Podcasts about Little Richard

We roll into our 80s hard rock showdown, where we put ACDC's Back in Black, Van Halen's 1984, and Guns N' Roses' Appetite for Destruction under the brightest light we know: track-by-track comparison. Jump meets It's So Easy; Panama squares off with Nightrain; Hot for Teacher tangles with Paradise City. The fun isn't just the score—it's how those matchups rewire your nostalgia.From there, we zoom in on live recordings that changed how we hear legends: Elton John's 1970 trio storm on 17-11-70, and The Doors' final Jim Morrison concert, a difficult night for him by all accounts, that closes on the aptly chosen "The End."Minute with Jimmy unwraps the shockingly modern birth of Little Richard's Tutti Frutti—those opening syllables were a drum part first—and why 1955 still sounds like tomorrow. We close on the Jim Carroll Band's People Who Died, a song that once felt like pure punk adrenaline and now reads like a roll call of lives that shaped us. If you love rock history, live albums, and the way songs become landmarks, you'll feel right at home.Learn Something New orRemember Something OldIf you enjoyed the show, follow, rate, and share it with a friend. Got a take or a memory to add? Email musicinmyshoes@gmail.com and join the next Mailbag.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Hello and welcome to a special holiday bonus episode of Revolutions Per Movie!!!! I'm delighted to be joined by film critic/author Alonso Duralde (Hollywood Pride: A Celebration of LGBTQ+ Representation in Film & Have Yourself A Movie Little Christmas) to discuss one of the greatest holiday feasts of all time: PEE-WEE'S CHRISTMAS SPECIAL!!!!We also discuss whether or not it's easy to truly love holiday movies, the pain behind the awful Christmas film Santa And The Ice Cream Bunny, what Bowie or Zappa were thinking when they played the Florida amusement park Pirates World (where Iron Butterfly also filmed their film Musical Mutiny), Blast Of Silence, how Pee-Wee scored prime time appearances by Grace Jones and KD Lang while also convincing Cher & Little Richard not to sing, joining the Pee-Wee fan club, David Letterman, the new Pee-Wee doc, how people like Diana Shore were in on the joke by appearing on the special, the incredible pacing of a typical Pee-Wee episode, John Waters, how we love when Pee-Wee was just an asshole, which member of the playhouse would we want to hang out with, David Bowie & Bing Crosby's rendition of Little Drummer Boy, TV crap and variety shows feeding our 10 year old brains in the 70s, the verdict on Christmas carols, having "verse blindness" with music, top dollar Santas and more!So please come join me at my Revolutions Per Movie holiday party...the cups of instant coffee are on the floor...so help yourself!ALONSO DURALDE:instagram.com/alonso.duraldehttps://www.hachettebookgroup.com/titles/alonso-duralde/hollywood-pride/9780762485895/?lens=running-presshttps://www.bloomsbury.com/us/have-yourself-a-movie-little-christmas-9781493087440/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Send us a textWelcome 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:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next 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: Ready Teddy by Little Richard (1956)Song 1: Dixie Chicken by Little Feat (1973)Song 2: It's a Wonderful Life by Sparklehorse (2001)Song 3: Could Have Been Me by The Struts (2013)Song 4: A Milli by Lil Wayne (2008)Song 5: I Am a Pilgrim by The Byrds (1968)Song 6: Rag Mop by The Ames Brothers (1950)Song 7 : Travelin' Alone by Lil' Son Jackson (1951)Song 8: Where Do Broken Hearts Go by Whitney Houston (1987)Song 9: Before You Go by Lewis Capaldi (2019)Song 10: North Carolina by Little Chief (2013)

National bathtub party day. Entertainment from 2017. Charlegagne takes charge of Europe, 1st electric car, Prohibition ended, US Navy flight 19 disappeared. Todays birthdays - Martin Van Buren, George Armstong Custer, Walt Disney, Little Richard, John Rzeznik, Gary Allan, Frankie Muniz. Nelson Mandela died.Intro - God did good - Dianna Corcoran     https://www.diannacorcoran.com/Splish splash - Bobby DarinRock Star - Post Malone   21 SavageGreatest love story - LancoCelebration - Kool & the GangBirthdays - In da club - 50 Cent    http://50cent.com/When you wish apon a star - Jiminy CricketTutti Fruiti - Little RichardIris - Goo Goo DollsMan to man - Gary AllanExit - Other Plans - Hunter Fountain   Hunter on Facebookcountryundergroundradio.comHistory & Factoids about today webpage

On the December 5 edition of the Music History Today podcast, U2 does a first, John Lennon does a last, & Graham Nash quits one band to start another. Also, happy birthday to the Architect of Rock & Roll, Little Richard For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday 

La mejor música, todas las curiosidades y las últimas noticias te están esperando de mano de Jota Abril, Marta Critikian y Carlos Iribarren. ¡No te lo pierdas!

Sintonía: "Tempus Fugit" - Bud Powell 1.- "I´m Gonna Be A Wheel Someday" - Fats Domino 2.- "Down On The Farm" - Al Downing 3.- "You Better Dig It" - Bill Johnson 4.- "Hum Baby" - Jerry Williams Jr. 5.- "Where Were You On Your Wedding Day" - Lloyd Price 6.- "Whole Lotta Loving" - Fats Domino 7.- "Rock and Roll Deacon" - Screamin´ Joe Neal 8.- "Cadillac" - Bo Diddley 9.- "Lucille" - Little Richard 10.- "Uncle John" - Wild Child Gipson 11.- "Begging" - Bo Toliver And His Timers 12.- "Oh Baby Doll" - Chuck Berry 13.- "Fat Gal" - Otis Redding 14.- "At The Party" - Big Sambo 15.- "Hush Your Mouth" - Bo Diddley 16.- "Such A Mess" - Lloyd Price 17.- "Beautiful Dililah" - Chuck Berry 18.- "I Got A Rock And Roll Gal 19.- "Blue Monday" - Fats Domino 20.- "Baby Face" - Little RichardTodas las músicas extraídas de la compilación (10xCD) "Black Stars Of Rock And Roll" (The Intense Media, año de publicación desconocido)Todas las músicas seleccionadas por Klaus Faber desde su casa en MadridEscuchar audio

Drag: A British History (University of California Press, 2023) is a groundbreaking study of the sustained popularity and changing forms of male drag performance in modern Britain. With this book, Jacob Bloomfield provides fresh perspectives on drag and recovers previously neglected episodes in the history of the art form. Despite its transgressive associations, drag has persisted as an intrinsic, and common, part of British popular culture--drag artists have consistently asserted themselves as some of the most renowned and significant entertainers of their day. As Bloomfield demonstrates, drag was also at the center of public discussions around gender and sexuality in the nineteenth and twentieth centuries, from Victorian sex scandals to the "permissive society" of the 1960s. This compelling new history demythologizes drag, stressing its ordinariness while affirming its important place in British cultural heritage. Jacob Bloomfield is a Zukunftskolleg Postdoctoral Fellow at the University of Konstanz and an Honorary Research Fellow at the University of Kent. His research is situated primarily in the fields of cultural history, the history of sexuality, and gender history. Jacob is the author of Drag: A British History (2023). His second monograph will be about the historical reception to, and cultural impact of, musician Little Richard. Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. 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

