Podcasts about Lucky Luciano

Garrison filmmakers examine the question The team behind Ironbound Films leans into its religious roots. "We met at a Jewish sleepaway camp as kids - it's such a part of our identity," says Jeremy Newberger, one of three director/producers at the documentary film and commercial video office located at Garrison's Landing. "Part of the crisis du jour is that the far right and the far left are united in their hatred of Jews. We were taught to embrace our Judaism and love for Israel." Ironbound's most recent film, released this year, is Fiddler on the Moon, about Jewish astronauts. According to their cheeky marketing copy, which Newberger says was inspired by Mel Brooks' Spaceballs, the film "finally answers the question that has plagued scientists, theologians and comedians for millennia: Will Judaism survive in space?" Many cities, small and large, host Jewish film festivals; over the summer, the crew will screen the 30-minute documentary in Dayton, Ohio; Toronto; Rochester; Berkshire, Massachusetts; and Tampa. They also screen films for Jewish organizations, camps and foundations. At first, the trio, which includes Seth Kramer and Daniel Miller, tackled secular topics like climate change (The Anthropologist), talk show host Morton Downey Jr. (Evocateur) and dying languages (The Linguist), but a friend who worked for Major League Baseball suggested they cover the Israeli national baseball team, made up mostly of American Jews. Heading Home: The Tale of Team Israel led to a second film about the club's experience at the 2021 Olympics, Israel Swings for Gold. After completing Yung Punx, a doc about a band of 8- to 12-year-olds who headlined at the Warped Tour, Ironbound produced Blind Spot, an examination of antisemitism on college campuses. "We're all in our 50s, and there comes a time when you realize that you got away from your faith," says Newberger. "Doing the baseball film got us reconnected to the values and religion we grew up with. It hit us. We identified." Ironbound has filmed on nearly every continent (including on the Pacific Ocean island of Kiribati). Funding comes from business clients, angel investors and grants from the National Science Foundation. Now in production is a documentary about David "Mickey" Marcus, the only person buried at West Point who fought for a foreign country. David Ben-Gurion, Israel's first prime minister, handpicked Marcus to establish the nascent nation's army in 1948 during the war for independence. Killed by friendly fire, Marcus was the last fatality of the conflict before the United Nations implemented a truce between Israel and its neighbors. "When you think you've heard it all, you come across Mickey Marcus, who is an incredible but little-known figure," says Kramer. "On its own, the story is a winner: Before he went to Israel, he helped put mobster Lucky Luciano away, drafted surrender papers for Italy used for all the other Axis powers and helped define the term war crime for the Nuremberg trials." The film will investigate why Marcus' name recognition is limited and how the 1966 Hollywood biopic, Cast a Giant Shadow, starring Kirk Douglas, John Wayne and Frank Sinatra, flopped at the box office. For more information, see ironboundfilms.com.

Hinweis: Diese Folge entstand gemeinsam mit Niklas & Hannes von Tatort Geschichte, zu denen ihr hier kommt!Elegant, charmant - und tödlich: Bugsy Siegel gilt als einer der bekanntesten amerikanischen Mobster des 20. Jahrhunderts. Als Gründungsmitglied der Kosher Nostra, dem jüdischen Pendant zur italienischen Mafia, bewegt sich Siegel in einer Welt aus Gewalt, Macht und Luxus. Zusammen mit seinem engen Vertrauten Meyer Lansky baut er ein Unterwelt-Imperium auf und wird von anderen Mafiagrößen wie Al Capone, Lucky Luciano, Vito Genovese und Frank Costello geachtet und gefürchtet. Doch während Lansky strategisch und kontrolliert agiert, verliert Siegel zunehmend die Bodenhaftung. Sein Traum: ein Casino-Imperium mitten in der Wüste Nevadas. Das "Flamingo" in Las Vegas sollte nicht nur ein Hotel, sondern ein Denkmal seines Größenwahns werden. Die Baukosten explodieren, Gelder werden veruntreut und damit der Sturz eines Gangsters eingeläutet, der mit Stil tötete und mit Arroganz verlor. Bugsy Siegel - der Gentleman-Gangster, der sich verzockte und schließlich als Vorlage in Mario Puzos “Der Pate” landete.…….WERBUNGDu willst dir die Rabatte unserer Werbepartner sichern? Hier geht's zu den Angeboten!.......Jetzt His2Go unterstützen für tolle Vorteile - über Steady!Klick hier und werde His2Go Hero oder His2Go Legend.......Das Folgenbild zeigt Bugsy Siegel........LITERATURMichael Shnayerson: Bugsy Siegel: The Dark Side of the American Dream. New Haven 2021.Robert A. Rockaway: Meyer Lansky, Bugsy Siegel & Co. Lebensgeschichten jüdischer Gangster in den USA, Hamburg 1998........UNTERSTÜTZUNG & KONTAKTSupportet uns! Folgt und bewertet uns bei Spotify, Apple Podcasts, Podimo oder über eure Lieblings-Podcastplattformen.Wir freuen uns über euer Feedback, Input und Vorschläge zum Podcast, die ihr uns über das Kontaktformular auf der Website, his2go.de, Instagram und unsere Feedback E-Mail: kontakt@his2go.de schicken könnt. An dieser Stelle nochmals vielen Dank an jede einzelne Rückmeldung, die uns bisher erreicht hat und uns sehr motiviert, noch lange weiterzumachen!…….COPYRIGHTMusic from https://filmmusic.io: “Sneaky Snitch” by Kevin MacLeod and "Plain Loafer" by Kevin MacLeod (https://incompetech.com) License: Creative Commons CC BY 3.0 https://creativecommons.org/licenses/by/3.0/ Hosted on Acast. See acast.com/privacy for more information.

