Podcasts about greasepaint

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

Inspired by a Dear John note from a curious listener, John expounds on the theatre, and how experience on the stage (or off of it) can greatly enhance an audiobook performer's skill set - and for a bargain price.  Also, A.I. has crept onto the campus, raising many questions.  Is academia preparing us to serve computers someday?  Or is it motivated by outright laziness?  You decide.Visit our online home!http://www.audiobooktrail.com

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

Today we have “Soldiers in Greasepaint,” a salute to the USO that aired over NBC on November 25, 1943. It stars some of the top entertainers of the day, including Bob Hope, Jack Benny, Fredric March and Al Jolson. Be sure to visit our website at BrickPickleMedia.com/podcasts for past episodes and more or find us on Facebook at facebook.com/ww2radio.

Today's slow drag is with “God's Comic,” from “Spike,” released in 1989. The songwriting is credited to Elvis Costello's birth name. . . . Show Notes: Appreciation written, produced, and narrated by Remedy Robinson, MA/MFA Instagram: https://www.instagram.com/slow_drag_remedy/ Bluesky Social: https://bsky.app/profile/indoorfirewords.bsky.social Email: slowdragwithremedy@gmail.com   Transcription: https://slowdragwithremedy.weebly.com Podcast music by https://www.fesliyanstudios.com Rate this Podcast: https://ratethispodcast.com/slowdrag   References: Elvis Costello Wiki Resource, “God's Comic” https://www.elviscostello.info/wiki/index.php?title=God%27s_Comic “God's Comic” https://www.youtube.com/watch?v=ajjBxMCMQQs “God's Comic” Live https://www.youtube.com/watch?v=N0N6TfU54o8 “Requiem” by Andrew Lloyd Webber https://www.youtube.com/watch?v=b3CG8pUpVjg “God is dead”: What Nietzsche really meant”: https://bigthink.com/thinking/what-nietzsche-really-meant-by-god-is-dead/  Purchase “The Most Terrible Time in My Life…Ends Thursday” Listen to the audiobook for free at: https://www.youtube.com/watch?v=Kq7n1pN8D1Y   "God's Comic" Lyrics  I wish you'd known me when I was alive, I was a funny fella The crowd would hoot and holler for more  I wore a drunk's red nose for applause  Oh yes, I was a comical priest  "With a joke for the flock and a hand up your fleece"  Drooling the drink and the lipstick and greasepaint  Down the cardboard front of my dirty dog-collar    (Chorus:) Now I'm dead, now I'm dead, now I'm dead, now I'm dead  And I'm going on to meet my reward  I was scared, I was scared, I was scared, I was scared  He might've never heard God's comic    So, there he was on a waterbed, drinking a cola of a mystery brand  Reading an airport novelette, listening to Andrew Lloyd-Webber's "Requiem"  He said, before it had really begun, "I prefer the one about my son"  "I've been wading through all of this unbelievable junk  And wondering if I should have given the world to the monkeys"    (Repeat Chorus)    I'm gonna take a little trip down Paradise's endless shores  They say that travel broadens the mind, till you can't get your head out of doors    I'm sitting here on the top of the world, I hang around in the longest night  Until each beast has gone to bed and then I say "God bless" and put out the light    While you lie in the dark, afraid to breathe  And you beg and you promise and you bargain and you plead  Sometimes you confuse me with Santa Claus  It's the big white beard, I suppose  I'm going up to the Pole, where you folks die of cold  I might be gone for a while if you need me    Now I'm dead, now I'm dead, now I'm dead, now I'm dead And you're all going on to meet your reward  Are you scared? Are you scared? Are you scared? Are you scared?  You might have never heard, but God's comic

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

NBC Soldiers In Greasepaint USO- 1943-11-25

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

All things Musical Theatre with the Team!

Tim and Dotun are joined by Maher Mezahi for this weeks edition. Under discussion - are grounds up to the mark? And what can clubs do to improve the experience for fans. Who's doing it best?

Groovin' Blue is dedicated to Dr. Li Wenliang * ! Turn On - Choon In - Zig Zag ! * What's Past Is Prologue * Hello World - G.B. is on the air . . . Groovin' Blue 23 - 04 1.  (4:16)  WAGRadio 2304 Intro - Produced by the WAGRadio Vinyl Librarian - William "Fats Is Back" Reiter 2.  (3:39)  "Embrace" - MICAL TEJA [Monk] 3.  (7:28)  "Cooped Up / Return Of The Mack (Cesar Castilla Slam Intro)" - RODDY RICCH, POST MALONE [KluBasic] 4.  (  :20)  WAGRadio DJZigZag Id 5.  (3:23)  "Jazz Club NY vs. Paradise Paper (DJZigZag MashEdiT)" - MIKE NASTY, OMARI CLARKE, KUSMEE [Nasty Tracks] / [Serial Records] - soundcloud - https://soundcloud.com/user-500142074/jazz-club-ny-vs-paradise-paper-djzigzag-mashedit-mike-nasty-omari-clarke 6.  (  :14)  WAGRadio Prep. List. Id 7.  (3:48)  "Motions" -  ZACARI, AB-SOUL [Top Dawg Entertainment] 8.  (2:50)  "Feeling Good" - AHMAD JAMAL [Argo 45rpm No. 5504] 1965 - From the Musical Production "The Roar of The Greasepaint, The Smell of The Crowd" 9.  (4:18)  "Libertad" - THE NEIGHBOURS [Wired] 10.(3:32)  "Blind To You" - COLLIE BUDDZ [Black Chiney Records] 2007 Prod. D. (Supa Dups) Chin Quee & M. (Khan) Chin 11.(4:52)  "Walk Away From Love (DJZigZag EastVan EdiT)" - PIERO MILELLA, NICOLA CORRADINO [KluBasic] * samples: "Walk Away From Love" - "The Great" David Ruffin [Motown Records No. M-1376F 1975 - Prod. McCoy] - soundcloud - https://soundcloud.com/user-500142074/walk-away-from-love-djzigzag-real-east-van-edit-piero-milella-nicola-corradino 12.(  :18)  WAGRadio ShooWay EdiT 13.(2:54)  "Somebody's Watchin' You" - LITTLE SISTER [Stone Flower Records 45rpm No. 45-9001] 1970 Prod. Sly Stone 14.(3:31)  "Silk" - P-LO, YMTK [Just Pan] 15.(1:02)  WAGRadio FnK AzzTk Id 16.(4:19)  "Fcku You (Dj Keule Remix)" - CEE LO GREEN ft. Dj KEULE [Warner Music Group] 17.(2:42)  "Cum 2Geza (DJZigZag LoveLee Lads EdiT)" - RARE TWO INC. [Hottrax] * Rare Two Inc. are DJ Sneak & Tripmastaz - soundcloud - https://soundcloud.com/user-500142074/cum-2geza-djzigzag-lovelee-lads-edit-raretwo-inc 18.(  :51)  WAGRadio Nov. 2022 Id No. 2 19.(10:47)  "Free To Love (David Morales Disco Juice Instrumental)" - LOUIE VEGA, KAREN HARDING [Nervous Records] 20.(  :50)  WAGRadio Oct 2021 Id 21.(5:03)  "Exercise My Love (Lp Version)" - JOHN EDWARDS [General Records Corp. Lp No. AA2005 "John Edwards"] 1973 22.(  :33)  WAGRadio 2101 Open (Segment) 23.(2:52)  "Alright" - KID MASSIVE [Sugarstarr Traxx] 24.(  :35)  WAGRadio 2208 Intro Segment 25.(2:16)  "Buy You A New Attitude (Radio Edit)" - TIANNA ESPERANZA [BMG] 26.(3:23) "New Yorkinos (DJZigZag Trust & Believe EdiT)" - DANY COHIBA [Mede In Miami] 27.(  :07)  Nu GB End 79:26

Mariette Rups-Donnelly has transferred her extensive experience on stages around Australia to guide the corporate world in effective communication and establishing a firm rapport with their audience. Essentials, she knows only too well; garnered from extensive forays into musical theatre, plays and cabaret. A graduate in languages from Sydney University, Mariette was intended for a career in the diplomatic corps but fate took a hand when she auditioned and was cast in the musical Godspell. Her career in the theatre was off to a promising start and subsequent work in children's theatre and pantomime (including the role of the Wicked Queen in Snow White and the Seven Dwarfs) and with Ashton's Circus, extended her theatrical experience. Several other musical productions followed, including The Roar of the Greasepaint, the Smell of the Crowd, Sgt. Pepper's Lonely Heart's Club Band and Paint Your Wagon, before Mariette landed the role of Val in the original Australian production of A Chorus Line. She played another iconic role in the musical theatre cannon when cast as the alternate ‘Evita Peron' in the original Australian production of Evita. Following Evita she went on to appear in Company, The Sentimental Bloke, Side By Side By Sondheim, Big River, and the national tour of Forbidden Broadway. Roles in Annie, The Seagull, Hamlet, Emerald City and Away are further credits with companies that include the Sydney Theatre Company, Hole in the Wall Theatre, (Perth), JC Williamson's, The Q Theatre (Penrith), the Gordon Frost Organisation and the Melbourne Theatre Company. Mariette has taught at tertiary level in some of Australia's leading acting schools including Western Australian Academy of Performing Arts, The Actor's College of Theatre and Television, Sydney; the Actors' Centre, Sydney; The University of Western Sydney; The Sydney Institute of TAFE and in The National Institute of Dramatic Art's Actor's Program, Open Program and Corporate Program. Taking her experience as a leading actor and teacher of actors, she has combined this knowledge with an astute business understanding to create programs that go to the core of business performance. She develops and expands her client's ability to create personal presence, engage on an emotional as well as an intellectual level, run meetings with authority, pitch persuasively and to deliver dynamic presentations. Her clients particularly value her understanding of how to use the voice and body to create maximum impact and her ability to specifically target what each person needs, to take their speaking performance to the next level. Her company, Powerhouse Presentation devises one-on-one programs and customised workshops for business owners, professional speakers, senior executives, and corporations. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

NBC Soldiers In Greasepaint USO 1943-11-25

Join the guys as Harry shares his most recent adventures in the world of opera, his newest children's book, and learn how Donald gets his hands dirty.

In part 2 of the Passover mini series Anita and Rachel look at freedom in a conversation bringing together 'Feeling Good' from The Roar of the Greasepaint, The Smell of the Crowd, and pairing it with texts from Exodus and Deuteronomy.Join the Verses Facebook group to continue the conversation:https://www.facebook.com/groups/941182063491276Visit Anita's website at https://www.anitasilvert.com/Visit the Jewish Living Lab at www.jewishlivinglab.com/podcasts

A celebration of the songwriting Candy Man behind Stop the World, Roar of the Greasepaint, Willy Wonka, Scrooge, and many more. Songs performed by Anthony Newley, Sammy Davis, Jr., Julie Andrews, along with other magical performers.  

A perfect Sunday crossword by Stephen McCarthy, with some extraordinary anagrams. For your consideration we offer 5A, It might be put on for stage PAGEANTRIES, GREASEPAINT, and 42A, You might be MARVELING AT this as it whizzes by, MAGLEVTRAIN. These are just two of the 10  jaw-droppingly good anagram-related clues that grace this puzzle. The other clues weren't too shabby either. Who could resist 106A , Five-letter word that replaces a four-letter word? BLEEP, or 22A, Member of a noble family, XENON (not BARON!)? A great way to end the weekend, we give this a 5 squares on the JAMCR scale 

For Video Edition, Please Click and Subsribe Here:  https://youtu.be/1f1acrRdgIU Vivian Reed Credits include: ‘Tartuffe,’‘Damn Yankees,’ ‘Show Boat,’ ‘Marie Christine,’‘Sophisticated Ladies,’ ‘Blues In The Night,’‘Tintypes,’‘Roar of the Greasepaint, Smell of the Crowd,’ ‘Bubbling Brown Sugar,’ ‘High Rollers,’ ‘Hallelujah Baby,’‘More than a Song,’ ‘One For My Baby,’ ‘Countess of Storyville,’ ‘Blues for an Alabama Sky,’ ‘Crumbs from the Table of Joy,’ ‘Cookin’ at the Cookery,’ ‘The Second Tosca,’ ‘Pork Pie,’and ‘Invisible Life.’ Awards include two TONY Award Nominations, Drama Desk, Mabel Mercer, NAACP, Dance Educators of America and Outer Critics Circle. Also, Vivian has created 4 one-woman shows: An Evening with Vivian Reed, Standards and More, Vivian Reed Sings Lena Horne and Little Bit of Soul, Little Bit of Pop. She has performed in major theaters and clubs in the US as well as Europe. www.vivianreed.com

ABOUT THE AUTHOR RYAN SAYLES is the Derringer-nominated author of the Richard Dean Buckner hard-boiled PI series, The Subtle Art of Brutality, Warpath and Albatross as well as the standalone novels Goldfinches and Together They Were Crimson. His short fiction has appeared in dozens of venues in both print and digital media. He was the editor of the clown-themed anthology Greasepaint & .45s and has been included in numerous others such as the Anthony Award-nominated Trouble in the Heartland: Crime Fiction Inspired by the Songs of Bruce Springsteen and Unloaded: Crime Writers Writing Without Guns. He is a founding member of Zelmer Pulp, a writer's group publishing a wide array of genre fiction. Ryan was formerly a submissions editor at the now-defunct The Big Adios website as well as a columnist/interviewer at Out of the Gutter Online. He is Midwestern and formerly military and police. ABOUT THE BOOK - IT'S UGLY BECAUSE IT'S PERSONAL In the city of Carcasa, gunshots devastate the night as a patrol officer makes a traffic stop. The occupants—three dealers caught in the act of muling—set into motion a course of actions that can only end badly. Now, one is dead, another fleeing on foot and the third tearing through neighborhoods in a bumper car-style chase. Furious, grief-stricken officers on their heels with their brother fighting for his life on the side of a road.

This episode is also available as a blog post: https://momentarypoems.wordpress.com/2021/04/14/greasepaint/

"I broke down into tears"

Hello, and welcome to Episode 154 of the Planning Period Podcast, part of the OnPodcastMedia Network. I’m your host, Brad Shreffler. This week on the show … Read More ›

This week we talk about how Brian risked his life for a Gucci sweater from the 2017 collection and why Brad Pitt is always eating in movies. Follow us on Twitter @lipsweat69 @adamhiniker. Support the show and get bonus audio/video episodes, ringtones, bonus footage and more!! All at patreon.com/brianmccarthy

INTERVIEW BEGINS AT 13:15 They say every performers dream is to die on stage, well, there are actually several who have! Jeff Abraham and Burt Kearns join us to discuss their new book The Show Won't Go On: The Most Shocking, Bizarre, and Historic Deaths of Performers Onstage. Morbid? Maybe, Interesting and bizarre? HELL YEAH!!. So take a moment to remember these performers while listening to this fascinating discussion about a book so wild it's almost hard to believe it's true...but in this case, the truth is every bit as wild as the legend. https://theshowwontgoon.com/ Check out our Merch Store for Shirts. Hoodies, Coffee Mugs, Stickers, Magnets and a whole host of other items https://www.teepublic.com/t-shirt/13194781-tahistory All of our episodes are listed as explicit due to language and some topics, such as historical crime, that may not be suitable for all listeners

This is a special extra episode of the podcast, not one of the “proper” five hundred. A book I’ve written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I’ve done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   —-more—- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week’s normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn’t make the list of songs I’m covering. But this week, a book I’ve written has gone on pre-order, and it’ll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties — and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I’m going to talk today about some of Newley’s music. If you’re not interested in anything that isn’t part of my “official” five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain’s most interesting stars of the pre-Beatles era. So let’s look at “Strawberry Fair” by Anthony Newley: [Excerpt: Anthony Newley, “Strawberry Fair”] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn’t go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn’t afford the fees, he found another way in — he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, “Downtown”] Clark also encouraged him to start singing — something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn’t interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief — he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film — the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don’t know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley’s singing first came to public attention: [Excerpt: Anthony Newley, “Cold Comfort”] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, “Candy Floss”] Dene’s story must have struck a chord with Newley, who’d had a very similar Army experience, though you couldn’t tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I’ve Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, “I’ve Waited So Long”] Somehow, despite Newley being an actor — and someone who despised a lot of rock and roll music — he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he’d been making films since 1946. “I’ve Waited So Long” was co-written by Jerry Lordan, who wrote “Apache”, and Len Praverman, but two of the other songs in the film were written by Newley and Joe ‘Mr. Piano’ Henderson, and this would soon set Newley on the way to a career as a songwriter — indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price’s “Personality”, or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. “Strawberry Fair” is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould — the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote “Onward Christian Soldiers”, was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym “Nollie Clapton”: [Excerpt: Anthony Newley, “Strawberry Fair”] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, “Twelve Randy Men”] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don’t realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley’s TV character Gurney Slade. Much of Newley’s work seems to be trying to be three different things at the same time — he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour — this is a man who would later write a song called “Oh What a Son of a Bitch I Am”, and mean it — while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements — *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. “What Kind of Fool Am I?” became a big hit for Sammy Davis Jr, and won the Grammy for “Song of the Year” at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., “What Kind of Fool Am I?”] Davis also recorded another song from that show, “Gonna Build a Mountain”, as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, “Gonna Build a Mountain”] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. “Who Can I Turn To?” was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, “Who Can I Turn To?”] But the song from that musical that is now best known is almost certainly “Feeling Good”, which you’ve almost certainly heard in Nina Simone’s staggering version: [Excerpt: Nina Simone, “Feeling Good”] They also wrote the theme to “Goldfinger”, with John Barry: [Excerpt: Shirley Bassey, “Goldfinger”] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn’t that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like “Moogies Bloogies”, a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, “Moogies Bloogies”] That was recorded in 1966, though it wasn’t released until much later. Newley’s career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: “Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?” trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it’s a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you’d normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It’s a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I’d say it’s closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns — God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley’s career was like that — a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don’t want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don’t want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, “Princess Trampolena”] The film also was one of the things that led to Newley’s breakup with Collins — she decided that she didn’t like the aspects of his character, and his attitudes towards women, the film revealed — though Newley claimed until his dying day that while the film was inspired by his own life, it wasn’t directly autobiographical. Given that the film’s main character, in one sequence, talks about his attraction to underage girls, that’s probably for the best. (And Newley did have a deplorable attitude to women generally — I’m not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it’s never been available on DVD in the UK, and only sporadically elsewhere — DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley’s career as an auteur. It wasn’t, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory — songs like “Pure Imagination”: [Excerpt: Gene Wilder, “Pure Imagination”] That film also featured “The Candy Man”, which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, “The Candy Man”] After that, though, Newley didn’t have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said “I never thought I could sing very well, and I used to try on people’s voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him — one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, ‘I like what this guy’s doing, where he’s going is really interesting’. And so I started singing songs like him… and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles” If you listen to Bowie’s earliest work, it’s very, very apparent how much he took from Newley’s vocal style in particular: [Excerpt: David Bowie, “Rubber Band”] There is a whole vein of British music that usually gets called “music hall” when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur… even a performer like John Lydon, someone who would seem worlds away from Newley’s showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as “quintessentially British”, you’re probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn’t work hard enough at any of those things to become as great as he could have been — there are odd moments of genius scattered throughout his work, but very little one can point to and say “that is a work worthy of his talents”. His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie — his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley’s work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock’s Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I’ll provide a link in the show notes. While you’re there, check out some of the other books Obverse have put out — they’ve published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I’ll be back in a couple of days with the next proper episode.

This is a special extra episode of the podcast, not one of the "proper" five hundred. A book I've written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I've done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   ----more---- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week's normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn't make the list of songs I'm covering. But this week, a book I've written has gone on pre-order, and it'll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties -- and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I'm going to talk today about some of Newley's music. If you're not interested in anything that isn't part of my "official" five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain's most interesting stars of the pre-Beatles era. So let's look at "Strawberry Fair" by Anthony Newley: [Excerpt: Anthony Newley, "Strawberry Fair"] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn't go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn't afford the fees, he found another way in -- he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, "Downtown"] Clark also encouraged him to start singing -- something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn't interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief -- he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film -- the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don't know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley's singing first came to public attention: [Excerpt: Anthony Newley, "Cold Comfort"] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, "Candy Floss"] Dene's story must have struck a chord with Newley, who'd had a very similar Army experience, though you couldn't tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I've Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, "I've Waited So Long"] Somehow, despite Newley being an actor -- and someone who despised a lot of rock and roll music -- he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he'd been making films since 1946. "I've Waited So Long" was co-written by Jerry Lordan, who wrote "Apache", and Len Praverman, but two of the other songs in the film were written by Newley and Joe 'Mr. Piano' Henderson, and this would soon set Newley on the way to a career as a songwriter -- indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price's "Personality", or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. "Strawberry Fair" is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould -- the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote "Onward Christian Soldiers", was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym "Nollie Clapton": [Excerpt: Anthony Newley, "Strawberry Fair"] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, "Twelve Randy Men"] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don't realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley's TV character Gurney Slade. Much of Newley's work seems to be trying to be three different things at the same time -- he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour -- this is a man who would later write a song called "Oh What a Son of a Bitch I Am", and mean it -- while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements -- *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. "What Kind of Fool Am I?" became a big hit for Sammy Davis Jr, and won the Grammy for "Song of the Year" at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., "What Kind of Fool Am I?"] Davis also recorded another song from that show, "Gonna Build a Mountain", as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, "Gonna Build a Mountain"] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. "Who Can I Turn To?" was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, "Who Can I Turn To?"] But the song from that musical that is now best known is almost certainly "Feeling Good", which you've almost certainly heard in Nina Simone's staggering version: [Excerpt: Nina Simone, "Feeling Good"] They also wrote the theme to "Goldfinger", with John Barry: [Excerpt: Shirley Bassey, "Goldfinger"] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn't that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like "Moogies Bloogies", a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, "Moogies Bloogies"] That was recorded in 1966, though it wasn't released until much later. Newley's career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: "Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?" trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it's a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you'd normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It's a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I'd say it's closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns -- God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley's career was like that -- a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don't want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don't want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, "Princess Trampolena"] The film also was one of the things that led to Newley's breakup with Collins -- she decided that she didn't like the aspects of his character, and his attitudes towards women, the film revealed -- though Newley claimed until his dying day that while the film was inspired by his own life, it wasn't directly autobiographical. Given that the film's main character, in one sequence, talks about his attraction to underage girls, that's probably for the best. (And Newley did have a deplorable attitude to women generally -- I'm not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it's never been available on DVD in the UK, and only sporadically elsewhere -- DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley's career as an auteur. It wasn't, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory -- songs like "Pure Imagination": [Excerpt: Gene Wilder, "Pure Imagination"] That film also featured "The Candy Man", which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, "The Candy Man"] After that, though, Newley didn't have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said "I never thought I could sing very well, and I used to try on people's voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him -- one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, 'I like what this guy's doing, where he's going is really interesting'. And so I started singing songs like him... and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles" If you listen to Bowie's earliest work, it's very, very apparent how much he took from Newley's vocal style in particular: [Excerpt: David Bowie, "Rubber Band"] There is a whole vein of British music that usually gets called "music hall" when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur... even a performer like John Lydon, someone who would seem worlds away from Newley's showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as "quintessentially British", you're probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn't work hard enough at any of those things to become as great as he could have been -- there are odd moments of genius scattered throughout his work, but very little one can point to and say "that is a work worthy of his talents". His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie -- his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley's work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock's Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I'll provide a link in the show notes. While you're there, check out some of the other books Obverse have put out -- they've published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I'll be back in a couple of days with the next proper episode.

Host Deardra Shuler talks with 2 time Tony Award nominated Vivian Reed who also includes among her awards the NAACP Award, Drama Desk Award, Theatre World Award, Mabel Mercer Award, et al. She has appeared on TV variety and talk shows both nationally and internationally including The Tonight Show, The Today Show and the ABC-TV daytime drama, ‘One Life to Live.’ She has shared the bill with notable performers as Pattie Labelle, Brian Stokes Mitchell, Audra McDonald, Elaine Stritch, Alan King, Sammy Davis Jr., Quincy Jones. She appeared in Don't Bother Me I can't Cope, Bubbling Brown Sugar.  Received acclaim in major productions of ‘Sophisticated Ladies,’ ‘Roar of the Greasepaint, Smell of the Crowd,’ ‘Blues in the Night,’ ‘High Rollers,’ ‘Show Boat’ in which she portrayed the role of ‘Queenie’ and ‘Tintypes.’ Her recent plays include ‘Tartuffe,’ ‘Blues for an Alabama Sky,’ et al.  Ms Reed is a celebrity vocal teacher at Marymount Manhattan college in NYC

In this entertaining new episode of Film Freaks Forever!, your hosts Phoef Sutton and Mark Jordan Legan shine a stage light on the genre of films about show business!  It's always fascinating when the entertainment industry looks inward and the Film Freaks shout "Action!" with four captivating, engaging movies about this biz we call show are discussed and analyzed. Everyone from Ben Hecht to Rita Hayworth to Martin Short to Christopher Plummer are part of the "cast of characters" who highlight how the bright lights of Broadway and the hard luck streets of Hollywood either make you a star or chew you up and spit you out. Hear impressive cinema trivia, delightful banter, and hilarious audio clips from the four films we highlight! No need to wait in the wings—take center stage and enjoy another fantastic segment of the hit FFF podcast.

The Basterds haven't seen IT: CHAPTER 2, but they debate a clown-themed Thunderdorm nonetheless! 16 famous clowns fight to the death using randomly drawn weapons!

Thank you for listening to this episode of the Podcast. EPISODE 6 SHOW NOTES: Date: 03/03/19 Summary of Topics of the show covered: Grease to Carved crease Tool of the week: Neal's Yard Organic Defence Hand Spray 50ml For hygienic hands on the go, this all-natural organic anti-bacterial spray uses a blend of pure essential oils and witch hazel to help purify and protect from germs and viruses. Our skin-friendly sanitiser leaves hands clean, fresh and subtly fragranced. Keeps hands fresh and clean Kills 99.9% of harmful bacteria All-natural protection No harsh synthetic chemicals. 'Grease to Carved Crease' – A ramble on some of the key stops on the Vintage Makeup timeline of makeup artistry from the original stage Greasepaint to modern Instagram Carved creases. Discover the origin of many of the contemporary Instagram look elements. David Recommends: Get Flawless - Mannequin powder by House of GlamDolls Easel - Recommended Books * Face Paint The Story of Makeup by Lisa Eldridge * Timeless by Louise Young Experience cards: To succeed in the career choice you have to be fuelled by passion, and be DRIVEN D - DETERMINATION R - ROBUST I - INVENTIVE V - VICTORIOUS E - ENGAGING N - NO WAY BACK Links https://www.nealsyardremedies.com https://www.houseofglamdolls.com/online-store

Your Local Hit Music Station. Herts, Essex and North London

Your Local Hit Music Station. Herts, Essex and North London

Since graduating from New York University's Tisch School of the Arts, Brian A. Kates has edited many acclaimed films, with 14 films selected to premiere at the Sundance Film Festival and 5 films in Cannes. He has been honored with an Emmy Award for his work on Taking Chance, and an Emmy nomination for editing the pilot episode of The Marvelous Mrs. Maisel. He also won two ACE Eddie Awards for his work on Bessie and Lackawanna Blues, in addition to two other Eddie Award nominations. His collaborators have included Andrew Dominik (Killing Them Softly), Dee Rees (Bessie), Joseph Cedar (Norman: The Moderate Rise and Tragic Fall of a New York Fixer), Michael Cuesta (Kill the Messenger), Tamara Jenkins (Private Life and The Savages), Philip Seymour Hoffman (Jack Goes Boating), John Cameron Mitchell (How to Talk to Girls at Parties and Shortbus), Lee Daniels (Shadowboxer and The Butler), Nicole Kassell (The Woodsman), George C. Wolfe (Lackawanna Blues and Nights in Rodanthe), Moisés Kaufman (The Laramie Project), Ross Katz (Taking Chance), John Krokidas (Kill Your Darlings), and Jeremiah Zagar (We the Animals). In addition to his work in fiction, he was Jonathan Caouette's co-editor on the groundbreaking documentary Tarnation. His television work has included collaborations with Alfonso Cuarón (Believe), Bill Condon (The Big C), David Simon and Eric Overmeyer (Treme), and Amy Sherman-Palladino and Daniel Palladino (The Marvelous Mrs. Maisel). He is currently finishing his third collaboration with John Cameron Mitchell, a 10-episode original audio musical, featuring the music of Bryan Weller and Mr. Mitchell, and a cast including Glenn Close, Patti LuPone, Cynthia Erivo, Ben Foster, Nakhane, Bridget Everett, Justin Vivian Bond, and Laurie Anderson, entitled Homunculus. I had the pleasure of chatting with Brian this week about his Emmy nomination for The Marvelous Mrs. Maisel, his summer camp background that got him into film and his collaborations with Lee Daniels and John Cameron Mitchell. By the end it turns a bit into an impromptu gushing about his work on NBC's Kings and a promo for his new film We the Animals, which is in theaters now. GO SEE IT. You can see Brian's work next in the upcoming Tamara Jenkins film Private Life, which will world premiere at the New York Film Festival next month. There also might be a bit of tea spilled on an upcoming sequel to a gay classic.  This interview runs just shy of 37m with music. Opening: "A Wonderful Day Like Today" from The Roar of the Greasepaint, the Smell of the Crowd (Original 1965 Broadway Cast)  Closing: "Girls Talk" by Dave Edmonds

Gary and Frank catch up and discuss a couple of recent theatrical viewings. First off, we get an inside look at Frank's eastern European trip which took him away from Booth One for a couple of episodes. He tells of his experiences in Warsaw, Krakow, Prague, Vienna and Budapest, how the architecture and city centers have changed, and why Prague is one of the most stunning cities he's ever visited. He is grateful to friend of the show and two-time guest, Stuart Dybek, for his great suggestions for things to do in Prague. He also let us know that Warsaw is booming and beautiful. While on the continent, Frank sampled a Porn Star Martini, ate at iconic local restaurants, and ogled the naked people on building facades in Prague. Other than Vienna, the entire trip was a bargain and the direct flights on LOT between both Warsaw and Budapest & Chicago made travel a breeze. A trip that Frank highly recommends.   The boys visited the Steppenwolf Theatre to view their new main stage show The Roommate, featuring knock-out performances from Ora Jones and Sandra Marquez, both Steppenwolf ensemble members. Written by the up and coming and very talented playwright Jen Silverman and directed by Phylicia Rashad, The Roommate is a comedy/drama centered around two women who become housemates somewhere in Iowa. Gary and Frank share their thoughts and opinions on the play, and suggest that it is perfect summer fare for those seeking a great night out at the theater. The Roommate runs through August 5. We discuss writer-performer Amanda Duarte's Guide to Theater Etiquette. Standing, talking, eating, drinking, clapping and cell phones are among the topics she shares her opinions on in this New York Time Out article. Enjoy. Next up is our take on The Cher Show, which recently had its pre-Broadway tryout here in Chicago at the Oriental Theatre. Containing 35 hit songs and a flurry of thrilling Bob Mackie gowns, this biographical musical gives us three versions of Cher - Babe, Lady and Star - at different points in her life and career. Played by three actresses - Micaela Diamond (in her professional debut), Teal Wicks, and the always amazing Stephanie J. Block - the show is framed as a TV special being made about Cher's life. The three "Chers" interact with each other throughout, even having musical numbers as a trio, something Gary found to be an oddly disconcerting choice by the writers. Nevertheless, the opening night audience was very responsive and cheered wildly at many of the show's high points and at the curtain call. By the way, Jarrod Spector as Sonny is marvelous. Both Frank and Gary feel there is a bit of work to be done by the creative staff prior to the November 1 preview at the Neil Simon Theatre in New York. But they agree that they were highly entertained and that the show has great promise. Especially considering the box office success of the current Summer - The Donna Summer Musical now on Broadway. Kiss of Death: Gillian Lynne - Choreographer of Cats and The Phantom of the Opera The renowned British ballerina who turned choreographer created the sinuous dances in Andrew Lloyd Webber's Cats. Gillian Barbara Pyrke began dancing at an early age and by 15, was dancing at the Ballet Guild, whose artistic director gave her a new surname. She appeared in films, onstage and on television throughout the 1950s, and choreographed The Roar of the Greasepaint - the Smell of the Crowd in 1965 on Broadway. This past June, the New London Theater, where Cats opened in 1981, was renamed for Ms. Lynne. She was carried to the stage on a golden throne surrounded by dancers from the musical. Gillian Lynne was 92. Read the full NYT obit here.  

Pete and Marc find themselves hiding under a wrestling ring, beneath the hot Las Vegas sun. What better place to record a podcast about Wrestlemania IX? show@wrestlemepod.com if you'd like to say hello - and you can find us on Twitter @wrestlemepod. See acast.com/privacy for privacy and opt-out information.

O episódio tá todo fino e sofisticado ao som de Nina Simone! Quer mais? Siga nossa playlist do Spotify: https://open.spotify.com/user/12156552336/playlist/4MgPxEqAU6qk60vSzwCkUQLinks Citados:Versão original de Feeling Good do musical The Roar of The Greasepaint: https://www.youtube.com/watch?v=pulEa0cfNcw* A 4a música que toca no podcast é You've Got To Learn

"actors in this drama" [SECO]  Basil Rathbone and Nigel Bruce. Their names are forever linked, just as Sherlock Holmes and Dr. Watson are. And it is their remarkable seven-year collaboration that we discuss in this episode.   You've seen their likenesses in still photos. You've probably heard their voices in audio recordings. And you've had a chance to see their films from the late 1930s and early 1940s, whether in the theater, as a Saturday afternoon matinee on television, public TV pledge drive, or perhaps on a DVD or on YouTube.   The point is this: regardless of your level of fondness or distaste for this pairing, they remain iconic and inextricably linked to their portrayals of the world's greatest detective and his medical companion. Yes, it was Nigel Bruce's version of Dr. Watson that was called boobus Britannicus, but it seemed to fit with the times and with the air of the series.    We take you on a journey from their initial outing in The Hound of the Baskervilles and The Adventures of Sherlock Holmes in 1939 at 20th Century Fox, to their radio drama collaboration under Edith Meiser and later Anthony Boucher, and through the 12-film series under the Universal banner. Audio clips from the films and the radio show are included as we All of these portrayals left a permanent mark on their careers as well as on the world of Sherlock Holmes.     And please consider joining our . Your support helps us to ensure we can keep doing what we do, covering file hosting costs, production, and this year, transcription services.     Sponsors This episode includes our two longtime sponsors, plus a new addition. Please support our sponsors by visiting their sites:  by Michael McClure. You should buy it. We're deadly serious. , publishers of  by Inspector Lestrade himself, Dennis Hoey.  , which has been published since the same year as the last of Rathbone/Bruce films.   Would you care to become a sponsor? You can find .     Links  (Amazon) on radio Our , son of Dennis Hoey. Rathbone's autobiography , daughter of Nigel Bruce, by Nicholas Utechin for the , concerning Bruce's unpublished autobiography Games, Gossip and Greasepaint.      Many more links, articles and images are available in our Flipboard magazine at  , as well as on the  on Google+ (with over 4,200 members), as well as through our accounts on  , , and .     Please , , ,  or  and be kind enough to leave a rating or review for the show. And please tell a friend about us, in any fashion you feel comfortable.   Your thoughts on the show? Leave a comment below, send us an email (comment AT ihearofsherlock DOT com), call us at (774) 221-READ (7323).

Pour cette playlist de décembre, il fallait bien y passer.Sa candidature traine dans mes mails depuis plusieurs mois et ce n'était que justice de le faire enfin passer dans la playlist.Autant vous dire que sa réputation le précédait et j'ai pu vérifier, sur mon compteur et en live que oui, on peut dire de cet invité qu'il est "un bon client".Plus de 2h30 en compagnie de Phil_Goud, playlist sur canapé, entre démonstration de culture et séance de Psy, voila de quoi économiser au moins 60 euros. Les titres sélectionnés par Phil_Goud : Richard Darbois - Je suis ton meilleur ami sur la bande originale d'Aladdin. Toccata et fugue en ré mineur de Jean Sebastien bach (ou barrrrr) - version de Fantasia. Nina Simone - Feeling Good. Jamiroquai - Virtual Insanity. Rob Dougan - Clubbed to death. Phoenix - if i ever feel better. Hocus Pocus - Dig This. Le 6-9 - on est number one. Sting - Englishman in New-York. Lilicub - Voyage en Italie. Et le titre de la honte, décidément :Lorie - Près de toi. Le twitter de Phil_Goud.Le site où retrouver toutes les activités de PhilGoud (et elles sont nombreuses).La Playlist de Phil_Goud sur Spotify.Les liens évoqués pendant l'émission :Version dubstep de la toccata.la cruauté et le génie de [Bugs Bunny et du chanteur] (https://www.youtube.com/watch?v=Zy5f87-kI8c) à l'opéra.Bugs Bunny at the symphony pour les 25 ans du hollywood bowl.The road and the Greasepaint la première version de Feeling Good.Le jeu d'esquive de canapé tiré de Virtual insanity.Le Clip HIP HOP de Hocus Pocus.

Gwendolyn visits London's most exclusive gambling club while Cyril makes a midnight visit to a theatre.

Daniel Espeut from Espeute Productions tells us about making his clown documentary Greasepaint, how he ended up making docs in the first place, how his wedding DJ business compares to clowning, and much more!

On this week’s Needless Things Podcast, Phantom Troublemaker sat down with Emmy winning television host, restaurateur, chef, artist, musician, writer, and comedian Jim Stacy of Offbeat Eats with Jim Stacy.    Jim talks to Phantom about growing up in a hardworking Southern family, playing in bands like Greasepaint and Grand Moff Tarkin, and the long journey to opening his unique, freestanding restaurant Pallookaville. As always, Phantom is fascinated by such an impressive drive and work ethic, especially from a man like Jim with so many fields of expertise. Listen in as the guys talk food, art, and rock n’ roll! Offbeat Eats with Jim Stacy can be seen on The Cooking Channel on Thursday nights at 10:30 PM. Jim’s restaurant, Pallookaville, can be found in the Avondale Estates area of Metro Atlanta and has a website here and a Facebook page here. “Procrastibate” by LeSexoflex.com “Shake Appeal” by The Stooges

BHL: Portraits -- In this episode, Black Hollywood Live hosts Derrial Christon, Courtney Stewart, and DJ Jesse Janedy interview special guest Wilson Cruz. Wilson Cruz, whose heritage is Puerto Rican, was born in New York City, the eldest of three brothers. Early on, his parents encouraged his interest in the theater. At age seven, Wilson began appearing in plays, among them "Cradle of Fire," "Supporting Cast," "Becoming Memories," and "The Roar of the Greasepaint...," as well as in a number of Shakespearean productions on both coasts. Blessed with a beautiful singing voice, Wilson also performed across the country with Young Americans, and has been featured in shows seen at Disneyland, Walt Disney World, and Sea World/Orlando. When the young actor was 10, he moved with his family to San Bernardino, California, where he grew up. A graduate of Eisenhower High School, he attended California State University at San Bernardino, where he was pursuing a double

West End musical theatre star Elaine Paige discusses her three month sojourn in New York, including the recording of a new album of duets with artists ranging from Paul Anka to Sinead O'Connor, as well as her ongoing BBC2 program, "Elaine Paige on Sunday" and what it's like to be the interviewer instead of the guest. She also talks about having her first show, the original production of "The Roar of the Greasepaint", "The Smell of the Crowd" close during its pre-London tour; her early roles in the original London companies of "Hair" and "Jesus Christ Superstar"; how she managed to secure the coveted role of Evita and why she had to live like a nun just as she attained stardom; the accident that led to her being cast in "Cats" at the very last minute; the holiday musical "Abbacadabra" that prefigured "Mamma Mia!" and led to her role in the premiere of "Chess"; why she signed on to produce "Anything Goes" in the West End; her experience succeeding Betty Buckley in both the London and New York productions of "Sunset Boulevard"; and her mystification over the brief run of "The Drowsy Chaperone" in England. Original air date - September 22, 2010.

West End musical theatre star Elaine Paige discusses her three month sojourn in New York, including the recording of a new album of duets with artists ranging from Paul Anka to Sinead O'Connor, as well as her ongoing BBC2 program, "Elaine Paige on Sunday" and what it's like to be the interviewer instead of the guest. She also talks about having her first show, the original production of "The Roar of the Greasepaint", "The Smell of the Crowd" close during its pre-London tour; her early roles in the original London companies of "Hair" and "Jesus Christ Superstar"; how she managed to secure the coveted role of Evita and why she had to live like a nun just as she attained stardom; the accident that led to her being cast in "Cats" at the very last minute; the holiday musical "Abbacadabra" that prefigured "Mamma Mia!" and led to her role in the premiere of "Chess"; why she signed on to produce "Anything Goes" in the West End; her experience succeeding Betty Buckley in both the London and New York productions of "Sunset Boulevard"; and her mystification over the brief run of "The Drowsy Chaperone" in England. Original air date - September 22, 2010.