Drag: A British History (University of California Press, 2023) is a groundbreaking study of the sustained popularity and changing forms of male drag performance in modern Britain. With this book, Jacob Bloomfield provides fresh perspectives on drag and recovers previously neglected episodes in the history of the art form. Despite its transgressive associations, drag has persisted as an intrinsic, and common, part of British popular culture--drag artists have consistently asserted themselves as some of the most renowned and significant entertainers of their day. As Bloomfield demonstrates, drag was also at the center of public discussions around gender and sexuality in the nineteenth and twentieth centuries, from Victorian sex scandals to the "permissive society" of the 1960s. This compelling new history demythologizes drag, stressing its ordinariness while affirming its important place in British cultural heritage. Jacob Bloomfield is a Zukunftskolleg Postdoctoral Fellow at the University of Konstanz and an Honorary Research Fellow at the University of Kent. His research is situated primarily in the fields of cultural history, the history of sexuality, and gender history. Jacob is the author of Drag: A British History (2023). His second monograph will be about the historical reception to, and cultural impact of, musician Little Richard. Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Drag: A British History (University of California Press, 2023) is a groundbreaking study of the sustained popularity and changing forms of male drag performance in modern Britain. With this book, Jacob Bloomfield provides fresh perspectives on drag and recovers previously neglected episodes in the history of the art form. Despite its transgressive associations, drag has persisted as an intrinsic, and common, part of British popular culture--drag artists have consistently asserted themselves as some of the most renowned and significant entertainers of their day. As Bloomfield demonstrates, drag was also at the center of public discussions around gender and sexuality in the nineteenth and twentieth centuries, from Victorian sex scandals to the "permissive society" of the 1960s. This compelling new history demythologizes drag, stressing its ordinariness while affirming its important place in British cultural heritage. Jacob Bloomfield is a Zukunftskolleg Postdoctoral Fellow at the University of Konstanz and an Honorary Research Fellow at the University of Kent. His research is situated primarily in the fields of cultural history, the history of sexuality, and gender history. Jacob is the author of Drag: A British History (2023). His second monograph will be about the historical reception to, and cultural impact of, musician Little Richard. Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Drag: A British History (University of California Press, 2023) is a groundbreaking study of the sustained popularity and changing forms of male drag performance in modern Britain. With this book, Jacob Bloomfield provides fresh perspectives on drag and recovers previously neglected episodes in the history of the art form. Despite its transgressive associations, drag has persisted as an intrinsic, and common, part of British popular culture--drag artists have consistently asserted themselves as some of the most renowned and significant entertainers of their day. As Bloomfield demonstrates, drag was also at the center of public discussions around gender and sexuality in the nineteenth and twentieth centuries, from Victorian sex scandals to the "permissive society" of the 1960s. This compelling new history demythologizes drag, stressing its ordinariness while affirming its important place in British cultural heritage. Jacob Bloomfield is a Zukunftskolleg Postdoctoral Fellow at the University of Konstanz and an Honorary Research Fellow at the University of Kent. His research is situated primarily in the fields of cultural history, the history of sexuality, and gender history. Jacob is the author of Drag: A British History (2023). His second monograph will be about the historical reception to, and cultural impact of, musician Little Richard. Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices

Drag: A British History (University of California Press, 2023) is a groundbreaking study of the sustained popularity and changing forms of male drag performance in modern Britain. With this book, Jacob Bloomfield provides fresh perspectives on drag and recovers previously neglected episodes in the history of the art form. Despite its transgressive associations, drag has persisted as an intrinsic, and common, part of British popular culture--drag artists have consistently asserted themselves as some of the most renowned and significant entertainers of their day. As Bloomfield demonstrates, drag was also at the center of public discussions around gender and sexuality in the nineteenth and twentieth centuries, from Victorian sex scandals to the "permissive society" of the 1960s. This compelling new history demythologizes drag, stressing its ordinariness while affirming its important place in British cultural heritage. Jacob Bloomfield is a Zukunftskolleg Postdoctoral Fellow at the University of Konstanz and an Honorary Research Fellow at the University of Kent. His research is situated primarily in the fields of cultural history, the history of sexuality, and gender history. Jacob is the author of Drag: A British History (2023). His second monograph will be about the historical reception to, and cultural impact of, musician Little Richard. Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

! Turn On - Choon In - Zig Zag ! - ! What's Past - Is Prologue ! ! !   Callin'  ALL  The  Boom Booms  &  The Zoom Zooms   ! ! . . .   GROUND  DOWN  TO  THE  REAL UNDERGROUND   . . . * * *  GROOVIN'  BLUE   25 - 11 * * * Groovin' Blue is dedicated to Sunny "Sweet Daddy Fonk" Wong.  "Sweet Daddy" was a much admired and much loved WAGRadio on-air performer and boyhood pal of the station's Vinyl Librarian William "Fats Is Back" Reiter.   In 2010 they accomplished a ten day mid to late October trip-of-a-lifetime to the U.S.A. through six Southern states driving mostly on back roads - South Carolina, Arkansas, Mississippi, Georgia, Tennessee and Alabama - home birth states of most of their musical heroes . . . James Brown, Ray Charles, Elvis Presley, Otis Redding, Bobby "Blue" Bland, Brook Benton, Little Richard, "Brownie" McGhee, Eddie Floyd, Percy Sledge, Eddie Kendricks, Gladys Knight, Wilson Pickett . . . the list is endless.  Illness prevented Sunny from going with his brother from a different mother on a second planned road trip. The Vinyl Librarian is looking forward to DJZigZag putting up the eighth of eight "Southern Music Tour (Is Fun)" shows up on Podbean and Soundcloud for the WAGRadio Prepared Lissener audience in the near future.  Show No. Seven has been well received - soundcloud - https://soundcloud.com/user-500142074/southern-music-tour-is-fun-num 1.  (5:09)  WAGRadio GB 25 - 11 Intro - Produced by WAGRadio Vinyl Librarian William "Fats Is Back" Reiter (formerly CKLG-FM 96.9 Boss Jock - 'Bill Reiter - The All-Niter') 2.  (3:47)  "D001 (DJZigZag Roaches In The Background EdiT)" - APPAREL WAX [Apparel Music Catalog] Italy 3.  (  :11)  WAGRadio GivIToMe EdiT 4.(4:50)  "Yeah (60's Soul Cover) 1960's Soul AI Cover" - USHER [. almost real] 5.(  :41)  WAGRadio MenTal Track Id 6.(4:18)  "We're Alive (DJZigZag EdiT of The Soulful House Mix)" - JULIAN MARSH [Yellow Staircase Music] 7.(2:47)  "Lady Cop (Instrumental)" - 2RARE [Warner Bros.] 8.(  :20)  WAGRadio TooRoo Tee Id 9.(3:01)  "ABC's" - RAECOLA, BABY .COM [Noir Fever] 10.(6:03) "Like Miles" - SOMETHING BLUE [Posi-Tone Cd No. 1644 "In The Beginning"]  11.(2:39) "What You Wanna Try" / 12.(1:56) "What You Wanna Try (Quick Hit)" - MASEGO [UMG Recordings/EQT Recordings LLC] 13.(  :19) WAGRadio HopHop Id 14.(6:57) "Space Kitten (DJZigZig Sylvester EdiT of The Long Black 12 Inches of Love Mix)" - BLACK SAUSAGE [Good For You Records] 15.(4:00) "Calm" - LADY WRAY [Big Crown Records Lp No. BC 166-LP "Cover Girl"] 16.(  :11) WAGRadio Id 17.(3:17) "Black Latin (DJZigZag EdiT of the Kev Cee Latin Vamp Mix)" - SHINO BLACKK, KEVIN O, COREY HOLMES [New Generation Records] 18.(3:27) "My Best Step" - LADY WRAY [Big Crown Records Lp No. BC 166-LP "Cover Girl"] 19.(  :19) WAGRadio DJ Ze Ze's Vinyl Id 20.(4:39) "Winter Vibes (DJZigZag Donnie Baluga EdiT)" - DAVID MORALES [Diridim] 21.(  :08) WAGRadio Gut Id 22.(3:36) "The Frequency" - TRACSUIT SOCIETY [Blockhead Recordings] 23.(  :14) WAGRadio Comprende Id 24.(3:30) "Get A Little Groove On (DJZigZag EdiT of the Club Mix)" - MODESTI [Home Run] 25.(  :31) WAGRadio Biznizz Id 26.(4:06) "Brothers (DJZigZag More Soul EdiT)" - SUM BLOKE [Quincy Boy] 27.(3:51) "Secrets" - BOBBY WOMACK [Beverley Glen Music 45rpm No. BG 2000] 1981 Prod. Bobby Womack & Otis Smith 28.(  :22) WAGRadio Id 29.(5:43) "What's Her Name (DJZigZag Soont Face EdiT)" - CAPRON (NL) [Overdose Records] 2024 30.( :07) GB Nu End 79:57  

In this episode, Mike rewinds the clock to January 1978 and relives one of the most legendary winter storms in Michigan history — not as an adult, but as the 12-year-old kid he was at the time. Join Mike as he shares what it was like watching the storm unfold on TV and Radio as the local weather team track the impossible, and experiencing the chaos, excitement, and wonder of a once-in-a-generation blizzard. From the snow drifts taller than a kid to the surreal quiet of a world that completely shut down, this episode captures the Blizzard of '78 as only someone who lived it — wide-eyed and bundled up — can tell it. Mike sets the scene by sharing that he had just celebrated his birthday when the blizzard began, remembering how he had a pizza party at home after his father picked up Sicilian square pizza from a local place called Little Richard’s. He recalls the excitement in the air as TV news talked about the potential for a blizzard. On the morning of January 26, schools were closed as drifts of snow created significant chaos. Mike describes how everything was completely buried under the snow, with even the antenna of his mother’s car barely visible. The storm had high winds, creating massive drifts and making travel impossible. He recounts the challenges of feeding horses at a nearby barn and how his family navigated the snow-laden landscape. He humorously shares anecdotes about the struggles of shoveling snow with his cousin and their father using a 1970 John Deere lawn tractor equipped with a snowblower. After several days, the roads began to open again, and stories about neighbors and their interactions during the storm emerge, including a humorous tale about a front-end loader being used to deliver cigarettes to a stranded neighbor. As the storm’s impact persisted, schools were closed for an entire week, and the community adapted to the extraordinary amount of snow with creative solutions like snowshoeing for transportation. Mike also describes his memories of hot soups simmering on the wood stove during the storm, a comforting detail from those winter days. He revisits the enormous snowbanks that formed by the season’s end, making comparisons to today’s weather reactions and reminiscing about the blizzard’s lasting impact. Mike wraps up by inviting listeners who experienced the Blizzard of ’78 to share their stories and reflecting on how this blizzard remains a notable part of his childhood memory.