Hinweis: Unsere Folge als Gäste beim Podcast His2Go findet ihr ab dem 30.05.2025 auf dem Kanal von His2GoElegant, charmant - und tödlich: Bugsy Siegel gilt als einer der bekanntesten amerikanischen Mobster des 20. Jahrhunderts. Als Gründungsmitglied der Kosher Nostra, dem jüdischen Pendant zur italienischen Mafia, bewegt sich Siegel in einer Welt aus Gewalt, Macht und Luxus. Zusammen mit seinem engen Vertrauten Meyer Lansky baut er ein Unterwelt-Imperium auf und wird von anderen Mafiagrößen wie Al Capone, Lucky Luciano, Vito Genovese und Frank Costello geachtet und gefürchtet. Doch während Lansky strategisch und kontrolliert agiert, verliert Siegel zunehmend die Bodenhaftung. Sein Traum: ein Casino-Imperium mitten in der Wüste Nevadas. Das "Flamingo" in Las Vegas sollte nicht nur ein Hotel, sondern ein Denkmal seines Größenwahns werden. Die Baukosten explodieren, Gelder werden veruntreut und damit der Sturz eines Gangsters eingeläutet, der mit Stil tötete und mit Arroganz verlor. Bugsy Siegel - der Gentleman-Gangster, der sich verzockte und schließlich als Vorlage in Mario Puzos "Der Pate” landete.

Get ready for a hilarious and insightful trip down memory lane with the latest episode of The Friend Of Ours Podcast! Hosts Big Vito LoGrasso and Duke Loves Rasslin are back, and this time they're diving into your favorite moments from the podcast so far.In this special episode, you'll hear:Big Vito's gripping stories about navigating real-life beefs with Mobsters, offering a rare and unfiltered perspective you won't find anywhere else.Vito's no-holds-barred opinions on the most iconic characters from the legendary HBO series, The Sopranos – prepare for some surprising takes!Fascinating insights into the portrayal of Vito's own Uncle, the infamous Lucky Luciano, in the acclaimed show Boardwalk Empire. Hear firsthand how reality stacks up against the dramatization.Duke Loves Rasslin's uproarious reactions and hilarious commentary to Vito's incredible stories and opinions, guaranteeing laugh-out-loud moments throughout the episode.Don't miss this must-listen episode packed with captivating stories, strong opinions, and the signature comedic chemistry of Big Vito and Duke!#FriendOfOursPodcast #BigVito #DukeLovesRasslin #Podcast #MobStories #TheSopranos #BoardwalkEmpire #LuckyLuciano #TrueCrime #PopCulture #Comedy #ListenerFavorites #PodcastCompilation**Want to buy Vito a Coffee? Visit www.buymeacoffee.com/thedonofwrestling & show you're a true "Friend Of Ours". **Music from #Uppbeat (free for Creators!):⁠https://uppbeat.io/t/bosnow/autumn-coffee⁠License code: 7FISFVIDI3IUYD46**All views expressed are that of whomever is expressing them. If you like it great. If you don't like it, great! #PullUpYourSkinnyJeans ****Theme music & episode art created with AI assistance**

Luciano is forced to leave the United States and return to Sicily. But, he immediately makes plans to set up a base of operations near the U.S. With the help of Meyer Lansky, Luciano organizes a meeting in Havana, Cuba to discuss the mafia's future and deal with troublesome associates. Luciano discovers that controlling his criminal family from afar is difficult, and ambitious underlings seize the opportunity to take power. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Luciano flees New York to evade Thomas E. Dewey. But after months of searching, Dewey's agents find Luciano and bring him back to face charges related to a prostitution business. Luciano fears he will spend the rest of his life in prison, but then the U.S. government asks for his help to keep the New York ports safe during World War II. Luciano has an opportunity to earn his freedom, but it will come with a high price. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are back with another remastered episode and this time we are covering the one and only Lucky Luciano. Known as the father of the Mafia, he got his start in bootlegging and eventually became the most powerful Mafia boss in the country where he would found the commission and shape the mob into what we know it today.  Subscribe to our YouTube! https://www.youtube.com/@bangdangnetwork  Become a supporter of this podcast: https://www.spreaker.com/podcast/outlaws-gunslingers--4737234/support.

After Luciano organizes the removal of Salvatore Maranzano, he institutes significant changes to the American Mafia. Luciano's most notable innovation is the creation of a governing body known as The Commission. The hope is that The Commission – made up of mob bosses from across the country – will resolve internal conflicts and avoid another major war. In 1935, The Commission faces its first big test when Dutch Schultz, an infamous New York gangster, wants to kill an ambitious federal prosecutor named Thomas E. Dewey. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the spring of 1931, Charles Luciano orchestrates the removal of his boss, Joe Masseria. Luciano cuts a deal with Salvatore Maranzano to become the boss of his own crime family. But when Maranzano declares himself “the boss of all bosses,” Luciano becomes concerned. After months of Maranzano's tyranny, Luciano realizes he needs to force another dramatic change in order to institute his vision for the mafia. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Gangland Wire, I sit down with award-winning journalist and Mafia historian Anthony DeStefano to discuss New York City's organized crime. We discuss his meticulous research on New York's most infamous mobsters and how his background in newspaper journalism has shaped his storytelling. One of the most significant topics we cover is Alto Nights, the highly anticipated Mafia film written by Goodfellas scribe Nicholas Pileggi and starring Robert De Niro in dual roles. Anthony shares how his books Top Hoodlum, which focuses on Frank Costello, and The Deadly Don: Vito Genovese Mafia Boss played a crucial role in Pileggi's research. He also gives us an inside look at the film's development, including how real-life mob history is translated to the big screen. We explore the legendary rivalry between Frank Costello and Vito Genovese, diving into their power struggles, assassination attempts, and Costello's efforts to legitimize himself while staying deeply tied to organized crime. Anthony reveals new details from unseen FBI interviews, shedding light on Costello's complex underworld dealings. We also discuss Costello's mentorship under Lucky Luciano, the infamous Manhattan meeting that escalated tensions with Genovese, and how Vincent “Chin” Gigante played an unexpected role in Costello's fate. Beyond the mobsters, we also examine the women behind the Mafia men, discussing how the personalities of Costello's and Genovese's wives influenced their rise and fall. Anthony breaks down the casting choices for Alto Nights and the creative liberties taken to heighten the drama. Finally, we reflect on why the public remains fascinated with Mafia history, from books to films to documentaries. If you love true crime, mob history, and behind-the-scenes Hollywood insights, this is an episode you won't want to miss. Click the link on Anthony DeStefano's name here to see his mob books. Subscribe to gangster stories weekly Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to "buy me a cup of coffee" To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent Brothers against Brothers, the documentary, click here.  To rent Gangland Wire, the documentary, click here To buy my Kindle book, Leaving Vegas: The True Story of How FBI Wiretaps Ended Mob Domination of Las Vegas Casinos. To subscribe on iTunes click here. Please give me a review and help others find the podcast. Donate to the podcast. Click here!   Transcript [0:00] Well, welcome, all you wiretappers out there. Good to be back here in the studio of Gangland Wire. We have a show today with Anthony DeStefano. Now, any of you guys that read my books, and especially about the New York Mafia families, you probably know this name, Anthony DeStefano. And welcome, Anthony. I'm really glad to have you on the show, because you have been a huge contributor to the knowledge base of Mafia history in this country. Welcome. Well, thank you. Thank you for having me, and thank you for that very kind word. You know, I've read some of those books, and you're a good writer. You're like an old newspaper guy, right? [0:38] Well, yeah, I still am. That's right. You still are. You and, well, Nick Pileggiis an old newspaper guy. Larry McShane is a newspaper guy. There's several of you guys in New York that kind of cut your teeth on the mob news, and there's a lot of news there. And speaking of Nick Pileggi, you got involved with this movie that he's written a screenplay for called Alto Knights. It's creating quite a stir among mob fans right now. They're really anxiously waiting for this movie to come out with Robert De Niro playing two parts of [1:13] all things. I don't know how that works, but we'll see when the movie comes out. So how did you get involved with this? I'm sure you know Nick Pileggi and known him for quite a while.

Prison, Money, Years in SEG, Gangs, Music, Death, and Addiction are a few things that you will hear about from our guests Pastor Johnnie and Tony as they share how God changed them and gave them a completely new life after prison and how God can do that for you if you surrender to Him in your life. Featuring 3 music videos from Pastor Johnnie featuring Lucky Luciano. We pray this episode blesses you as we share transformation and the goodness of God. Cody and Julia send their love and look forward to seeing you soon! If this episode impacted you or you want to help us produce more quality content and conversations like this to reach hundreds of thousands in prisons then we would like to invite you to help support this work financially by visiting https://worthypeople.org/give/ You can also follow us on all social media platforms and join our Facebook group!

After Arnold Rothstein's murder, Charles Luciano works full time for a Sicilian gangster named Joe “the Boss” Masseria and quickly becomes Masseria's top lieutenant. Masseria begins to feud with a rival Sicilian, Salvatore Maranzano. By the start of the 1930s, the feud escalates into the mafia's bloodiest conflict yet, The Castellammarese War. As bodies pile up, Luciano decides he needs to take matters into his own hands. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1800s, millions of immigrants come to the United States for the opportunity for a better life. Among those who come from Sicily is a boy named Salvatore Lucania who will be known as Charles “Lucky” Luciano. Luciano grows up on the mean streets of New York's Lower East Side and gravitates toward a life of crime. When Prohibition begins, Luciano becomes a prominent bootlegger and finds a mentor in Arnold Rothstein. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

How does a guy go from running with gangs on the Lower East Side to reinventing the mafia to going to prison as a convicted felon…to finally working with the U.S. government to protect NYC’s waterfront during World War II?See omnystudio.com/listener for privacy information.

Carlos Marcello is much less well known to the public than infamous gangsters like Al Capone, Lucky Luciano, or John Gotti. Yet he wielded far more power than anyone else, and for far longer. He was the undisputed boss of the New Orleans mob.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-history-of-the-american-mafia--4722947/support.

Carlos Marcello is much less well known to the public than infamous gangsters like Al Capone, Lucky Luciano, or John Gotti. Yet he wielded far more power than anyone else, and for far longer. He was the undisputed boss of the New Orleans mob.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-history-of-the-american-mafia--4722947/support.

This week we're continuing to express respect and appreciation for "Big Ang" from Mob Wives & much more: Robert De Niro: Review of the trailer for the new Robert De Niro mob movie "The Alto Knights" De Niro vs Pachino: The fellas give their take on who they prefer as an actor; Robert De Niro or Al Pacino Lucky Proof: Vito shows Duke proof he is related to Lucky Luciano R.I.P. Big Ang: Extended conversation about Big Ang from Mob Wives including what made her respected by so many. The Sopranos: Vito tells a crazy story about his run in with one of the stars from The Sopranos Much More Don't miss this entertaining and educational episode of the Friend Of Ours Podcast! #TheFriendOfOursPodcast #TheAltoKnights #LuckyLuciano #Big Ang #MobWives #BigVito #Podcast #MafiaHistory #DukeLovesRasslin *Theme and Artwork created with AI assistance.*

Join Big Vito LoGrasso and Duke Loves Rasslin' for another action-packed episode! Godfather II Deep Dive: We explore the iconic restaurant scene and uncover how it was inspired by the real-life mobster Lucky Luciano's hit on Joe Masseria. Gym Tan Laundry: Before the Shore: Discover the surprising origins of the "Gym Tan Laundry" lifestyle and why the Jersey Shore cast wasn't the first to embrace it. Mob Wives Roundtable: Vito shares his candid opinions on the cast of Mob Wives, analyzing their personalities and how they presented themselves to the world. Word of the Day: Learn a new Italian word from Vito himself and see how it can be used in a sentence. Don't miss this entertaining and educational episode of the Friend Of Ours Podcast! #TheFriendOfOursPodcast #GodfatherII #BoardwalkEmpire #LuckyLuciano #BigVito #Podcast #MafiaHistory #FiveFamilies #TheCommission #MobWives #DukeLovesRasslin *Theme and Artwork created with AI assistance.*

Happy New Year! The Friend Of Ours Podcast returns with a fascinating look at the how the life of historic organized crime figures still impact modern life. "The Don Of Wrestling" Big Vito LoGrasso and Duke Loves Rasslin delve into the world of Charles "Lucky" Luciano, examining his depiction in the acclaimed HBO series Boardwalk Empire. This episode explores: Similarities between Big Vito's experiences and Lucky Luciano's life. The historical context behind the formation of the Five Families and The Commission. Crucial self-defense advice from Big Vito on how to handle confrontations in a club setting. Tune in for a unique blend of family values, historical analysis, and practical life lessons. #TheFriendOfOursPodcast #BoardwalkEmpire #LuckyLuciano #BigVito #Podcast #MafiaHistory #FiveFamilies #TheCommission #SelfDefenseTips #DukeLovesRasslin *Theme and Artwork created with AI assistance.*

AT THE HOTEL BOHEMIA WE BELIEVE YOU CAN'T KNOW WHERE YOU ARE GOING UNLESS YOU KNOW WHERE YOU HAVE  BEEN.2025 COMIN' ROUND THE MOUNTAIN.CAN YOU DIG IT? Drummer Buddy Rich died after surgery in 1987. As he was being prepped for surgery, a nurse asked him, “Is there anything you can't take?” Rich replied, “Yeah, country music.”Lucky Luciano was a mob leader who helped the U.S. work with the Sicilian Mafia during World War II in exchange for a reduced prison sentence. His last words were, “Tell Georgie I want to get in the movies one way or another.”Donald O'Connor was a singer, dancer, and actor known for his role in Singin' in the Rain. He also hosted the Academy Awards in 1954. O'Connor died at age 78 with his family gathered around him. He joked, “I'd like to thank the Academy for my lifetime achievement award that I will eventually get.” He still hasn't gotten one.Groucho's brother Leonard, who was better known as Chico Marx, gave instructions to his wife as his last words: “Remember, Honey, don't forget what I told you. Put in my coffin a deck of cards, a mashie niblick, and a pretty blonde.” A “mashie niblick” is a type of golf club.As he was dying, Alfred Hitchcock said, “One never knows the ending. One has to die to know exactly what happens after death, although Catholics have their hopes.”Blues guitarist Huddie William Ledbetter, a.k.a. Lead Belly, said, “Doctor, if I put this here guitar down now, I ain't never gonna wake up.” And he was right.Bo Diddley died giving a thumbs-up as he listened to the song “Walk Around Heaven.” His last word was “Wow.”"It was Christmas Eve babeIn the drunk tankAn old man said to me, won't see another oneAnd then he sang a songThe Rare Old Mountain DewI turned my face awayAnd dreamed about you"-Shane McGowenA VERY HAPPY NEW YEAR TO YOU AND YOURS FROM YOUR SPLENDID BOHEMIANS!

The Don Of Wrestling, Big Vito LoGrasso, delves deep during this powerful and revealing episode about his journey from a family deeply involved in the Mafia to the world of professional wrestling. Vito and Duke Loves Rasslin explore Vito's connections to some of the biggest names in organized crime. Paul Castellano & Family Lineage: Vito discusses his family's connection to the infamous "Boss of Bosses," Paul Castellano. John Gotti & the Gambino Power Shift: Hear Vito's insights into the events surrounding Castellano's death and the rise of John Gotti. Lucky Luciano in Pop Culture & Family History: Vito gives his perspective on the portrayal of his relative, Lucky Luciano, in "Boardwalk Empire." Leaving "The Life" Behind: Vito shares the personal experiences that led him to step away from the Mob and pursue a different future. Don't miss this incredible story of transformation on #TheFriendOfOursPodcast. #BigVito #Mafia #Mob #PaulCastellano #JohnGotti #LuckyLuciano #BoardwalkEmpire #OrganizedCrime #WrestlingPodcast #DukeLovesRasslin #RedemptionStory #FromMobToWrestling *Theme and Artwork created with AI assistance.*

Big Vito LoGrasso joins The Duke for an eye opening new limited edition series, The Friend Of Ours Podcast. Part True Crime, Part behind the scenes and all REAL. In episode 1, Vito opens up about : Made Guys: Numerous times Vito was almost wacked for fighting with Made Guys. The Family: Vito's family tree including Lucky Luciano and other well known figures from La Cosa Nostra. First Wrestling Trip: How Vito made it clear not to mess with him when he started working for WWE originally. Italian Cuisine: What you should order on date night at an Italian restaurant. Much More #TheFriendOfOursPodcast #WWE #Mob #LuckyLuciano ** All views expressed on Duke Loves Rasslin are that of whomever is expressing them. If you like it great. If you don't like it, great! #PullUpYourSkinnyJeans ** **Theme & Episode Art generated with AI.**

You don't earn a nickname like The Lord High Executioner by not killing a whole lot of people. And Albert Anastasia, one of the most psychotic gangsters to ever come out of New York City, was alleged to have participated in at least 60 murders as part of his role as one of the leaders of Murder, Inc., the hitmen organization that Lucky Luciano and the other members of The Commission tasked with doling out mafia justice. Anastasia's rise to power in the violent mob wars of the 1920's and 1930's is the stuff of mafia lore, but there is such as thing as being too violent, even for someone who became the boss of one of the five families. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the first half, former FBI agent Mike Campi discussed his extensive career targeting organized crime, specifically the Genovese crime family in New York, the country's most secretive and powerful Mob organization. Campi's determination helped lead to the indictment of key figures within the Genovese administration. He shared the harrowing story of Michael 'Cookie' D'Urso, a Genovese associate who survived being shot in the head at a social club where his cousin was killed. Despite the dangers, D'Urso ultimately decided to cooperate with authorities, motivated by a desire for justice for his cousin's murder. Campi explained, "He wanted his story told... to discourage and talk about the hypocrisy of that life." D'Urso's cooperation with the FBI led to a significant investigation that uncovered deep connections within organized crime, including plans for violent confrontations with rival factions, a war with Albanian crime families, and the control of port unions.Another Genovese mobster, George Barone, who worked the docks and waterfronts, eventually became a cooperating witness for the government, Campi reported. He traced the evolution of organized crime from Prohibition in the 1920s through pivotal events like the Appalachian meeting of 1957, which marked a significant shift in mob dynamics. He highlighted how figures like Lucky Luciano and Vito Genovese navigated a treacherous landscape of alliances and betrayals, explaining their ethos: "Your crime family is supposed to come before your blood family." Regarding Hollywood's portrayal of mobsters, he said it's often over the top, "painting them as sophisticated figures manipulating law enforcement," while the truth reveals a world steeped in betrayal and hypocrisy.

In this episode, Gary Jenkins interviews Kansas City-based screenwriter and author John Sanders, who brings compelling insights into the life of Owney Madden—a notorious figure in organized crime. As a former Kansas City police detective, I've always been fascinated by mob history, and John's unique perspective, intertwined with personal family stories, provides a captivating look into Madden's life. We trace Madden's journey from his early days with the Gophers gang in New York City to his days as a respected citizen in Hot Springs, Arkansas. John shares gripping tales of Madden's resilience, including surviving multiple gunshots, which underscore the brutal realities of the gangster lifestyle. Madden's transformation from street thug to savvy businessman during Prohibition paints a picture of a man whose rise to power was fueled by sharp business instincts and connections with major players like Frank Costello. Our conversation explores Madden's partnerships with colorful characters, including Big Frenchy DeMange, Lucky Luciano, and Meyer Lansky, as he navigated the cutthroat world of organized crime. From his ownership of the famed Cotton Club to his brewery, Madden's ventures reveal the strategic moves that solidified his influence in 1920s New York. We also discuss Madden's eventual downfall and the power struggles that led to dramatic events, such as Mad Dog Coll's kidnapping of Big Frenchy. This episode ultimately sealed Coll's fate. These stories shed light on the treacherous nature of mob alliances, where loyalty is fleeting and betrayals are often fatal. Finally, John delves into Madden's later years in Hot Springs, where he became a respected figure in the community. His transition from notorious gangster to local businessman highlights redemption themes and human behavior's complexities. Alongside John's family anecdotes, we discuss Hot Springs as a place of historical intrigue—a resort town with a darker past as a haven for mobsters. Tune in to this fascinating conversation on Owney Madden's life and legacy as we unravel the cultural and historical threads that make his story unforgettable. Subscribe to get new gangster stories every week. Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to "buy me a cup of coffee" To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent Brothers against Brothers, the documentary, click here.  To rent Gangland Wire, the documentary, click here To buy my Kindle book, Leaving Vegas: The True Story of How FBI Wiretaps Ended Mob Domination of Las Vegas Casinos. To subscribe on iTunes click here. Please give me a review and help others find the podcast. Donate to the podcast. Click here! Transcript [0:00] Well, hey, welcome all you wiretappers out there. It's good to be back here [0:03] in the studio of Gangland Wire. You know, this is Gary Jenkins, your host and producer of Gangland Wire podcast. I am a former retired, not former, retired Kansas City police detective and sergeant. I was in the intelligence unit for 13 years, 14 maybe altogether. [0:21] And, you know, after I left, I got into making documentary films and i made three documentary films you can find on amazon just search for my name and mafia you'll find all kinds of stuff about me and what i've done so we won't belabor that but i let's get on to the show i have a man that i recently met a kansas city man is john sanders he's a kansas city based screenwriter and author welcome john thanks carrie i appreciate it all right well john got hold of me and he just wanted to meet and talk about the mob because he had this big interest in it so we met the coffee shop here close to me and had a had a nice long conversation and and he was telling me in particular he's been working on something about only madden and i hadn't done anything on only madden or if i did it was a long time ago and the early begin...

Today's True Werid Stuff - Cokey & Lucky His name is Lucky Luciano. An Italian-born gangster, Luciano was credited as the Godfather of American organized crime. From extortion, to bootlegging, and prostitution, Luciano was on top of the world as he rose to power beyond his wildest dreams. That is, until a woman named "Cokey Flo" helped expose his prostitution ring in front of a jury, causing Luciano's luck to finally run out.See omnystudio.com/listener for privacy information.

From 1964 to about 1969, the last major war was fought in which a major Mafia crime family attempted to gain a position of supremacy over other organized crime families in America. If the plan had been successful, the attackers could have truly changed the course of the criminal world as Lucky Luciano had done. This new conflict of the 1960s was initiated by an elderly boss, namely, Joseph Bonanno, head of the relatively small but efficient New York Mafia family of the same name, also known by the nickname "Bananas", hence the name of the Mafia conflict, namely BANANA'S WAR.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-history-of-the-american-mafia--4722947/support.

Award-winning author Matt Cost brings us back to Brooklyn in the Roaring '20s and Hungarian private eye, 8 Ballo, who is hired by Theda Lazar Vogel to prove that her husband was murdered. His colorful cast of friends returns, as well as legendary figures such as Dorothy Parker, Coleman Hawkins, Bugsy Siegel, and Lucky Luciano.8 discovers that a priceless Aquila—an ancient eagle Roman standard carried into battle 2,000 years ago—was stolen from Karl Vogel when he was killed. This provides ties to a secret German organization known as the Batavi. But Vogel was also involved in the eugenics movement centered in Cold Spring Harbor on Long Island, as well as being involved with the Ku Klux Klan.As 8 peels back layers of the underbelly of 1920s Brooklyn, the more complicated and dangerous it becomes for him and those who are important to him. What is happening at Cold Spring Harbor with Herman Wall and the eugenics movement? Who are the mysterious Germans threatening 8? And what is the identity of the charismatic Grand Cyclops? 8 must race against time to uncover the truth and put a stop to the most chilling triumvirate ever conceivedSupport this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

Del 2 av 2. Vi fortsätter att utforska Capri i veckans program och berättar om storslagna villor, dekadenta opiumrum, babianer som heter Bobby och när Europas mest excentriska kvinna kom till ön. Lyssna på alla avsnitt i Sveriges Radio Play. I del två av vår Capri-special fortsätter Viveka Adelswärd, författare till boken Alltför adlig, alltför rik, alltför lättjefull, att berätta om den unga franska adelsmannen Jacques d'Adelswärd-Fersen och hans flytt till Capri. Där bygger han Villa Lysis på en brant klippa högt över havet i början av 1900-talet.Vi berättar också om Birgitta Stenbergs tid på Capri under tidigt 1950-tal, som hon skildrar i romanen Kärlek i Europa. Hon dricker vin på piazzettan, lär känna gangsterkungen Lucky Luciano och överväger att köpa en apa.Vi besöker Axel Munthes Villa San Michele tillsammans med museets intendent Kristina Kappelin. Och så berättar religionshistorikern Per Faxneld om när Europas mest excentriska och utflippade kvinna Luisa Casati kuppade sig in i Villa San Michele och gjorde en makeover på huset.Programmet är gjort av Erik Sjölin.

Ever wondered what it's like to juggle Hollywood, Broadway, and a spiritual journey? Join us as we celebrate our 200th episode with the incredible Michael Nouri! From his iconic role in "Flashdance" to his Broadway stints with legends like Julie Andrews, Michael shares captivating stories from his illustrious career. Discover his philanthropic heart, his meditation practice since 1970, and his dreams of playing Zorba in "Zorba the Greek." Plus, get a peek into his personal life and the adorable tale of his rescue dog, Charlie. Tune in for an episode brimming with inspiration and Hollywood magic! Michael Nouri's Bio:After starring in an off-Broadway production of The Crucible, Nouri landed his first Broadway role in Forty Carats, which ran for two years. He made his film debut in 1969 with an uncredited role in Goodbye, Columbus. He appeared on several television soap operas and was nominated for a Daytime Emmy Award for his role as Steve Kaslo on Search for Tomorrow. Nouri portrayed Lucky Luciano in the miniseries The Gangster Chronicles and its theatrically released feature film Gangster Wars. In 1979, he appeared in the episode "The Curse of Dracula" of the series Cliffhangers.[citation needed]In 1983, he had a starring role as Nick Hurley in the romantic drama Flashdance. Despite mixed reviews, the film was one of the highest-grossing films of 1983 and was nominated for several top awards, winning an Academy Award for Best Original Song.[3]Nouri has appeared in numerous television series and television films. He starred opposite Kyle MacLachlan in the horror film The Hidden. He starred on the short-lived series Bay City Blues and Downtown, and on the sitcom Love & War. Nouri also starred in the Broadway production of the musical Victor/Victoria as King Marchan opposite Julie Andrews. He appeared in three separate entries of Law & Order, each time in different roles. He had recurring roles on the series The O.C., Damages, NCIS, and Army Wives. Nouri returned to soap operas with a year-long stint on All My Children. More recently, he had a recurring role on the series Yellowstone for three seasons. Connect with Michael:Website: www.michaelnouri.comThank you for listening. Please check out @lateboomers on Instagram and our website lateboomers.biz. If you enjoyed this podcast and would like to watch it or listen to more of our episodes, you will find Late Boomers on your favorite podcast platform and on our new YouTube Late Boomers Podcast Channel. We hope we have inspired you and we look forward to your becoming a member of our Late Boomers family of subscribe

Send us a Text Message.Step into the shadowy world of organized crime as we unravel the life of the infamous Charles "Lucky" Luciano. From his rise to power in New York's ruthless underworld to his role in shaping the modern Mafia, every twist and turn of Luciano's story is packed with intrigue. Discover the betrayals, the brutal power struggles, and the cunning tactics that solidified his legacy as the father of organized crime in America. This episode uncovers the enigmatic figure behind the legend, revealing secrets and strategies that kept him ahead of the law. Prepare for a journey through the gritty streets of New York City, where danger lurks at every corner and power is the ultimate prize.Watch the video version here: https://youtube.com/live/avLxkXTDMOcDon't forget, you can watch us live on Tuesday nights at 8PM CST - U.S. on YouTube and Facebook! Support the Show: Patreon (Bonus Content)Follow us on Social Media: YouTube ChannelFacebook Fan PageInstagram Fan Page X (formerly Twitter)TikTok Fan Page"After Dark with EVP" (Use code "AFTERDARK25" for 25% off an annual subscription)https://bit.ly/46GOmAzSubmit Your Story, Comments, or Questions: theevppod@gmail.com

En attendant l'ultime épisode de la saison consacrée aux sectes, réécoutez notre épisode consacré à un autre illuminé : Charles Manson.Celui qui se prend pour le fils du diable est le gourou de jeunes hippies. Sur ordre de Manson, la "Famille" commet des crimes atroces qui vont bouleverser l'Amérique des années Flower Power.

“Don't ask me nothin'! You hear me? Don't ask! And don't bring anybody in here for me to identify. I won't identify them even if I know they did it!” This is the story of the nation's up-and-coming criminal underground.  By 1920, with few exceptions, producing, buying, and selling alcohol is outlawed, but that doesn't stop enterprising Americans. Many feel perfectly comfortable flouting the law and continuing to drink at their leisure, albeit with the added thrill that comes with evading halfhearted lawmen. Some cops are even in on it! But even as law enforcement steps up their game with undercover agent extraordinaire, Izzy Einstein, criminals get organized and start doing serious business—serious as in murderous. Home-brewers like Maude Vogan can be found in rural America, but in the big cities, Prohibition provides a marketplace for organized crime to flourish. There is money to be had, if one can ignore that the likelihood of getting killed just shot up dramatically. Notorious gangsters George Remus, Legs Diamond, and Lucky Luciano run this underworld, double-crossing each other, planning takeovers, and making millions off of booze-loving Americans. But can law and order triumph over these mafiosos? For now, fuhgeddaboudit. ____ Connect with us on HTDSpodcast.com and go deep into episode bibliographies and book recommendations join discussions in our Facebook community get news and discounts from The HTDS Gazette  come see a live show get HTDS merch or become an HTDS premium member for bonus episodes and other perks. HTDS is part of the Airwave Media Network.  Interested in advertising on the History That Doesn't Suck? Email us at advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

From owning acclaimed eateries to forging unexpected alliances in a federal detention center, Frankie “Spice” Morelli has made his mark as a culinary maestro who respects the power of authentic Italian food. Now, in his publishing debut, Morelli creates and compiles delicious recipes, healthful nutrition and decades of experience into MOBB Cookbook & Diet: Savor and Slim the Italian Way (MOBB Publishing; ISBN: 9798989079612; Hardcover). It's a pizza box-sized, full-color coffee table cookbook blending 70-plus recipes, along with nearly 200 original full-color photos and tantalizing mob lore with a vital ingredient: a priority on health. Teaming up with Dr. Sandra “Diet Duchess” Frank, Ed.D., RDN, FAND, who nutritionally vetted the recipes in the book, Morelli guarantees that every dish in this book can be enjoyed as part of a well-balanced, nourishing diet. Whether cooking on-camera, providing b-roll footage for the perfect virtual demo, or just chatting with the host, producer or editor, Frankie can share his five secrets for making the BEST spaghetti and meatballs … this side of The Clink: Undercook your pasta because even when you take it out of boiling water it is still cooking! To prepare the sauce, sauté fresh garlic in oil, deglaze with white wine … and mix in salt and black pepper. To make the sauce, use only San Marzano tomatoes—they are imported from Italy and are naturally sweet without an acidic taste. With a stick or a home blender, puree the tomatoes and combine with the sautéed garlic mixture. Do not add sugar! Simmer it all on “low” for 4 hours. Make the meatballs as big as a softball … the smaller you make the balls, the harder they become when you cook ‘em. Use 80/20 ground beef/ground pork, parmesan cheese, breadcrumbs, parsley, eggs, cream, salt and pepper, and olive oil. Says Frankie, “The better the meatball, the more protection I had in The Joint!” Put the balls into the oven for 30 minutes at 325 degrees … take ‘em out, flip them and cook for the same amount of time … and that's it. Simplicity is the essence of Italian cooking! MOBB Cookbook & Diet includes an array of recipes, like Don Pasquale's Shrimp Scampi, Lucky Luciano's Luscious Lady Fingers and even Lou “The Hebrew Hammer's” favorite Matzo Ball Soup. It's filled with “fun” facts about notorious and alleged mobsters, including “Tommy Guns,” Jimmy “The Beast,” Jeremy “The Jett” and other members of the author's diverse circle of acquaintances from the Sicilian mob, Italian Cosa Nostra and the wide multicultural world of gangsters. Web: www.ourmobb.com About the Author Frankie "Spice" Morelli is a resilient culinary maestro and entrepreneur with an innate understanding of delicious and nourishing, authentic yet innovative Italian food. He owned and operated the award-winning Morelli's Ristorante Italiano in Florence, Colorado, and founded Nona Morelli Pasta, an international pasta and sauce company that supplied prominent retail chains, engaged in private-label partnerships with respected brands like Kraft Foods' Budget Gourmet, and pioneered the introduction of microwave pasta. After divesting the restaurant in 1990 and selling the company in 1992, he applied his business savvy to taking companies public through reverse mergers. For more information, please visit www.ourmobb.com. ► Luxury Women Handbag Discounts: https://www.theofficialathena.... ► Become an Equus Coach®: https://equuscoach.com/?rfsn=7... ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH58... ► Review Us: https://itunes.apple.com/us/po... ► Subscribe: http://www.youtube.com/c/AshSa... ► Instagram: https://www.instagram.com/1lov... ► Facebook: https://www.facebook.com/ashsa... ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/the-ash-said-it-show--1213325/support.

The Italian American Mafia was born out of the Castellamarese War. The Mafia was very much a thing in the United States prior to the war. The difference was the leadership. Old Sicilian Mafia men were called Mustache Petes. These were the guys in charge before the war. They were actually the guys that went to war. The generation of mobsters that grew up in America saw the world of organized crime differently. The new guard ended up whacking the old guard after the war, and the Italian American Mafia was born. Join us as we get Historically High on the Beginning of the Italian American Mafia

An infamous bootlegger and gambling tycoon, renowned for his role in creating the iconic Stardust Casino & Resort in Las Vegas, Tony "The Admiral" Cornero was a legendary figure. His entrepreneurial spirit led him from the humble origins of an Italian village to the bustling streets of America. Yet, his journey was marked by turbulence and intrigue.Born into hardship, with his family facing financial ruin, Cornero's early life was fraught with adversity. However, he swiftly rose from driving a cab to becoming a rumrunner, amassing a fortune by the tender age of 25. Yet, his rapid ascent fueled egos and bankrolls that ultimately culminated in a fatal encounter in 1925.After a dramatic escape from arrest, Cornero found himself in Vancouver, only to surrender himself years later. Undeterred by his past, he ventured to Las Vegas, where he inaugurated one of the city's pioneering resorts, the Meadows Casino & Hotel. However, his refusal to associate with notorious figures like Lucky Luciano and Meyer Lansky led to arson, destroying his property.Returning to Southern California, Cornero launched gambling ships off the shores of Santa Monica and Long Beach, most notably the SS Rex. Yet, his ventures drew the ire of State Attorney General Earl Warren, leading to a dramatic showdown dubbed "The Battle of Santa Monica Bay."Despite setbacks, including the revocation of his gambling license and a near-fatal shooting, Cornero persisted. He returned to Las Vegas, where he ambitiously built the Stardust Casino & Resort. However, financial woes and pressure from The Cleveland Syndicate marred his endeavors, ending in his mysterious demise.The aftermath saw no resolution for the families of Cornero, Siegel, and Berman, all embroiled in the tangled web of casino interests. Even as the legacy of Tony Cornero fades into history, the enigmatic allure of his life continues to captivate, leaving behind a trail of unanswered questions and intriguing discoveries.Links:Video of Tony Cornero: https://youtu.be/I_K6dyyc9-s?si=FNTK1D1iko8R5VblArticle: “Stardust In Your Eyes, Tony Cornero & The Stardust Hotel: https://www.americanmafia.com/Feature_Articles_26.htmlAlan Geik Podcast: https://www.beforethelightspod.com/beforethelights-episodes/j7dyhpzh43owyule4iaegt2fgsy22s  Before the Lights Links:RATE & REVIEW THE SHOW! 5 STAR & NICE COMMENTS PLEASE!Become a BTL Member: https://www.beforethelightspod.com/supportBefore the Lights Website: https://www.beforethelightspod.com/Get Tommy a Glass of Vino: https://www.buymeacoffee.com/beforethelightsSupport the showFollow the show on Instagram: https://www.instagram.com/beforethelightspodcast/Follow the show on Face Book: https://www.facebook.com/beforethelightspodcast/Follow the show on Tik Tok: https://www.tiktok.com/@beforethelightspodcast?lang=enFollow Tommy on Face Book: https://www.facebook.com/tcanale3Rate & Review: https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Email the host: beforethelightspod@gmail.com

À l'assaut de la Maison Blanche ! Assassinats politiques, corruption massive, chantages sexuels, fraudes électorales, menaces de mort, pactes machiavéliques, la Cosa Nostra a appliqué des méthodes impitoyables pour infiltrer le sommet de l'État. Dans la deuxième partie de cet épisode, Gaël et Geoffroy dévoilent les relations secrètes des présidents Roosevelt, Truman et Kennedy avec la pègre et relatent les innombrables complots mafieux qui ont influé sur l'exercice du pouvoir pendant quatre décennies. Une relecture fascinante de l'histoire des Etats-Unis qui éclaire la part d'ombre de la démocratie américaine sous un nouveau jour. Musique : Thibaud R.  Habillage sonore / mixage : Alexandre Lechaux Facebook  Instagram  Twitter www.toutsavoir.fr Contact : tousparano@gmail.com  

Lucky Luciano's conviction sits atop a rising wave of public panic about the seeping influence of crime and corruption on American life.  It's a perception that's been mythologised in Hollywood retellings about the mob for decades. The idea of an all-powerful mafia served Thomas Dewey's professional ambitions well too, but how much of it was actually true? The Godmother is produced by Novel for iHeartPodcasts. For more from Novel visit novel.audioSee omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/They don't want you to read our book.: https://static.macmillan.com/static/fib/stuff-you-should-read/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/  See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/  See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

In the 1930s, Lucky Luciano, one of American history's most notorious mobsters, was finally taken down by a rookie prosecutor. Eunice Carter was one of the first Black Women ever to become a prosecutor in America. She operated from the heart of the Harlem Renaissance to navigate the corrupt world of downtown Manhattan politics, and a deeply racist and sexist pre-civil rights American society. But her pioneering role in what became known as the “trial of the century” has been forgotten by popular history. Hers is the story of a writer, social worker, mother, teacher, sister, socialite, political candidate, community organizer and unheralded pioneer. This eight part immersive podcast is hosted by poet and writer, Nichole Perkins. It tells the story of Eunice Carter: a bad-ass anti-hero unafraid to bend the rules in pursuit of ambition, justice and legacy. Listen to The Godmother on the iHeartRadio App or wherever you get your podcasts. https://www.iheart.com/podcast/1119-the-godmother-141201920/See omnystudio.com/listener for privacy information.

The Trafficante crime family ruled Florida for decades, earning the respect and admiration of powerful mobsters like Lucky Luciano, Meyer Lansky and Sam Giancana. Santo Trafficante Sr arrived in Tampa as a boy from Sicily and took to the underworld with a talent for business, setting up the illegal lottery known as the Bolita before using his Spanish skills to make him indispensable to the powerful five families who wanted to set up shop in Cuba. When his son, Santo Jr, took the reigns, they soon controlled casinos, nightclubs and luxury hotels, as well as narcotics trafficking routes, from Cuba to Miami to Tampa. But the heady days of Fulgencio Batista's Cuba was coming to a close, and the Cuban revolutionaries led by Fidel Castro were going to complicate things. So much so that Trafficante soon found himself in one of America's strangest alliances and even stranger assassination plots. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr  Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records  as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company,  publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time.  But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and  a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality,  something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order.  They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth