Podcasts about Love Is Strange

Kendall's Set Decorator work includes the films: Love Is Strange, Chuck, You Were Never Really Here, Uncut Gems, Things Heard and Seen, Confess, Fletch, Problemista, and The Room Next Door. Her television work includes the series: Odd Mom Out, The Punisher, and The Changeling. Kendall's debut as Production Designer, the acclaimed His Three Daughters, received glowing reviews and is streaming on Netflix. 

Today on Too Opinionated, Åsa Orbison, musician and daughter-in- law of legendary music artist Roy Orbison drops in for a visit.   Best known for being on the popular Bravo series Below Deck: Mediterranean Season, the beautiful Swedish siren is excited to launch her new music endeavor! She most recently released her cover of the hit single “Blue Bayou” on June 15, 2024, produced by her husband Roy Orbison Jr (musician, author/publisher/producer) who rearranged the hit song written by his father, Roy Orbison, in 1963 (and famously covered by Linda Ronstadt in 1977). Åsa's immense talent does not go unnoticed, giving Blue Bayou an updated jazzy feel with a Scandinavian touch. Next, you can listen to her new single ‘Love Is Strange'– a duet with her husband with Wayne Moss on guitar (the man behind the legendary riff on Dolly Parton's ‘Jolene' & Roy Orbison's ‘Pretty Woman') – which recently released on Thursday, July 23rd, followed by ‘Baby I'm Yours' on and finally, a full-length album this September. She is thrilled to share her brand-new songs with the world! Åsa received a platinum record award for singing backup vocals on her father-in-law, Roy Orbison's ‘Unchained Melodies” in 2019.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Hvad kan man sige andet end at så blev det fredag i din podcast-sfære og du ved lige præcis hvad det skulle være. 2 nørdede bedste venner, der snakker om hvad der sker når du tænder. Og det kan være du som Jens tænder for din Playstation eller PC og spiller den uofficielle spilmatisering af Starship Troopers aka Helldivers 2 eller at du som William går på Prime for at se Michael Manns blærede og lidt oversete film om Enzo Ferrari samt TV-serie-udgaven af hemmelige agenter i bøvlet parforhold med Mr. og Mrs. Smith. Uanset er der lidt fra alle hygger og på alle rækker, især den ottende. God fornøjelse!(00:00:00) Intro(00:05:24) Listen med Love is Strange og Tree of Life(00:30:14) Hvad vi ellers har set og spillet med Spaceman på Netflix, Ferrari på Prime, Helldivers 2 på Ps5, Mr. & Mrs. Smith på Prime og Masters of the Air på Apple TV+(00:59:47) Oscar-gætteri(01:08:56) Outro og teaser for næste ugeIntromusik produceret af Timur.Find Række 8 på Facebook og Instagram.Følg William på Twitter og LetterboxdFølg Jens på Twitter og Letterboxd

¿Alguien habló de intensidad? Porque acá apareció. Estábamos un poco excedidos de edulcorante, pero llegaron algunas historias un poco más afines a nuestras edades (al menos a las corporales). MUBI -el servicio del bien- está distribuyendo en cines y a partir de octubre 2023 en su plataforma, Pasajes, la nueva película del americano Ira Sachs. Aprovechamos para meter un episodio con dos títulos más de él (en lugar de series): Love Is Strange (2014) y Keep The Lights On (2012). Programa 07:20 Pasajes 30:00 Love Is Strange 41:30 Keep The Lights On Y para leer a Fabricio Gallardo, haciendo clic en este link van a Substack y pueden suscribirse.

Why are more people not celebrating Ira Sachs? That question led to this episode where we reflect on a truly independent filmmaker who has worked with many recognisable faces (such as Pierce Brosnan, John Lithgow, Rachel McAdams and Ben Whishaw) yet has never quite had his moment in the limelight himself. Ira has carved out his own brand of storytelling with films such as Married Life (2007), Keep the Lights On (2012), Love Is Strange (2014) and Passages (2023). It's a fascinating filmography and we can't wait for more. Join us as we reflect on Ira's film career and dream about this future projects... Follow us on social media to stay updated! We're @dontknow_her on ⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠. And you can support us ⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠. Watch Delta (1996): https://www.youtube.com.watch?v=d3CtGHGAkEU&t Watch Last Address (2010): https://vimeo.com/9940327 --- Send in a voice message: https://podcasters.spotify.com/pod/show/dontknowherpod/message

Jason Stuart and Mitch Hara talk with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about the second season of their must-watch comedy series “Smothered” currently available on all major streaming services including Amazon, Apple, DirecTV and Revry. Jason Stuart (The Birth Of A Nation) and Mitch Hara (Mutant Olive) have co-written, co-starred and co-produced this series about a longtime gay couple that can't stand each other but can't afford to get divorced. With the success of the first season that was named one of the best comedy series by Amazon and was nominated for the Spotlight Award at the Indie Series Awards Jason and Mitch have upped their game. Season 2 of “Smothered” boasts an impressive cast of guest stars that include Amanda Bearse (Married w/ Children/Bros), Jai Rodriguez (Bros/Queer Eye), Carole Ita White (Laverne & Shirley), Armand Fields (Queer as Folk) and more. “Smothered” second season follows the boomer-aged gay couple Randy and Ralph who still can't stand each other and still can't afford to get a divorce so they attempt to salvage their hideous relationship in therapy hell before they kill each other and everyone else. Both Stuart and Hara were also nominated for Best Actor and the series for Best Digital Series at the Queerty Awards. “Smothered” season 2 is directed by acclaimed theatre director Carlyle King who is making her Television début. We talked to Jason and Mitch about what they hope to accomplish with Smothered and their spin on our LGBTQ issues.  Jason Stuart is one of the most prolific character actors who's also an outrageous openly gay stand-up comedian. With over 150 credits his film work includes “The Birth Of A Nation” “Tangerine”, “Love Is Strange”, “Gia”, “Kindergarten Cop” and “Vegas Vacation” among his fan favorites. His TV work has wowed audiences with guest roles on such shows as “Sleepy Hollow”, “Entourage”, “The Closer”, “It's Always Sunny in Philadelphia”, “House”, “Everybody Hates Chris” and “Will & Grace” among others. Recently he won The Indie Series Award for Best Actor In a Comedy Series for the first season of “Smothered”. Jason also serves as the National LGBTQ Co-Chairman of the SAG-AFTRA LGBTQ Committee a role he co-created in 2004. For More Info… Mitch Hara is an actor/writer/director who joined the acclaimed Actors Studio when he was just 19. Mitch won Best Actor Award for his portrayal of “Sister Coco Call-Me- Ishmael” a mental-patient-drag-queen-nun. He also co- wrote and directed Joe Manganiello in “One Night Stand.” Hara's award-winning solo show “Mutant Olive” is currently playing to sold out houses in LA and is currently touring globally with rave reviews. For More Info…  For More Info... LISTEN: 600+ LGBTQ Chats @OUTTAKE VOICES

Ahead of this week's release of Ira Sachs' Passages, we're discussing perhaps Sachs' most lauded film, 2014's Love is Strange. The film stars John Lithgow and Alfred Molina as a newly married couple forced to live apart in New York City when one of them is fired from his Catholic school job for being gay. … Continue reading "249 – Love is Strange"

Somehow it's June already, which means it's time for the Indiescovery crew to suppress our existential dread at the fleetingness of existence and take a look at our favourite indie games from the first (almost) half of 2023! Don't worry, we very quickly realise that June has such a slammed line-up we can probably give it a best-games episode all of its own to make up for the fact that we tackled this topic a bit early. Rebecca kicks things off by talking about Birth, a lovely chill puzzle game about natural decay and the bonds between people, and then revisits pixel-art life sim Tiny Life now that it's out in early access. Rachel submits the emotionally-charged open-world cycling mystery Season: A Letter To The Future, and Liam can't get enough of retro shooter Slayers X: Terminal Aftermath: Vengance Of The Slayer which is (a) excitingly being released today and (b) deserves to win some kind of award for the most subtitles in a video game name, seriously, Kingdom Hearts can only dream. We also all still love Dredge but decide we've gushed about it enough on the podcast already, and that you should go back and listen to Episode 8 if you want to hear our opinions on why that's a very likely GOTY contender. In the episode's second half we summon the Ghost of Games Yet-To-Come and list off some of the indies we still hope to see by the end of 2023. Liam can't wait to get his hands on El Paso Elsewhere, the From Dusk Till Dawn-esque action-shooter we never knew we needed this badly; and Knuckle Sandwich, a colourful turn-based RPG where the combat plays out through WarioWare-style minigames. Rebecca opts to chant a list of upcoming games with a TBC release date as a kind of protective spell for all the hard-working indie devs out there, before naming the recently delayed Goodbye Volcano High as one she's still hopeful of seeing before the year's out. Rachel, meanwhile, is sending good vibes to the developers working on dimension-bending storybook platformer The Plucky Squire and nostalgically radical skate/bike/parkour adventure Bomb Rush Cyberfunk, both of which aim to release later in 2023. Finally, and as ever, we delve into our current hyperfixations. Following his secondment to cover The Legend Of Zelda: Tears Of The Kingdom for some of our console-acknowledging sister sites, Liam has discovered that this hidden gem from Nintendo is a really good game, actually. Rebecca has been playing visual novels again (surprise, surprise), and is enjoying the contrast that comes from following up the very-not-indie Paranormasight: The Seven Mysteries Of Honjo with the extremely-indie fangame Love Is Strange. And while Rachel never expected to be talking about Kylie Minogue on an indie gaming podcast in 2023, she simply can't get the new single Padam Padam out of her head! The gang are also pleased to announce that we're jury members at Indie Cup UK '23, an online festival celebrating indie devs, so be sure to check out our pals at IndieCup.net to see what we're up to! Indiescovery is a podcast from RockPaperShotgun.com. All music is by Dylan Sitts; the songs are Tahoe Trip, Pool Sticker, and Express Check-in. Thanks for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Segunda parte de nuestra experiencia BAFICI 2023. vimos estas 3 películas, las dos primeras del director Ira Sachs, y la tercera, del director argentino Martín Shanly. Les contamos todo lo que nos pasó en el BAFICI y cuales están disponibles para ver online. Como siempre dejen vuestros comentarios acá abajo o en nuestras redes y si les gusta nuestro contenido pueden dejarnos un cafecito! ⁠⁠⁠⁠https://cafecito.app/sodomarama⁠⁠⁠⁠ IG ⁠⁠⁠⁠@axelfritzler_⁠⁠⁠⁠ ⁠⁠⁠⁠@pabloataboada⁠⁠⁠⁠ O en Twitter: ⁠⁠⁠⁠@NoSoyAlexOk⁠⁠⁠⁠ ⁠⁠⁠⁠@EnAfter ⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/sodomarama/message

Tax Day is approaching in the US and that means we all have money on the mind. In this episode, we each share, review and discuss the top 3 movies that shaped our thoughts on money, in both how we perceive it and the power that comes with it.