In this episode, Mike rewinds the clock to January 1978 and relives one of the most legendary winter storms in Michigan history — not as an adult, but as the 12-year-old kid he was at the time. Join Mike as he shares what it was like watching the storm unfold on TV and Radio as the local weather team track the impossible, and experiencing the chaos, excitement, and wonder of a once-in-a-generation blizzard. From the snow drifts taller than a kid to the surreal quiet of a world that completely shut down, this episode captures the Blizzard of '78 as only someone who lived it — wide-eyed and bundled up — can tell it. Mike sets the scene by sharing that he had just celebrated his birthday when the blizzard began, remembering how he had a pizza party at home after his father picked up Sicilian square pizza from a local place called Little Richard’s. He recalls the excitement in the air as TV news talked about the potential for a blizzard. On the morning of January 26, schools were closed as drifts of snow created significant chaos. Mike describes how everything was completely buried under the snow, with even the antenna of his mother’s car barely visible. The storm had high winds, creating massive drifts and making travel impossible. He recounts the challenges of feeding horses at a nearby barn and how his family navigated the snow-laden landscape. He humorously shares anecdotes about the struggles of shoveling snow with his cousin and their father using a 1970 John Deere lawn tractor equipped with a snowblower. After several days, the roads began to open again, and stories about neighbors and their interactions during the storm emerge, including a humorous tale about a front-end loader being used to deliver cigarettes to a stranded neighbor. As the storm’s impact persisted, schools were closed for an entire week, and the community adapted to the extraordinary amount of snow with creative solutions like snowshoeing for transportation. Mike also describes his memories of hot soups simmering on the wood stove during the storm, a comforting detail from those winter days. He revisits the enormous snowbanks that formed by the season’s end, making comparisons to today’s weather reactions and reminiscing about the blizzard’s lasting impact. Mike wraps up by inviting listeners who experienced the Blizzard of ’78 to share their stories and reflecting on how this blizzard remains a notable part of his childhood memory.

Send us a textHere in Episode 248 of the No Name Music Cast, it is Tim's turn to pick the topic and he chooses to talk about music from 1955!We cover Elvis, Little Richard and Fats Domino to name only a few.We also cover Kiss Alive, Coal Mines, Back To The Future and The Running Man!Support the showEmail the show: nonamemusiccast@gmail.com Instagram: https://www.instagram.com/nonamemusiccastpodcast/ https://nonamemusiccast.com/

Indiana Avenue played an important role in the development of rock and roll. Artists like Chuck Berry, Little Richard and Fats Domino played their first Indiana concerts on the Avenue, and Naptown artists like the Ink Spots, and Leroy Carr influenced the development of rock and roll. But very few Hoosiers are aware of the Avenue's important rock and roll history. This week on Echoes of Indiana Avenue, we'll pay tribute to the early rock and roll heroes of Naptown, including music from Roosevelt Johnson, Toni Cavanaugh, Lois Blaine, Thurston Harris, Tiny Brown, Bobby Lewis and more.

Educated ears in the summer of 1957 were still trying to decide if this new rock 'n' roll thing was really music's future or was just a passing fancy.Two summers had passed by then since the new sound burst upon the American scene. The ear-opening “Rock Around the Clock” by Bill Haley & His Comets was quickly followed by Chuck Berry's “Maybellene” and Little Richard's “”Tutti Frutti.”The following summer the rock kept rolling, when The King arrived. This new kid, Elvis Presley, topped the charts for weeks on end with “Heartbreak Hotel,” with “Hound Dog,” with “Don't Be Cruel.”But by 1957, the cigar-chomping bigwigs in the record company boardrooms still weren't sure. Not sure sure, you understand.The Summer DoldrumsAfter all, traditional pop crooners seemed to be staging a comeback. Perry Como (of all people!) hit No. 1 with “Round and Round.” Pat Boone scored with the languid “Love Letters in the Sand.” Debby Reynolds had a hit with “Tammy.” Holy schlock, Batman, even Elvis seemed to be getting goo-goo eyed all of a sudden with “(Let Me Be Your) Teddy Bear.”So, the question in ‘57: where were summertime's rebels? That year the cool kids had already packed up their beach towel and gone on back to school by the time rock's Next Big Wave hit:— Sept. 9, 1957, Buddy Holly and The Cricket, “That'll Be the Day.”— Oct. 11, 1957, Everly Brothers, “Wake Up Little Susie.”— Oct. 21, 1957, Elvis, “Jailhouse Rock.”— Dec. 21, 1957, Danny and the Juniors, “At the Hop.”But even before that fall, diehards could dig a little deeper in the radio playlist for up-and-coming rockers. Jerry Lee Lewis was howling away with “A Whole Lot of Shakin'.” Fats Domino was still down there somewhere with “I'm Walkin'.” Jackie Wilson was right on deck with “Reet Petite.”About This Week's SongAnd languishing even further down on the summer music charts — oh, somewhere around No. 24 or so — was the subject of this week's podcast. It's The Flood's favorite souvenir from the Summer of ‘57: The Coasters' wonderful “(When She Wants Good Lovin') My Baby Comes to Me.”As reported here earlier, this winking and nodding Jerry Leiber-Mike Stoller composition was a minor hit for The Coasters. It did resurrect nine years later when a little known group called The Chicago Loop took it for a spin and got to No. 37 on the Billboard Hot 100 chart.But in the Floodisphere, we much prefer a different pressing of the song released one year earlier. Favorite folksinger Tom Rush's 1965 self-titled debut Elektra album included a version of the tune accompanied by bassist Bill Lee along with John Sebastian (of The Lovin' Spoonful) and Fritz Richmond (of The Jim Kweskin Jug Band.)This track, captured at last week's rehearsal, features the arrangement we're working up to include on the new album when we start recording in the weeks ahead. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Bob Merlis ran the Warner Bros. publicity department for much of his 29 years at the label, and he has tales to tell. He recalls his adventures as a Columbia University student presenting concerts by the Byrds and others, as well as his rock journalist stint, his encounter with “supernova” Little Richard and a classic misunderstanding with the Carpenters. Soon he was working with Dion DiMucci, ZZ Top, Debbie Gibson, Talking Heads, Devo, the B-52's, the BoDeans, Madonna, R.E.M. and many others. Which act was the beneficiary of “the cheapest promo in the history of Warner Bros”? Who reacted hostilely to his publicity ideas? Who was especially cool? How did the label vibe change? After Merlis left Warner Brothers, what was Chris Isaak's valuable advice? And what role did late Rolling Stones/Beatles manager Allen Klein play in Merlis's next act?

Marc Bonilla is a renowned guitarist, composer, and producer whose dynamic career spans decades across the worlds of rock, film, and television. He first gained recognition touring with Warner Bros. recording artists Toy Matinee and later released three critically acclaimed instrumental guitar albums on Reprise Records: EE Ticket, American Matador, and Celluloid Debris.  A versatile and south-after collaborator, Bonill has performed, recorded and produced with an impressive roster of artists including Asia, Ronnie Montrose, Gamma, Glenn Hughes, Eddie Jobson, Slash, Little Richard, Peter Frampton, Rob Halford, David Coversale, Paul Rodgers, Edgar Winter, Ambrosia, David Pack, Todd Rundgren, Robby Krieger, Don Felder, Sammy Hagar and Tesla, among many others. In the Realm of film and television, Marc has composed and performed on scores for numersous major motion pictures such as The Bourne Legacy, Iron Man 2, Green Lantern, The Scorpion King, Falling Down, Waterworld, The Replacements, Spiderman 2, Bruce Almighty, ER and many more. He has collaborated with top Hollywood composers including James Newton Howard, John Debney, Joel McNeely, and Snuffy Walden, earning an Emmy nomination in 2001 for his work on David Milch's Big Apple. For Show notes and more info, visit our website: www.rockandrollconfessional.rocks Also Marc mentions many of our previoius guests that you may want to hear those interviews, including Lee Sklar, Glenn Hughes, Kipp Lennon, Peter Frampton, Robby Krieger and more. Find those interviews where ever you found this one!   More info on Marc's site: https://marcbonillamusic.com/

