and I was like, “Why are there so many number ones about teenagers dying? That's a little weird.” And then I did a little digging and tried to piece together why that was. The teenage tragedy song, late '50s, early '60s, there are all of these songs about two teenagers in love, usually high schoolers. One tragically dies often in a car crash, and the other is very sad and maybe says that they'll reunite again one day in the afterlife. Some of the big ones are “Leader of the Pack” by the Shangri-Las and “Teen Angel” by Mark Dinning.It's a very weird blip in popular music history. I won't say it has cast a long shadow, but there are some occasional people who pull from that tradition. The craziest teen tragedy song ever was “Bat Outta Hell” by Meatloaf, in which Jim Steinman tried to write a nine-minute motorcycle crash song. I think that's a really interesting one.Disco: bizarre in the amount of people that made disco songs. I really came to like disco and the best disco music, I'm like, “These are the greatest sounds that have ever been recorded.” But it got so big and so popular that everyone felt the need to record disco songs.Not everything is “I Feel Love,” right?No, most things are not. It strikes me that this happened with disco, but has not happened with other genres. Frank Sinatra recorded disco songs. Basically, every television theme song got a disco remix. I Love Lucy had a disco remix. The Rocky theme song had a disco remix.What? I'm sorry, Frank Sinatra did a disco song? Is it good?It's not good. It's “Night and Day” over a disco beat. And it's not clear to me if they just remixed it or if he actually recut the vocal because I just cannot imagine him doing that. In the mid-60s, there was a nun who topped the charts, The Singing Nun with a song called “Dominique.” Of course, during the disco era, it was remixed as a disco song. There are examples of this where people went sort of disco. The Rolling Stones record “Miss You” and it has the disco beat, or Pink Floyd does “Another Brick in the Wall” or Queen does “Another One Bites the Dust.”Everyone was gonna give it a try. There was so much money being made in the disco world at the time. You can always find some artists you would never think would do a disco song probably tried. They probably gave it their best.That's great. It's just fun because the things that hit number one for a week don't necessarily have to be good. They just have to be popular for like a week. Even the construction of the Top 40 chart, which you get into in the book, isn't exactly science. A lot of times, it's a little bit of intuition. It's a lot of what's selling and what's selling where specifically. It is a little bit woo woo, right?Yeah, definitely. The goal of this chart is “What's the most popular song in America in a given week?” Back in the day, that meant what were people buying? What were people listening to on the radio? What were people spinning in jukeboxes? Today, most music is done on streaming. It's consumption-based, rather than sales-based. So the chart's the same in name only, but it's really measuring very different things. The equivalent would be if we knew after you purchased your copy of “I Feel Love,” how many times did you actually play it at home? You could have purchased it, went home and never played it again. Something like that would not register on the charts these days.I respect the people at Billboard because they have an impossible task. It's like “We're gonna take all the information and we're going to boil it down into choosing or measuring what the most popular song is.” It's an impossible task to some degree.I have watched the evolution of the chart, and I go back and forth on whether they have given up on actually trying to rank stuff or if they are just ranking things in a different way. I think that the apples-to-apples between the era stuff is just so hard to do.One thing I really enjoyed about your book, in particular, is that it's not a story of why these songs are the best. It's a story of why these songs were popular at the time, just dipping the toe into the river of human sound. One thing that I'll ask as you wrap: as you were going through these eras, who did you hear a lot more of than you thought? Who did you hear a lot less than you expected?I joked with some people that if you just looked at the top of the charts, the greatest rock band of the 1970s is either Grand Funk Railroad or Three Dog Night because they both had three number one hits, and many other bands in the classic rock canon have none. Led Zeppelin does not really exist on the pop chart, the singles chart. Led Zeppelin really only put out albums. The Eagles were also big during the '70s on the music charts. But Three Dog Night, they're the legends.There are tons of people that I didn't realize how much I would see of them. Someone like Lionel Richie and Phil Collins, of course, they're tremendously popular, but they were so popular. Phil Collins was popular at the height of the bald pop star era, which I think is a thing of the past. You had multiple bald men who were regularly topping the charts in the mid-80s. You see a ton of Phil Collins, more than I was expecting, even though I know he's very popular.Who don't you see a ton of? Sometimes you don't see people until a bit later in their