JASON STUARTWhen you think one of the most prolific character actors, who's also an outrageous openly gay stand-up comedian, one name comes to mind.... Jason Stuart. After years of steady work in film and televi- sion, and over 150 credits on his IMDB page, actor and comedianJason Stuart has achieved a pinnacle of success many actors only dream of. "For the last few years, people have started to approach me and say, 'You're that guy,'" he explains with his characteristic gravelly laugh. Stuart has now established himself as one of those all-too-familiar faces who might just pop up anywhere, in any kind of role. And most recently he won the Worldwide Comedy Award for Best LGBTQ Comedian from some heaven weight stand ups like Margaret Cho to Billy Eichner to Tig Notaro to Wanda Sykes.Recently he had a major role in The Birth Of A Nation, and stars in the indie drama Hank, the action film Abducted on Showtime, the thriller Immortal and his new comedy series on Amazon, Smoth- ered which he won the Indie Series Award for Best Actor in a Comedy. Jason also has appeared in the award winning films Tan- gerine, Love Is Strange, Gia with Kindergarten Cop and Vegas Vacation among his fan favorites. He has wowed TV audiences with guest roles on such shows as Goliath, Swedish Dicks, Love (Judd Apatow), Sleepy Hollow, Real Rob, Entourage, The Closer, It's Always Sunny in Philadelphia, House, Everybody Hates Chris, George Lopez, Will & Grace, Charmed and as “Dr. Thomas" on My Wife and Kids. As a stand up comic you have laughed with him on Gotham Comedy Live, Red Eye, One Night Stand Up, Wisecrack, Comics Unleashed and his own comedy special Making It To The Middle, his new comedy album I'm The Daddy and I Have Candy and autobiography Shut Up, Im Talking! From CCB Publishing.https://www.jasonstuart.comhttp://www.imdb.me/jasonstuartPhoto: Copyright Wilkinson/2023Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

Back in December, the Indiescovery crew got together to record a Christmas-themed test episode for our new podcast, with the idea of launching the show properly in January. Well, in the end we loved our "unreleased pilot" so much that we decided to release it anyway. Christmas episodes in mid-January may not be the norm, but this kind of random silliness is surely well in the eclectic spirit of indie gaming. We begin by highlighting our favourite indie games of 2022, with Rebecca bringing us retro horror point-and-click Lily's Well, Rachel picking sci-fi RPG Citizen Sleeper, and Liam staying true-to-form by talking about rogue-lite bullet hell Vampire Survivors. Our seasonal section on the topic of stocking stuffers brings a selection box of lovely little indie games to your attention. Featuring brief summaries explaining why you should definitely ignore your family over the festive break in favour of playing A Little To The Left, Chop Goblins, Placid Plastic Duck Simulator, Paradise Marsh, Mount Your Friends, and A Building Full Of Cats. We close out the episode with a run-down of our current hyperfixations. Rebecca can't wait to tell everyone about a fanmade Life Is Strange dating sim called Love Is Strange she saw on Itch.io. Rachel can't get enough of live-action social deduction series The Traitors on BBC. And Liam is obsessed with TikTok account @therealpovcook, documenting the daily working life of a diner cook living somewhere in America. Indiescovery is a podcast by RockPaperShotgun.com. Music by Dylan Sitts: the songs are Tahoe Trip, Pool Sticker, and Express Check-in. Learn more about your ad choices. Visit megaphone.fm/adchoices

Luca Guadagnino's new BONES AND ALL slots nicely into the tradition of films about outlaw lovers on the lam, but also bucks the tropes of that tradition in a manner reminiscent of Terrence Malick's mold-breaking BADLANDS. This week we're looking back at Malick's 1973 feature debut to pinpoint what differentiates it from other young-outlaw tales and what distinguishes it as an early Malick film, in particular its voiceover narration and fascination with the natural world. Plus, two of the year's most talked-about films, TÁR and THE BANSHEES OF INISHERIN, get talked about some more via listener feedback. Please share your comments, thoughts, and questions about BADLANDS, BONES AND ALL, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: “Love Is Strange” by Mickey & Sylvia Learn more about your ad choices. Visit megaphone.fm/adchoices

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & Roll; the music business was still limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex sound. On songs such as "Not Fade Away," "Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby," "Rave On," "Heartbeat," and "It's So Easy," Holly took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

IOTA Media's own Ali Bradley is in to share about some of the recent tragedies taking place on our southern border. Highline College's  own Shawna Freeman joins KIRO Nights to share what they are doing at Highline College that separates them from any other Community College around. // Missing corrections officer accused of helping murder suspect escape jail had a 'special relationship' with him, sheriff says.   See omnystudio.com/listener for privacy information.

Nous vous racontons l'histoire de Mickey Baker, musicien américain, pionnier du Rock'n'roll et du Rythm'n Blues, auteur de classiques comme Love Is Strange et qui a influencé tant de musiciens. Cet invraisemblable parcours de ce musicien qui a tout vécu, il vous est raconté par Bertrand Burgalat et David Blot au travers du livre “Alone”, paru aux éditions Séguier. D'après les mémoires de Mikey Baker, traduits par Yves Gabay, préfacé par le mythique Andrew Loog Oldham et par notre invité Bertrand Burgalat. TRACKLIST GYEDU-BLAY AMBOLLEY - HIGHLIFEALICIA KEYS - BEST OF ME (ORIGINALS)BON VOYAGE ORGANISATION - ET S'ÉVEILLENT HARVEY SUTHERLAND - JOUISSANCE PARCELS - SOMETHING GREATER (GASPARD AUGÉ & VICTOR LE MASNE REMIX)MICKEY & SYLVIA - LOVE IS STRANGE MICKEY BAKER, SYLVIA VANDERPOOL - NO GOOD LOVERSYLVIA - PILLOW TALK COLETTE MAGNY - MELOCOTON CHANTALE GOYA - MON ANGE GARDIEN MICKEY BAKER - BEWILDEREDMIKEY - TAKE A LOOKFRANCOISE DELDICK - HUM HUM LOVE IS STRANGEBERTRAND BURGALAT - SPECTACLE DU MONDE BERTRAND BURGALAT - DE GAULLE BÂTISSEUR (GÉNÉRIQUE) Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Dan and Alonso are joined by director Andrew Ahn, who connects the subtle and heartbreaking storytelling of Yasujirô Ozu's 1953 classic TOKYO STORY with Ahn's acclaimed 2020 film DRIVEWAYS. Follow us @filmandmoviepod on Twitter, Instagram, and Facebook, and leave us a five-star review on Apple Podcasts or wherever you get your episodes.Follow Andrew on Twitter and Instagram @andrewahnfilms DRIVEWAYS is streaming on Showtime Anytime https://www.showtimeanytime.com/#/movie/3497435 Kanopy https://kanopy.com/video/driveways and Hoopla https://www.hoopladigital.com/title/13242194TOKYO STORY is streaming on Criterion Channel https://www.criterionchannel.com/tokyo-storyAndrew recommends SHOPLIFTERS https://www.hulu.com/movie/shoplifters-66391a03-6d2c-4876-90d1-bb820b7bea2b // https://www.hoopladigital.com/title/12303564Alonso recommends MAKE WAY FOR TOMORROW https://www.amazon.com/Make-Tomorrow-Blu-ray-Victor-Moore/dp/B00TRAO72G/?tag=alonsoduralde-20 LOVE IS STRANGE https://www.starz.com/us/en/movies/love-is-strange-23535 SPA NIGHT https://kanopy.com/video/spa-night-0

WE review Wesley's score on his Always Be My Maybe Quiz and Ethan will be quizzed on the 2014 Jon Lithgow/Alfred Molina movie Love Is Strange.Ethan’s doin well at Wes’ expense. It’s what we do. Just boyz bein boyz. To skip to the quiz this week, go to time stamp: 44:25 Follow Us:Twitter - @WEAintSeenItFacebook: @WEAintSeenNothinYetEthan - @PowerfulGooseWesley: @661f223f6cb

Jason Stuart and Mitch Hara talk with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about their new must-watch comedy series “Smothered” currently available on Amazon Prime. With everything that’s happening in the world right now “Smothered” brings much needed comedic relief with a thirty-minute binge session of seven, five-minute episodes of outrageous, irreverent and laugh out loud bliss. Jason Stuart (The Birth Of A Nation) and Mitch Hara (Mutant Olive) have co-written, co-starred and co-produced this series about a longtime gay couple that cannot stand each other but can’t afford to get divorced. They decided to attempt to save their relationship by navigating their way through couple’s therapy. As the series unfolds through their uninhibited and often shocking therapy sessions, viewers discover how the couple of twenty years outrageously nit-pick and push each other’s buttons. Guest stars appearing as assorted brands of therapists include Dalila Ali Rajah (Criminal Minds), Erik Audé (American Sniper), Clent Bowers (Little Fockers), Erika Ervin (American Horror Story), Helen Hong (Silicon Valley), Scott Krinsky (Chuck), Pancho Moler (Ray Donovan) and Carole Ita White (Laverne & Shirley). “Smothered” is directed by Terri Hanauer (Sweet Talk) and won the Audience Award for Best Series in the International Film Festivals in Spain, Paris, Amsterdam and Berlin. We talked to Jason and Mitch about what they hope to accomplish with their hysterical comedy series “Smothered” and their spin on our LGBTQ issues.Jason Stuart is one of the most prolific character actors who’s also an outrageous openly gay stand-up comedian. With over 150 credits his film work includes “The Birth Of A Nation” “Tangerine”, “Love Is Strange”, “Gia”, “Kindergarten Cop” and “Vegas Vacation” among his fan favorites. His TV work has wowed audiences with guest roles on such shows as “Sleepy Hollow”, “Entourage”, “The Closer”, “It's Always Sunny in Philadelphia”, “House”, “Everybody Hates Chris” and “Will & Grace” among others. For More Info: jasonstuart.comMitch Hara is an actor/writer/director who joined the acclaimed Actors Studio when he was just 19. Mitch won Best Actor Award for his portrayal of Sister Coco Call-Me- Ishmael, a mental-patient-drag-queen-nun. He also co- wrote and directed Joe Manganiello in “One Night Stand.” Hara’s award-winning solo show “Mutant Olive” is playing to sold out houses in Beverly Hills, NYC, Chicago, London with rave reviews.For More Info: smotheredtv.com LISTEN: 500+ LGBTQ Chats @OUTTAKE VOICES 

Sylvia recalls the day she let her true love, Mickey, die at the hands of a dirty greaser and his wicked ‘55 Chevy. Be Boss...Stay Gold...CDLAWSON.COM --- 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/kbossradio/message

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at “Love is Strange” by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one’s on “Ain’t Nobody’s Business” by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit. (more…)

