Podcasts about I Got You Babe

Covering her life and sixty-year career from Sonny & Cher to show-stopping solo performer, award-winning actress, fashion icon, and beyond, this is a glorious retrospective of one of the world's most enduring entertainers, Cher. Featuring a foreword by Cyndi Lauper! Commemorating six decades since her first #1 hit in 1965, I Got You Babe (Running Press, 2025) captures Cher's one-of-a-kind life. Written by award-winning writer and editor Annie Zaleski, this celebration of the fearless, down-to-earth "Goddess of Pop" explores key moments in her life and career in words and photos. Amid these moments are photo after photo of some of the most eye-popping outfits ever worn in life and on stage. As an avid clothes horse who wasn't afraid to wear a see-through dress to the Met Gala in 1974, Cher's many looks will be given their due in this engaging, career-spanning retrospective. Annie Zaleski is an award-winning writer and editor who's contributed to NPR Music, Salon, Rolling Stone, and The Guardian. She's also the author of multiple books, including an extensive look at Duran Duran's Rio for Bloomsbury's prestigious 33 1/3 series, and biographies of pop stars Lady Gaga and P!nk. She interviewed Cher ahead of her 2016 Las Vegas residency and praised the icon in a career-spanning 2021 Salon piece; additionally, she wrote about the intriguing backstory of Sonny & Cher's "I Got You Babe" in Running Press's forthcoming book We Found Love, Song by Song. Annie Zaleski on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (Louisiana State University Press, June 2025) and U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices

Covering her life and sixty-year career from Sonny & Cher to show-stopping solo performer, award-winning actress, fashion icon, and beyond, this is a glorious retrospective of one of the world's most enduring entertainers, Cher. Featuring a foreword by Cyndi Lauper! Commemorating six decades since her first #1 hit in 1965, I Got You Babe (Running Press, 2025) captures Cher's one-of-a-kind life. Written by award-winning writer and editor Annie Zaleski, this celebration of the fearless, down-to-earth "Goddess of Pop" explores key moments in her life and career in words and photos. Amid these moments are photo after photo of some of the most eye-popping outfits ever worn in life and on stage. As an avid clothes horse who wasn't afraid to wear a see-through dress to the Met Gala in 1974, Cher's many looks will be given their due in this engaging, career-spanning retrospective. Annie Zaleski is an award-winning writer and editor who's contributed to NPR Music, Salon, Rolling Stone, and The Guardian. She's also the author of multiple books, including an extensive look at Duran Duran's Rio for Bloomsbury's prestigious 33 1/3 series, and biographies of pop stars Lady Gaga and P!nk. She interviewed Cher ahead of her 2016 Las Vegas residency and praised the icon in a career-spanning 2021 Salon piece; additionally, she wrote about the intriguing backstory of Sonny & Cher's "I Got You Babe" in Running Press's forthcoming book We Found Love, Song by Song. Annie Zaleski on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (Louisiana State University Press, June 2025) and U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Covering her life and sixty-year career from Sonny & Cher to show-stopping solo performer, award-winning actress, fashion icon, and beyond, this is a glorious retrospective of one of the world's most enduring entertainers, Cher. Featuring a foreword by Cyndi Lauper! Commemorating six decades since her first #1 hit in 1965, I Got You Babe (Running Press, 2025) captures Cher's one-of-a-kind life. Written by award-winning writer and editor Annie Zaleski, this celebration of the fearless, down-to-earth "Goddess of Pop" explores key moments in her life and career in words and photos. Amid these moments are photo after photo of some of the most eye-popping outfits ever worn in life and on stage. As an avid clothes horse who wasn't afraid to wear a see-through dress to the Met Gala in 1974, Cher's many looks will be given their due in this engaging, career-spanning retrospective. Annie Zaleski is an award-winning writer and editor who's contributed to NPR Music, Salon, Rolling Stone, and The Guardian. She's also the author of multiple books, including an extensive look at Duran Duran's Rio for Bloomsbury's prestigious 33 1/3 series, and biographies of pop stars Lady Gaga and P!nk. She interviewed Cher ahead of her 2016 Las Vegas residency and praised the icon in a career-spanning 2021 Salon piece; additionally, she wrote about the intriguing backstory of Sonny & Cher's "I Got You Babe" in Running Press's forthcoming book We Found Love, Song by Song. Annie Zaleski on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (Louisiana State University Press, June 2025) and U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Covering her life and sixty-year career from Sonny & Cher to show-stopping solo performer, award-winning actress, fashion icon, and beyond, this is a glorious retrospective of one of the world's most enduring entertainers, Cher. Featuring a foreword by Cyndi Lauper! Commemorating six decades since her first #1 hit in 1965, I Got You Babe (Running Press, 2025) captures Cher's one-of-a-kind life. Written by award-winning writer and editor Annie Zaleski, this celebration of the fearless, down-to-earth "Goddess of Pop" explores key moments in her life and career in words and photos. Amid these moments are photo after photo of some of the most eye-popping outfits ever worn in life and on stage. As an avid clothes horse who wasn't afraid to wear a see-through dress to the Met Gala in 1974, Cher's many looks will be given their due in this engaging, career-spanning retrospective. Annie Zaleski is an award-winning writer and editor who's contributed to NPR Music, Salon, Rolling Stone, and The Guardian. She's also the author of multiple books, including an extensive look at Duran Duran's Rio for Bloomsbury's prestigious 33 1/3 series, and biographies of pop stars Lady Gaga and P!nk. She interviewed Cher ahead of her 2016 Las Vegas residency and praised the icon in a career-spanning 2021 Salon piece; additionally, she wrote about the intriguing backstory of Sonny & Cher's "I Got You Babe" in Running Press's forthcoming book We Found Love, Song by Song. Annie Zaleski on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (Louisiana State University Press, June 2025) and U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Covering her life and sixty-year career from Sonny & Cher to show-stopping solo performer, award-winning actress, fashion icon, and beyond, this is a glorious retrospective of one of the world's most enduring entertainers, Cher. Featuring a foreword by Cyndi Lauper! Commemorating six decades since her first #1 hit in 1965, I Got You Babe (Running Press, 2025) captures Cher's one-of-a-kind life. Written by award-winning writer and editor Annie Zaleski, this celebration of the fearless, down-to-earth "Goddess of Pop" explores key moments in her life and career in words and photos. Amid these moments are photo after photo of some of the most eye-popping outfits ever worn in life and on stage. As an avid clothes horse who wasn't afraid to wear a see-through dress to the Met Gala in 1974, Cher's many looks will be given their due in this engaging, career-spanning retrospective. Annie Zaleski is an award-winning writer and editor who's contributed to NPR Music, Salon, Rolling Stone, and The Guardian. She's also the author of multiple books, including an extensive look at Duran Duran's Rio for Bloomsbury's prestigious 33 1/3 series, and biographies of pop stars Lady Gaga and P!nk. She interviewed Cher ahead of her 2016 Las Vegas residency and praised the icon in a career-spanning 2021 Salon piece; additionally, she wrote about the intriguing backstory of Sonny & Cher's "I Got You Babe" in Running Press's forthcoming book We Found Love, Song by Song. Annie Zaleski on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (Louisiana State University Press, June 2025) and U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Covering her life and sixty-year career from Sonny & Cher to show-stopping solo performer, award-winning actress, fashion icon, and beyond, this is a glorious retrospective of one of the world's most enduring entertainers, Cher. Featuring a foreword by Cyndi Lauper! Commemorating six decades since her first #1 hit in 1965, I Got You Babe (Running Press, 2025) captures Cher's one-of-a-kind life. Written by award-winning writer and editor Annie Zaleski, this celebration of the fearless, down-to-earth "Goddess of Pop" explores key moments in her life and career in words and photos. Amid these moments are photo after photo of some of the most eye-popping outfits ever worn in life and on stage. As an avid clothes horse who wasn't afraid to wear a see-through dress to the Met Gala in 1974, Cher's many looks will be given their due in this engaging, career-spanning retrospective. Annie Zaleski is an award-winning writer and editor who's contributed to NPR Music, Salon, Rolling Stone, and The Guardian. She's also the author of multiple books, including an extensive look at Duran Duran's Rio for Bloomsbury's prestigious 33 1/3 series, and biographies of pop stars Lady Gaga and P!nk. She interviewed Cher ahead of her 2016 Las Vegas residency and praised the icon in a career-spanning 2021 Salon piece; additionally, she wrote about the intriguing backstory of Sonny & Cher's "I Got You Babe" in Running Press's forthcoming book We Found Love, Song by Song. Annie Zaleski on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (Louisiana State University Press, June 2025) and U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

On August 26, 1965, LBJ issued a surprise executive order eliminating marriage as grounds for deferment from the Vietnam draft. The unexpected announcement set off a panic across the country. But if you could somehow get married before midnight, you might be in the clear. The problem was, nearly every state required blood tests or a waiting period — every state, that is, except Nevada. Ride shotgun with Dana on the mad dash to Vegas. And join the gang on welcoming a new member to the Very Special family! * Very Special thanks to the talented filmmaker Ashton Avila, who shared her invaluable research and contacts from making her short film "I Got You Babe." Go check it out! Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Dave RoosProduced by Josh FisherEditing and Sound Design by Chris ChildsMixing and Mastering by Chris ChildsAdditional Editing by Mary DooeFact-Checking by Austin ThompsonOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason English See you next week!See omnystudio.com/listener for privacy information.

On August 26, 1965, LBJ issued a surprise executive order eliminating marriage as grounds for deferment from the Vietnam draft. The unexpected announcement set off a panic across the country. But if you could somehow get married before midnight, you might be in the clear. The problem was, nearly every state required blood tests or a waiting period — every state, that is, except Nevada. Ride shotgun with Dana on the mad dash to Vegas. And join the gang on welcoming a new member to the Very Special family! * Very Special thanks to the talented filmmaker Ashton Avila, who shared her invaluable research and contacts from making her short film "I Got You Babe." Go check it out! Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Dave RoosProduced by Josh FisherEditing and Sound Design by Chris ChildsMixing and Mastering by Chris ChildsAdditional Editing by Mary DooeFact-Checking by Austin ThompsonOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason English See you next week!See omnystudio.com/listener for privacy information.

On August 26, 1965, LBJ issued a surprise executive order eliminating marriage as grounds for deferment from the Vietnam draft. The unexpected announcement set off a panic across the country. But if you could somehow get married before midnight, you might be in the clear. The problem was, nearly every state required blood tests or a waiting period — every state, that is, except Nevada. Ride shotgun with Dana on the mad dash to Vegas. And join the gang on welcoming a new member to the Very Special family! * Very Special thanks to the talented filmmaker Ashton Avila, who shared her invaluable research and contacts from making her short film "I Got You Babe." Go check it out! Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Dave RoosProduced by Josh FisherEditing and Sound Design by Chris ChildsMixing and Mastering by Chris ChildsAdditional Editing by Mary DooeFact-Checking by Austin ThompsonOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason English See you next week!See omnystudio.com/listener for privacy information.

In which Robert & Amy discuss their ... and your ... top favorite ideas & works from the author & philosopher Ayn Rand! Also, Teddy Roosevelt's plush legacy, the Curse of the Pharaohs, the impact of 911 on art, I Got You Babe and The Beat Goes On!

Cher has been a global star for over six decades. Her career has spanned music, television and film and throughout that time her outfits have made flamboyant fashion statements. She was born Cherilyn Sarkisian in El Centro, California and had a peripatetic childhood. Her mother married six times and with each new husband the family moved house.In 1962, when she was 16, Cher met Sonny Bono in a coffee shop. She moved in with Sonny as his housekeeper and personal assistant and began singing backing vocals for his boss, the music producer Phil Spector. In 1965 Sonny and Cher released I Got You Babe which reached number one in the US and UK charts – knocking the Beatles off the top of the chart.Cher is an award-winning actor who has starred in films including Silkwood, Mask and Moonstruck. In October 1998 she released her 22nd studio album Believe – the title track remains the biggest-selling number one by a solo female artist in British chart history.DISC ONE: Whiter Shade of Pale - Procol Harum DISC TWO: Love Me Tender - Elvis Presley DISC THREE: A Dream Is a Wish Your Heart Makes - Ilene Woods DISC FOUR: Evil - Stevie Wonder DISC FIVE: You've Lost That Lovin' Feelin' - The Righteous Brothers DISC SIX: I Can't Make You Love Me - Bonnie Raitt DISC SEVEN: Minute By Minute - The Doobie Brothers DISC EIGHT: A Change Is Gonna Come - Sam Cooke BOOK CHOICE: The Saracen Blade by Frank Yerby LUXURY ITEM: An eyelash curler CASTAWAY'S FAVOURITE: A Change Is Gonna Come - Sam Cooke Presenter Lauren Laverne Producer Paula McGinley

Chris Molanphy returns to Pop Pantheon for part one of our special two-part series on the Goddess of Pop herself, Cher. Chris and Louie dig into the origins of Cher's mythology, her early work with Sonny Bonno and Phil Spector and Sonny and Cher's breakout hit, “I Got You Babe.” From there, they dive into Cher's iconic looks, her first solo hits and Sonny and Cher's reinvention as television variety stars. Then they tackle the couple's split, Cher's second run of hits, including “Gypsys, Tramps and Thieves” and “Dark Lady,” and the commercial slump she found herself at the end of the seventies. Tune in next week for part two, covering Cher's disco reinvention, Hollywood success, late career hits like "If I Could Turn Back Time" and “Believe” and her ranking in the Official Pop Pantheon. Come to our dance party Main Pop Girls on 2/1 at Parkside Lounge in NYC! Listen to Pop Pantheon's Cher Essentials Playlist on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on Instagram

Gypsies, Tramps, and Podcasts! We are kicking off 2025 by studying the goddess known as Cher and her new book "Cher: The Memoir, Part One" in two parts…ya dig, babe? We attempt to discuss everything from her mother’s five marriages, swimming with Warren Beatty, fur vests, Phil Spector’s Wall of Sound, how to shop with men, the rise of Sonny and Cher, dining with Dalí, and why Cher cantered so Kim Kardasahian could gallop. I Got You Babe - there’s more Cher next week.Support the show: https://www.patreon.com/cbcthepodSee omnystudio.com/listener for privacy information.

In this episode of Rebel Rockers, Native Wayne dives into the legendary story of UB40, one of reggae's most iconic bands. From their humble beginnings as a group of unemployed friends learning to play instruments, to their meteoric rise with hits like Red Red Wine and I Got You Babe, UB40's journey is a testament to the power of music to unite and inspire. Wayne shares personal anecdotes, including his decades-long friendship with lead singer Ali Campbell, their collaborations in Jamaica, and the band's incredible global impact. Ali reflects on their early days, creating music with minimal resources, their revolutionary decision to start their own label, and their dedication to staying true to reggae roots. With timeless hits and socially conscious lyrics, UB40 continues to captivate audiences worldwide, proving that reggae's message of peace and unity is as powerful today as ever. Stay tuned for more untold stories from reggae's rebel pioneers! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pour la première fois, la chanteuse nous parle de son intimité dans un livre. Elle raconte d'abord ses origines. Le parcours de sa mère Georgia a eu une influence sur son propre parcours. Cher a eu une enfance atypique. Sa rencontre avec Sonny Bono va changer sa vie. Ils se marient dans leur salle de bains. Rebaptisés Sonny et Cher, ils ont obtenu un succès avec « I Got You Babe », numéro un aux États-Unis. Cher va finir par sortir de l'entreprise de Sonny et connaître d'autres amours. Sonny Bono va changer sa vie. Ils se marient dans leur salle de bains. Rebaptisés Sonny and Cher, ils obtiennent un succès avec « I Got You Babe », numéro un aux États-Unis. Cher va finir par sortir de l'emprise de Sonny et connaître d'autres amours. « Cher, l'autobiographie, tome 1 » est paru chez Harper Collins.

UB40, a reggae band from Birmingham, UK, emerged in the late 70s from humble beginnings, with members scraping by on unemployment benefits. The band's original lineup consisted of friends from Moseley School of Art and local schools: Robin and Ali Campbell, Earl Falconer, Brian Travers, Jimmy Brown, Norman Hassan, and later, Michael Virtue and Astro. They named themselves after the unemployment benefit form "UB40" and quickly became known for their left-wing political stance, aligning themselves with causes like Rock Against Racism and anti-National Front protests. In 1980, UB40's debut single "King b/w Food For Thought" reached the UK Top 5, setting the stage for their success. Their first album, Signing Off (1980), was a blend of reggae, dub, and politically charged lyrics, reaching No. 2 in the UK and staying in the charts for 72 weeks. By 1981, their second album, Present Arms, solidified their reputation, with the hit single "One In Ten" becoming an anthem for the unemployed and a protest against the UK government's policies. UB40's third album, UB44 (1982), marked a transition, but it was Labour of Love (1983) that truly catapulted them to international fame. This album of reggae covers, including the iconic "Red Red Wine," became their first UK No. 1 album and produced their first US No. 1 single. This success established UB40 as reggae ambassadors, introducing reggae to new audiences worldwide. Throughout the 1980s, UB40 continued to release successful albums, including Geffery Morgan (1984), Rat In The Kitchen (1986), and UB40 (1988). Their collaborations with Chrissie Hynde on "I Got You Babe" and "Breakfast In Bed" were also hits. The late 80s and early 90s saw the band achieve global success with Labour Of Love II and Promises and Lies, the latter featuring "Can't Help Falling In Love," which became another US No. 1 hit. In the mid-90s, the band took a break, with members pursuing solo projects. However, they returned with Guns In The Ghetto and Labour Of Love III , continuing to tour extensively. Their influence and success were underscored by their contribution to the England rugby team's 2003 World Cup campaign with "Swing Low" and the Grammy-nominated Who You Fighting For (2005), which featured politically charged songs and love ballads. In 2008, Ali Campbell left the band to pursue a solo career, replaced by his brother Duncan Campbell. The band continued to release albums and tour, with TwentyFourSeven receiving critical acclaim. Despite Astro's departure in 2013, UB40 continued to tour successfully, playing sold-out shows across the UK, Europe, and beyond. UB40's enduring appeal lies in their ability to blend reggae with socially conscious lyrics, making them one of the most influential reggae bands in history. Their journey from Birmingham's working-class roots to global stardom is a testament to their talent, resilience, and commitment to their music and message. To celebrate their 45th anniversary, the band has just released the album UB45. Joining us this week to share the story of their rise to international fame is original member, drummer Jimmy Brown. For more head to their website https://ub40.global/

UB40 band members Earl Falconer and Martin Meredith join guest cohost T.J. Miller and Ralph Sutton and they discuss the bandmember changes in UB40 over the years and how they found their newest singer, how it is working with family members in the band, what genre they fall under, the "I Got You Babe" cover with Chrissie Hynde, "Red Red Wine" being played on the radio without the rap section, the serendipitous way Martin Meredith joined the band, Earl Falconer messing up lyrics his first time singing live with UB40, the worst audiences UB40 has performed for, Earl Falconer and Martin Meredith's first concert, first drug and first sexual experience and so much more!(Air Date: July 17th, 2024)Support our sponsors!YoDelta.com - Use promo code: Gas to get 25% off!To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!The SDR Show merchandise is available at https://podcastmerch.com/collections/the-sdr-showYou can watch The SDR Show LIVE for FREE every Wednesday and Saturday at 9pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: SDR for discount on your subscription which will give you access to every SDR show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!UB40Band Twitter: https://twitter.com/UB40OfficialEarl Falconer Twitter: https://twitter.com/EarlFalconerMartin Meredith Twitter: https://twitter.com/MartinJMeredithBand Instagram: https://instagram.com/UB40OfficialMartin Meredith Instagram: https://instagram.com/Martin.MeredithT.J. MillerTwitter: https://twitter.com/nottjmillerInstagram: https://instagram.com/teenagemillionaireWebsite: https://TJMillerDoesNotHaveAWebsite.comRalph SuttonTwitter: https://twitter.com/iamralphsuttonInstagram: https://www.instagram.com/iamralphsutton/The SDR ShowTwitter: https://twitter.com/theSDRshowInstagram: https://www.instagram.com/thesdrshow/GaS Digital NetworkTwitter: https://twitter.com/gasdigitalInstagram: https://www.instagram.com/gasdigital/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

WTOP's Jason Fraley interviews Jimmy Brown, founding drummer of UB40, which rocks the Hollywood Casino at Charles Town Races in West Virginia on Saturday. They discuss the band's biggest hits, from originals like “King” and “Food For Thought,” to smash covers of “Red Red Wine,” “I Got You Babe” and “Can't Help Falling in Love.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

WTOP's Jason Fraley interviews Jimmy Brown, founding drummer of UB40, which rocks the Hollywood Casino at Charles Town Races in West Virginia on Saturday. They discuss the band's biggest hits, from originals like “King” and “Food For Thought,” to smash covers of “Red Red Wine,” “I Got You Babe” and “Can't Help Falling in Love.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

"Groundhog Day," released in 1993 and directed by Harold Ramis, is more than just a comedy; it's a timeless exploration of human nature, personal growth, and the possibility of redemption. At the heart of this film is Bill Murray's iconic portrayal of Phil Connors, a cynical and egotistical weatherman who finds himself inexplicably trapped in a time loop, reliving the same day repeatedly. This seemingly simple premise blossoms into a rich narrative that balances humour with profound philosophical questions, making "Groundhog Day" a film that resonates on multiple levels and remains relevant more than three decades after its release.CinematographyThe cinematography by John Bailey is subtle yet effective, capturing the small-town charm of Punxsutawney, Pennsylvania, while enhancing the film's repetitive structure. The film cleverly uses visual cues to signify the passage of the same day, such as the recurring shot of the alarm clock flipping to 6:00 AM, accompanied by Sonny & Cher's "I Got You Babe." This repetitive visual motif reinforces the loop and creates a sense of claustrophobia and familiarity, making Phil's frustration palpable to the audience. Tight framing and repetitive angles help to convey Phil's initial sense of entrapment, while the gradual introduction of more dynamic shots mirrors his evolving perspective on his predicament.StorytellingAt its core, "Groundhog Day" is a masterclass in storytelling. The script, co-written by Ramis and Danny Rubin, expertly balances the comedic and the existential. The film begins with a focus on Phil's narcissism and the comedic potential of his situation. His initial attempts to exploit the time loop for personal gain provide some of the film's most humorous moments, from binge-eating and reckless driving to seducing women. However, as the days continue to repeat, the narrative shifts to a deeper exploration of Phil's character.One of the most compelling aspects of "Groundhog Day" is its structure. The repetitive nature of the plot allows for a unique form of character development. Phil's journey from cynicism to enlightenment is not a straightforward path but a series of trials and errors, successes and failures. This cyclical progression mirrors real-life growth, where change occurs incrementally and through repeated effort. The film's pacing is meticulously crafted, ensuring the repetitive sequences remain engaging and progressively reveal more about Phil's inner transformation.Character DevelopmentBill Murray's performance as Phil Connors is nothing short of brilliant. He brings a nuanced blend of sarcasm, vulnerability, and, eventually, sincerity to the role. Initially, Phil is the epitome of a self-centred jerk, treating those around him with disdain and seeing Punxsutawney as a backwater trap. However, as the loop forces him to confront his own flaws and the impact of his actions on others, we witness a profound change. Murray's portrayal of this transformation is both believable and moving. His comedic timing is impeccable, but his ability to convey the subtler moments of despair and introspection truly anchors the film.Supporting Murray is Andie MacDowell as Rita, Phil's producer and the object of his initially superficial affections. MacDowell's performance adds a layer of warmth and earnestness to the film. Rita serves as a moral compass for Phil, embodying the virtues of kindness, patience, and genuine human connection that he initially lacks. As the bumbling cameraman Larry, Chris Elliott provides additional comic relief while also serving as a foil to Phil's arrogance.Historical and Cultural Significance"Groundhog Day" has achieved a rare status in popular culture, becoming a reference point for discussions about time loops and repetitive experiences. The film's impact extends beyond its comedic roots, influencing various genres and spawning countless homages and parodies. Its humour and existential inquiry blend has resonated with audiences and critics alike, cementing its place as a modern classic.The film also taps into universal themes of self-improvement and the search for meaning. Phil's journey is emblematic of the human condition—the struggle to overcome one's flaws, find purpose, and connect authentically with others. This timeless message ensures that "Groundhog Day" remains relevant across different generations and cultures.Relevance to Pop Culture"Groundhog Day" has left an indelible mark on pop culture, becoming a shorthand for any situation involving repetition or feeling stuck in a rut. Its influence can be seen in various films, TV shows, and even video games that explore similar themes of time loops and self-improvement. The concept of reliving the same day has been adapted in diverse genres, from the horror-thriller "Happy Death Day" to the action-packed "Edge of Tomorrow."The film's enduring popularity is also reflected in its continued relevance in discussions on personal growth and resilience. In a world where many people feel trapped by routines and unfulfilled aspirations, "Groundhog Day" offers hope and transformation. Phil's eventual realisation that he can change his circumstances by changing himself is a powerful reminder of the potential for personal redemption and the importance of empathy and kindness.In conclusion, "Groundhog Day" is a film that transcends its comedic premise to offer a profound exploration of human nature and the possibility of change. Its clever cinematography, masterful storytelling, and stellar performances combine to create an entertaining and thought-provoking narrative. As Phil Connors discovers the value of selflessness and genuine human connection, the audience is invited to reflect on their lives and how they can break free from their metaphorical time loops. For these reasons, "Groundhog Day" remains a beloved and culturally significant film that continues to inspire and entertain audiences worldwide.

Welcome to the Instant Trivia podcast episode 1200, where we ask the best trivia on the Internet. Round 1. Category: Map Happy 1: Its name says where it's at. South Africa. 2: "Zone" in on this country important to world commerce. Panama. 3: Zone in on this country, important to world commerce. Panama. 4: A bit of serendipity will lead you to this country's name. Sri Lanka. 5: Nation where Bolivar is buried. Venezuela. Round 2. Category: Tea Time Movie 1: Disney's "Johnny Tremain" takes part in this Dec. 16, 1773 incident. the Boston Tea Party. 2: Johnny Depp is at least eccentric as this tea party guest in 2010's "Alice in Wonderland". the Mad Hatter. 3: The title character of "Rikyu" teaches this painstaking routine to the fierce warlord Hideyoshi. the Japanese tea ceremony. 4: Jack Black as this character has tea with the dolls of a Brobdingnagian girl. Gulliver. 5: In "Tea with Mussolini", Cher plays a character based on this American art patron who spent a lot of time in Italy. Peggy Guggenheim. Round 3. Category: Phrases That Sell 1: "Obey your thirst" and drink this. Sprite. 2: "Be all that you can be" in this military branch. the Army. 3: This network says it's "The most trusted name in news". CNN. 4: This shipping company asks, "What can Brown do for you?". UPS. 5: It's the popular query in Verizon's TV ads. Can you hear me now?. Round 4. Category: Pat. With Pat in quotation marks 1: Let's take our drinks outside onto this paved lounge area. patio. 2: Adjective meaning characteristic of being a father. paternal. 3: Want a good pastry? Go to this French type of store that specializes in them. a patisserie. 4: A regional form of a language, not necessarily French. patois. 5: It's the murder of one's own father. patricide. Round 5. Category: Babes 1: In his career, he walked a record 2,056 times. Babe Ruth. 2: If Paul Bunyan sang "I Got You Babe", he'd be referring to one of these animals. an ox. 3: It's where Victor Herbert set his "Babes". Toyland. 4: She set records in the 1932 Olympics in the javelin throw and the 80-meter hurdles. Babe Didrikson. 5: Nicknamed "Babe", this early film comedian played The Tin Woodsman in 1925's "The Wizard of Oz". Oliver Hardy. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Author Joel Selvin, a San Francisco Chronicle pop music critic for thirty-six years, is author of more than twenty books about pop music, including the definitive account of the Rolling Stones free concert at Altamont and the biography of songwriter Bert Berns that paved his way into the Rock and Roll Hall of Fame, as well as the No. 1 New York Times best-seller, Red: My Uncensored Life in Rock with Sammy Hagar. Ladies and gentlemen, the subject of Joel Selvin's latest book was raised in the San Fernando Valley of Los Angeles and got his start as a professional drummer touring with the Everly Brothers in the mid-1960s. Jim Gordon's penchant for creative and astonishingly accurate musicianship earned him regular session work, joining the community retroactively referred to as The Wrecking Crew. His supernatural intuition and perfect sense of time can be heard on more than 30 Top 10 singles including several #1 hits, such as the Beach Boys' “Good Vibrations,” Carly Simon's “You're So Vain” and “I Got You Babe” by Sonny & Cher (he also supplied the literal beat for “The Beat Goes On” by the latter). He has been immortalized on albums by George Harrison, John Lennon and the Byrds, among dozens of other household name music acts. Gordon was notably the drummer for Derek and the Dominos and provided the piano coda for their evergreen anthem “Layla.” Joel Selvin details how Gordon didn't merely keep time, but he was also instrumental in shaping compositions; whether it was his Latin-influenced rhythms on “Rikki Don't Lose That Number” by Steely Dan or his monumental drum break on the Incredible Bongo Band's “Apache” (a staple of hip-hop from the genre's inception, having been sampled on over 750 other records), he wasn't just a player on hits, he made them hits. If you love music history, then Drums & Demons: The Tragic Journey of Jim Gordon is a must read. Joel Selvin's power of the pen makes live every page of Jim Gordon's life and you learn in the midst of brilliant musicianship, the darkness of mental health issues like paranoid schizophrenia.  #mentalhealth #mentalillness #schizophrenia #drummer #rockmusic #popmusic #ericclapton #georgeharrison #lindaronstadt #carlysimon #sonnyandcher #cher #beachboys #jamesbrown #jacksonbrowne #boneshowe #mikepost #musicrecording #popmusic 

Author Joel Selvin, a San Francisco Chronicle pop music critic for thirty-six years, is author of more than twenty books about pop music, including the definitive account of the Rolling Stones free concert at Altamont and the biography of songwriter Bert Berns that paved his way into the Rock and Roll Hall of Fame, as well as the No. 1 New York Times best-seller, Red: My Uncensored Life in Rock with Sammy Hagar. Ladies and gentlemen, the subject of Joel Selvin's latest book was raised in the San Fernando Valley of Los Angeles and got his start as a professional drummer touring with the Everly Brothers in the mid-1960s. Jim Gordon's penchant for creative and astonishingly accurate musicianship earned him regular session work, joining the community retroactively referred to as The Wrecking Crew. His supernatural intuition and perfect sense of time can be heard on more than 30 Top 10 singles including several #1 hits, such as the Beach Boys' “Good Vibrations,” Carly Simon's “You're So Vain” and “I Got You Babe” by Sonny & Cher (he also supplied the literal beat for “The Beat Goes On” by the latter). He has been immortalized on albums by George Harrison, John Lennon and the Byrds, among dozens of other household name music acts. Gordon was notably the drummer for Derek and the Dominos and provided the piano coda for their evergreen anthem “Layla.” Joel Selvin details how Gordon didn't merely keep time, but he was also instrumental in shaping compositions; whether it was his Latin-influenced rhythms on “Rikki Don't Lose That Number” by Steely Dan or his monumental drum break on the Incredible Bongo Band's “Apache” (a staple of hip-hop from the genre's inception, having been sampled on over 750 other records), he wasn't just a player on hits, he made them hits. If you love music history, then Drums & Demons: The Tragic Journey of Jim Gordon is a must read. Joel Selvin's power of the pen makes live every page of Jim Gordon's life and you learn in the midst of brilliant musicianship, the darkness of mental health issues like paranoid schizophrenia.  #mentalhealth #mentalillness #schizophrenia #drummer #rockmusic #popmusic #ericclapton #georgeharrison #lindaronstadt #carlysimon #sonnyandcher #cher #beachboys #jamesbrown #jacksonbrowne #boneshowe #mikepost #musicrecording #popmusic 

Welcome back to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.comI will read your scores out on the following episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Heat Above by Greta Van Fleet (2021)Song 1: Here I Go Again by White Snake (1982)Song 2: Playing With the Boys by Kenny Loggins (1986)Song 3: Man on the Moon by R.E.M. (1993)Song 4: Red Right Hand by Nick Cave & the Bad Seeds (1994)Song 5: When the Curtain Falls by Greta Van Fleet (2018)Song 6: Shaking the Tree 97 by Peter Gabriel (1997)Song 7: She's Not There by The Zombies (1964)Song 8: I Got You Babe by Sonny & Cher (1965)Song 9: I'm Yours by Jason Mraz (2008)Song 10: S.O.B. by Nathaniel Rateliff & the Night Sweats (2015)

The Wrecking Crew WC40 w Phil Yale OMoM S2E2 HD 720p https://youtu.be/Gx0VaMZS9Vs The Wrecking Crew was a loose-knit group of studio musicians who played on countless hit records in the 1960s and 1970s. They were known for their versatility and skill, and their work can be heard on everything from pop and rock to country and jazz. Special thanks to: Phil Yale https://www.philyale.com/ Ingrid Fasching (@Facebook #HalBlaine Group) whose feedback, information sharing, and corrections :-) have been incredibly helpful. https://www.facebook.com/groups/drummerhalblaine/  @DennyTedesco  and #TheWreckingCrew Facebook group: Denny's @WreckingCrewMovie  was my starting point for learning about this amazing group of musicians, including Denny's father, Tommy Tedesco. The information the movie and Facebook site share have been invaluable in preparing this episode. http://www.wreckingcrewfilm.com/ https://www.facebook.com/WreckingCrewFilm/about #WreckingCrew #studiomusicians #LosAngeles #1960s #1970s #hitrecords #versatility #skill #pop #rock #country #jazz #fypage #musichistory #foryou #music #fypシ #fyp Included in this video: Artist, Song, Timestamp OurMindonMusic Intro 0:00 Phil's Intro (Phil's Tracks) 2:30  @WreckingCrewMovie  3:18 5:05 - 8:05 The Beach Boys Good Vibrations (Live On The Ed Sullivan Show, October 13, 1968) 9:20 - 10:49 José Feliciano California Dreamin' 13:19 - 14:51 Jan & Dean Dead Man's Curve (Remastered 1990/Stereo Remix) 18:08 - 18:35 Elvis Presley A Little Less Conversation 18:08 - 18:35 Elvis Presley Almost In Love 20:02 - 20:23 Petula Clark My Love (Performed live on The Ed Sullivan Show 11/28/65) 20:25 - 20:36 Petula Clark Downtown 22:01 - 22:34 Bobby Vee Take Good Care Of My Baby 22:36 - 23:14 Harry Nilsson Everybody's Talkin' 24:35 - 25:21 Ricky Nelson Travelin' Man 25:25 - 26:13 Bobby Darin If I Were A Carpenter (Live) 26:35 - 27:11 Frank Sinatra Strangers In The Night (Remastered 2008) 27:24 - 28:10 Frank Sinatra Somethin' Stupid (2011 Digital Remaster) 33:34 - 33:53 The Byrds Mr. Tambourine Man (Live at Colden Center Auditorium, Queens, NY - February 1970) 34:01 - 35:06 The Righteous Brothers You've Lost That Lovin' Feelin' 35:05 - 35:40 Gary Lewis & The Playboys This Diamond Ring (Remastered) 37:04 - 37:45 The 5th Dimension Aquarius/Let The Sunshine In (The Flesh Failures) (From the Musical "Hair") 41:41 - 42:19 The Association Never My Love (Remastered Version) 43:07 - 44:33 The Ronettes Be My Baby 44:31 - 46:00 The Crystals He's a Rebel 47:57 - 48:25 The Ventures Hawaii Five-O 48:32 - 49:12 Herb Alpert & The Tijuana Brass This Guy's In Love With You 50:04 - 50:54 David Cassidy, The Partridge Family I Think I Love You 52:00 - 52:36 Neil Diamond Cracklin' Rosie (Single Version) 54:42 - 55:25 Johnny Rivers Secret Agent Man (From "Secret Agent" CBS TV Show) 57:44 - 58:02 Sam Cooke You Send Me (Lyric Video) 58:34 - 59:10 Richard Harris MacArthur Park 1:00:04 - 1:00:47 Mark Lindsay Arizona 1:00:53 - 1:01:40 Sammy Johns Chevy Van 1:01:44 - 1:02:12 Hamilton, Joe Frank & Reynolds Don't Pull Your Love Out Some of the most famous members of the Wrecking Crew include: Hal Blaine (drums) Carol Kaye (bass) Larry Knechtel (keyboards) Tommy Tedesco (guitar) Glen Campbell (guitar) Leon Russell (keyboards) Earl Palmer (drums) Steve Douglas (saxophone) The Wrecking Crew played on countless hit records, including: "Good Vibrations" by The Beach Boys "My Way" by Frank Sinatra "California Dreamin'" by The Mamas and the Papas "Can't Help Falling in Love" by Elvis Presley "Hey Jude" by The Beatles "Bridge over Troubled Water" by Simon & Garfunkel "(They Long to Be) Close to You" by The Carpenters "I Got You Babe" by Sonny & Cher "These Boots Are Made for Walkin'" by Nancy Sinatra "Downtown" by Petula Clark "You've Lost That Lovin' Feelin'" by The Righteous Brothers "Cherish" by The Association #WreckingCrew #studiomusicians #LosAngeles #1960s #1970s #hitrecords #versatility #skill #pop #rock #country #jazz

¡Bienvenidos al séptimo episodio de Rosebud Sociedad Limitada! ¡Hemos vuelto con más cine, más diversión! Comenzamos el podcast con una referencia a la clásica canción "I Got You Babe" de Sonny & Cher, y evocamos aquel inolvidable día en que Bill Murray quedó atrapado en el tiempo. En "La cartelera", exploramos películas emocionantes como "Slam Dunk", "Una vida no tan simple" y "Suzhou River". Compartimos nuestras impresiones y te ofrecemos recomendaciones frescas y sorprendentes para tu próxima sesión cinematográfica. En "La película", nos adentramos en el fascinante cine soviético de vanguardia, explorando la influyente obra maestra "El acorazado Potemkin". Descubrimos cómo esta película ha dejado una huella imborrable en la historia del cine y sigue siendo una fuente de inspiración para generaciones posteriores. ¡Pero eso no es todo! Estrenamos una nueva sección sorpresa. Aquí, nos enfrentamos a desafíos hipotéticos en los que debemos elegir a los protagonistas perfectos para diferentes argumentos. En "La femme fatale", rendimos homenaje a la legendaria Bette Davis y su memorable actuación en "Eva al desnudo". Exploramos el magnetismo de esta icónica actriz y su impacto en el cine clásico. Por último, en "El Cultureta", nos sumergimos en un periodo clave de la historia española: la Transición. Discutimos películas que capturan la esencia de aquellos tiempos, como "La isla mínima", la trilogía de la Transición de Garci con "Asignatura pendiente", "Las verdes praderas" y "Solos en la madrugada", y la emblemática "Yo, el Vaquilla". Un viaje cinematográfico a través de momentos clave de nuestra historia reciente. En Rosebud Sociedad Limitada, te invitamos a unirte a nosotros en este emocionante episodio lleno de cine, risas y descubrimientos cinematográficos. No olvides seguirnos en nuestras redes sociales para más contenido exclusivo y participar en nuestras dinámicas interactivas.

Filmmaker and author Emma Forrest on her lifelong relationship with Cher. We talk noses, outsiders, plastic surgery, Mermaids, Moonstruck, I Got You Babe, the Sonny years and much much more. This is a really good one. Emma Forrest's new book, Busy Being Free, is available everywhere now. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Vinyl Radio Top 10, nos enfocamos en la banda británica UB40, que ha dejado su huella en la música pop y reggae desde la década de 1980. Para presentar a UB40, seleccionamos las tres canciones más emblemáticas de la banda: "Cherry Oh Baby", "Homely Girl" y "I Got You Babe" con Chrissie Hynde. "Cherry Oh Baby" es una canción con un ritmo alegre y una letra romántica que ha sido versionada por varios artistas, pero UB40 la llevó al siguiente nivel. En "Homely Girl", la banda muestra su habilidad para crear baladas melancólicas y emotivas sobre el amor verdadero. Finalmente, "I Got You Babe" es una colaboración única con la talentosa Chrissie Hynde, que convierte esta canción en una verdadera joya. Estas tres canciones muestran la versatilidad de UB40 en cuanto a ritmos y letras, y cómo la banda ha influenciado la música pop y reggae en el mundo. Sintoniza Vinyl Radio Top 10 en Spotify y otras plataformas de streaming para disfrutar de esta selección única de la mejor música de UB40. ¡No te lo pierdas! #VinylRadioTop10 #Música #Clásicos #Romanticismo #ReggaeMusic #UKMusic #ThrowbackThursday #MusicPodcast #ClassicHits --- Send in a voice message: https://podcasters.spotify.com/pod/show/vinylradio/message

After thirty four years of marriage, Kevin feels like a prisoner in his own home. His religious faith means he is unable to divorce his wife. So is there another way he could bring their relationship to an end?    My Home is a Prison is an original short story by Doe Wilmann    True Crime - Comedy - Relationships (Yes, I'm doing that annoying Netflix thing where it gives you three buzzwords for each show. But it should help you if you're scrolling through episodes)    If you'd like to read the script of this episode go to piecesofdoe.com and sign up to my monthly newsletter. You can also email me via the contact form. I'd love to hear your thoughts on the podcast.    You might enjoy this episode if you like:   Tom Sharpe  PG Wodehouse  Fawlty Towers  Fiction inspired by true events  Contemplating the nature of the self ‘I Got You Babe' by Sonny and Cher  Complaining about your partner  Robbing banks  Sitting in a shed Ignoring the voice in your head    Things to consider when listening:    Should we be confined by the commitments made by our past selves? Who is the voice in your head? Is freedom a place or a state of mind? What's the highest number of people you can share this podcast with?    And the true story that inspired ‘My Home is a Prison':   It's not quite as frivolous as the tale of Kevin and Barbara, but… (contains spoilers)…   https://shortest.link/iG0F   Acknowledgements:   Thanks to Katie Empett and Ross Hindle for reading early versions of this episode and providing notes.    Artwork by Katie Empett   Music by Claude Debussy with permission from Pond5.    A license to use the media ((Debussy Suite Bergamasque, Clair De Lune (Piano Cover) 229744340 Music ahawke99110 2023-03-02 Individual) was purchased under Pond5's Content License Agreement, a copy of which is available for review at https://www.pond5.com/legal/license. The Pond5 license authorizes the licensee to use the media in the licensee's own commercial or non-commercial production and to copy, broadcast, distribute, display, perform and monetize the production or work in any medium - including posting and monetization on YouTube - on the terms and conditions outlined therein.    Meaningless Problems with Doe Wilmann (C) 2023 

On this episode, it's another spoiler filled recap of The Last of Us episode seven titled, Left Behind. This is an Ellie-centric episode and ripped from the DLC. We see a lot of reasons why Ellie is a little badass and why she is afraid of being alone. Plus I say the word sweet way too many times but to me this was a very sweet episode and also a very bittersweet episode. Not too many episodes left but come hold my hand in the darkness and let's go through this together. I promise I won't leave you behind. For this episode, the song is I Got You Babe by Etta James, because of that one scene in this episode.

It's Ground Hog Day! We begin with more on censorship and DirecTV. We celebrate Ground Hog Day with "I Got You Babe" and movie clips. An update on the Denver In Decay delegation to North Africa. Then - we look back at the 20th anniversary of the Space Shuttle Columbia disaster over Texas. Sound from CBS News that day, launch audio and final communication. Ground Hog Day recap. We wrap the hour with Steffan's take on Black History Month and sound from CO AG Phil Weiser. See omnystudio.com/listener for privacy information.

Okay campers rise and shine and don't forget to pack those booties because it's coooooold outside. It has been 30 years since Weatherdick Phil Conners (Bill Murray) was trapped in a never ending nightmare in Punxsutawney along with his unwitting production crew, Rita (Andie MacDowell) and Larry (Chris Elliott). Will he break the cycle or be damned to rise up everyday at 6am to "I Got You Babe"? Don't drive angry, join us for Groundhog Day this week on Doom Generation! Support this show at patreon.com/doomgeneration --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/doomgeneration/message

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio audio described theatre reviews. This week Vidar was reviewing ‘The Cher Show', Birmingham Hippodrome on Saturday 6 August at 2.30pm with audio description by professional Describers. The Cher Show tells the incredible story of Cher's meteoric rise to fame, flying in the face of convention at every turn. This HUGE new production features a fresh take on her show-stopping costumes which earned her the title of “the ruler of outré reinvention” (VOGUE). In a dazzling glitter fest sparkling with Cher's signature wit and style, you'll be spinning in the aisles to the sounds of her biggest hits, including If I Could Turn Back Time, Strong Enough, Gypsies Tramps and Thieves, The Shoop Shoop Song, I Got You Babe, and Believe. The Cher Show continues on tour this autumn and more details can be found by visiting the tour pages of the Cher on Stage website - https://cheronstage.com/tour-dates/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

There can be no doubt that UB40 has a special place in music history. Since their formation back in the late 1970s, the band has sold more than 70 million records worldwide and has had more than 50 singles in the UK charts. And of course we know the hits, Red Red Wine, I Got You Babe, and Can't Help Falling in Love. Now the band is celebrating their 45th anniversary with a new album, the official Commonwealth Games anthem, and a global tour that includes some New Zealand stops. One of the founding members, guitarist and vocalist Robin Campbell and band's new frontman Matt Doyle joined Mike Hosking. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Movie Sushi - Groundhog Day Phil is trapped in a time warp, Feb 2nd. Every morning, at 6am, he wakes up to Sonny & Cher's I Got You Babe. As an immortal, he teaches himself about the small town people of Punxsutawney. He learns the piano, French, ice sculpting, & how to be nice Starring Bill Murray. Andie MacDowell. Chris Elliott. Rated PG. Dir Harold Ramis. Released in the UK 1993. Runtime 1hr 41mins Support Ad Gridley's Movie Sushi by contributing to their Tip Jar: https://tips.pinecast.com/jar/ad-gridley-s-movie-sushi

This week, Carlos helps CMO get back out on the dating scene by playing a little game known as: F*ck, Marry, Kill. What will CMO say when faced with choices like John Wayne Gacy, Ted Bundy, OJ Simpson? Or how about his mom, his dad and his best friend? Find out this week on another hilarious edition of the FratChat Podcast! Get 20% OFF + Free Shipping on all MANSCAPED products with promo code FRATCHAT at MANSCAPED.com! Follow us on all social media: Instagram: http://Instagram.com/FratChatPodcast Facebook: http://Facebook.com/FratChatPodcast Twitter: http://Twitter.com/FratChatPodcast Follow Carlos and CMO! Carlos on Instagram: http://Instagram.com/CarlosDoesTheWorld CMO on Instagram: http://Instagram.com/Chris.Moore.Comedy

Chaz and AJ reset the celebrity death pool, after Emma in Wallingford correctly picked Bob Dole. (0:00) Ansonia Mayor Cassetti and Naugatuck Mayor Hess were both on the phone to practice their Toy Drive performance of Sonny and Cher's "I Got You Babe" (12:31) Former comedian and current life coach Lisa Lampanelli was in studio this morning. Why did she leave her comedy career after 30 years? And why is she so disinterested in sex? (16:45) Connoisseur Media CEO Jeff Warshaw called in, along with his college buddy Todd Simon from Omaha Steaks! (40:38)

Kathleen opens the show drinking an Outboard Cream Ale from the Milwaukee Brewing Company, discussing her recent shows at the Pabst Theatre in Milwaukee and The Chicago Theatre. “GOOD BAD FOOD”: In her quest for new and delicious not-so-nutritious junk food AND in continuing her search for the best Ranch, Kathleen samples Hostess ScaryCakes in honor of Halloween, which she likes since they are just a festive chocolate cupcake. She then tastes Spooky Jr. Mints, which have black and orange mint flavoring but taste the same as the regular version, and Tessamae's Cilantro Lime Ranch, which she would only recommend to those Termites who don't want actual Ranch dressing. Kathleen gives a shoutout to Collectivo Coffee's Blue Healer blend, and to her lifelong love of Miracle Whip over mayonnaise. UPDATE ON KATHLEEN'S QUEEN'S COURT: Kathleen provides an update on the Court, reporting that Queen Dolly has recorded a duet of “Does She Love You,” with Reba. Queen Cher is suing Sonny Bono's widow over royalties for Sonny & Cher songs including “I Got You Babe.”UPDATES: Kathleen provides updates on the Missouri Cannibal, Banksy's “Girl With Balloon” sells for $25.4M, the Elizabeth Holmes trial continues to unveil the fraudulent nature of the Theranos technology in court. HALLOWEEN BRATWURST: Kathleen reports on a Madison WI butcher who east have created “Spook-toberfest” brats, which are cooked in local beer and dotted with candy corn. Kathleen is heading to Green Bay this weekend and is on the hunt for the festive brats. ALLIGATOR GAR CAUGHT: Kathleen reads an article from Kansas, where a fisherman has recently caught a 4.5 foot, 39.5-pound Alligator Gar. The catch is perplexing to local wildlife officials, since this horrifyingly ugly species of Gar are not native to Kansas. TENNESSEE TOWN FOR SALE: Kathleen reads a listing for a 7-acre Tennessee town that has hit the market for $725,000. According to the realtor tasked with selling the property, Water Valley has tremendous potential and is likened to the town mentioned the Schitt's Creek television series.MORE SNAKE NEWS: Kathleen reads an article detailing where a California woman found more than 90 rattlesnakes under her home, and another article where a Mississippi woman found a blond rattlesnake with rare pigmentation. ST LOUIS vs THE NFL: Kathleen reviews the current status of a lawsuit filed by her hometown of St. Louis against the NFL after the league allowed the Rams to move to Los Angeles. STL officials are seeking financial damages, and NFL lawyers are trying to get the Jan 2022 trial moved out of St. Louis. THE BIRTH OF HIDDEN VALLEY RANCH: Kathleen shares the story of how Hidden Valley Ranch was born through the work of a retired plumbing contractor and his wife. The Henson's purchased a 120-acre ranch in Santa Barbara, CA known then as Sweetwater Ranch, changing the name to Hidden Valley Ranch and creating a “California steak sauce” that is now commonly known as Ranch dressing. WHAT TO WATCH THIS WEEK: Kathleen recommends watching “Succession” on HBO, and “Bad Sport” on Netflix.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we discuss Ted’s reluctance to actually talk about his problems to Doc Sharon, the whole I-Got-You-Babe thing between Roy and Keeley, the mysterious comings and goings of Coach Beard, and most importantly, our frustration with Nate’s bad behavior. Jason Snell with Casey Liss, Kelly Guimont and James Thomson.

This week we discuss Ted’s reluctance to actually talk about his problems to Doc Sharon, the whole I-Got-You-Babe thing between Roy and Keeley, the mysterious comings and goings of Coach Beard, and most importantly, our frustration with Nate’s bad behavior. Host Jason Snell with Casey Liss, Kelly Guimont and James Thomson.

We've had some serious themes over the past few weeks, so it's time to lighten the mood! #FNKBadRomance is all about the cheesiest, funniest, or strangest songs about love, romance, or relationships that the incredible karaoke singers in the Friday Night Karaoke FB group can find! Featured in this episode alongside hosts Mike Wiston and Joe Rubin:- Sherman Cox with Just My Imagination by The Temptations- Marietta Gevorgian with Traitor by Olivia Rodrigo- Alan Torres with The Search is Over by Survivor- Jennifer Adams and Aaron Adams with I Got You Babe by Sonny and Cher- Paul Bright with You Don't Love Me Anymore by Weird Al Yankovic- Tyler Turcotte with Spooky by Classics IV - Heather Gurnari with Lovefool by The Cardigans- Mike Wiston with That Girl by Shaggy and Maxi Priest- Barbara Lemley Lentz with Hopelessly Devoted To You by Olivia Newton-John- Celeste Applegae with Dreamgirl by The Lonely IslandLove what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!

Beat Migs. Steve took a pie to a face and sang “Cherry Pie”. Danny and Joe sing “I Got You Babe” with whip crème in their mouth. See omnystudio.com/listener for privacy information.

Welcome to Punxsutawney! On this, our debut episode, we introduce you to your new favorite podcast about your favorite 27 year old movie: Groundhog Day. On this introductory episode, we do an overview of the film itself and get you prepped for what is to come on this show. The movie stars Bill Murray (Ghostbusters, Caddyshack, Stripes) and Andie MacDowell (St. Elmo's Fire, Four Weddings and a Funeral, Ready or Not). We talk about everything from Bill Murray's divorce at the time of filming, to how long Phil Connors is trapped in the time loop, to potential re-casting. There are notable side characters, such as Chris Elliot of Schitt's Creek and Stephen Tobolowsky of Californication and Silicon Valley. Groundhog Day was partially written and entirely directed by the late Harold Ramis (Multiplicity, Analyze This, National Lampoon's Vacation). We talk about his contributions to the script itself and his offscreen frustrations with Bill Murray. The film was conceived of and written by Danny Rubin (Hear No Evil, S.F.W., Our Own Devices). Did you know he had a cameo in the Jamie Lee Curtis/ Lindsay Lohan version of Freaky Friday? We talk about his conception of the movie, the themes, and how he came to hinge the movie on this holiday. Also, I guess for good measure, we talk about the origins of the holiday itself. The film was not entirely without controversy. Author, Richard A. Lupoff, accused the filmmakers of plagiarizing his short 12:01 pm, which was adapted into an Academy Award winning short of the same name, and later a feature-length made for TV movie. The short is definitely far superior, starring Kurtwood Smith (That '70s Show, Robocop). There are also similarities with the film and Ken Grimwood's 1986 novel: Replay. Oh, and I guess I'll throw this in for the metadata: it is similar to Friedrich Nietzsche's "The Gay Science." We also go into detail as to the musical, the Italian remake "Stork Day," and the video game, Groundhog Day: Like Father Like Son. Be sure to check out Jake's other podcast: Slashers. Every week they put out new episodes on topics ranging from movie reviews to debates on all your favorite horror franchises: linktr.ee/slasherspod If you are looking for I Got You Babe merch, you will have to check on the Slasher's Redbubble page for now: https://www.redbubble.com/people/Slasherspod/shop

Welcome to Punxsutawney! On this, our debut episode, we introduce you to your new favorite podcast about your favorite 27 year old movie: Groundhog Day. On this introductory episode, we do an overview of the film itself and get you prepped for what is to come on this show. The movie stars Bill Murray (Ghostbusters, Caddyshack, Stripes) and Andie MacDowell (St. Elmo's Fire, Four Weddings and a Funeral, Ready or Not). We talk about everything from Bill Murray's divorce at the time of filming, to how long Phil Connors is trapped in the time loop, to potential re-casting. There are notable side characters, such as Chris Elliot of Schitt's Creek and Stephen Tobolowsky of Californication and Silicon Valley. Groundhog Day was partially written and entirely directed by the late Harold Ramis (Multiplicity, Analyze This, National Lampoon's Vacation). We talk about his contributions to the script itself and his offscreen frustrations with Bill Murray. The film was conceived of and written by Danny Rubin (Hear No Evil, S.F.W., Our Own Devices). Did you know he had a cameo in the Jamie Lee Curtis/ Lindsay Lohan version of Freaky Friday? We talk about his conception of the movie, the themes, and how he came to hinge the movie on this holiday. Also, I guess for good measure, we talk about the origins of the holiday itself. The film was not entirely without controversy. Author, Richard A. Lupoff, accused the filmmakers of plagiarizing his short 12:01 pm, which was adapted into an Academy Award winning short of the same name, and later a feature-length made for TV movie. The short is definitely far superior, starring Kurtwood Smith (That '70s Show, Robocop). There are also similarities with the film and Ken Grimwood's 1986 novel: Replay. Oh, and I guess I'll throw this in for the metadata: it is similar to Friedrich Nietzsche's "The Gay Science." We also go into detail as to the musical, the Italian remake "Stork Day," and the video game, Groundhog Day: Like Father Like Son. Be sure to check out Jake's other podcast: Slashers. Every week they put out new episodes on topics ranging from movie reviews to debates on all your favorite horror franchises: linktr.ee/slasherspod If you are looking for I Got You Babe merch, you will have to check on the Slasher's Redbubble page for now: https://www.redbubble.com/people/Slasherspod/shop

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I Got You Babe" by Sonny and Cher. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

Season 1 Episode 3 of It's Time to Rewind: Groundhog Day After Day After Day. Host Bubbawheat and guest Rob from The Great Escape Minute discussing Phil's third Groundhog Day that starts at 25 minutes and 21 seconds with Sonny and Cher's I Got You Babe and Phil looking rather unsettled at an intact pencil in the nightstand and ends at 34 minutes and 33 seconds with Phil in a jail cell. Rob can be found at: The Great Escape Minute MovieRob Follow @Bubbawheat on Twitter Join the Facebook Group It's Time to Rewind Support the show on Patreon Opening and closing theme music by the No Corporation, Groundhog Day remix by Bubbawheat

Season 1 Episode 2 of It's Time to Rewind: Groundhog Day After Day After Day. Host Bubbawheat and guest Robert from To the Escape Hatch discuss Phil's February 2nd, Groundhog Day number 2 that starts at 18 minutes and 17 seconds with Sonny and Cher's I Got You Babe and Phil saying to himself that the radio station is playing yesterday's tape and ends at 25 minutes and 21 seconds with Phil asks when the long distance lines will be repaired and breaks a pencil in half before going to sleep with the clock flipping to 4:05. Robert can be found at To the Escape Hatch Follow @Bubbawheat on Twitter Join the Facebook Group It's Time to Rewind Support the show on Patreon Opening and closing theme music by the No Corporation, Groundhog Day remix by Bubbawheat

Season 1 Episode 1 of It's Time to Rewind: Groundhog Day After Day After Day. Host Bubbawheat and guest Paul Hawkins from the BlokeBusters Podcast discuss the first February 2nd in the 1993 Bill Murray movie Groundhog Day. It starts at 7 minutes and 26 seconds with a shot of the Cherry Street Inn and Phil Conners waking up to Sonny and Cher's "I Got You Babe" and ends at 18 minutes and 17 seconds with Phil getting out of a cold shower and Ms. Lancaster saying that "of course there wouldn't be any hot water today." Paul can be found at: BlokeBusters Podcast All Ports Open Network Follow @Bubbawheat on Twitter Join the Facebook Group It's Time to Rewind Support the show on Patreon Opening and closing theme music by the No Corporation, Groundhog Day remix by Bubbawheat

Educator, composer, arranger, Professor of Music at University of New Orleans Harold Battiste (1931-2015) co-produced and arranged many hits including You Send Me for Sam Cooke, I Got You Babe for Sonny & Cher, and the Gris Gris, Babylon and Gumbo albums for Mac Rebennack/Dr. John. This complete interview made for my History of Pop Arranging show for the BBC became a chapter in my book The Invisible Artist. This is an important historical archive as the legendary Battiste gives us an insider's view of the birth of popular music from the 1950s, bringing his New Orleans culture to LA. Enjoy! Subscribe! Have some jambalaya! Radio Richard Theme ©Niles Smiles Music 2021 sung by Free Play Duo. This is killer stuff and you only get this with Radio Richard. LIKE this video! SUBSCRIBE to our social media! DONATE to our PATREON! Pretty Please! YouTube: https://www.youtube.com/user/DRRICHARDNILES Facebook: https://www.facebook.com/radiorichard2021 Twitter: https://twitter.com/radiorichard3 Patreon: https://www.patreon.com/radiorichard   #haroldbatiste​ #richardniles​ #radiorichard #musicinterviews​ #popmusic #sonny&cher #samcooke #igotyoubabe #arranger​ #interviews​ #podcasts​ #music​ #podcasting​ #podbean​ #educational​