careers. This is actually an interesting phenomenon. Artists do not score a number one hit during their most critically acclaimed period, and then a decade later, they do. For example, Cheap Trick. They have a number one hit, but it's at the end of the '80s song called “The Flame.” Whereas if you hear Cheap Trick on the radio, it's probably their live album from the 1970s. This is a phenomenon you see again and again. Some old timer will get their number one much later in their career. Tina Turner gets her number one when she's probably in her 40s. It's always interesting to see that.There are also some artists where I feel like there's a divergence between what their most popular songs are these days and what was topping the charts. Elton John is a good example there. “Benny and the Jets” was a number one hit, still a tremendously popular song. But he's got a lot of weird No. 1s that I don't think have as much street cred these days. He has a song called “Island Girl.” Did not age like fine wine. I don't even think he plays it live anymore because it's considered somewhat racially insensitive. But it was a No. 1 hit at the time. “Philadelphia Freedom” is another one by Elton John. I feel like when people think of the Elton John catalog, it's probably not the first song that comes to mind. But it was a No. 1 hit, huge smash. His cover of “Lucy in the Sky with Diamonds” was a No. 1. Elton John has been very popular throughout the decades, but I feel like the reasons he's been popular have changed.People have just gravitated towards different songs as time has gone on. You get distortions at the top of the charts. But I think, as you mentioned, it provides a good sample of what was actually popular. You have the good, the bad, and the ugly. Whereas if you look at some other sources, people are just gonna be like, “Oh, listen to these records. These are the best records.” In reality, the bad records are important, too.Yeah, bad records are great. They're at least interesting. I imagine also some of this process must have been missing out on a lot of interesting music because one song was just dominating the charts. Were there any songs in particular that come to mind that wooled the roost for potentially a little bit too long?Yeah, the quintessential example is the “Macarena” in the ‘90s.Oh, no!I think it was No. 1 for 13 weeks.Christ!There's a great clip of people at the Democratic National Convention and '96 dancing the “Macarena.” It's so bad. Yeah, so a very popular song. There are tons of stuff that gets stuck behind it. There's a great No.1 hit in the '90s called “I Love You Always Forever.” It's a very nice song by Donna Lewis. It's stuck at No. 2 because it just happened to be popular during the “Macarena's” very long run. YYour life's work, your greatest accomplishment, being stymied by the “Macarena” feels like a level of creative hell that I have never envisioned before.Yeah, there are other artists who got unlucky. Bruce Springsteen never performed a No. 1 hit. He wrote a No.1 hit for another artist. His closest was “Dancing in the Dark” got to No. 2, but that was also when Prince released “When Doves Cry,” so it's a tough, tough week. Bob Dylan, similar thing. He wrote a No. 1 hit, but he only ever got to No. 2. I think he got to No. 2 twice. Once, he got stuck behind “Help” by the Beatles, and another time he got stuck behind “Monday Monday” by the Mamas and the Papas.This is another thing when I talk about the charts. There could be many fewer units sold in a given week, or there could be many more units sold. There's a lot of luck involved if you're gonna go all the way to No. 1. You could be Bruce Springsteen: you release the biggest record of your life, and Prince also releases the biggest record of his life at the exact same time.Incredible. So again, I have read the book. I really, really like it. People are doubtlessly familiar with the newsletter at this point, but I am also a big fan and booster of that. But I guess I'll just throw it to you. Where can folks find the book, and where can folks find you?Yeah, you can find me, Chris Dalla Riva, basically on every social media platform under cdallarivamusic. I'm most active on TikTok and Instagram. The book, Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves, should be available from every major retailer online. Amazon, Barnes & Noble, Walmart, Booklist, all that good stuff. Not available physically in stores, so definitely order it online.Like I said, I spent years listening to every No. 1 hit in history, built a giant data set about all those songs and used that to write a data-driven history of popular music from 1958 to basically 2025. So go pick up a copy, buy one for your mother for Christmas. Or your father, I don't discriminate. Yeah, check it out. I'm hoping people enjoy it, and I'm really excited to finally get it out in the world. It's been a long, circuitous journey to get it published.It's a really fun read, and I wish it nothing but the best. And yeah, congrats, thanks for coming on.Yeah, thanks for having me.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Songs include: Dinner With Drac by John Zacherly, Ding Dong the witch Is Dead by Glenn Miller, Undertaker Blues by Buddy Moss, Danse Macrabe by the Royal Philharmonic and and Halloween poem by Louise Gluck. 

The days are getting darker both by season and on the sidewalks of your town. Jackboot thugs with masks, clubs, and weapons are descending for you. Make no mistake. If you believe in your right to free speech and all that our Constitution affords you, think again. Know that you and your neighbor are in the crosshairs of this regime. This week's show won't break the spell but it will share with its language of comfort, joy and hope that music delivers as it stimulates the release of dopamine triggering pleasure and relaxation. Our prescription this morning is a compound of a free form eclectic blend that delivers a response from all corners. America's music has always been built on a foundation of free expression so why not make the best…and that's what we'll be doing this morning with tracks from Glenn Miller, Charlie Christian, Squirrel Nut Zippers, Randy Newman and Dean Martin, just to name a few. Dream when you're feeling blue. Rise up when you're being pushed down. This week's show takes us where we want to go.

On tonight's show: Glenn Miller, Little Brown Jug Duke Ellington, Take The A Train Lester Young & His Band, These Foolish Things Art Tatum, Willow Weep For Me Count Basie, Cherokee Charlie Shavers and Maxine Sullivan, Dark Eyes Claude Williamson Trio, Stompin' at the Savoy Tony Scott, My Funny Valentine Stan Getz with Gerry Mulligan, Let's Fall in Love Art Pepper, You'd Be So Nice to Come Home To Ella Fitzgerald, Misty Harry Carney & The Duke's Men, Jeepers Creepers McCoy Tyner, Satin Doll Earl "Fatha" Hines & Johnny Hodges, Tippin' In Zoot Sims, Somebody Loves Me  

Great Big Band Vocalists Most times when the Longines Symphonette Society put out albums, we had no idea who the musicians were. But sometimes they did give us all the information. And it's even rarer when they cram an album full of star singers. THIS is one of those albums. These Decca recording artists are still some of the best known. The songs, pure pop gold from the 1930s through 50s. So, get ready to hear a few memorable singers performing memorable songs in Volume 244: Big Band Vocals. For more information about this album, see the Discogs webpage for it.  Credits and copyrights Various – The Great Vocalists Of The Big Band Era Label: Longines Symphonette Society – SY 5207, Decca – DL 734665 Format: Vinyl, LP, Compilation, Stereo, Gloversville press Released: Of course we don't know. See above label mentioning Longine Symphonette and how we've covered that before. Genre: Jazz, Stage & Screen Style: Big Band We will hear 6 of the 14 songs from this record. Ethel Merman and Fairchild and Carroll and Their Orchestra–It's De-Lovely This recording was released in 1936, the same year she sang it with Bob Hope in the Cole Porter musical Red Hot and Blue. Judy Garland With Victor Young And His Orchestra– Over The Rainbow written by Harold Arlen and E.Y. Harburg Released September 1939. This was the Hit song. It was first recorded for the Wizard of Oz. By the way, this song has been recorded 2,023 times according to Second Hand Songs dot com. Mary Martin with Eddy Duchin and His Orchestra-My Heart Belongs To Daddy written by Cole Porter This recording was released in 1939. Martin also was the original singer for the musical Leave It to Me! which premiered on November 9, 1938. Ella Fitzgerald With Chick Webb And His Orchestra–A-Tisket A-Tasket written by Van Alexander and Ella Fitzgerald It was released June 1938. She reprised that song with the Merry Macs for the 1942 Abbot and Costello movie Ride 'Em Cowboy. Pearl Bailey – Orchestra directed by Don Redman - Ciribirbin written by Harry James and Jack Lawrence from music by Alberto Pestalozza and Carlo Tiochet Released September 1954.  The song was first recorded by Ardito e Torre November 1910. Of course Harry James made it his theme song.  The Andrews Sisters With Vic Schoen And His Orchestra–Don't Sit Under The Apple Tree (With Anyone Else But Me) written by Charles Tobias and Lew Brown This version was released in May 1942. First recorded by Glenn Miller and His Orchestra - Vocal Refrain by Marion Hutton, Tex Beneke and The Modernaires on February 18, 1942. They didn't leave much room between versions back in those days. In fact six versions of that song were recorded in 1942. I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #musichistory #vinylcollecting #vinylrecords #musicalmemories

El swing, género asociado a la elegancia y distinción, además de bailable valvula de escape de la Gran Depresión de los 30. Las "big bands" de Glenn Miller, Benny Goodman o Stan Kenton llenapistas de un mundo que se aplicó a bailarlo con verdadera pasión. Bailarines extraordinarios como Astaire, Ginger Rogers y otros aún perviven en los "bailes de salón” y dentro del selecto grupo de admiradores de la excelencia. Sinatra o Ella Fitzgerald, sus vocalistas excelsos, Bublé o Robbie Williams, sus continuadores y “Llévame a la Luna” más que una canción, un himno. ¡¡Swing!! Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Brandon Legion and I continue our exploration of the weird world of Twin Peaks.  This week we explore Season 1, Episode 3 “Zen, or the Skill to Catch a Killer.” This episode originally aired on April 19, 1990 and was written by David Lynch, directed by Lynch with music by Angel Badalamenti. The plot thickens as Agent Cooper ramps up his investigation into the murder of Laura Palmer by calling in his forensic specialist Albert Rosenfield. Bobby and Mike find themselves getting deeper into the dark world of Leo Johnson and Cooper gains a preternatural insight into who killed Laura Palmer.   Intro:                   “Twin Peaks Theme” – Andrew Badalamenti Outro:                “Pennsylvania 6-5000” – Glenn Miller and his Orchestra

An interstitial Brian Jones sandwich, Bob's prescient regret, Glenn Miller connects to hard house, después de mí el diluvio, an emotionally blackmailing eye-roller, and a steamy alleged long con.Listen to this episode in full, with all tracks embedded (seven-day free trial).Playlists: YouTube // Spotify // extra tracks & bonus bitsTo join in with the voting, please submit your 1st, 2nd and 3rd favourites, plus your "most bad and hated" selection, to:The Patreon Supporters Club // Bluesky: whichdecadetops // Facebook // whichdecadeistops@gmail.comThe voting deadline for this episode is 6pm UK time, Sunday 31st August 2025. Hosted on Acast. See acast.com/privacy for more information.

Glenn Miller connects to hard house, and después de mí el diluvio!Listen to this episode in full, with all tracks embedded (seven-day free trial).Playlists: YouTube // Spotify // extra tracks & bonus bits Hosted on Acast. See acast.com/privacy for more information.

I played the trombone in high school. I know what you're thinking: squeaky-voiced Jack running through a few scales on his big brass slide? Hello Ladies... But honestly the fact that my instrument was seen as a bit quirky was kind of an attraction for me at the time. What the trombone wasn't —at least back then— was very cool. To my mind it was good for jazz band and good for a blast in orchestra, but I wasn't creative enough to find or even search for a different sound with my trombone. Brass had its place and that was that. But the year after I left high school, Based on a True Story hit record stores. I'd never heard of Fat Freddy's Drop, but I was played a song by a friend and I bought the album the day it was released. I know it was 2005, because I can literally remember buying the CD from a Sounds record shop. I can remember walking down Madras Street in Christchurch with it burning a hole in my bag, so excited to play it. Let me tell you, I've never thrashed an album so much in my life. The way it starts off so sparse, those simple plunking piano keys, and then builds and builds and builds. The sound was so exciting. So different. So cool. Man, I thought. If I'd known this kind of music existed, this blend of dub and reggae and jazz and soul, with its brass component, too! As much as I have enjoyed Glenn Miller arrangements, I might have branched out a bit further with my high school music mates and the old ‘Bone. I'm no celebrated music afficionado but it occurs to me that Fat Freddy's Drop are a prime example of musos' musos. They're a band which loosely formed from a crew who just like jamming. They're a band that loves to play live, that still just loves to improvise. And, at least from the outside, they seem utterly unconcerned with the trappings of rock'n'roll stardom, with glossy magazine covers, fame and riches. Forget your 3-minute, four-chord tricks to sell into the top 40 radio stations, if you've been to a Fat Freddy's concert, you'll know it can be hard sometimes to know when a song begins and ends. I also think there's a real, distinct New Zealand flavour to their music. There's something Pacific, something relaxed, unshaven, and unconcerned. The sound of the Kiwi summer road trip. For the year I lived in the States, I'd always crank it up any time I had an American in my apartment as if it were a statement of identity. It probably says a lot about the band's aspirations, motivations, and priorities that despite their incredible international success, the individual members of Fat Freddy's Drop aren't all household names in this country. I know next to nothing of their private lives. And of all the members, I reckon I'd only have been able to name two, off the top of my head, if you'd asked me earlier this week: Dallas (friend of the show), the singer, and Mu. Chris Faiumu founded Fat Freddy's Drop. He produced their music, and as DJ, his beats, blends, and samples were the foundation of so much of their art. I feel my experience with his work will be similar to that of so many others in New Zealand and around the world. I feel really saddened by news of his death, and so grateful, so grateful, for the music he made that seriously has enriched my life. See omnystudio.com/listener for privacy information.

Songs include:  Songs include: Chattanooga Choo Choo  by Glenn Miller, Boogie Woogie Bugle Boy by the Andrews Sisters, God Bless The Child by Billie Holiday, Take the A Train by Duke Ellington and Stardust by Artie Shaw. 

Songs include: Stars and Stripes Forever by John Phillip Sousa, Tail End Charlie by Glenn Miller, Take Me Out To the Ball Game by Frankie Masters, America by the Boston Pops Orchestra, Bugler's Holiday by Leroy Anderson and Mr. Touchdown USA by Hugo Winterhalter. 

"SECOND ACT: REDISCOVERING OVERLOOKED MUSICALS" (094) - 6/30/25 In this episode of the podcast, Steve and Nan dive into some of their favorite classic Hollywood musicals that they feel do not get their due. They share fond memories and behind-the-scenes tidbits about timeless films like Summer Stock, State Fair, and Gentlemen Prefer Blondes. With infectious enthusiasm, they discuss the charm of Gene Kelly's choreography, Judy Garland's unforgettable voice, and the sweeping scores that still resonate decades later. Whether you're a seasoned fan or a newcomer to the genre, this episode is a heartfelt tribute to the magic of classic movie musicals. SHOW NOTES:  Sources: 75 Years of the Oscar: The Official History of the Academy Awards (2004), by Robert Osborne; My Path and My Detours: An Autobiography (1985), by Jane Russell; The Hollywood Musical: Every Hollywood Musical from 1927 to the Present Day (1981), by Clive Hirschhorn; The Films of 20th Century Fox (1979), by Tony Thomas & Aubrey Solomon; “Judy Garland and Gene Kelly team up – off and on screen – for “Summer Stock,”  May 6, 2019, by Kay Reynolds, HighDefWatch.com; Wikipedia.com; TCM.com;  IBDB.com; IMDBPro.com; Movies Mentioned:  The Gay Divorcee (1934), starring Fred Astaire, Ginger Rogers, Alice Brady, Edward Everett  Horton & Betty Grable; State Fair (1945), starring Jeanne Crain, Dana Andrews, Dick Haynes, Vivian Blaine, Fay Bainter, & Charles Winninger; The Singing Nun (1966), starring Debbie Reynolds, Greer Garson, Ricardo Montalban, Agnes Moorehead, & Juanita Moore; Gentlemen Prefer Bondes (1953), starring Jane Russell, Marilyn Monroe, Charles Coburn, Elliott Reid, Tommy Noonan, & Norma Varden; Summer Stock (1950), starring Judy Garland, Gene Kelly, Phil Silvers, Marjorie Main, Gloria De Haven, & Eddie Bracken; Orchestra Wives (1942), starring Ann Rutherford, George Montgomery, Cesar Romero, Glenn Miller & his Band, Lynn Bari, Carole Landis, Mary Beth Hughes, Virginia Gilmore & The Nicholas Brothers; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Songs include: Don't Sit Under the Apple Tree by Glenn Miller, Chiquita Banana by Xavier Cugat, Blueberry Hill by Louis Armstrong, Beans and Cornbread by Louis Jordan and Huckleberry Duck by Raymond Scott. 

1 - Golden Gate - Al Jolson – 19282 - Water Under the Bridge - Elmer Feldkamp with Freddy Martin and his Orchestra - 19343 - Pod Mostem (Under the Bridge) - Walter Jagiello aka Lil Wally with Eddie Terlikowski i jego Orkiestra Polskiej Karuzeli - 19494 - London Bridge is Falling Down - Count Basie and his Orchestra – 19385 - Fallen Arches - Ben Bernie and his Hotel Roosevelt Orchestra – 19266 - The Bridge - Columbia Stellar Quartette - 19157 - Low Bridge! Everybody Down! - Billy Murray – 19128 - On a Little Bamboo Bridge – Donald King with Roy Smeck and his Serenaders- 19379 - Boardwalk Blues - The Country Club Orchestra – 192210 - The Broadway Strut - The Original Six - 192211 - The Old Covered Bridge - Jack Parker with Joe Green and his Novelty Orchestra – 193412 - Waterloo Bridge - Bill Darnell with Bob Chester and his Orchestra – 194113 - Over The Bridge - Bob Haring's Velvetone Orchestra – 192314 - Sabotage – Marion Hutton with Glenn Miller and his Orchestra – 194215 - The Old Rustic Bridge by the Mill - The Black Diamonds Band - 191116 - Bridgebuilders - Keith Falkner – 1936

Songs include: Moonlight Serenade by Glenn Miller, My Heart Belongs to Daddy by Mary Martin, Body and Soul by Coleman Hawkins, Deep Purple by Larry Clinton and God Bless America by Kate Smith. 

*The music in this video is copyrighted and all rights reserved to the respective copyright holders* In the premiere episode of The Audio Files, hosts Brad Zerbo and Jaytriot fire up Saturday night with a high-voltage celebration of all things music. From their roots as lifelong metalheads to their guilty pleasures in disco and Motown, the duo delivers deep musical passion with equal parts reverence and riotous fun. They kick off with a tribute to AC/DC and Casey & the Sunshine Band, then trade stories of their earliest musical influences, Brad's Monkees obsession and metal awakening via Sepultura and Megadeth, and Jay's unforgettable childhood brush with David Lee Roth (and the comment that ended a potential stepdad relationship in one sentence). The show includes a heartfelt Mother's Day In Memoriam segment, spotlighting Glenn Miller and Blondie, plus a sobering tribute to Blondie's late drummer Clem Burke. The pair also introduce a recurring segment, Video Killed the Radio Star, launching with Billy Squier's legendary career-killing video for “Rock Me Tonight.” From punk and metal to disco and funk, The Audio Files is a love letter to music across genres, with live commentary, backstories, and raw appreciation for what makes music timeless. As they sign off with Parliament's “Flashlight,” it's clear: this isn't just another music podcast. It's a full-body jam session and a joyride through the soundtrack of your life.

In. this episode, Glenn Miller joins the fellas to discuss Christian Parenting.

In today's episode we look at all the people and plans it took to create the United Service Organization (USO). While there was enormous planning and smart people, it wouldn't be what it is without a trumpet player from Chicago. We cross paths with General Pershing, Glenn Miller, m&ms, Thomas Dewey, Roosevelt, Woodrow Wilson, and little guy from England named Lesley Townes Hope.

Songs include: Five Guys Named Moe by Louis Jordan, Number Ten Lullabye Lane by Dinah Shore, Pennsylvania 6-5000 by Glenn Miller, One Hundred Years From Today by Ethyl Waters, "T" 99 Blues by Jimmie Nelson and One Hundred Percent For You by Fats Waller. 

And now for something completely different... featuring one of past guests & fellow authors Ace Atkins, Megan Abbott, & William Boyle's dearest friends. The first half of this week's episode with Oxford, Mississippi based ADVENTURE TIME & SPONGEBOB SQUAREPANTS screenwriter, voice actor, & author Jack Pendarvis is a freewheeling anything goes conversation about writing, shovels, William Faulkner cosplay, hitchhiking with butter knives, Saint Augustine, showers, & anything else that popped into our heads. Taking a look at two films about the creative process in the more classically Watch With Jen formatted second half of this discussion, we investigate two of Jack's favorite movies in director Anthony Mann's classic musical biopic THE GLENN MILLER STORY & one of Pedro Almodovar's greatest masterworks, PAIN AND GLORY. This season, I'm aiming to sprinkle in some more casual conversations with artists of all backgrounds into our traditional friendly analytic approach because right now, it feels like we're all so isolated, stressed, & wary that I'm hoping these occasional offbeat episodes might spark a little joy, discovery, & creativity for you along the way as well.Originally Posted on Patreon (4/7/25) here: https://www.patreon.com/posts/126066237Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fi Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

It's April 2025 ... and that means it's national Jazz Appreciation Month here in the U.S.! Join host CH as she shares her own journey to not only coming to love the genre - particularly the classics and standards of the 1930s and 40s - but also how it has shaped her sense of musicianship when she resumed playing drums after a 10 year hiatus. She reflects on how the sounds of jazz surrounded her at a young age (even if she wasn't suuuuper interested at the time), and how her original love of playing pop/rock music evolved as her own musical leanings changed over time. She also reminds us of the importance of embracing music - no matter the genre - at any stage of life for the personal enrichment and inspiration it brings to us all.   Show Notes Jazz Appreciation Month (known as "JAM") runs from April 1 - April 30 in the U.S. It culminates with the international celebration of International Day of Jazz on April 30th. For those looking for more information and events that are scheduled for 2025, head over to the National Museum of American History, which founded JAM in 2001 (and of which is where CH pulled the quote that ended our episode). Additionally, CH highly recommends the Ken Burns PBS documentary film, "Jazz", for those looking for a comprehensive examination and tribute to jazz from its earliest origins up to present day. Some of the artists CH mentioned that played in her grandparent's house as she was growing up: Duke Ellington; Billie Holliday; Ella Fitzgerald; Glenn Miller; Benny Goodman; Frank Sinatra; Dean Martin; Nat King Cole. Additionally, her step-father was a fan of Brazilian jazz. The Los Angeles radio station CH also grew up listening to was 94.7 The Wave (now known as The Soul of Southern California). Previous episode mentions: Episode 20: Episode 62: Share the Chair - Tobi Stone (A Lifelong Journey of Jazz) Episode 25: Little Drummer Girl

Songs include: Chatanooga Choo Choo by Glenn Miller, Beale Street Blues by Jelly Roll Morton, In the Pines by Leadbelly, Louisville Lady by Sophie Tucker and Tenessee Waltz by Patti Page.

Features vintage recordings by Bob Chester, Glenn Miller and Mildred Bailey.  Ronnaldo plays an old ad by Adler Elevator Shoes. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.