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at "Love is Strange" by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one's on "Ain't Nobody's Business" by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley's side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan. This double-CD set contains all of Mickey and Sylvia's releases as a duo, plus several Little Sylvia singles. And Mississippi Delta Dues is an album that all blues lovers should have. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we're going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won't properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history. Yet this is a song that's a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner. The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure -- a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart. Stewart, like many of the musicians we're looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer. There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like: [Excerpt: The Rainbows, "If You See Mary Lee"] Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, "Billy's Blues", featured both Diddley and Diddley's guitarist Jody Williams on guitar: [Billy Stewart, "Billy's Blues"] Williams came up with that guitar part, and that would lead to a lot of trouble in the future. And that trouble would come because of Mickey Baker. Mickey Baker's birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn't know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton: [Excerpt: Pee Wee Crayton: "Blues After Hours"] Or, more precisely, when he saw Crayton's Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, "I started bending strings. I was starving to death, and the blues was just a financial thing for me then." Baker became part of an informal group of people around Atlantic Records, centred around Doc Pomus, a blues songwriter who we will hear more about in the future, along with Big Joe Turner and the saxophone player King Curtis. They were playing sophisticated city blues and R&B, and rather looked down on the country bluesmen who are now much better known, as being comparatively unsophisticated musicians. Baker's comments about “bending strings” come from this attitude, that real good music involved horns and pianos and rhythmic sophistication, and that what the Delta bluesmen were doing was something anyone can do. Baker became one of the most sought-after studio guitarists in the R&B field, and for example played the staggering lead guitar on "Need Your Love So Bad" by Little Willie John: [Excerpt, Little Willie John, "Need Your Love So Bad"] That's some pretty good string-bending. He was also on a lot of other songs we've talked about in previous episodes. That's him on guitar on "Mama, He Treats Your Daughter Mean": [Excerpt: Ruth Brown, "Mama, He Treats Your Daughter Mean"] And "Shake, Rattle, and Roll": [Excerpt: Big Joe Turner, "Shake, Rattle, and Roll"] and "Money Honey" [Excerpt: Clyde McPhatter and the Drifters, "Money Honey"] And records by Louis Jordan, LaVern Baker, Ray Charles and more. Baker was also a guitar teacher, and one of his students was a young woman named Sylvia Vanterpool. Sylvia was, at the time, a singer who was just starting out in her career. She had recorded several unsuccessful tracks on Savoy and Jubilee records. A typical example is her version of "I Went to Your Wedding": [Excerpt: Little Sylvia, "I Went to Your Wedding"] Sylvia was only thirteen when she started her career, using the name "Little Sylvia" -- inspired by "Little Esther", who like her was making records for Savoy records -- and her early recordings are a strange mix of different styles. For every syrupy ballad like "I Went to Your Wedding" there was a hard R&B number, more in the Little Esther style, like "Drive, Daddy, Drive": [Excerpt: Little Sylvia, "Drive Daddy Drive"] That was the other side of the same single as "I Went to Your Wedding", and you can hear that while she had some vocal talent, she was not keeping to a coherent enough, distinctive enough, sound to make her into a star. By the time she was twenty, Sylvia was holding down a day job as a typist, trying and failing to earn enough money to live on as a singer. But she'd been taking guitar lessons from Mickey Baker and had got pretty good. But then Sylvia started dating a man named Joe Robinson. Joe Robinson was involved in some way with gangsters -- nobody has written enough detail for me to get an exact sense of what it was he did with the mob, but he had connections. And he decided he was going to become Sylvia's manager. While Sylvia's career was floundering, Joe thought he could beef it up. All that was needed was a gimmick. Different sources tell different stories about who thought of the idea, but eventually it was decided that Sylvia should join with her guitar teacher and form a duo. Some sources say that the duo was Joe Robinson's idea, and that it was inspired by the success of Gene and Eunice, Shirley and Lee, and the other vocal duos around the time. Other sources, on the other hand, talk about how Mickey Baker, who had started out as a jazz guitarist very much in the Les Paul mode, had wanted to form his own version of Les Paul and Mary Ford. Either way, the gimmick was a solid one -- a male/female duo, both of whom could sing and play the guitar, but playing that string-bending music that Mickey was making money from. And the two of them had chemistry -- at least on stage and on recordings. Off stage, they soon began to grate on each other. Mickey was a man who had no interest in stardom or financial success -- he was a rather studious, private, man who just wanted to make music and get better at his instrument, while Sylvia had a razor-sharp business mind, a huge amount of ambition, and a desire for stardom. But they worked well as a musical team, even if they were never going to be the best of friends. Originally, they signed with a label called Rainbow Records, a medium-sized indie label in New York, where they put out their first single, "I'm So Glad". It's not an especially good record, and it does seem to have a bit of Gene and Eunice to it, and almost none of the distinctive guitar that would characterise their later work -- just some stabbing punctuation on the middle eight and a rather perfunctory solo. The B-side, though, "Se De Boom Run Dun", while it's also far from a wonderful song, does have the semi-calypso rhythm that would later make them famous: [Excerpt: Mickey and Sylvia, "Se De Boom Run Dun"] Unsurprisingly, it didn't sell, and nor did the follow-ups. But the records did get some airplay in New York, if nowhere else, and that brought them to the attention of Bob Rolontz at Groove Records. Groove Records was a subsidiary of RCA, set up in 1953. At that time, the major record labels had a problem, which we've talked about before. For years, none of them had put out R&B records, and the small labels that did put out R&B had been locked out of the distribution networks that the major labels dominated. The result had been that a whole independent network of shops -- usually black-owned businesses selling to black customers -- had sprung up that only sold R&B records. Those shops had no interest in selling the records put out by the major labels -- their customers weren't interested in Doris Day or Frank Sinatra, they wanted Wynonie Harris and Johnny Otis, so why would the shop want to stock anything by Columbia or Decca or RCA, when there was Modern and Chess and Federal and King and Sun and RPM out there making the kind of records their customers liked? But, of course, the major labels still wanted to sell to those customers. After all, there was money out there in the pockets of people who weren't shareholders in RCA or Columbia, and in the eyes of those shareholders that was the greatest injustice in the world, and one that needed to be rectified forthwith. And so those labels set up their own mini-divisions, to sell to those shops. They had different labels, because the shops wouldn't buy from the majors, but they were wholly-owned subsidiaries. Fake indie labels. And Groove was one of them. Groove Records had had a minor hit in 1955 with the piano player Piano Red, and his "Jump Man Jump": [Excerpt: Piano Red, "Jump Man Jump"] They hadn't had a huge amount of commercial success since, but Rolontz thought that Mickey and Sylvia could be the ones to bring him that success. Rolontz put them together with the saxophonist and arranger King Curtis, who Mickey already knew from his work with Doc Pomus, and Curtis put together a team of the best R&B musicians in New York, many of them the same people who would play on most of Atlantic's sessions. Mickey and Sylvia's first single on Groove, "Walking in the Rain", had the potential to be a big hit in the eyes of the record company: [Excerpt: Mickey and Sylvia, "Walking in the Rain"] But unfortunately for them, Johnnie Ray put out this at around the same time: [Excerpt: Johnnie Ray, "Just Walking in the Rain"] That's a totally different song, of course -- it's a cover version of one of the first records ever released on Sun Records, a few years earlier, originally by a vocal group called the Prisonaires. But customers were understandably confused by the presence of two songs with almost identical titles in the market, and so Mickey and Sylvia's song tanked. They still didn't have that hit they needed. But at that point, fate intervened in the form of Bo Diddley. In May 1956, Diddley had written and recorded a song called "Love is Strange", and not got round to releasing it. Jody Williams, who was in Diddley's band at the time, had played the lead guitar on the session, and he'd reused the licks he had used for "Billy's Blues" on the song: [Excerpt: Bo Diddley, "Love is Strange"] At the time, Diddley was friendly with Mickey Baker, and was using Baker as a session guitarist on outside recordings he was producing for other artists, including recordings with Billy Stewart and with the Marquees, a vocal group which featured a young singer named Marvin Gaye: [Excerpt: The Marquees, "Wyatt Earp"] As a result, Mickey and Sylvia ended up playing a few shows on the same bill as Diddley, and at one of the shows, Williams, who was attracted to Sylvia, decided to play "Love is Strange" for her. Sylvia liked the song, and Mickey and Sylvia decided to record it. [Excerpt: Mickey and Sylvia, "Love is Strange"] Now, Diddley claimed that what he told the song's publishers was that Jody Williams wrote the music, while he wrote the lyrics, but he asked that the credit for the lyrics be put in the name of his wife Ethel Smith. While Smith's name made the credits, Williams' didn't, and Williams blamed Diddley for the omission, while Diddley just said (with some evidence) that most of the people he signed contracts with were liars and thieves, and that it didn't surprise him that they'd missed Williams' name off. We'll never know for sure what was actually in Diddley's contracts because, again according to Diddley, just before he and Smith divorced she burned all his papers so she could claim that he never gave her any money and he couldn't prove otherwise. Williams never believed him, and the two didn't speak for decades. Meanwhile, two other people were credited as writers on the song -- Mickey and Sylvia themselves. This is presumably for the changes that were made between Diddley's demo and the finished song, which mostly amount to Baker's lead guitar part and to the famous spoken-word section of the song in the middle: [Excerpt: Mickey and Sylvia, "Love is Strange", spoken word section] According to Diddley, he also later sold his own share in the song to Sylvia, some time in the early sixties. This may well be the case, because Sylvia Vanterpool went on to become a very, very successful businesswoman, who made a lot of very wise business decisions. Either way, "Love is Strange" was a big hit. It went to number eleven in the pop charts and number one on the R&B chart. It's one of those records that everyone knows, and it went on to be covered by dozens upon dozens of performers, including The Maddox Brothers and Rose: [Excerpt: The Maddox Brothers and Rose, "Love is Strange". All very short excerpts here] The Everly Brothers: [Excerpt: The Everly Brothers, "Love is Strange"] And Paul McCartney and Wings: [Excerpt: Wings, "Love is Strange"] And Jody Williams never saw a penny from it. But after Groove Records had had this breakthrough big hit, RCA decided to close the label down, and move the acts on the label, and their producer Rolontz, to another subsidiary, Vik. Vik Records had, according to Rolontz, "probably the worst collection of talent in the history of the world", and was severely in debt. All the momentum for their career was gone. Mickey and Sylvia would release many more records, but they would have diminishing returns. Their next record went top ten R&B, but only number forty-seven on the pop charts, and the record after that did even worse, only reaching number eighty-five in the hot one hundred, even though it was another Bo Diddley ballad very much in the same vein as "Love is Strange": [Excerpt: Mickey and Sylvia, "Dearest"] But even though that wasn't a big hit record, it was a favourite of Buddy Holly -- a singer who at this time was just starting out in his own career. You can tell how much Holly liked Mickey and Sylvia, though, just by comparing the way he sings the word “baby” on many of his records to the way Sylvia sings it in “Love is Strange”, and he recorded his own home demos of both "Love is Strange" and "Dearest" -- demos which were released on singles after his death: [Excerpt: Buddy Holly, "Dearest"] But "Dearest" was so obscure that when Holly's single came out, the song was titled "Umm Oh Yeah", and credited to "unknown" for many years, because no-one at the record label had heard the earlier record. Mickey and Sylvia would have several more records in the hot one hundred, but the highest would only reach number forty-six. But while they had no more hits under their own names, they did have another hit... as Ike Turner. After Mickey and Sylvia were dropped along with the rest of the Vik artists, they split up temporarily, but then got back together to start their own company, Willow Records, to release their material. Ike Turner played on some of their records, and to return the favour they agreed to produce a record for Ike and Tina Turner. The song chosen was called "It's Gonna Work Out Fine", and it was co-written by the great R&B songwriter Rose Marie McCoy, who had written for Elvis, Nat "King" Cole, Nappy Brown, and many others. The other credited co-writer is one Sylvia McKinney, who some sources suggest is the same person as Sylvia Vanterpool -- who had by this point married Joe Robinson and changed her name to Sylvia Robinson. Whether she was the other co-writer or not, Mickey and Sylvia had recorded a version of the song for Vik Records, but it hadn't been released, and so they suggested to Ike that the song would work as an Ike and Tina Turner record -- and they would produce and arrange it for them. Indeed they did more than that. They *were* Ike Turner on the record -- Sylvia played the lead guitar part, while Mickey did the spoken "Ike" vocals, which Ike would do live. Sylvia also joined the Ikettes on backing vocals, and while Mickey and Sylvia aren't the credited producers, the end result is essentially a Mickey and Sylvia record with guest vocals from Tina Turner: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That record sold over a million copies, and got a Grammy nomination. However, Mickey and Sylvia's recordings under their own name were still having no success, and Mickey was also having problems because his then-wife was white, and with the particularly virulent form of racism the US was suffering through at the time, he didn't want to be in the country any more. He was also becoming more and more interested in the academic side of music. He had already, in 1955, written a book, the Complete Course in Jazz Guitar, which is still available today and highly regarded. So he moved to Europe, and went back into jazz, performing with people like Coleman Hawkins: [Excerpt: Mickey Baker and Coleman Hawkins: "South of France Blues"] But he did more than just jazz. He studied composition with Iannis Xennakis and started writing fugues and a concerto for guitar and orchestra, "The Blues Suite". Unfortunately, while some of that music was recorded, it only appears to have been released on now out of print and expensive vinyl which no-one has uploaded to the Internet, so I can't excerpt it for you here. What I *can* excerpt is a project he did in the mid-1970s, an album called "Mississippi Delta Dues", released under his birth name McHouston Baker, where he paid tribute to the country bluesmen he'd looked down on early on by performing their songs, along with some of his own in a similar style. It's an odd album, in which sometimes he does a straight soundalike, like this version of Robert Johnson's "Terraplane Blues": [Excerpt: McHouston Baker, "Terraplane Blues"] And sometimes he uses strings. Sometimes this is just as a standard pop-style string section, but sometimes he's using them in ways he learned from Xenakkis, like on this version of J.B. Lenoir's "Alabama Blues", rewritten as "Alabama March", which ends up sounding like nothing as much as Scott Walker: [Excerpt: McHouston Baker, "Alabama March"] Baker carried on performing music of all kinds around Europe until his death in 2011. He died massively respected for his contributions to blues, jazz, R&B, and the technical proficiency of generations of guitarists. Sylvia Robinson made even more of a contribution. After a few years off to have kids after the duo split up, she set up her own record label, All Platinum. For All Platinum she wrote and produced a number of proto-disco hits for other people in the late sixties and early seventies. Those included "Shame Shame Shame" for Shirley and Company: [Excerpt: Shirley and Company, "Shame Shame Shame"] That's the song that inspired David Bowie, John Lennon, and Carlos Alomar to rework a song Bowie and Alomar had been working on, called "Footstompin'", into "Fame". Sylvia also had a hit of her own, with a song called "Pillow Talk" that she'd written for Al Green, but which he'd turned down due to its blatant sexuality conflicting with his newfound religion: [Excerpt: Sylvia, "Pillow Talk"] But I'm afraid we're going to have to wait more than two years before we find out more about Sylvia's biggest contribution to music, because Sylvia Robinson, who had been Little Sylvia and the woman calling her lover-boy, became to hip-hop what Sam Phillips was to rock and roll, and when we get to 1979 we will be looking at how, with financing from her husband's gangster friend Morris Levy, someone from the first wave of rock and roll stars was more responsible than anyone for seeing commercial potential in the music that eventually took rock's cultural place.

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at “Love is Strange” by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one’s on “Ain’t Nobody’s Business” by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley’s side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan. This double-CD set contains all of Mickey and Sylvia’s releases as a duo, plus several Little Sylvia singles. And Mississippi Delta Dues is an album that all blues lovers should have. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we’re going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won’t properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history. Yet this is a song that’s a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner. The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure — a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart. Stewart, like many of the musicians we’re looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer. There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like: [Excerpt: The Rainbows, “If You See Mary Lee”] Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, “Billy’s Blues”, featured both Diddley and Diddley’s guitarist Jody Williams on guitar: [Billy Stewart, “Billy’s Blues”] Williams came up with that guitar part, and that would lead to a lot of trouble in the future. And that trouble would come because of Mickey Baker. Mickey Baker’s birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn’t know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton: [Excerpt: Pee Wee Crayton: “Blues After Hours”] Or, more precisely, when he saw Crayton’s Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, “I started bending strings. I was starving to death, and the blues was just a financial thing for me then.” Baker became part of an informal group of people around Atlantic Records, centred around Doc Pomus, a blues songwriter who we will hear more about in the future, along with Big Joe Turner and the saxophone player King Curtis. They were playing sophisticated city blues and R&B, and rather looked down on the country bluesmen who are now much better known, as being comparatively unsophisticated musicians. Baker’s comments about “bending strings” come from this attitude, that real good music involved horns and pianos and rhythmic sophistication, and that what the Delta bluesmen were doing was something anyone can do. Baker became one of the most sought-after studio guitarists in the R&B field, and for example played the staggering lead guitar on “Need Your Love So Bad” by Little Willie John: [Excerpt, Little Willie John, “Need Your Love So Bad”] That’s some pretty good string-bending. He was also on a lot of other songs we’ve talked about in previous episodes. That’s him on guitar on “Mama, He Treats Your Daughter Mean”: [Excerpt: Ruth Brown, “Mama, He Treats Your Daughter Mean”] And “Shake, Rattle, and Roll”: [Excerpt: Big Joe Turner, “Shake, Rattle, and Roll”] and “Money Honey” [Excerpt: Clyde McPhatter and the Drifters, “Money Honey”] And records by Louis Jordan, LaVern Baker, Ray Charles and more. Baker was also a guitar teacher, and one of his students was a young woman named Sylvia Vanterpool. Sylvia was, at the time, a singer who was just starting out in her career. She had recorded several unsuccessful tracks on Savoy and Jubilee records. A typical example is her version of “I Went to Your Wedding”: [Excerpt: Little Sylvia, “I Went to Your Wedding”] Sylvia was only thirteen when she started her career, using the name “Little Sylvia” — inspired by “Little Esther”, who like her was making records for Savoy records — and her early recordings are a strange mix of different styles. For every syrupy ballad like “I Went to Your Wedding” there was a hard R&B number, more in the Little Esther style, like “Drive, Daddy, Drive”: [Excerpt: Little Sylvia, “Drive Daddy Drive”] That was the other side of the same single as “I Went to Your Wedding”, and you can hear that while she had some vocal talent, she was not keeping to a coherent enough, distinctive enough, sound to make her into a star. By the time she was twenty, Sylvia was holding down a day job as a typist, trying and failing to earn enough money to live on as a singer. But she’d been taking guitar lessons from Mickey Baker and had got pretty good. But then Sylvia started dating a man named Joe Robinson. Joe Robinson was involved in some way with gangsters — nobody has written enough detail for me to get an exact sense of what it was he did with the mob, but he had connections. And he decided he was going to become Sylvia’s manager. While Sylvia’s career was floundering, Joe thought he could beef it up. All that was needed was a gimmick. Different sources tell different stories about who thought of the idea, but eventually it was decided that Sylvia should join with her guitar teacher and form a duo. Some sources say that the duo was Joe Robinson’s idea, and that it was inspired by the success of Gene and Eunice, Shirley and Lee, and the other vocal duos around the time. Other sources, on the other hand, talk about how Mickey Baker, who had started out as a jazz guitarist very much in the Les Paul mode, had wanted to form his own version of Les Paul and Mary Ford. Either way, the gimmick was a solid one — a male/female duo, both of whom could sing and play the guitar, but playing that string-bending music that Mickey was making money from. And the two of them had chemistry — at least on stage and on recordings. Off stage, they soon began to grate on each other. Mickey was a man who had no interest in stardom or financial success — he was a rather studious, private, man who just wanted to make music and get better at his instrument, while Sylvia had a razor-sharp business mind, a huge amount of ambition, and a desire for stardom. But they worked well as a musical team, even if they were never going to be the best of friends. Originally, they signed with a label called Rainbow Records, a medium-sized indie label in New York, where they put out their first single, “I’m So Glad”. It’s not an especially good record, and it does seem to have a bit of Gene and Eunice to it, and almost none of the distinctive guitar that would characterise their later work — just some stabbing punctuation on the middle eight and a rather perfunctory solo. The B-side, though, “Se De Boom Run Dun”, while it’s also far from a wonderful song, does have the semi-calypso rhythm that would later make them famous: [Excerpt: Mickey and Sylvia, “Se De Boom Run Dun”] Unsurprisingly, it didn’t sell, and nor did the follow-ups. But the records did get some airplay in New York, if nowhere else, and that brought them to the attention of Bob Rolontz at Groove Records. Groove Records was a subsidiary of RCA, set up in 1953. At that time, the major record labels had a problem, which we’ve talked about before. For years, none of them had put out R&B records, and the small labels that did put out R&B had been locked out of the distribution networks that the major labels dominated. The result had been that a whole independent network of shops — usually black-owned businesses selling to black customers — had sprung up that only sold R&B records. Those shops had no interest in selling the records put out by the major labels — their customers weren’t interested in Doris Day or Frank Sinatra, they wanted Wynonie Harris and Johnny Otis, so why would the shop want to stock anything by Columbia or Decca or RCA, when there was Modern and Chess and Federal and King and Sun and RPM out there making the kind of records their customers liked? But, of course, the major labels still wanted to sell to those customers. After all, there was money out there in the pockets of people who weren’t shareholders in RCA or Columbia, and in the eyes of those shareholders that was the greatest injustice in the world, and one that needed to be rectified forthwith. And so those labels set up their own mini-divisions, to sell to those shops. They had different labels, because the shops wouldn’t buy from the majors, but they were wholly-owned subsidiaries. Fake indie labels. And Groove was one of them. Groove Records had had a minor hit in 1955 with the piano player Piano Red, and his “Jump Man Jump”: [Excerpt: Piano Red, “Jump Man Jump”] They hadn’t had a huge amount of commercial success since, but Rolontz thought that Mickey and Sylvia could be the ones to bring him that success. Rolontz put them together with the saxophonist and arranger King Curtis, who Mickey already knew from his work with Doc Pomus, and Curtis put together a team of the best R&B musicians in New York, many of them the same people who would play on most of Atlantic’s sessions. Mickey and Sylvia’s first single on Groove, “Walking in the Rain”, had the potential to be a big hit in the eyes of the record company: [Excerpt: Mickey and Sylvia, “Walking in the Rain”] But unfortunately for them, Johnnie Ray put out this at around the same time: [Excerpt: Johnnie Ray, “Just Walking in the Rain”] That’s a totally different song, of course — it’s a cover version of one of the first records ever released on Sun Records, a few years earlier, originally by a vocal group called the Prisonaires. But customers were understandably confused by the presence of two songs with almost identical titles in the market, and so Mickey and Sylvia’s song tanked. They still didn’t have that hit they needed. But at that point, fate intervened in the form of Bo Diddley. In May 1956, Diddley had written and recorded a song called “Love is Strange”, and not got round to releasing it. Jody Williams, who was in Diddley’s band at the time, had played the lead guitar on the session, and he’d reused the licks he had used for “Billy’s Blues” on the song: [Excerpt: Bo Diddley, “Love is Strange”] At the time, Diddley was friendly with Mickey Baker, and was using Baker as a session guitarist on outside recordings he was producing for other artists, including recordings with Billy Stewart and with the Marquees, a vocal group which featured a young singer named Marvin Gaye: [Excerpt: The Marquees, “Wyatt Earp”] As a result, Mickey and Sylvia ended up playing a few shows on the same bill as Diddley, and at one of the shows, Williams, who was attracted to Sylvia, decided to play “Love is Strange” for her. Sylvia liked the song, and Mickey and Sylvia decided to record it. [Excerpt: Mickey and Sylvia, “Love is Strange”] Now, Diddley claimed that what he told the song’s publishers was that Jody Williams wrote the music, while he wrote the lyrics, but he asked that the credit for the lyrics be put in the name of his wife Ethel Smith. While Smith’s name made the credits, Williams’ didn’t, and Williams blamed Diddley for the omission, while Diddley just said (with some evidence) that most of the people he signed contracts with were liars and thieves, and that it didn’t surprise him that they’d missed Williams’ name off. We’ll never know for sure what was actually in Diddley’s contracts because, again according to Diddley, just before he and Smith divorced she burned all his papers so she could claim that he never gave her any money and he couldn’t prove otherwise. Williams never believed him, and the two didn’t speak for decades. Meanwhile, two other people were credited as writers on the song — Mickey and Sylvia themselves. This is presumably for the changes that were made between Diddley’s demo and the finished song, which mostly amount to Baker’s lead guitar part and to the famous spoken-word section of the song in the middle: [Excerpt: Mickey and Sylvia, “Love is Strange”, spoken word section] According to Diddley, he also later sold his own share in the song to Sylvia, some time in the early sixties. This may well be the case, because Sylvia Vanterpool went on to become a very, very successful businesswoman, who made a lot of very wise business decisions. Either way, “Love is Strange” was a big hit. It went to number eleven in the pop charts and number one on the R&B chart. It’s one of those records that everyone knows, and it went on to be covered by dozens upon dozens of performers, including The Maddox Brothers and Rose: [Excerpt: The Maddox Brothers and Rose, “Love is Strange”. All very short excerpts here] The Everly Brothers: [Excerpt: The Everly Brothers, “Love is Strange”] And Paul McCartney and Wings: [Excerpt: Wings, “Love is Strange”] And Jody Williams never saw a penny from it. But after Groove Records had had this breakthrough big hit, RCA decided to close the label down, and move the acts on the label, and their producer Rolontz, to another subsidiary, Vik. Vik Records had, according to Rolontz, “probably the worst collection of talent in the history of the world”, and was severely in debt. All the momentum for their career was gone. Mickey and Sylvia would release many more records, but they would have diminishing returns. Their next record went top ten R&B, but only number forty-seven on the pop charts, and the record after that did even worse, only reaching number eighty-five in the hot one hundred, even though it was another Bo Diddley ballad very much in the same vein as “Love is Strange”: [Excerpt: Mickey and Sylvia, “Dearest”] But even though that wasn’t a big hit record, it was a favourite of Buddy Holly — a singer who at this time was just starting out in his own career. You can tell how much Holly liked Mickey and Sylvia, though, just by comparing the way he sings the word “baby” on many of his records to the way Sylvia sings it in “Love is Strange”, and he recorded his own home demos of both “Love is Strange” and “Dearest” — demos which were released on singles after his death: [Excerpt: Buddy Holly, “Dearest”] But “Dearest” was so obscure that when Holly’s single came out, the song was titled “Umm Oh Yeah”, and credited to “unknown” for many years, because no-one at the record label had heard the earlier record. Mickey and Sylvia would have several more records in the hot one hundred, but the highest would only reach number forty-six. But while they had no more hits under their own names, they did have another hit… as Ike Turner. After Mickey and Sylvia were dropped along with the rest of the Vik artists, they split up temporarily, but then got back together to start their own company, Willow Records, to release their material. Ike Turner played on some of their records, and to return the favour they agreed to produce a record for Ike and Tina Turner. The song chosen was called “It’s Gonna Work Out Fine”, and it was co-written by the great R&B songwriter Rose Marie McCoy, who had written for Elvis, Nat “King” Cole, Nappy Brown, and many others. The other credited co-writer is one Sylvia McKinney, who some sources suggest is the same person as Sylvia Vanterpool — who had by this point married Joe Robinson and changed her name to Sylvia Robinson. Whether she was the other co-writer or not, Mickey and Sylvia had recorded a version of the song for Vik Records, but it hadn’t been released, and so they suggested to Ike that the song would work as an Ike and Tina Turner record — and they would produce and arrange it for them. Indeed they did more than that. They *were* Ike Turner on the record — Sylvia played the lead guitar part, while Mickey did the spoken “Ike” vocals, which Ike would do live. Sylvia also joined the Ikettes on backing vocals, and while Mickey and Sylvia aren’t the credited producers, the end result is essentially a Mickey and Sylvia record with guest vocals from Tina Turner: [Excerpt: Ike and Tina Turner, “It’s Gonna Work Out Fine”] That record sold over a million copies, and got a Grammy nomination. However, Mickey and Sylvia’s recordings under their own name were still having no success, and Mickey was also having problems because his then-wife was white, and with the particularly virulent form of racism the US was suffering through at the time, he didn’t want to be in the country any more. He was also becoming more and more interested in the academic side of music. He had already, in 1955, written a book, the Complete Course in Jazz Guitar, which is still available today and highly regarded. So he moved to Europe, and went back into jazz, performing with people like Coleman Hawkins: [Excerpt: Mickey Baker and Coleman Hawkins: “South of France Blues”] But he did more than just jazz. He studied composition with Iannis Xennakis and started writing fugues and a concerto for guitar and orchestra, “The Blues Suite”. Unfortunately, while some of that music was recorded, it only appears to have been released on now out of print and expensive vinyl which no-one has uploaded to the Internet, so I can’t excerpt it for you here. What I *can* excerpt is a project he did in the mid-1970s, an album called “Mississippi Delta Dues”, released under his birth name McHouston Baker, where he paid tribute to the country bluesmen he’d looked down on early on by performing their songs, along with some of his own in a similar style. It’s an odd album, in which sometimes he does a straight soundalike, like this version of Robert Johnson’s “Terraplane Blues”: [Excerpt: McHouston Baker, “Terraplane Blues”] And sometimes he uses strings. Sometimes this is just as a standard pop-style string section, but sometimes he’s using them in ways he learned from Xenakkis, like on this version of J.B. Lenoir’s “Alabama Blues”, rewritten as “Alabama March”, which ends up sounding like nothing as much as Scott Walker: [Excerpt: McHouston Baker, “Alabama March”] Baker carried on performing music of all kinds around Europe until his death in 2011. He died massively respected for his contributions to blues, jazz, R&B, and the technical proficiency of generations of guitarists. Sylvia Robinson made even more of a contribution. After a few years off to have kids after the duo split up, she set up her own record label, All Platinum. For All Platinum she wrote and produced a number of proto-disco hits for other people in the late sixties and early seventies. Those included “Shame Shame Shame” for Shirley and Company: [Excerpt: Shirley and Company, “Shame Shame Shame”] That’s the song that inspired David Bowie, John Lennon, and Carlos Alomar to rework a song Bowie and Alomar had been working on, called “Footstompin'”, into “Fame”. Sylvia also had a hit of her own, with a song called “Pillow Talk” that she’d written for Al Green, but which he’d turned down due to its blatant sexuality conflicting with his newfound religion: [Excerpt: Sylvia, “Pillow Talk”] But I’m afraid we’re going to have to wait more than two years before we find out more about Sylvia’s biggest contribution to music, because Sylvia Robinson, who had been Little Sylvia and the woman calling her lover-boy, became to hip-hop what Sam Phillips was to rock and roll, and when we get to 1979 we will be looking at how, with financing from her husband’s gangster friend Morris Levy, someone from the first wave of rock and roll stars was more responsible than anyone for seeing commercial potential in the music that eventually took rock’s cultural place.

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at “Love is Strange” by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one’s on “Ain’t Nobody’s Business” by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley’s side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan. This double-CD set contains all of Mickey and Sylvia’s releases as a duo, plus several Little Sylvia singles. And Mississippi Delta Dues is an album that all blues lovers should have. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we’re going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won’t properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history. Yet this is a song that’s a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner. The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure — a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart. Stewart, like many of the musicians we’re looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer. There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like: [Excerpt: The Rainbows, “If You See Mary Lee”] Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, “Billy’s Blues”, featured both Diddley and Diddley’s guitarist Jody Williams on guitar: [Billy Stewart, “Billy’s Blues”] Williams came up with that guitar part, and that would lead to a lot of trouble in the future. And that trouble would come because of Mickey Baker. Mickey Baker’s birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn’t know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton: [Excerpt: Pee Wee Crayton: “Blues After Hours”] Or, more precisely, when he saw Crayton’s Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, “I started bending strings. I was starving to death, and the blues was just a financial thing for me then.” Baker became part of an informal group of people around Atlantic Records, centred around Doc Pomus, a blues songwriter who we will hear more about in the future, along with Big Joe Turner and the saxophone player King Curtis. They were playing sophisticated city blues and R&B, and rather looked down on the country bluesmen who are now much better known, as being comparatively unsophisticated musicians. Baker’s comments about “bending strings” come from this attitude, that real good music involved horns and pianos and rhythmic sophistication, and that what the Delta bluesmen were doing was something anyone can do. Baker became one of the most sought-after studio guitarists in the R&B field, and for example played the staggering lead guitar on “Need Your Love So Bad” by Little Willie John: [Excerpt, Little Willie John, “Need Your Love So Bad”] That’s some pretty good string-bending. He was also on a lot of other songs we’ve talked about in previous episodes. That’s him on guitar on “Mama, He Treats Your Daughter Mean”: [Excerpt: Ruth Brown, “Mama, He Treats Your Daughter Mean”] And “Shake, Rattle, and Roll”: [Excerpt: Big Joe Turner, “Shake, Rattle, and Roll”] and “Money Honey” [Excerpt: Clyde McPhatter and the Drifters, “Money Honey”] And records by Louis Jordan, LaVern Baker, Ray Charles and more. Baker was also a guitar teacher, and one of his students was a young woman named Sylvia Vanterpool. Sylvia was, at the time, a singer who was just starting out in her career. She had recorded several unsuccessful tracks on Savoy and Jubilee records. A typical example is her version of “I Went to Your Wedding”: [Excerpt: Little Sylvia, “I Went to Your Wedding”] Sylvia was only thirteen when she started her career, using the name “Little Sylvia” — inspired by “Little Esther”, who like her was making records for Savoy records — and her early recordings are a strange mix of different styles. For every syrupy ballad like “I Went to Your Wedding” there was a hard R&B number, more in the Little Esther style, like “Drive, Daddy, Drive”: [Excerpt: Little Sylvia, “Drive Daddy Drive”] That was the other side of the same single as “I Went to Your Wedding”, and you can hear that while she had some vocal talent, she was not keeping to a coherent enough, distinctive enough, sound to make her into a star. By the time she was twenty, Sylvia was holding down a day job as a typist, trying and failing to earn enough money to live on as a singer. But she’d been taking guitar lessons from Mickey Baker and had got pretty good. But then Sylvia started dating a man named Joe Robinson. Joe Robinson was involved in some way with gangsters — nobody has written enough detail for me to get an exact sense of what it was he did with the mob, but he had connections. And he decided he was going to become Sylvia’s manager. While Sylvia’s career was floundering, Joe thought he could beef it up. All that was needed was a gimmick. Different sources tell different stories about who thought of the idea, but eventually it was decided that Sylvia should join with her guitar teacher and form a duo. Some sources say that the duo was Joe Robinson’s idea, and that it was inspired by the success of Gene and Eunice, Shirley and Lee, and the other vocal duos around the time. Other sources, on the other hand, talk about how Mickey Baker, who had started out as a jazz guitarist very much in the Les Paul mode, had wanted to form his own version of Les Paul and Mary Ford. Either way, the gimmick was a solid one — a male/female duo, both of whom could sing and play the guitar, but playing that string-bending music that Mickey was making money from. And the two of them had chemistry — at least on stage and on recordings. Off stage, they soon began to grate on each other. Mickey was a man who had no interest in stardom or financial success — he was a rather studious, private, man who just wanted to make music and get better at his instrument, while Sylvia had a razor-sharp business mind, a huge amount of ambition, and a desire for stardom. But they worked well as a musical team, even if they were never going to be the best of friends. Originally, they signed with a label called Rainbow Records, a medium-sized indie label in New York, where they put out their first single, “I’m So Glad”. It’s not an especially good record, and it does seem to have a bit of Gene and Eunice to it, and almost none of the distinctive guitar that would characterise their later work — just some stabbing punctuation on the middle eight and a rather perfunctory solo. The B-side, though, “Se De Boom Run Dun”, while it’s also far from a wonderful song, does have the semi-calypso rhythm that would later make them famous: [Excerpt: Mickey and Sylvia, “Se De Boom Run Dun”] Unsurprisingly, it didn’t sell, and nor did the follow-ups. But the records did get some airplay in New York, if nowhere else, and that brought them to the attention of Bob Rolontz at Groove Records. Groove Records was a subsidiary of RCA, set up in 1953. At that time, the major record labels had a problem, which we’ve talked about before. For years, none of them had put out R&B records, and the small labels that did put out R&B had been locked out of the distribution networks that the major labels dominated. The result had been that a whole independent network of shops — usually black-owned businesses selling to black customers — had sprung up that only sold R&B records. Those shops had no interest in selling the records put out by the major labels — their customers weren’t interested in Doris Day or Frank Sinatra, they wanted Wynonie Harris and Johnny Otis, so why would the shop want to stock anything by Columbia or Decca or RCA, when there was Modern and Chess and Federal and King and Sun and RPM out there making the kind of records their customers liked? But, of course, the major labels still wanted to sell to those customers. After all, there was money out there in the pockets of people who weren’t shareholders in RCA or Columbia, and in the eyes of those shareholders that was the greatest injustice in the world, and one that needed to be rectified forthwith. And so those labels set up their own mini-divisions, to sell to those shops. They had different labels, because the shops wouldn’t buy from the majors, but they were wholly-owned subsidiaries. Fake indie labels. And Groove was one of them. Groove Records had had a minor hit in 1955 with the piano player Piano Red, and his “Jump Man Jump”: [Excerpt: Piano Red, “Jump Man Jump”] They hadn’t had a huge amount of commercial success since, but Rolontz thought that Mickey and Sylvia could be the ones to bring him that success. Rolontz put them together with the saxophonist and arranger King Curtis, who Mickey already knew from his work with Doc Pomus, and Curtis put together a team of the best R&B musicians in New York, many of them the same people who would play on most of Atlantic’s sessions. Mickey and Sylvia’s first single on Groove, “Walking in the Rain”, had the potential to be a big hit in the eyes of the record company: [Excerpt: Mickey and Sylvia, “Walking in the Rain”] But unfortunately for them, Johnnie Ray put out this at around the same time: [Excerpt: Johnnie Ray, “Just Walking in the Rain”] That’s a totally different song, of course — it’s a cover version of one of the first records ever released on Sun Records, a few years earlier, originally by a vocal group called the Prisonaires. But customers were understandably confused by the presence of two songs with almost identical titles in the market, and so Mickey and Sylvia’s song tanked. They still didn’t have that hit they needed. But at that point, fate intervened in the form of Bo Diddley. In May 1956, Diddley had written and recorded a song called “Love is Strange”, and not got round to releasing it. Jody Williams, who was in Diddley’s band at the time, had played the lead guitar on the session, and he’d reused the licks he had used for “Billy’s Blues” on the song: [Excerpt: Bo Diddley, “Love is Strange”] At the time, Diddley was friendly with Mickey Baker, and was using Baker as a session guitarist on outside recordings he was producing for other artists, including recordings with Billy Stewart and with the Marquees, a vocal group which featured a young singer named Marvin Gaye: [Excerpt: The Marquees, “Wyatt Earp”] As a result, Mickey and Sylvia ended up playing a few shows on the same bill as Diddley, and at one of the shows, Williams, who was attracted to Sylvia, decided to play “Love is Strange” for her. Sylvia liked the song, and Mickey and Sylvia decided to record it. [Excerpt: Mickey and Sylvia, “Love is Strange”] Now, Diddley claimed that what he told the song’s publishers was that Jody Williams wrote the music, while he wrote the lyrics, but he asked that the credit for the lyrics be put in the name of his wife Ethel Smith. While Smith’s name made the credits, Williams’ didn’t, and Williams blamed Diddley for the omission, while Diddley just said (with some evidence) that most of the people he signed contracts with were liars and thieves, and that it didn’t surprise him that they’d missed Williams’ name off. We’ll never know for sure what was actually in Diddley’s contracts because, again according to Diddley, just before he and Smith divorced she burned all his papers so she could claim that he never gave her any money and he couldn’t prove otherwise. Williams never believed him, and the two didn’t speak for decades. Meanwhile, two other people were credited as writers on the song — Mickey and Sylvia themselves. This is presumably for the changes that were made between Diddley’s demo and the finished song, which mostly amount to Baker’s lead guitar part and to the famous spoken-word section of the song in the middle: [Excerpt: Mickey and Sylvia, “Love is Strange”, spoken word section] According to Diddley, he also later sold his own share in the song to Sylvia, some time in the early sixties. This may well be the case, because Sylvia Vanterpool went on to become a very, very successful businesswoman, who made a lot of very wise business decisions. Either way, “Love is Strange” was a big hit. It went to number eleven in the pop charts and number one on the R&B chart. It’s one of those records that everyone knows, and it went on to be covered by dozens upon dozens of performers, including The Maddox Brothers and Rose: [Excerpt: The Maddox Brothers and Rose, “Love is Strange”. All very short excerpts here] The Everly Brothers: [Excerpt: The Everly Brothers, “Love is Strange”] And Paul McCartney and Wings: [Excerpt: Wings, “Love is Strange”] And Jody Williams never saw a penny from it. But after Groove Records had had this breakthrough big hit, RCA decided to close the label down, and move the acts on the label, and their producer Rolontz, to another subsidiary, Vik. Vik Records had, according to Rolontz, “probably the worst collection of talent in the history of the world”, and was severely in debt. All the momentum for their career was gone. Mickey and Sylvia would release many more records, but they would have diminishing returns. Their next record went top ten R&B, but only number forty-seven on the pop charts, and the record after that did even worse, only reaching number eighty-five in the hot one hundred, even though it was another Bo Diddley ballad very much in the same vein as “Love is Strange”: [Excerpt: Mickey and Sylvia, “Dearest”] But even though that wasn’t a big hit record, it was a favourite of Buddy Holly — a singer who at this time was just starting out in his own career. You can tell how much Holly liked Mickey and Sylvia, though, just by comparing the way he sings the word “baby” on many of his records to the way Sylvia sings it in “Love is Strange”, and he recorded his own home demos of both “Love is Strange” and “Dearest” — demos which were released on singles after his death: [Excerpt: Buddy Holly, “Dearest”] But “Dearest” was so obscure that when Holly’s single came out, the song was titled “Umm Oh Yeah”, and credited to “unknown” for many years, because no-one at the record label had heard the earlier record. Mickey and Sylvia would have several more records in the hot one hundred, but the highest would only reach number forty-six. But while they had no more hits under their own names, they did have another hit… as Ike Turner. After Mickey and Sylvia were dropped along with the rest of the Vik artists, they split up temporarily, but then got back together to start their own company, Willow Records, to release their material. Ike Turner played on some of their records, and to return the favour they agreed to produce a record for Ike and Tina Turner. The song chosen was called “It’s Gonna Work Out Fine”, and it was co-written by the great R&B songwriter Rose Marie McCoy, who had written for Elvis, Nat “King” Cole, Nappy Brown, and many others. The other credited co-writer is one Sylvia McKinney, who some sources suggest is the same person as Sylvia Vanterpool — who had by this point married Joe Robinson and changed her name to Sylvia Robinson. Whether she was the other co-writer or not, Mickey and Sylvia had recorded a version of the song for Vik Records, but it hadn’t been released, and so they suggested to Ike that the song would work as an Ike and Tina Turner record — and they would produce and arrange it for them. Indeed they did more than that. They *were* Ike Turner on the record — Sylvia played the lead guitar part, while Mickey did the spoken “Ike” vocals, which Ike would do live. Sylvia also joined the Ikettes on backing vocals, and while Mickey and Sylvia aren’t the credited producers, the end result is essentially a Mickey and Sylvia record with guest vocals from Tina Turner: [Excerpt: Ike and Tina Turner, “It’s Gonna Work Out Fine”] That record sold over a million copies, and got a Grammy nomination. However, Mickey and Sylvia’s recordings under their own name were still having no success, and Mickey was also having problems because his then-wife was white, and with the particularly virulent form of racism the US was suffering through at the time, he didn’t want to be in the country any more. He was also becoming more and more interested in the academic side of music. He had already, in 1955, written a book, the Complete Course in Jazz Guitar, which is still available today and highly regarded. So he moved to Europe, and went back into jazz, performing with people like Coleman Hawkins: [Excerpt: Mickey Baker and Coleman Hawkins: “South of France Blues”] But he did more than just jazz. He studied composition with Iannis Xennakis and started writing fugues and a concerto for guitar and orchestra, “The Blues Suite”. Unfortunately, while some of that music was recorded, it only appears to have been released on now out of print and expensive vinyl which no-one has uploaded to the Internet, so I can’t excerpt it for you here. What I *can* excerpt is a project he did in the mid-1970s, an album called “Mississippi Delta Dues”, released under his birth name McHouston Baker, where he paid tribute to the country bluesmen he’d looked down on early on by performing their songs, along with some of his own in a similar style. It’s an odd album, in which sometimes he does a straight soundalike, like this version of Robert Johnson’s “Terraplane Blues”: [Excerpt: McHouston Baker, “Terraplane Blues”] And sometimes he uses strings. Sometimes this is just as a standard pop-style string section, but sometimes he’s using them in ways he learned from Xenakkis, like on this version of J.B. Lenoir’s “Alabama Blues”, rewritten as “Alabama March”, which ends up sounding like nothing as much as Scott Walker: [Excerpt: McHouston Baker, “Alabama March”] Baker carried on performing music of all kinds around Europe until his death in 2011. He died massively respected for his contributions to blues, jazz, R&B, and the technical proficiency of generations of guitarists. Sylvia Robinson made even more of a contribution. After a few years off to have kids after the duo split up, she set up her own record label, All Platinum. For All Platinum she wrote and produced a number of proto-disco hits for other people in the late sixties and early seventies. Those included “Shame Shame Shame” for Shirley and Company: [Excerpt: Shirley and Company, “Shame Shame Shame”] That’s the song that inspired David Bowie, John Lennon, and Carlos Alomar to rework a song Bowie and Alomar had been working on, called “Footstompin'”, into “Fame”. Sylvia also had a hit of her own, with a song called “Pillow Talk” that she’d written for Al Green, but which he’d turned down due to its blatant sexuality conflicting with his newfound religion: [Excerpt: Sylvia, “Pillow Talk”] But I’m afraid we’re going to have to wait more than two years before we find out more about Sylvia’s biggest contribution to music, because Sylvia Robinson, who had been Little Sylvia and the woman calling her lover-boy, became to hip-hop what Sam Phillips was to rock and roll, and when we get to 1979 we will be looking at how, with financing from her husband’s gangster friend Morris Levy, someone from the first wave of rock and roll stars was more responsible than anyone for seeing commercial potential in the music that eventually took rock’s cultural place.

Melanie - Seeds Jack Nitzche – Marie Ronnie Von – Amor, Nada Mais We Five – You Were On My Mind Kenny Lynch – Puff (Up In Smoke) Luther & Little Eva - Love Is Strange The Allisons - Money Nirvana Sitar and Strings Group - Whiter Shade of Pale Marie Laforet - Le coup de la panne Phil Everly – The Air That I Breathe

Billy and Adam celebrate Valentine's Day by learning what their love languages are. Love Languages, as defined by author Gary Chapman, help define an individual's preferred way to give and receive love. Some prefer the physical touch, while others prefer acts of service. Find out if Billy and Adam are similar, different or completely incapable of loving. Plus... kisses, quizzes and music from Led Zeppelin!Theme: Send Medicine - Way to the Sea

This week on the podcast, we celebrate Valentine’s Day with two un-Hallmark stories.   Song: "Love is a Stranger" by The Eurythmics

When you think one of the most prolific character actors, who’s also an outrageous openly gay stand-up comedian, one name comes to mind…. Jason Stuart. He has been in close to 200 film & TV shows! Jason is in one of the most anticipated films of the year playing a plantation owner in the Nat Turner biopic Birth Of A Nation starring Nate Parker & Armie Hammer. The Grand Jury and Audience Sundance Award winner from Fox Searchlight. Also, a director with the web series Mentor on Revry now which he also acts with Alexandra Paul & Paul Elia and dramatic new short Like Father. As a comedian, he had his own hour cable special Making It To The Middle & 2 comedy CDs in addition to performing on One Night Stand Up, Wisecrack and Comics Unleashed, Red Eye, Gotham Comedy Live to name a few. As an actor Love, Swedish Dicks, Sleepy Hollow, Real Rob. House, Entourage, The Closer, Its Always Sunny In Philadelphia, Everybody Hates Chris, George Lopez, My Wife & Kids, Charmed and Will & Grace. On film, he’s been featured in Gia (w/Angelina Jolie), A Day Without A Mexican, Coffee Date, Vegas Vacation and Kindergarten Cop.  Lastly, James Franco’s Immortal, Hush Up Sweet Charlotte with Mink Stole, Ira Sack’s drama Love Is Strange opposite Marisa Tomei, John Lithgow & Alfred Molina and in the award-winning comedy Tangerine.

Both Down Episode 75 – Love is Strange – Ready. Set. Go. We talk Blood Bowl Tournament Fluff, Nuffleween IV, Tournaments Past and Present. Details of the Final SCARS Standings, Orclahoma Weekend 7, Chimera Cup Team Tournament and Crimson Path … Continue reading →

Emanuelle Trailer 1974 French Classic Sexual Fantasy Movie • Bei Mir Bist Du Shein • Liquid Dance • Begin the Beguine Tap Dance Routine • Hunny Bunny • Love is Strange ;-) • I want it now! • Jessica Rabbit Why don't you do right • Ballin Interlude • Hanky Panky • Mein Herr from Cabaret • I Still Love You • Looking for Trouble music movie musical sexy fun song • Eartha Kitt Catwoman Rawrl Remix

During the 22nd Rendez-Vous with French Cinema festival, co-presented with UniFrance, we assembled a panel of filmmakers to discuss how films can address political turmoil or social unrest. Panelists: Emmanuelle Bercot (150 MILLIGRAMS), Bertrand Bonello (NOCTURAMA), Mira Nair (QUEEN OF KATWE), and Ira Sachs (LITTLE MEN, LOVE IS STRANGE).

Hello you lot and welcome to the 2nd part of our bumper episode nine of Sudden Double Deep: The Triple Bill Title Podcast. On this show we usually watch three films linked by a word in the title but this time around we've decided to celebrate the launch of Marvel Studio's 14th movie with something special. The Triple Bill Title Words for Episode 009 are DOCTOR STRANGE and in part 2 we "jacked in" with Kathryn Bigelow and James Cameron's Strange Days, shot a documentary with Steve Zahn in Strange Wilderness and got our hearts broken by Ira Sachs' Love Is Strange. Oh... and we also spent some time reviewing Doctor Strange and had a bit of a chat about the MCU in general. 0:57 - Strange Days 30:46 - Strange Wilderness 47:33 - Love Is Strange 1:15:28 - Doctor Strange Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs! Episode 010 - GIRL launches on 17th November and we'll be watching Gone Girl (2014), A Girl Walks Home Alone At Night (2015) and Me And Earl And The Dying Girl (2015).  

The Total Tutor Neil Haley will interview FX's American Horror Story Star CHEYENNE JACKSON. CHEYENNE JACKSON was most recently seen as Will Drake on FX's American Horror Story: Hotel. His numerous Broadway credits include The Performers, Finian's Rainbow(Drama Desk nomination), Xanadu (Drama Desk & Drama League nominations), All Shook Up (Theatre World Award, Drama League & Outer Critics Circle nominations) Aida andThoroughly Modern Millie. Off Broadway: The Most Happy Fella, The Agony & The Agony, Altar Boyz, 8, The 24 Hour Plays, and Damn Yankees. Television: “30 Rock,” “Glee,” “Royal Pains,” “Curb Your Enthusiasm,” “Ugly Betty,” “Full Circle,” “CSI: Cyber,” “Mockingbird Lane,” “Lipstick Jungle” and “Law & Order.” Film: United 93, Behind the Candelabra(with Michael Douglas and Matt Damon), Lola Versus, The Green, Love Is Strange, Beautiful Now, Six Dance Lessons in Six Weeks, Opening Night, Mutual Friends and the upcoming Bear With Us, Day out of Days and Hello Again opposite Audra McDonald. In addition, Jackson is a Grammy-nominated singer/songwriter with Sony ATV. For his self-penned album, I'm Blue, Skies, Cheyenne collaborated with Sia, Stevie Aiello, and Charlotte Sometimes. www.OfficialCheyenneJackson.com      

Avy, based in NYC, has cast dozens of films since starting in the industry in the late 1980s. She has worked with many acclaimed directors including: Ang Lee, Steven Spielberg, Lars von Trier, Ira Sachs, and James Ponsoldt. Avy's casting credits over the years include: The Sixth Sense, Life of Pi, Lincoln, Dogville, Smashed, The Skeleton Twins, Europa Report, and Shame. Some of her more recent projects include: A Bigger Splash, Money Monster, and The End of The Tour, as well as The Circle and Little Men.

Michael worked as a script supervisor for several years on films including: The Wedding Banquet, Eat Drink Man Woman, Happiness, You Can Count on Me, Monster's Ball, American Splendor, Bad Santa, Garden State, and Thumbsucker. Michael's works as editor over the years include projects like: The Order of Myths, Freakonomics, The Loneliest Planet, Hateship Loveship, Love Is Strange, and I Believe in Unicorns. More recently, Michael edited the documentary, The Babushkas of Chernobyl, Free in Deed, White Girl, Youth in Oregon, and the acclaimed historical comedy, Elvis & Nixon.

On this episode we leave the marital home to talk EYES WIDE SHUT and LOVE IS STRANGE. The conversation on these two films where married couples spend time apart and out of the homes they’ve made together has been inspired by new to video DIGGING FOR FIRE. 

Love is Strange (2014) & Mr Holmes (2015) See acast.com/privacy for privacy and opt-out information.

In a special bumper edition, Van and Calvin Prickett look at the much hyped Fifty Shades Of Grey, Kevin Hart comedy The Wedding Ringer, found footage time-travel tale Project Almanac, drama Cake, hacker thriller Blackhat, romcom Two Night Stand, sci-fi drama Coherence, indie drama Love Is Strange, and time travel thriller Predestination.

Episode 135: The Shame of Seamus [1:36:58] You can Listen online or Download MP3 (Right click… save as) It’s Episode 135 of In the Mood for Podcast, a British-based film podcast hosted by Calum Reed of Ultimate Addict and Pete Sheppard of In the Mood for Blog. This week, we discuss the upcoming Oscars, casting our predictions for 20 of […]

Anne Tyler's latest novel 'A Spool of Blue Thread' (her 20th) follows the dynamics of an American family through several generations Indian Summers is a sumptuous drama on Channel 4 looking at life in India in 1932. It stars Julie Walters and follows the early stirrings of political opposition to The Raj Love Is Strange is a film with Jon Lithgow and Alfred Molina as a gay couple who decide to get married after being together for 40 years and their relationship is put under a strain by forces they hadn't expected Maxine Peake is in a new play at London's Royal Court. How To Hold Your Breath is about personal and political journeys History Is Now at The Southbank Centre's Hayward Gallery is subtitled "7 Artists Take On Britain" and looks at 70 years of cultural and social history.

Julianne Moore joins Simon and Mark to talk about Still Alice. Plus the Box Office Top 10 and Mark's reviews of the week's news films including Fifty Shades of Grey, Love Is Strange and Down Dog. Download the Kermode and Mayo podcast at bbc.co.uk/podcasts/5live. Email: mayo@bbc.co.uk Text: 85058 (charged at your standard network rate) Twitter: @wittertainment.

Tyler and David talk about notable movies of 2014 that won't make their best-of lists next week.

Main Review: The Maze Runner Top 5 Most Anticipated Movies of 2015 Film Club Review: The Wind Rises What Else We Watched (Gone Girl, This Is Where I Leave You, Calvary, Men Women and Children, God’s Pocket, Love Is Strange, Into the Woods) News Next Week Preview (Seven Samurai, Rio Bravo) The 2015 Podcast Awards are now open and we’d love to be nominated under the movies/films category! Just put The Redbox Report and

Is a big budget raunchy buddy comedy your thing? How about a small, quiet reflective drama with performances by two big name actors? With reviews of “The Interview” and “Love Is Strange (2014)” this episode has a little bit of both art house & multiplex movie coverage – something for everybody. After all, we aim to please. The news segment is back with a discussion of David O’ Russell’s lost film and we round out the episode with some recommendations of films to check out. Recommendations: “Starred Up” & “Drinking Buddies”

WARNING: this episode contains spoilers, scroll down for full info*--This week on the Abandoned Theater Podcast, our heroes TJ, Danny and Robby start their show with a nearly half hour SPOILER discussion of Gone Girl. Then we move merrily along to Fury, The Boxtrolls, Love Is Strange, The Guest, Wetlands, and more!--*THIS EPISODE CONTAINS SPOILERS FOR GONE GIRL AT 7:07-30:32http://archive.org/download/gonegirl_podcast_final/gonegirl_podcast_final.mp3

Amy has served as production designer and set decorator for feature and short films, music videos, commercials, TV and print fashion. One of Amy's proudest achievements was running the art department for the Festival of Light in Guyana.Amy's film credits include: White Irish Drinkers, Holy Rollers, Someday This Pain Will Be Useful To You, Keep The Lights On, Grand Street, Last Weekend, and Love Is Strange.

In this week's episode of The CineSnob Podcast, the guys from CineSnob.net welcome special guest Joshua Starnes from ComingSoon.net and the President of the Houston Film Critics Society. They review "The Equalizer," "Love is Strange" and "The Skeleton Twins." They also discuss a study about spoilers conducted by Netflix and Interstellar's runtime.[0:00-26:30] Introduction to Joshua Starnes, president of the Houston Film Critics Society, critic at ComingSoon.net and publisher at Red 5 Comics.
[26:30-39:11] Netflix conducts a survey saying less people care about spoilers than previously thought.
[39:11-54:18] Interstellar will be Christopher Nolan's longest film thus far & discussion about Nolan. 
[54:18-1:12:07] The Equalizer 
[1:12:07-1:12:50] Love is Strange 
[1:24:50-2:01:21] The Skeleton Twins 
[2:01:21-2:06:02] Teases for next week and close --- Send in a voice message: https://anchor.fm/the-cinesnob-podcast/message Support this podcast: https://anchor.fm/the-cinesnob-podcast/support

Matthew Socey reviews LOVE IS STRANGE and THE EQUALIZER, plus he talks about the recent films of Denzel Washington and Liam Neeson. Matthew also chats with cooking TV personality Aarti Sequeira (AARTI PAARTI) about her new cookbook and cooking in cinema.

Nathan and Scotty discuss Richard Curtis, Love Actually, and the secret to making romantic comedies, the pairing of Alfred Molina and John Lithgow, Shakespeare, and how to pronounce Chocolat. Plus, Crap Night with Andydrogynous and special guest Dr. Jules V joins us for a Fall Psychic Review. Go to fourseasonsoffilm.com for more episodes and rate us on iTunes, 5 Stars if necessary.

This week’s episode of Out Now with Aaron and Abe features Adam Gentry and VeryAware.com’s Courtney Howard joining in with the boys to talk a few of the indie/arthouse films from the late summer. Among topics covered, this episode features a fun round of Know Everybody (4:30), some Out Now Quickies™ (12:00), and then the films: The Trip To Italy (20:43), Frank (37:40), The Congress (49:20), and Love Is Strange (1:09:15). There is also Out Now Feedback (1:17:08), a fun Game (1:33:11), What’s Out Now (1:38:38), and some Bloopers following this week’s close out song (1:46:58). So now, if you’ve got an hour or so to kill…

"'Subtext' and 'motivation' are terrible words on a set, and they should be banned," says Ira Sachs on directing Love is Strange.

Bob Edwards Weekend, August 30-31, 2014 HOUR TWO: The new film Love Is Strange stars Alfred Molina and John Lithgow as a long-time gay couple. After spending 39 years together, George and Ben finally get married but they do not get the storybook ending they hoped for. Molina plays George, a Catholic school teacher who is fired after the marriage, sending the newlyweds on a difficult journey. Molina joins Bob to discuss his career and the new movie. Love Is Strange is now in theaters. Many of us still remember baseball's good old days: the ballparks, the legendary players, and the unforgettable play-by-play announcers who brought it right into our homes. Bob talks to Kevin Bender about many of those broadcasting Hall of Famers in his documentary Ball Talk: Baseball's Voices of Summer. It's available on DVD. Bob samples a New Orleans delicacy: a snoball from Hansen's SnoBliz. Ashley Hansen Springgate runs the business started by her grandparents in 1939. In fact she still shaves the blocks of ice on the very same machine her grandfather invented and built decades ago. -- http://BobEdwardsRadio.com http://fb.com/BobEdwardsShow http://twitter.com/BobEdwardsShow http://instagram.com/BobEdwardsShow

Ira Sachs and Bret Easton Ellis discuss Love Is Strange, ideology in content, the disappearance of gay characters in American movies and corporate culture's sanitization of film.

Dave and Alonso post their Longest. Episode. Ever. mainly due to reading all their backlogged listener mail. But then Dave completely forgets one of the new movies until well into hour two. If you listen to this one in chunks, we won't be offended. Like our Facebook page, follow us @linoleumcast and please leave us a positive review on iTunes, where you can also subscribe for free. Lookin' good, hangin' with the wild bunch.

Slate's Dana Stevens and June Thomas discuss Love Is Strange. WARNING: This podcast is meant to be heard AFTER you've seen the movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Hacks on Hacks on Hacks.” – listener review This week, David, Patches, Katey and Joanna discuss Terry Gilliam and Terry Gilliam movies, but that’s not all! Patches saw A Hard Day’s Night and he has questions. Important questions. For a mini-segment, all the hosts discuss great actors that never had a role that sold them […]

Det handlar om gamla bögar, om Mikael Persbrandt som rockstar och tonåren som en golgatavandring i en specialpod från Berlins filmfestival. Kinos Roger Wilson tar hjälp av filmstudenten och Kinolyssnaren Julia Lindblom för att sammanfatta Berlinalens sjätte dag. Och filmerna som står på dagordningen är dokumentären Happy to be Different, tävlingsfilmen Kreuzweg, bögdramat Love is Strange samt danska Someone you love/ En du elsker/En sång från hjärtat av Pernille Fischer Christensen som fått Mikael Persbrandt att sjunga. 

Ira Sachs, Director, Love is Strange. Festival Section: Panorama. FRED FILM RADIO (through the voice of Chiara Nicoletti) and Ira Sachs meet again at the 64th Berlinale for LOVE IS STRANGE in Panorama , after the success of the 2012 Teddy Award winner KEEP THE LIGHTS ON. Love is strange [...] The post Ira Sachs – Love is Strange #Berlinale2014 appeared first on Fred Film Radio.

John Lithgow – Actor – Love is strange Festival section: Panorama Two-time Academy award nominee John Lithgow talks about his experience on the set of Ira Sachs’ new film LOVE IS STRANGE, screening in the Panorama Section of the 64th Berlin International Film Festival. The film starts with Ben (played [...] The post John Lithgow – Love is strange #Berlinale2014 appeared first on Fred Film Radio.

Ira Sachs, Director, Love is Strange. Festival Section: Panorama. FRED FILM RADIO (through the voice of Chiara Nicoletti) and Ira Sachs meet again at the 64th Berlinale for LOVE IS STRANGE in Panorama , after the success of the 2012 Teddy Award winner KEEP THE LIGHTS ON. Love is strange [...] The post Ira Sachs – Love is Strange #Berlinale2014 appeared first on Fred Film Radio.

John Lithgow – Actor – Love is strange Festival section: Panorama Two-time Academy award nominee John Lithgow talks about his experience on the set of Ira Sachs’ new film LOVE IS STRANGE, screening in the Panorama Section of the 64th Berlin International Film Festival. The film starts with Ben (played [...] The post John Lithgow – Love is strange #Berlinale2014 appeared first on Fred Film Radio.

Ira Sachs, Director, Love is Strange. Festival Section: Panorama. FRED FILM RADIO (through the voice of Chiara Nicoletti) and Ira Sachs meet again at the 64th Berlinale for LOVE IS STRANGE in Panorama , after the success of the 2012 Teddy Award winner KEEP THE LIGHTS ON. Love is strange [...] The post Ira Sachs – Love is Strange #Berlinale2014 appeared first on Fred Film Radio.

John Lithgow – Actor – Love is strange Festival section: Panorama Two-time Academy award nominee John Lithgow talks about his experience on the set of Ira Sachs’ new film LOVE IS STRANGE, screening in the Panorama Section of the 64th Berlin International Film Festival. The film starts with Ben (played [...] The post John Lithgow – Love is strange #Berlinale2014 appeared first on Fred Film Radio.

John Lithgow – Actor – Love is strange Festival section: Panorama Two-time Academy award nominee John Lithgow talks about his experience on the set of Ira Sachs’ new film LOVE IS STRANGE, screening in the Panorama Section of the 64th Berlin International Film Festival. The film starts with Ben (played [...] The post John Lithgow – Love is strange #Berlinale2014 appeared first on Fred Film Radio.

John Lithgow – Actor – Love is strange Festival section: Panorama Two-time Academy award nominee John Lithgow talks about his experience on the set of Ira Sachs’ new film LOVE IS STRANGE, screening in the Panorama Section of the 64th Berlin International Film Festival. The film starts with Ben (played [...] The post John Lithgow – Love is strange #Berlinale2014 appeared first on Fred Film Radio.

Ira Sachs, Director, Love is Strange. Festival Section: Panorama. FRED FILM RADIO (through the voice of Chiara Nicoletti) and Ira Sachs meet again at the 64th Berlinale for LOVE IS STRANGE in Panorama , after the success of the 2012 Teddy Award winner KEEP THE LIGHTS ON. Love is strange [...] The post Ira Sachs – Love is Strange #Berlinale2014 appeared first on Fred Film Radio.

Ira Sachs, Director, Love is Strange. Festival Section: Panorama. FRED FILM RADIO (through the voice of Chiara Nicoletti) and Ira Sachs meet again at the 64th Berlinale for LOVE IS STRANGE in Panorama , after the success of the 2012 Teddy Award winner KEEP THE LIGHTS ON. Love is strange [...] The post Ira Sachs – Love is Strange #Berlinale2014 appeared first on Fred Film Radio.

John Lithgow – Actor – Love is strange Festival section: Panorama Two-time Academy award nominee John Lithgow talks about his experience on the set of Ira Sachs’ new film LOVE IS STRANGE, screening in the Panorama Section of the 64th Berlin International Film Festival. The film starts with Ben (played [...] The post John Lithgow – Love is strange #Berlinale2014 appeared first on Fred Film Radio.

Ira Sachs, Director, Love is Strange. Festival Section: Panorama. FRED FILM RADIO (through the voice of Chiara Nicoletti) and Ira Sachs meet again at the 64th Berlinale for LOVE IS STRANGE in Panorama , after the success of the 2012 Teddy Award winner KEEP THE LIGHTS ON. Love is strange [...] The post Ira Sachs – Love is Strange #Berlinale2014 appeared first on Fred Film Radio.

This is the latest episode of the syndicated FuseBox Radio Broadcast with DJ Fusion & Jon Judah for the week of Sept. 28, 2011 with some new and classic Hip-Hop & Soul Music, news and commentary. Our extended commentary this week touched base on our viewpoint on Pres. Barack Obama's speech to the Congressional Black Caucus & the following controversy about him telling people to "stop complaining", updates about the #OccupyWallStreet protests, the group of artists who were nominated for the 2010 Rock and Roll of Fame (including Eric B. & Rakim, Rufus feat. Chaka Khan, The Beastie Boys, The Cure & more), death of Sylvia Robinson (co-founder of Hip-Hop label Sugarhill Records & part of the old school R&B duo "Mickey & Slyiva" who did the song "Love Is Strange") and some other diverse topics here and there. There are brand new Black Agenda Report and Free Press "Media Minutes" mini-segments on this week's episode. FuseBox Radio Playlist + Charts for the Week of Sept. 28, 2011 Top Spins (Music Still Lasting in Rotation/Music Played Live on Air Each Week/As Well As Music Requested By The Listeners) 1. Phonte feat. Pharoahe Monch/We Go Off/FE Music (Played Live) 2. Peven Everett/Sweetness Is (Jojoflores & Rom Jamsteady RMX)/Bombay Records (Played Live) 3. J-Live/The Authentic/Triple Threat (Played Live) 4. Murs/Remember 2 Forget/BluRoc & DD17 (Played Live) 5. Jazzanova/Behold These Days, Berlin '74/Sonar Collectiv (Top Song Requested) 6. Jasiri X/I Am Troy Davis (T.R.O.Y.)/White Label (http://www.youtube.com/JasiriX) (Top Song Requested) 7. Astronautalis/Dimitri Mendeleev/Fake Four Records (Top Song Requested) 8. TwinSpirit/Get Myself Together/TwinSpiritsWorld.com (Top Song Requested) 9. Lenny Kravitz/Liquid Jesus/Roadrunner Records & Atlantic (Top Song Requested) 10. Doodlebug feat. Don Will & Moka Only/What U Do/Soulspazm & Fat Beats (Top Song Requested) 11. Kut Corners feat. Curtis Santiago/Diamond (Audience RMX)/11 Inch Records (Top Song Requested) 12. Robin Thicke/I'm An Animal/White Label (Top Song Requested) 13. Goapele/Play/Decon & Skyblaze (Top Song Requested) 14. Dirt E. Dutch feat. Hawl Dawg, Dutchman & Breez Evahflowin/Together/LittleAx.com (Top Song Requested) 15. BK-One with Benzilla feat. MF Doom/Tema Do Canibal/Rhymesayers (Top Song Requested) 16. Timbo King feat. R.A. The Rugged Man/High Ranking/Nature Sounds (Top Song Requested) 17. Trackademicks feat. Phonte & Carlitta Durand/Halfway/Trackademicks.bandcamp.com (Top Song Requested) 18. Pro'Verb feat. RATheMC & Reesa Renee/Can't Forget About You/White Label (http://AllProAllday.Bandcamp.com) (Top Song Requested) 19. Freestyle Fellowship/Step 2 The Side/Decon (Top Song Requested) 20. DJ Shadow feat. Afrikan Boy/I'm So Excited/Verve (Top Song Requested) 21. One Pham/Adrenalin/FaSho Records (Top Song Requested) 22. Koyla/Wake With The Day (J & J Soultempo RMX)/Bombay Records (Top Song Requested) 23. Laza Morgan feat. Mavado/One By One/White Label (Top Song Requested) 24. Captain Planet/Ningane (Inst.)/Bastard Jazz Recordings (Top Song Requested) 25. The Lo Frequency/Think Of/LoFrequencyMusic.com (Top Song Requested) Top Adds (New Joints Played Live On This Week's Broadcast) 1. Jill Scott/I Don't Know (Gotta Have You)/Hidden Beach 2. Declaime/Coonspiracy/SomeOthaShip Connect 3. Lack of Afro feat. Wayne Gidden/A Time For.../LackOfAfro.com 4. Sola Rosa/Turn Around/SolaRosa.com 5. Blu feat. Sene/Avenge of the Cheap/Nature Sounds 6. Choclair feat. DJ Bless, Hue Hef & Darko/T-Dot/Never So Deep Records 7. DMX feat. Andreena/Last Hope/White Label 8. J. Boogie feat. Afrolicious & MC Zulu/No Freedom/Om Recoreds 9. Alison Hinds/Explode (King Bubba & Big Red Roadmix)/White Label 10. A-Alikes feat. Kool G Rap/To Live or Die In N.Y./AAlikes.net 11. Malkovich/Palms/MalkovichMusic.com DJ Fusion Flashback Tracks: Kid Sensation/Emergency/NastyMix Special Ed/I Got It Made/Profile, Arista & BMG Records PLUS Some Extra Special Hidden Tracks in the Jon Judah Master Mix w/ Old School Black Music Classics and Independent Music Finds

Many people, mmm-mmmm, don't understand... but you will! Kristorm-O-Rama Number 38.