Nueva entrega de la serie mensual donde recordamos singles que alcanzaron su puesto más alto en las listas pop de EEUU en este mismo mes de hace 60 años. Un pequeño retrato de lo que era la música popular en aquellos días, la enorme variedad de estilos que abarcaba y cómo iba evolucionando en aquellos tiempos frenéticos.Playlist;(sintonía) HERB ALPERT and THE TIJUANA BRASS “Taste of honey” (top 7)THE ROLLING STONES “Get off of my cloud” (top 1)THE SUPREMES “I hear a symphony” (top 1)LEN BARRY “1-2-3” (top 2)OTIS REDDING “Respect” (top 35)FONTELLA BASS “Rescue me” (top 4)KIM WESTON “Take me in your arms (rock me a little while)” (top 50)MARVIN GAYE “Ain’t that peculiar” (top 8)THE TEMPTATIONS “My baby” (top 13)JAN and DEAN “I found a girl” (top 30)TRINI LOPEZ “Sinner man” (top 54)SAM THE SHAM and THE PHARAOHS “Ring dang doo” (top 33)THE BEAU BRUMMELS “Don’t talk to strangers” (top 52)BOB DYLAN “Positively 4th Street” (top 7)THE TURTLES “Let me be” (top 29)NANCY SINATRA “So long babe” (top 86)LITTLE RICHARD “I don't know what you've got but it's Got Me” (top 92)Escuchar audio

Send us a textIntro song: LucilleSong 1: Jenny JennySong 2: Bama Lama Bama LooSong 3: Long Tall SallySong 4: Ooh! My SoulSong 5: Going Home TomorrowOutro song: The Girl Can't Help It

At long last Shannon gets to talk about the book she's been planning on since the last Halloween episode — The Picture of Dorian Gray by Oscar Wilde. We first discuss the Aesthetic Movement of the 19th century and a tiny bit of the life of Oscar Wilde before we jump into the book itself. Then Bryce gifts you with an abbreviated history of metal music. Get a notepad ready to take notes because he gives you a LOT of information! Happy Halloween! Show Notes: The Picture of Dorian Gray by Oscar Wilde: Oscar Wilde Official Website: http://www.cmgww.com/historic/wilde/ Oscar Wilde: https://en.wikipedia.org/wiki/Oscar_Wilde Aestheticism: https://en.wikipedia.org/wiki/Aestheticism Decadent Movement: https://en.wikipedia.org/wiki/Decadent_movement The Aesthetic Movement by Fiona McCarthy: https://www.theguardian.com/artanddesign/2011/mar/26/aestheticism-exhibition-victoria-albert-museum Aesthetic Movement in England by Walter Hamilton: https://archive.org/details/aestheticmovemen00hamiuoft Oscar WIlde's Cello Coat: https://oscarwilde.blog/2018/01/04/oscar-wildes-cello-coat/ The Picture of Dorian Gray: https://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray# Metal music: VH1 Documentary https://www.youtube.com/watch?v=AR78XBi_nAE&t=13s https://en.wikipedia.org/wiki/Rock_and_roll https://en.wikipedia.org/wiki/The_Beatles https://en.wikipedia.org/wiki/Birmingham#History https://en.wikipedia.org/wiki/Black_Sabbath#History https://en.wikipedia.org/wiki/Led_Zeppelin This is Spinal Tap amps go to 11 https://www.youtube.com/watch?v=uMSV4OteqBE https://en.wikipedia.org/wiki/Psychedelic_rock https://en.wikipedia.org/wiki/Satanic_panic https://en.wikipedia.org/wiki/Parents_Music_Resource_Center https://en.wikipedia.org/wiki/Heavy_metal_genres https://en.wikipedia.org/wiki/Dimebag_Darrell https://www.rollingstone.com/feature/behind-the-murder-of-dimebag-darrell-233541/ Songs list: Little Richard, Tutti Frutti - Here's Little Richard 1957 James Brown, Shout and Shimmy - Good, Good Twistin' With James Brown 1962 Chuck Berry, School Day - After School Session 1957 The Beatles, Love Me Do - Please Please Me 1963 Black Sabbath, Wasp/Behind the Wall of Sleep/Bassically/N.I.B. - Black Sabbath 1970 Led Zeppelin, Good TImes Bad TImes - Led Zeppelin I 1969 Led Zeppelin, Dazed and Confused - Led Zeppelin I 1969 Tenacious D, Karate - Tenacious D 2001 Worm Shepherd, The Anguished Throne - Hunger 2024 Humble Pie, As Safe As Yesterday Is - As Safe As Yesterday Is 1969 Deep Purple, Smoke on the Water - Machine Head 1972 Back Sabbath, Black Sabbath - Black Sabbath 1970 Black Sabbath, War Pigs - Paranoid 1970 Steppenwolf, Born to be Wild - self titled 1968 Alice Cooper, Poison - Trash 1989 KISS, Sure Know Something - Dynasty 1979 AC/DC, TNT - High Voltage 1976 Judas Priest, Realms of Death - Stained Class 1978 Motorhead, Ace of Spades - Ace of Spades 1980 13th Floor Elevators, You're Gonna Miss Me - 7th Heaven Music of the Spheres 1966 Chelsea Grin, Cursed - My Damnation 2011 The Damned, New Rose - Damned Damned Damned 1977 Judas Priest, Breaking the Law - British Steel 1980 Candlemass, Solitude - Epicus Doomicus Metallicus 1986 Venom, Black Metal - In League With Satan 1981 Van Halen, You Really Got Me - Van Halen 1978 Black Sabbath, Neon Knights - Heaven and Hell 1980 Black Sabbath, Sabbath Bloody Sabbath - Sabbath Bloody Sabbath 1973 Def Leppard, Photograph - Pyromania 1983 Quiet Riot, Cum on Feel the Noize - Metal Health 1983 Mercyful Fate, Evil - Melissa 1983 Frank Zappa, We're Turning Again - Frank Zappa Meets the Mothers of Prevention 1985 Cannibal Corpse, Hammer Smashed Face - Tomb of the Mutilated 1992 Kreator, People of the Lie - Coma of Souls 1990 Napalm Death, Suffer the Children - Harmony Corruption 1990 Helloween, I Want Out - Keeper of the Seven Keys, Pt. 2 1988 TOOL, Sober - Undertow 1993 Linkin Park, One Step Closer - Hybrid Theory 2000 Pantera, Walk - Vulgar Display of Power 1992 Finntroll, Jaktens Tid - Jaktens Tid 2001 Slaughter to Prevail, Demolisher - Kostolom 2019 Other appearances: Chris Shelton interviewed us in the beginning of a series on Mormonism on his Speaking of Cults series. He has had MANY different fascinating people on so go take a look! Here is the whole playlist: https://www.youtube.com/watch?v=OpGuS7GcsgA&list=PLGrPM1Pg2h72ADIuv8eYmzrJ-ppLOlw_g Email: glassboxpodcast@gmail.com Patreon: https://www.patreon.com/GlassBoxPod Patreon page for documentary: https://www.patreon.com/SeerStonedProductions BlueSky: @glassboxpodcast.bsky.social Other BlueSky: @bryceblankenagel.bsky.social and @shannongrover.bsky.social Instagram: https://www.instagram.com/glassboxpodcast/ Merch store: https://www.redbubble.com/people/exmoapparel/shop Or find the merch store by clicking on "Store" here: https://glassboxpodcast.com/index.html One time Paypal donation: bryceblankenagel@gmail.com Venmo: @Shannon-Grover-10

Hear interviews with members of the cast and creative team behind the Indianapolis Repertory Theatre's production of Marie and Rosetta —including actors Cherish Love, Jaela Cheeks-Lomax, and music director Morgan E. Stevenson.  Marie and Rosetta, written by George Brant, explores the powerful artistic partnership between gospel music legends Sister Rosetta Tharpe and Marie Knight. The production runs at the Indianapolis Repertory Theatre from October 28 through November 23.  Born in Arkansas in 1915, Sister Rosetta Tharpe was a trailblazing guitarist and vocalist whose music fused the ecstatic spirit of gospel with the rhythmic drive of rhythm and blues — paving the way for rock and roll pioneers like Chuck Berry and Little Richard. Inducted into the Rock and Roll Hall of Fame in 2018, Tharpe is now widely celebrated as the Godmother of Rock and Roll. Known for her powerful voice, magnetic stage presence, and groundbreaking mastery of the electric guitar, Tharpe broke barriers as one of the first gospel artists to cross into secular music — achieving mainstream success throughout the 1930s and 1940s.

649. This week we chat with Leah Payne about her book, God Gave Rock and Roll To You: A History of Contemporary Christian Music. We focus especially on the role of the family of Jimmy Swaggart, Jerry Lee Lewis, and Mickey Gilley in the history of Rock and Roll. Her book chronicles the confluence of evangelical, Pentecostal, and charismatic networks through the lens of Contemporary Christian Music, or CCM. The book indexes American evangelicalism's political and social aspirations as seen through its cultural intermediaries: the youth group leaders, non-profit groups, industry executives, and parents who contributed to what was morally permissible and economically profitable in CCM.  Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 221 years. Order your copy today! This week in the Louisiana Anthology. H. P. Lovecraft. "The Call of Cthulhu." "In a natural glade of the swamp stood a grassy island of perhaps an acre's extent, clear of trees and tolerably dry. On this now leaped and twisted a more indescribable horde of human abnormality than any but a Sime or an Angarola could paint. Void of clothing, this hybrid spawn were braying, bellowing, and writhing about a monstrous ring-shaped bonfire; in the centre of which, revealed by occasional rifts in the curtain of flame, stood a great granite monolith some eight feet in height; on top of which, incongruous in its diminutiveness, rested the noxious carven statuette." This week in Louisiana history. October 25, 1769. Bloody" O'Reilly executes rebels who ousted Ulloa to hang but no hangman, they were shot instead. This week in New Orleans history. Earl Cyril Palmer born in New Orleans and raised in the Tremé (October 25, 1924 – September 19, 2008) was an American rock & roll and rhythm and blues drummer, and member of the Rock and Roll Hall of Fame. Palmer played on many recording sessions, including Little Richard's first several albums and Tom Waits' 1978 album Blue Valentine. playing on New Orleans recording sessions, including Fats Domino's "The Fat Man", "I'm Walkin" (and all the rest of Domino's hits), "Tipitina" by Professor Longhair, "Tutti Frutti" by Little Richard (and most of Richard's hits), "Lawdy Miss Clawdy" by Lloyd Price, and "I Hear You Knockin'" by Smiley Lewis. This week in Louisiana. Halloween in New Orleans Website     If you thought that Halloween was just a night for the kids to go trick or treating with their parents in tow, you need to think again. Here in New Orleans, like everything else, it's different.     Halloween, Crescent City-style, is second only to Mardi Gras for wild and crazy, dressing-up-in-costume kind of fun and it isn't just for kids, either. Adults get to join the fun and craziness as well. In fact, there are a few events that are much more fun for the grown-ups than for the little ones! You can go on our haunted tours, visit our voodoo shops, our costume shops, our street parties, and we even have events for the kids! Postcards from Louisiana. Delfeyo Marsalis at Snug Harbor. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook. 

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 23ú lá de mí Dheireadh Fómhair, liomsa Lauren Ní Loingsigh. I 1971 fuair printíseach aois 15 a bhí ag obair I ngaráiste carr bás in aice leis an gharáiste agus cheap na Gardaí go bhfuair sé bás de bharr gur análaigh sé peitreal de thimpiste. I 1987 bhí gach duine ag cuardach do phíolóta RAF a raibh caite amach as a shuíochán san eitleán sa chósta theas den tír. I 1971 tháinig sé amach go mbeadh clár leis an aidhm chun baile an tSionainn a coimeád glan gach lá. I 2009 tháinig sé amach go mbeadh daoine a raibh chun mún ag doras siopa ceol in Inis chun turraing leictreach a fháil. Sin Alexandra Burke le Bad Boys – an t-amhrán is mó ar an lá seo I 2009. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1962 thaifead Stevie Wonder a chéad amhrán ag aois 12 do Motown Records. An t-ainm den amhrán ná Thank You For Loving Me All The Way le na Frunk Brothers. I 1963 chan The Everly Brothers, Little Richard, Bo Diddley, Mickie Most, The Rolling Stones, Julie Grant agus The Flintstones ag an amharclann Odeon sa Bhreatain. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Ryan Reynolds I gCeanads I 1976 agus rugadh aisteoir Emelia Clarke sa Bhreatain ar an lá seo I 1986 agus seo chuid de na rudaí a rinne sí. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 23rd of October, with me Lauren Ní Loingsigh 1971: Gardaí in Cork believe that the 15 year old garage apprentice who was found dead near the garage may have died from accidental inhalation of petrol fumes. 1987: A full scale emergency search involving Irish and British rescue services was underway for a RAF pilot who ejected from his aircraft off the Republics south coast. 1971: A program aimed at maintaining a clean environment is going ahead steadily at the new town of Shannon. 2009: A nasty electric shock awaits Ennis pub goers who decide to urinate on the doorway of a well-known music shop, a local business, man has warned. That was Alexandra Burke featuring Flo Rida with Bad Boys – the biggest song on this day in 2009 Onto music news on this day In 1962 12 year old Little Stevie Wonder recorded his first single for Motown Records, 'Thank You For Loving Me All The Way' backed by the Funk Brothers. 1963 The Everly Brothers, Little Richard, Bo Diddley, Mickie Most, The Rolling Stones, Julie Grant and The Flintstones all appeared at Odeon Theatre, Nottingham, England. And finally celebrity birthdays on this day – actor Ryan Reynolds was born in Canada in 1976 and actress Emelia Clarke was born in the UK on this day in 1986 and this is some of the stuff she has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Dive into the twisted rock 'n' roll nightmare of Brian De Palma's Phantom of the Paradise this Spooptober, where fame devours the soul and every contract's signed in blood. The Grindhouse Girls, Katie and Brit, are joined by the host of The Cinedicate, Armand Haddad, for a wild ride through Faustian bargains, flamboyant beefcakes, and cult classic chaos. Tune in for laughs, lore, and a healthy dose of '70s horror glam—because nothing says Halloween like a phantom who just wants his music back.What to expect from the episode:Hosts unpack Brian De Palma's elevator epiphany that birthed Phantom of the Paradise, blending Beatles rage with Faustian pacts, Edgar Allan Poe nods, and '70s satire.Deep dives into standout characters like Jessica Harper's ethereal Phoenix and the effervescent Beef (a Little Richard-inspired beefcake channeling Dennis Reynolds vibes).Explorations of the film's enduring ripples on Daft Punk, manga aesthetics, Rocky Horror echoes, and its box-office bomb status turning into underground legend.Episode Chapters:00:00 - Spooptober Intro00:54 - Elevator Rage to Rock Opera: De Palma's Wild Inspiration03:07 - From Secondhand DVDs to Daft Punk Dreams: How We Found This Gem05:35 - Box Office Bomb to Cult Icon06:33 - Chaos Behind the Mask08:09 - Faust, Frankenstein, and Gothic Roots10:36 - Rocky Horror Riffs13:18 - De Palma's Fury19:01 - Beef's Glittery Grind22:43 - Pop Culture Nods38:33 - Ratings, Raves, and Grindhouse Grades41:31 - Plugs, Previews, and Next Haunts48:12 - Stephen King Gripes, Adaptations, and Derry Dreams54:35 - Outro and Stay Spoopy----------Listen to Brit and Katie on their podcast, The Grindhouse Girls.----------The Cinedicate on InstagramThe Cinedicate's Discord Community Hosted on Acast. See acast.com/privacy for more information.

On the October 16 edition of the Music History Today podcast, Creedence breaks up, the Grand Ole Opry gets more diverse, & Little Richard records. Plus, it's John Mayer's birthday.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Double Dee & Steinski in conversation with David Eastaugh  https://ddski.com/ Double Dee and Steinski is a duo of hip hop producers, composed of Doug "Double Dee" DiFranco and Steven "Steinski" Stein. They achieved notoriety in the early 1980s for a series of underground hip-hop sample-based collages known as the "Lessons". Their contest entry, "Lesson 1 – The Payoff Mix", was packed with sampled appropriations from other records—not only from early hip-hop records and from Funk and Disco records that were popular with hip-hop DJs, but with short snippets of older songs by Little Richard and The Supremes, along with vocal samples from sources as diverse as instructional tap-dancing records and Humphrey Bogart films. The record was pieced together in DiFranco's studio in 12–14 hours over two days and was critically praised

We pull a classic episode from the archives, one of our longtime favorites from episode 32. A musical theater classic and cover you'd never think to ask for, but once you know about it, you understand the treat you're in for. I Feel Pretty, originally by Marni Nixon, covered by Little Richard.  Outro music is Keep A Knockin', also by Little Richard. 

durée : 01:02:27 - Club Jazzafip - Chanteuse et guitariste virtuose, décédée le 9 octobre 1973, elle a été la première à mêler au gospel, au blues des riffs rock de guitare électrique, inspirant Little Richard, Chuck Berry ou Elvis Presley. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Barrence Whitfield in conversation with David Eastaugh https://www.facebook.com/BarrenceWhitfieldSavages White adopted the stage name Barrence Whitfield to avoid being mistaken for superstar Barry White and began performing as Barrence Whitfield & the Savages. The band garnered a strong reputation for explosive stage performances, described as "raucous and rough, in high gear from the moment they hit the stage." Whitfield himself was described as "a soul screamer in the spirit of Little Richard, Wilson Pickett, Solomon Burke, and early Don Covay." In 1984, the band released their self-titled debut album, mostly comprising cover versions of obscure soul and R&B songs. It received good critical reviews. The following year, they released a second album, Dig Yourself, on Rounder Records. Their music was heard by English radio DJ Andy Kershaw, who taped a Boston performance for airplay in Britain, and brought them to the UK for a tour.

Roger Armstrong co-founded the legendary Rock On record shop and was running the Chiswick label long before the punk rock explosion of independents, a believer that you could license rare R&B, soul and rockabilly classics while cutting new records with rising stars (Shane MacGowan, Kirsty MacColl and Joe Strummer among them). He then co-founded Ace Records and talks to us here about the thrill of trawling through American label vaults, locating vintage tracks and finding them a whole new audience. Along with … … seeing Ella Fitzgerald and the Beatles in Belfast in the early ‘60s ... inventing a new Irish rock circuit and turning showbands into soul bands … how American Graffiti, Gaz's Rockin' Blues and the mod revival all chimed with Ace Records' re-issues … promoting ‘Tin' Lizzy (“that's what it sounded like on the phone”) and being immortalised in one of their lyrics (“I get my records at the Rock On stall”) … Joe Strummer in the 101-ers – “sensational, full-tilt, as if playing a stadium” … releasing Dylan's Theme-Time Radio Hour box-sets and the size of his record collection … finding a Little Richard demo and making an Elvis Presley speech album a money-spinner … being a pioneer tape rat and crate-digger and Ace Records quality control – “Stack ‘em low, sell ‘em high!” … “think of the strapline, then choose the tracks”: making compilations with Jon Savage, Bob Stanley, Bobby Gillespie and Paul Weller … plus reflections on John Martyn, Carol Grimes, Brinsley Schwarz, Rocky Sharpe, Irma Thomas, Arthur Alexander and the Count Bishops (“like the Stones at 78”). Order ‘Chiswick Records 1975 - 1982 Seven Years At 45 RPM' here: https://www.acerecords.co.uk/chiswick-records-1975-1982-seven-years-at-45-rpmFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Roger Armstrong co-founded the legendary Rock On record shop and was running the Chiswick label long before the punk rock explosion of independents, a believer that you could license rare R&B, soul and rockabilly classics while cutting new records with rising stars (Shane MacGowan, Kirsty MacColl and Joe Strummer among them). He then co-founded Ace Records and talks to us here about the thrill of trawling through American label vaults, locating vintage tracks and finding them a whole new audience. Along with … … seeing Ella Fitzgerald and the Beatles in Belfast in the early ‘60s ... inventing a new Irish rock circuit and turning showbands into soul bands … how American Graffiti, Gaz's Rockin' Blues and the mod revival all chimed with Ace Records' re-issues … promoting ‘Tin' Lizzy (“that's what it sounded like on the phone”) and being immortalised in one of their lyrics (“I get my records at the Rock On stall”) … Joe Strummer in the 101-ers – “sensational, full-tilt, as if playing a stadium” … releasing Dylan's Theme-Time Radio Hour box-sets and the size of his record collection … finding a Little Richard demo and making an Elvis Presley speech album a money-spinner … being a pioneer tape rat and crate-digger and Ace Records quality control – “Stack ‘em low, sell ‘em high!” … “think of the strapline, then choose the tracks”: making compilations with Jon Savage, Bob Stanley, Bobby Gillespie and Paul Weller … plus reflections on John Martyn, Carol Grimes, Brinsley Schwarz, Rocky Sharpe, Irma Thomas, Arthur Alexander and the Count Bishops (“like the Stones at 78”). Order ‘Chiswick Records 1975 - 1982 Seven Years At 45 RPM' here: https://www.acerecords.co.uk/chiswick-records-1975-1982-seven-years-at-45-rpmFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Roger Armstrong co-founded the legendary Rock On record shop and was running the Chiswick label long before the punk rock explosion of independents, a believer that you could license rare R&B, soul and rockabilly classics while cutting new records with rising stars (Shane MacGowan, Kirsty MacColl and Joe Strummer among them). He then co-founded Ace Records and talks to us here about the thrill of trawling through American label vaults, locating vintage tracks and finding them a whole new audience. Along with … … seeing Ella Fitzgerald and the Beatles in Belfast in the early ‘60s ... inventing a new Irish rock circuit and turning showbands into soul bands … how American Graffiti, Gaz's Rockin' Blues and the mod revival all chimed with Ace Records' re-issues … promoting ‘Tin' Lizzy (“that's what it sounded like on the phone”) and being immortalised in one of their lyrics (“I get my records at the Rock On stall”) … Joe Strummer in the 101-ers – “sensational, full-tilt, as if playing a stadium” … releasing Dylan's Theme-Time Radio Hour box-sets and the size of his record collection … finding a Little Richard demo and making an Elvis Presley speech album a money-spinner … being a pioneer tape rat and crate-digger and Ace Records quality control – “Stack ‘em low, sell ‘em high!” … “think of the strapline, then choose the tracks”: making compilations with Jon Savage, Bob Stanley, Bobby Gillespie and Paul Weller … plus reflections on John Martyn, Carol Grimes, Brinsley Schwarz, Rocky Sharpe, Irma Thomas, Arthur Alexander and the Count Bishops (“like the Stones at 78”). Order ‘Chiswick Records 1975 - 1982 Seven Years At 45 RPM' here: https://www.acerecords.co.uk/chiswick-records-1975-1982-seven-years-at-45-rpmFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Tom "Bones" Malone.   About Tom : Tom “Bones” Malone, trombonist, multi-instrumentalist, arranger & producer is best known for his work with The Blues Brothers, David Letterman Show and Saturday Night Live. Tom has played on 4,400+ television shows, 3,500+ radio & television commercials, over 1,500 recordings and thousands of live performances throughout the world. Tom has done 3,000 arrangements for television.   Tom plays trombone, tuba, bass trombone, contrabass trombone, euphonium, bass trumpet, trumpet, flugelhorn, piccolo trumpet, alto sax, tenor sax, baritone sax, flute, piccolo, alto flute and bass flute.   “Tom Bones Malone, a multi-instrumentalist, is perhaps the most successful musician in the history of film, live television and sound recording production.” - Ray Hair, president, American Federation of Musicians   Tom has performed, recorded and/or arranged for Ray Charles, James Brown, Stevie Wonder, Paul McCartney, Gil Evans, Yes, Miles Davis, Beck, Aretha Franklin, Spyro Gyra, Jimmy Cliff, Frank Zappa, Stuff, The Temptations, The Supremes, Sting, Elton John, James Taylor, J Giels Band, Blood Sweat & Tears, The Band, Levon Helm, Phil Collins, Wilson Pickett, Sam & Dave, Ben E. King, The BeeGees, Meco, The Coasters, Bon Jovie, Carly Simon, Dr. John, Olivia Newton-John, Joe Cocker, The Meters, The Neville Brothers, Leo Sayer, Boz Skaggs, Chuck Berry, Robert Plant, Jeff Beck, Jimmy Page, Gypsy Kings, Willie Nelson, Clint Black, Dolly Parton, George Benson, B B King, Vince Gill, John Mayer, Steve Winwood, The Killers, Blues Traveler, The Stylistics, Busta Rhymes, Bonnie Raitt, Bruce Springsteen, Al Green, Gloria Estefan, Garth Brooks, Faith Hill, Eddie Harris, Cyndi Lauper, David Bowie, ‘N Sync, Coolio, Snoop Dog, 50 Cent, Solomon Burke, Steely Dan, Aerosmith, Tony Bennett, Mary J. Blige, Peter Frampton, Lyle Lovett, Etta James, Jon Secada, Joe Cocker, Sinead O'Conner, Toni Braxton, Harry Connick, Jr., Randy Newman, Little Richard, Pointer Sisters, Eric Clapton, Billy Preston, Marvin Gaye, Whitney Houston, Chaka Kahn, Four Tops, Elephant's Memory, Eddie Floyd, Count Basie, The Spinners, The Stylistics, Barry Manilow, Jose Feliciano, Woody Herman, Tom Petty, Macy Grey, Van Morrison, Frankie Valli, Hanson, Peggy Lee, Brenda Lee, Liza Minelli, Cab Calloway, The O'Jay's, Nancy Wilson, Shirley Bassey, Billy Joel, Bonnie Tyler, Lou Reed, Baja Men, Dr. Buzzard's Savannah Band, Joss Stone, Dionne Warwick, Meatloaf, Ashford & Simpson, Pat Metheny, David Sanborn, Luther Vandross, Teddy Pendergrass, Glen Campbell, Malo, Vicki Sue Robinson, Mandrill, Gladys Knight & The Pips, Diana Ross, Average White Band, Dreamgirls, Van McCoy, Mongo Santamaria, Instant Funk, Stephanie Mills, Herbie Mann, Paul Simon, Gloria Gayner, Plácido Domingo, Village People, Bobby Blue Bland, Pink Floyd, Hubert Laws, Tina Turner, Joe Jackson, Chuck Mangione, Lou Rawls, David Byrne, Phil Woods, James Ingram, Hank Crawford, Carmen McRae, Bette Midler, Phoebe Snow, Rupert Holmes, BJ Thomas, Samantha Sang, Al Jarreau, Sheena Easton, Johnny Taylor, Little Milton, Stanley Clark, Little Anthony & The Imperials, Joe Pesche, Ron Carter, Buddy Rich, Les Elgart, Larry Elgart, Billy Cobham, Louis Bellson, Stanley Turrentine, Gato Barbieri, Ringo Starr, Lady Gaga, Bob Geldoff, Debbie Harry, Run DMC, Ricky Martin, John Mellencamp, Eurythmics, Rufus Thomas, Debby Harry, Run DMC, Ricky Martin, Shaggy, John Mellencamp, Chris Montez, Joey Dee, Dusty Springfield, The Blues Brothers, Hanson and many others.

Actor, comedian and musician, Skip Griparis returns to talk to the boys about his recent induction into the Illinois Rock and Roll Hall of Fame, hanging out with Little Richard, being invited to take part in Bob Uecker's Celebration of Life, meeting Bob Costas, hitting the convention circuit and, for some reason, celebrity hygiene. This week's podcast was brought to you by  Teambrown Apparel, Old Fort Baseball Co and Patrick's Custom Painting.

A2thaMo is joined by Southern Com4rt to talk about making music, politics, Cracker Barrel, No Man's Sky, TV Shows, Documentaries, Little Richard, Making Music, Redheads, America's 4th city, Racial Conversations, Rhyming, and much more while listening to new music!                  This World Don't Change - Sir NastyYou Gotta Get Up - Southern Com4rtClassy Cypher 5 ft Southern Com4rt and Bradster X - A2thaMo

⸻ Podcast: Redefining Society and Technologyhttps://redefiningsocietyandtechnologypodcast.com _____ Newsletter: Musing On Society And Technology https://www.linkedin.com/newsletters/musing-on-society-technology-7079849705156870144/_____ Watch on Youtube: https://youtu.be/OYBjDHKhZOM_____ My Website: https://www.marcociappelli.com_____________________________This Episode's SponsorsBlackCloak provides concierge cybersecurity protection to corporate executives and high-net-worth individuals to protect against hacking, reputational loss, financial loss, and the impacts of a corporate data breach.BlackCloak:  https://itspm.ag/itspbcweb_____________________________A Musing On Society & Technology Newsletter Written By Marco Ciappelli | Read by TAPE3The First Smartphone Was a Transistor Radio — How a Tiny Device Rewired Youth Culture and Predicted Our Digital FutureA new transmission from Musing On Society and Technology Newsletter, by Marco CiappelliI've been collecting vintage radios lately—just started, really—drawn to their analog souls in ways I'm still trying to understand. Each one I find reminds me of a small, battered transistor radio from my youth. It belonged to my father, and before that, probably my grandfather. The leather case was cracked, the antenna wobbled, and the dial drifted if you breathed on it wrong. But when I was sixteen, sprawled across my bedroom floor in that small town near Florence with homework scattered around me, this little machine was my portal to everything that mattered.Late at night, I'd start by chasing the latest hits and local shows on FM, but then I'd venture into the real adventure—tuning through the static on AM and shortwave frequencies. Voices would emerge from the electromagnetic soup—music from London, news from distant capitals, conversations in languages I couldn't understand but somehow felt. That radio gave me something I didn't even know I was missing: the profound sense of belonging to a world much bigger than my neighborhood, bigger than my small corner of Tuscany.What I didn't realize then—what I'm only now beginning to understand—is that I was holding the first smartphone in human history.Not literally, of course. But functionally? Sociologically? That transistor radio was the prototype for everything that followed: the first truly personal media device that rewired how young people related to the world, to each other, and to the adults trying to control both.But to understand why the transistor radio was so revolutionary, we need to trace radio's remarkable journey through the landscape of human communication—a journey that reveals patterns we're still living through today.When Radio Was the Family HearthBefore my little portable companion, radio was something entirely different. In the 1930s, radio was furniture—massive, wooden, commanding the living room like a shrine to shared experience. Families spent more than four hours a day listening together, with radio ownership reaching nearly 90 percent by 1940. From American theaters that wouldn't open until after "Amos 'n Andy" to British families gathered around their wireless sets, from RAI broadcasts bringing opera into Tuscan homes—entire communities synchronized their lives around these electromagnetic rituals.Radio didn't emerge in a media vacuum, though. It had to find its place alongside the dominant information medium of the era: newspapers. The relationship began as an unlikely alliance. In the early 1920s, newspapers weren't threatened by radio—they were actually radio's primary boosters, creating tie-ins with broadcasts and even owning stations. Detroit's WWJ was owned by The Detroit News, initially seen as "simply another press-supported community service."But then came the "Press-Radio War" of 1933-1935, one of the first great media conflicts of the modern age. Newspapers objected when radio began interrupting programs with breaking news, arguing that instant news delivery would diminish paper sales. The 1933 Biltmore Agreement tried to restrict radio to just two five-minute newscasts daily—an early attempt at what we might now recognize as media platform regulation.Sound familiar? The same tensions we see today between traditional media and digital platforms, between established gatekeepers and disruptive technologies, were playing out nearly a century ago. Rather than one medium destroying the other, they found ways to coexist and evolve—a pattern that would repeat again and again.By the mid-1950s, when the transistor was perfected, radio was ready for its next transformation.The Real Revolution Was Social, Not TechnicalThis is where my story begins, but it's also where radio's story reaches its most profound transformation. The transistor radio didn't just make radio portable—it fundamentally altered the social dynamics of media consumption and youth culture itself.Remember, radio had spent its first three decades as a communal experience. Parents controlled what the family heard and when. But transistor radios shattered this control structure completely, arriving at precisely the right cultural moment. The post-WWII baby boom had created an unprecedented youth population with disposable income, and rock and roll was exploding into mainstream culture—music that adults often disapproved of, music that spoke directly to teenage rebellion and independence.For the first time in human history, young people had private, personal access to media. They could take their music to bedrooms, to beaches, anywhere adults weren't monitoring. They could tune into stations playing Chuck Berry, Elvis, and Little Richard without parental oversight—and in many parts of Europe, they could discover the rebellious thrill of pirate radio stations broadcasting rock and roll from ships anchored just outside territorial waters, defying government regulations and cultural gatekeepers alike. The transistor radio became the soundtrack of teenage autonomy, the device that let youth culture define itself on its own terms.The timing created a perfect storm: pocket-sized technology collided with a new musical rebellion, creating the first "personal media bubble" in human history—and the first generation to grow up with truly private access to the cultural forces shaping their identity.The parallels to today's smartphone revolution are impossible to ignore. Both devices delivered the same fundamental promise: the ability to carry your entire media universe with you, to access information and entertainment on your terms, to connect with communities beyond your immediate physical environment.But there's something we've lost in translation from analog to digital. My generation with transistor radios had to work for connection. We had to hunt through static, tune carefully, wait patiently for distant signals to emerge from electromagnetic chaos. We learned to listen—really listen—because finding something worthwhile required skill, patience, and analog intuition.This wasn't inconvenience; it was meaning-making. The harder you worked to find something, the more it mattered when you found it. The more skilled you became at navigating radio's complex landscape, the richer your discoveries became.What the Transistor Radio Taught Us About TomorrowRadio's evolution illustrates a crucial principle that applies directly to our current digital transformation: technologies don't replace each other—they find new ways to matter. Printing presses didn't become obsolete when radio arrived. Radio adapted when television emerged. Today, radio lives on in podcasts, streaming services, internet radio—the format transformed, but the essential human need it serves persists.When I was sixteen, lying on that bedroom floor with my father's radio pressed to my ear, I was doing exactly what teenagers do today with their smartphones: using technology to construct identity, to explore possibilities, to imagine myself into larger narratives.The medium has changed; the human impulse remains constant. The transistor radio taught me that technology's real power isn't in its specifications or capabilities—it's in how it reshapes the fundamental social relationships that define our lives.Every device that promises connection is really promising transformation: not just of how we communicate, but of who we become through that communication. The transistor radio was revolutionary not because it was smaller or more efficient than tube radios, but because it created new forms of human agency and autonomy.Perhaps that's the most important lesson for our current moment of digital transformation. As we worry about AI replacing human creativity, social media destroying real connection, or smartphones making us antisocial, radio's history suggests a different possibility: technologies tend to find their proper place in the ecosystem of human needs, augmenting rather than replacing what came before.As Marshall McLuhan understood, "the medium is the message"—to truly understand what's happening to us in this digital age, we need to understand the media themselves, not just the content they carry. And that's exactly the message I'll keep exploring in future newsletters—going deeper into how we can understand the media to understand the messages, and what that means for our hybrid analog-digital future.The frequency is still there, waiting. You just have to know how to tune in.__________ End of transmission.

Wop-Bop-A-Loo-Wop-A-Wop-Bam-Boom! This week we're Slippin' And Slidin' into the world of Little Richard Penniman! Raised on Gospel music in his dad's church, the War Hawk soon took to the stage to play "the Devil's music," complete with rollicking piano, screaming vocals, and boundless energy. His 1957 debut Here's Little Richard exploded onto the scene with hits like Tutti Frutti and Long Tall Sally that defined early rock 'n' roll and changed the nature of music forever. We'll cover his career, his conversion from rock star to preacher, and more as we Rip It Up with this record! The Mixtaper has facts about Grammy anachronisms, pompadour problems, and 29 weddings (give or take). So if you're Ready, Teddy.. rock and roll!Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro3:27 About Little Richard13:04 About Here's Little Richard21:15 Awards & Accolades23:01 Fact Or Spin23:58 He Made Grammy Award History28:11 He Had Car Problems32:27 A-Wop-Bop-A-Loo-Bop-A-Scoop-Bam-Boom39:17 Fast Fire Facts: Who Got Hitched?46:24 Album Art47:14 Tutti Frutti55:30 True, Fine Mama57:10 Can't Believe You Wanna Leave57:48 Ready Teddy59:37 Baby1:00:11 Slippin' And Slidin' (Peepin' And Hidin')1:01:59 Long Tall Sally (The Thing)1:05:41 Miss Ann1:07:06 Oh Why?1:08:09 Rip It Up1:08:57 Jenny, Jenny1:09:59 She's Got It1:11:36 Final Spin Hosted on Acast. See acast.com/privacy for more information.

¿Por qué robar como un artista también mejora tu comunicación?Para Austin Kleon, autor del libro Steal Like an Artist, esta es la esencia de la creatividad, algo que sin duda también puede transformar la forma en que comunicamos.Para empezar, pensemos en algunos casos reales donde las grandes obras no surgieron de la nada, sino del diálogo con lo que ya existía:El “robo” de Los Beatles y el rock and roll americanoMuchos consideran a The Beatles como la banda más influyente de la historia de la música. Pero ellos mismos admitieron que buena parte de su inspiración vino del rock and roll y el rhythm and blues estadounidense de los años 50. Chuck Berry, Little Richard y Elvis Presley marcaron su sonido inicial. Lo que hicieron los Beatles fue absorber esas influencias, mezclarlas con su propio contexto británico y convertirlas en algo completamente nuevo.El “robo” de Steve Jobs y el diseño de AppleJobs nunca ocultó que buena parte del ADN de Apple provenía de su fascinación por el diseño tipográfico y por el trabajo de empresas como Xerox PARC. Allí vio por primera vez una interfaz gráfica con ventanas y un ratón. Jobs lo tomó, lo reinterpretó y lo llevó al mercado con un estilo elegante y minimalista. El resultado fue el Macintosh, un computador que no solo funcionaba, sino que también era bello de usar.El “robo” de Lin-Manuel Miranda y Hamilton.El exitoso musical Hamilton no se parece a ningún otro de Broadway, pero su innovación no vino de la nada. Miranda tomó la historia de los padres fundadores de Estados Unidos Alexander Hamilton, la cruzó con ritmos de hip hop, R&B y música pop, y la presentó en un formato clásico de teatro musical. El resultado fue un híbrido que revolucionó la escena cultural.Estos ejemplos demuestran algo clave: la creatividad rara vez nace en un vacío. Se construye sobre lo que ya existe, reinterpretado a través de nuestra mirada y experiencia.Robar como un artista en la comunicaciónCuando comunicamos, también estamos “robando como artistas”. No inventamos cada palabra desde cero. Usamos frases que hemos escuchado, estructuras que nos enseñaron en el colegio, ejemplos que alguna vez nos contaron, gestos que hemos visto en otros. Lo importante es cómo logramos tomar todo eso y darle nuestro propio sello.Un líder, por ejemplo, puede inspirarse en discursos históricos para motivar a su equipo, pero adaptándolos al contexto actual y al lenguaje de su organización. Un profesor puede apoyarse en referencias clásicas, pero presentarlas con humor o con ejemplos de la vida diaria. Incluso en un correo electrónico, tomar una estructura que ya funciona y personalizarla con nuestro estilo es una forma de “robar creativamente”.La clave, como dice Kleon, está en seleccionar bien las referencias. Robar de una sola fuente es plagio; hacerlo de muchas, es investigación. Y en la comunicación pasa igual: mientras más amplias y diversas sean nuestras influencias, más original puede ser lo que decimos.En este episodio de Mil Palabras partimos del libro Steal Like an Artist de Austin Kleon para entender cómo estas ideas aplican al mundo de la comunicación. Porque al final, comunicar también es un acto creativo: tomamos lo que otros ya dijeron, lo filtramos con nuestra visión y lo convertimos en un mensaje fresco y propio.Así que la próxima vez que pienses que “todo ya está dicho”, recuerda que lo importante no es inventar desde cero, sino cómo mezclas y presentas lo que recibes. Ahí está tu originalidad, y ahí está tu poder como comunicador.#Comunicación Oral, #Hablar En Público, #Comunicación Efectiva, #Presentaciones, #Podcast De Comunicación, #Podcast, #Podcast Corporativo, #Desarrollo Profesional, #Expresión Verbal, #Técnicas Para Hablar Mejor, #Santiago Ríos, #Robar Como Un Artista, #Steal Like An...

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy called Mighty Real. This is part two—catch part one in our previous episode. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy called Mighty Real. This is part two—catch part one in our previous episode. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy called Mighty Real. This is part two—catch part one in our previous episode. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward is going on a little summer break, in the meantime we're leaving you with a delightfully queer episode of Slate's Hit Parade with Chris Molanphy called Mighty Real. This is part two—catch part one in our previous episode. Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Here's a preview from a new podcast, Charlie's Place. How did a Black man in the 1940s Jim Crow South open a club where Black and white people danced together? Charlie's Place was revolutionary, and that meant it was dangerous. Host Rhym Guissé explores the unbelievable true story of Charlie Fitzgerald, a mysterious Black businessman whose nightclub became an unlikely site of integration in Myrtle Beach. Charlie broke down racial barriers through the power of music and dance, hosting some of the greatest musicians of our time: Little Richard, Count Basie, Ray Charles, Duke Ellington, and many more. But who was Charlie? How did he rise to power? And what price did he pay for achieving the impossible—an integrated club in the Jim Crow South? This is a story of joy and passion that erupted into violence and changed a community forever. Listen to Charlie's Place wherever you get your podcasts. Binge the entire season early and ad-free by subscribing to Pushkin+. Sign up on the Charlie's Place show page on Apple Podcasts or at pushkin.fm/plus. Learn about your ad choices: dovetail.prx.org/ad-choices

Here's a preview from a new podcast, Charlie's Place. How did a Black man in the 1940s Jim Crow South open a club where Black and white people danced together? Charlie's Place was revolutionary, and that meant it was dangerous. Host Rhym Guissé explores the unbelievable true story of Charlie Fitzgerald, a mysterious Black businessman whose nightclub became an unlikely site of integration in Myrtle Beach. Charlie broke down racial barriers through the power of music and dance, hosting some of the greatest musicians of our time: Little Richard, Count Basie, Ray Charles, Duke Ellington, and many more. But who was Charlie? How did he rise to power? And what price did he pay for achieving the impossible—an integrated club in the Jim Crow South? This is a story of joy and passion that erupted into violence and changed a community forever. Listen to Charlie's Place wherever you get your podcasts. Binge the entire season early and ad-free by subscribing to Pushkin+. Sign up on the Charlie's Place show page on Apple Podcasts or at pushkin.fm/plus. Learn about your ad choices: dovetail.prx.org/ad-choices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

Little Richard was rock ‘n' roll's flamboyant architect. Lesley Gore sang that no one owned her. Sylvester was a gender-fluid icon who helped define disco. Freddie Mercury made rock operatic, and George Michael demanded freedom. What all of these LGBTQ artists had in common was bold hitmaking—and fear of being fully out of the closet. For decades, queer acts topped the charts while cloaking their true identities and paving the way for today's more openly queer stars. For Pride Month, join Chris Molanphy as he traces the hidden history of queer hitmakers on the charts—including those that managed to be both out and No. 1, right up through our modern age of Lil Nas X and Chappell Roan. It's a celebration of these artists' quest to feel… mighty real. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices