Podcasts about mean a thing

STANDARS SEMANAL,.It Don't Mean A Thing.-JAZZANIVERSARIO.-Gil Evans & Ten.-JAZZACTUALIDAD.-SEDAJAZZ BIG BAND Y SOLE GIMENEZ-30 AÑOS

Opening music: Erene Mastrangeli "Rain, Rain" - Love, Shine www.erenemusic.com Giulia Millanta "Luna lo Sa" - Only Luna Knows www.giuliamillanta.com The Veldt "Heather" - Afrodisiac https://www.facebook.com/VeldtThe/ Dead Leaf Echo "Thought Talk" - Pale Fire www.deadleafechonyc.com Clone "Dividing Line" - Cl. 1 https://www.facebook.com/clonebknyc The Contes "Out Of My Head" - Bleed Together Steve Conte "Girl With No Name" - The Concrete Jangle www.stevecontenyc.com ************** Lolly Lee "Happy Now" - s/t www.lollyleemusic.com Arielle Silver "Bramble Vine" - Watershed www.ariellesilvermusic.com Meghan Cary "River Rock" - Sing Louder www.meghancary.com Julian Taylor "Weighing Down" www.juliantaylormusic.ca Liz Longley "Torture" - Funeral For My Past www.lizlongley.com Rebecca Folsom "Brilliantly Boldly Alive" - Sanctuary www.rebeccafolsom.com Maïa Davies "Lift Me Up" https://www.maiadavies.com/ Deni Bonet "Off The Record" www.denibonet.com *************** ALBUM FOCUS: Christian Parker – Change Is Now: A Tribute To The Byrds http://www.christianparker.com "Get To You" "Time Between" "Your Gentle Way Of Loving Me" "Bugler" ********************* Keeley "Echo Everywhere" - Floating Above www.keeleysound.com Dizraeli "I See Ghosts" - Joy Machine www.dizraeli.com Emily Magpie "What's Eating You?" There Are Other Forms of Strength https://www.facebook.com/EmilyMagpieYEAH/ By The Waves "Eyes" https://www.facebook.com/bythewavesband Juliana Madrid "Let Go" - https://www.facebook.com/julianamadridmusic/ Diesel Park West "It Don't Mean A Thing" - Presley Trap www.dieselparkwest.com Sirsy "Oh! Billy" - Revolution www.sirsy.com Jason Devore "Turn It Off' - 'Til The Voice Goes Out www.jasondevore.com Dan Bern "Tape" - New American Language (Remastered) www.danbern.com Fast Eddy "In Too Deep" - www.fasteddyband.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

As we descended into the abyss and wondered if we ever would see the light again, Alicia pulls us out with a strong finish to Animation April, with a Genndy Tartakovsky film using iconic horror legends all hanging out and trying to navigate a young girls coming of age. Parenting is hard, more for some as a wolfman can attest. we just had a damn great time with this and heartily recommend it. As well as this episode!We have merch now! Follow us on Twitch for listening parties and just hanging out. Also we have a Discord We now have a website! Visit us at www.strangebiscuits.com/graveyard to send us movie suggestions and comment on episodes!You can follow us on Facebook at https://www.facebook.com/Thegraveyardshiftpod/On Twitter at https://twitter.com/GS_horrorpodAnd on Instagram at www.instagram.com/thegraveyardshiftpod/If you would like to make a donation to help keep the show going and get access to bonus content, you can do so by checking us out at https://www.patreon.com/Graveyardemail us at graveyardshiftpod@gmail.com for movie suggestions or Patreon ideas.Thanks for listening.

Songs include: It Don't Mean a Thing, If It Ain't Got That Swing, Swing It Sister, Waltz In Swing Time, Rug Cutter's Swing, Swing Low, Sweet Chariot and Swinging On a Star. Performers include: Duke Ellington, Les Brown, Ella Fitzgerald, Glenn Miller, the Mills Brothers and the Fisk Jubilee Quartet. 

You mean to tell me my girl Dawn Staley took my girls all the way to the ship UNDEFEATED and y'all still find a way to make it about white women. Also I feel like the aliens are among us and 'them people' are trying to cover it up, but I'm not complaining because if we keep getting music like this... KEEP 'EM COMIN! Hosted on Acast. See acast.com/privacy for more information.

When the beaten path doesn't appeal, forging your own way becomes the only option. Philip Becker joins me, Mark Jones, to recount the tale of how he defied the odds and the naysayers to establish Becker Properties, a real estate brokerage that thrives on individuality and defies the traditional office structure. Our walk down memory lane isn't just about nostalgia; it's a journey through the trials and triumphs that have shaped us both as professionals. Our story is for those who see rejection not as a setback, but as the motivation to build a legacy, and for anyone who's ever believed that a family-like business environment can indeed be created and nurtured.Let's peel back the curtain on the real estate industry's best-kept secrets and the power of community, as I chart my own rise from a bright-eyed '30 under 30' awardee to a leader in the Young Professionals Network (YPN) within the National Association of Realtors (NAR). Philip and I dissect the anatomy of a successful real estate career, discussing the hurdles of starting up, the innovative strategies that keep us ahead of the curve, and the personal growth that comes from mentorship and true passion for the field. If you're looking to get a leg up in the world of real estate or merely curious about the inner workings of this dynamic industry, pull up a chair and tune in for some genuine, experience-driven insights.Key Factors Podcast is Powered by ReviewMyMortgage.com Host: Mark Jones | Sr. Loan Officer | NMLS# 513437 If you would like to work with Mark on your next home purchase or as a partner visit iThink Mortgage.

On this week's episode of Forks Down, Beau and Rick talk about the current state of the Mariners after poor showings from the Mariners against the Cleveland Guardians and the Milwaukee Brewers. What can they do to salvage this slow start? Find out their thoughts on this week's edition of Forks Down - A Mariners Podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/forksdownpod/support

Robert Finley got his big break at last year's King Biscuit Blues Festival when he talked the sound engineer into letting him get on stage in between acts and play a song. He wowed the crowd, captured the attention of Music Makers Relief and went home with a record deal in his pocket. He joins us this week in a performance captured during Bridging The Blues celebrating the release of his debut record, Age Don't Mean A Thing, on Big Legal Mess Records. BSC contributor William Lee Ellis returns to continue his series, Religion and the Blues.

This week on AtoZrunning: Runners are always talking about our workouts, good, bad, or otherwise. Do they tell us anything meaningful, though? We'll tackle this one. We answer a listener question about returning from surgery. In the world of running, NCAA ran indoor conferences, and we've got the highlights. Dennis Young interviewed 16 of the 26 last place finishers from the US Olympic Trials marathons, and the stories are astonishing. And the Japanese marathon debut just got crazy. For training, coaching, and other services, visit https://atozrunning.com/coaching

This week on the Magazine we feature a couple of the musical forms that America has exported to the world. You might first think of rock and roll, or rhythm and blues, but one of our earliest gifts to the world was jazz and swing music. This week we'll hear classics from Django Reinhardt, Count Basie, Duke Ellington, Dan Hicks and his Hot Licks, Russ Barenberg and lots more. “It Don't Mean a Thing” swings ...” this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysDjango Reinhardt & Stephane Grappelli / “Minor Swing” / Djangologie Vol.6 / EMI PatheJoshua Rifkin / “Elite Syncopations” / Scott Joplin Piano Rags / NonesuchBenny Goodman / “Air Mail Special” / Best of the Big Bands / ColumbiaCount Basie / “One O'Clock Jump” / This is Jazz 11 / ColumbiaDuke Ellington & Ella Fitzgerald / “It Don't Mean a Thing (If It Ain't Got That Swing)” / At the Cote D' Azur / VerveLambert, Hendricks & Ross / “Twisted” / The Hottest New Group in Jazz / ColumbiaDan Hicks & his Hot Licks / “Canned Music” / Original Recordings / EpicBill Knopf / “Take the “A” Train” / Pacific Swing / First InversionDjango Reinhardt & Stephane Grappelli / “Swinging with Django” / Djangologie Vol.6 / EMI PatheAllen Tousaint / “Rocks in My Bed” / American Tunes / NonesuchGuy Van Duser & Billy Novick / “Exactly Like You” / Exactly Like Us / RounderRuss Barenberg / “Halloween Rehearsal” / Halloween Rehearsal / RounderThe Phil Salazar Band / “Swing to Bop” / The Phil Salazar Band / Flying FishMerle Travis / “Walkin the Strings” / The Merle Travis Guitar / RavenPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Steak and Rusty spend some time discussing the Falcons as Steak reiterates that he still believes they will still be a playoff team. Rusty adds that while he would be excited for Atlanta winning the division, he does not want to see them go to the playoffs for just one game, explaining that he believes they would lose in the first round.

This week is part 2 of the Sister Wives Tell All, where Robyn establishes herself as the Kody Whisperer, Christine reveals a shocking story about Meri and Kody, and more!Follow me on social media, Patreon and more here! Hosted on Acast. See acast.com/privacy for more information.

Unearth the transformative power of swing with us as we dissect the timeless classic, "I Don't Mean a Thing If You Don't Have a Swing". Stand by Ella Fitzgerald and Duke Ellington as our guest DJ Mortiglio takes us through their iconic melody. We promise, this melodious journey will leave you with an entirely new perspective on rhythm and swing. Brace yourself to explore how swing can morph the rhythm into an intoxicating musical experience.In the next hour, you'll hear the intricate play of lyrics in the song - "Don't need a thing if that ain't got that swing". Experience DJ Mortiglio's interpretation of this classic, and his unique perspective on the essence of swing music. By the end of this episode, you'll find yourself reveling in a newfound love for rhythm, swing and the magic that binds them. So, set your mind free and let the sounds of Ella Fitzgerald and Duke Ellington transport you to a captivating world of rhythm and swing!Support the showLa missione di FuffaWebFuffaWeb è da sempre impegnata nella diffusione della verità senza censura, e questo articolo fa parte del nostro impegno nel portare alla luce temi importanti. Vogliamo essere una risorsa affidabile per tutti voi, fornendo informazioni pertinenti e incoraggiando azioni positive.fuffa web online, free podcast : graffio@fuffaweb.com - mordicchio@fuffaweb.com FuffaWeb Italia, il podcast di qualita anti fuffa .news - arte - musica - crescita personale - moda - gaming - cucinaQUESTE LE RUBRICHE CHE SINTEIZZANO GLI ARGOMENTI DA NOI TRATTATI PER TIPOLOGIA D'EPISODIOFuffaWeb è da sempre impegnata nella diffusione della verità senza censura, e questo articolo fa parte del nostro impegno nel portare alla luce temi importanti.Vogliamo essere una risorsa affidabile per tutti voi, fornendo informazioni pertinenti e incoraggiando azioni positive.Un ringraziamento speciale a tutti Voi Se il nostro podcast ti piace, vota qui: I love FuffaWeb Italia Vota il nostro podcast, il tuo punto di vista conta per noi, e per gli altri, clicca il link qui sotto ed esprikmi il tuo paraere, ci contiamo, grazie:#PodcastGratis #AscoltaOra #NuovoEpisodio #PodcastDellSe...

Take a trip through the latest season from the peach state! We talk recent reunions from the ATL and divorce from an OG! Did the ring mean a thing?? Let's take one last trip back to Crappie lake to see the follies! Luann and Sonja really outdid themselves! We also get up to date with the latest ladies of NYC. But if anyone stole our sunglasses for 45 mins, we would make apple juice out of them!!

This week we cover: Troll and Toad closing, Unity CEO stepping down, Toys R Us making a comeback, MTG previews, Commander "welcoming" discourse, Gamestop's questionable new CEO, Cardsphere continuing, and fanbases at odds.  Please remember to rate the show and leave a comment!   DeQuan - @powrdragn Brian - @brianpsionic   CardSphere https://www.cardsphere.com Our TCGPlayer affiliate link: https://bit.ly/2qF0AKU Color of Magic Patreon: https://www.patreon.com/ColorofMagic Website: https://www.colorofmtg.com/ Twitter: https://twitter.com/ColorofMTG Facebook: https://www.facebook.com/colorofmtg

This week we cover: Troll and Toad closing, Unity CEO stepping down, Toys R Us making a comeback, MTG previews, Commander "welcoming" discourse, Gamestop's questionable new CEO, Cardsphere continuing, and fanbases at odds.  Please remember to rate the show and leave a comment!   DeQuan - @powrdragnBrian - @brianpsionic   CardSpherehttps://www.cardsphere.com Our TCGPlayer affiliate link:https://bit.ly/2qF0AKU Color of Magic Patreon:https://www.patreon.com/ColorofMagic Website:https://www.colorofmtg.com/ Twitter:https://twitter.com/ColorofMTG Facebook:https://www.facebook.com/colorofmtg

Its Friday!! We have made it through another week and it's a long weekend for most! I bring you all up to speed on all things related to Kim Zolciak and Kroy Biermanns current status and why Kroy wants the court to approve the sale of their $3 million home! Plus! Lindsay devastated with engagement break off! --- Support this podcast: https://podcasters.spotify.com/pod/show/georgiosays/support

Kim Zolciak-Biermann and her hubby Kroy are calling it quits…on their divorce, that is! Even though the former “Real Housewives of Atlanta” cast member and ex-NFL player both filed papers to end their marriage a while back - and even though they were hurling accusations at each other and getting the police involved - it looks like they've had a change of heart. In a shocking twist worthy of its own reality show, they have decided to give it another go! Could all this messy relationship drama be paving the way for a Kim-Kroy reentry into the Bravo-verse? Hell, we'd watch!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The ladies are back with this week's recap and to break down the current bravolebrity news (after a quick detour to the OC

This week Mo and Reid are on the mic talking all things Bravo (spoiler alert: there was a LOT!). In That's My Opinion (0:38), they're talking Kim Zolciak's reported divorce from hubby Kroy, trouble brewing between the wives of RHOSLC, and the impressive series premiere of Summer House: Martha's Vineyard. Then they recap the 10/10 no notes season 15 premiere of Real Housewives of Atlanta (30:52), the latest drama from the would-be-finale episode of Vanderpump Rules AND the reunion trailer (55:04), and whatever happened during another less-than-stimulating episode of Real Housewives of New Jersey (1:16:39). PLUS, an impromptu discussion about Renaissance World Tour! Support the showConnect with us: https://linktr.ee/Aboutbravo06

Die Vision ist die Basis für jede Strategiearbeit und bildet den Nordstern des Unternehmens, der magnetisch anzieht. Sie ist eine erstrebenswerte Wunschvorstellung von der Zukunft und Energiequelle für die eigene Arbeit. Sie eröffnet neue Möglichkeiten und treibt Veränderung und Entwicklung voran. Die Vision richtet sich nach innen, ins Unternehmen, bündelt Kräfte und schafft Ausrichtung. Lade sie emotional auf! Viel Freude beim Hören. ‚More to explore' zu Folge 15: Vision. It don't mean a thing if ain't got that swing.Bücher:„Vision & Strategie. Strategisches Denken für kreative Köpfe“ - 2014, von Doris Rothauer„Jetzt! Die Kraft der Gegenwart“ - 2010, Eckhart TolleFachartikel: Unternehmenssteuerung, von Lothar WenzlNähere Informationen zu Dr. Erika Maria Kleestorfer:Website: www.kleestorfer.comInstagram: https://www.instagram.com/erikamariakleestorfer/?hl=deLinkedIn: https://www.linkedin.com/in/dr-erika-maria-k-a18426/Buch: Purpose: How Decisions in Life are Shaping Leadership JourneysLove-Cards: https://produkte.kleestorfer.com/love-cardsEmail: office@kleestorfer.com Dieser Podcast wurde bearbeitet von:Denise Berger https://www.movecut.at

STANDARS SEMANAL,.It Don't Mean A Thing.-JAZZANIVERSARIO.-Gil Evans & Ten.-JAZZACTUALIDAD.-SEDAJAZZ BIG BAND Y SOLE GIMENEZ-30 AÑOS

STANDARS SEMANAL,.It Don't Mean A Thing.-JAZZANIVERSARIO.-Gil Evans & Ten.-JAZZACTUALIDAD.-SEDAJAZZ BIG BAND Y SOLE GIMENEZ-30 AÑOS

This week the fellas recap the sports world from the Superbowl to the big fights over the weekend. A bit of story time and real talk on real issues in today's world to round it out. Don't miss out on this episode. Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Electronic amplification allowed singers and musicians to perform in a softer, more intimate way. The new styles became very popular, especially in the USA.

This episode we talk about Nike suing Bape, Ben Simmons engagement ring drama, student breaks teachers legs, and much more! Follow our new clip channel on YouTube channel: https://youtube.com/channel/UCRzx5wlXNBCd97_UqLQrDKg Subscribe to our main channel on YouTube: https://youtube.com/channel/UC7cpHQ2y21jDzkvDouLtsdw For bonus content, behind the scenes footage and much more come join our patreon! patreon.com/teamuncutpodcast Email us: Uncutpod@gmail.com Follow us on IG: @teamuncutpodcast Like us on Facebook: Facebook.com/uncutpod Want to support the podcast monetarily?: cashapp: $uncutpodcast PayPal: paypal.me/uncutpodcast #UncutPodcast Watch us on YouTube: youtube.com/channel/UC7cpHQ2y21jDzkvDouLtsdw Uncut Podcast Merch: www.teepublic.com/t-shirt/2850134-…?store_id=165811 Available on itunes,soundcloud,googleplay,tunein,iheartradio,spotify, and castbox!

What The Franklin - Episode 17 - Trump's SAGGING poll numbers don't mean a thing and A Texas woman, Haley hunt, goes inside prisons to help juveniles. More about Chip Website: https://chipfranklin.com/ Twitter: https://twitter.com/chipfranklin Instagram: https://www.instagram.com/thechipfranklin Chip Franklin is an award-winning writer, talk show host, filmmaker, comedian, and musician. A twenty five-year veteran of talk radio, Chip's also been awarded the National Murrow Award for writing and overall excellence. In addition, Franklin has been honored by The New York Festival for his unconventional coverage of The Democratic and Republican conventions and received more than 30 AP awards for writing and broadcasting. Chip has written for Steve Allen, Jay Leno, and even renowned physicist Stephen Hawking. Hosting talk radio shows in Washington DC, Baltimore, Atlanta, Chicago, San Diego, and most recently San Francisco, Chip appears regularly on ABC, CBS, FOX, NBC, the BBC and CNN.

This week: The second of two programs celebrating a series of four albums circa 1960 to 1965 in which Ella performed live in Germany, including Ella in Berlin (the famous concert album from 1961 for which Ella won two Grammys) and Ella: The Lost Berlin Tapes, the concert album that was recorded in 1962 but never released. Tracks this segment include Walk Right In, Gone With The Wind (Live at the Deutschlandhalle, Berlin, 1960), Ellington Medley: Do Nothing' Till You Hear From Me/Mood Indigo/It Don't Mean A Thing, Taking A Chance On Love (Live), Cry Me A River (Live), And The Angels Sing, Hallelujah, I Love Him So (Reprise / Live), Angel Eyes, Lorelei (Live at the Deutschlandhalle, Berlin, 1960), 'Round Midnight (Live In Berlin, 1961), I Won't Dance (Live), Take The "A" Train (Live In Berlin, 1961). This edition of GPE was produced by Ed Robertson Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: The second of two programs celebrating a series of four albums circa 1960 to 1965 in which Ella performed live in Germany, including Ella in Berlin (the famous concert album from 1961 for which Ella won two Grammys) and Ella: The Lost Berlin Tapes, the concert album that was recorded in 1962 but never released. Tracks this segment include Walk Right In, Gone With The Wind (Live at the Deutschlandhalle, Berlin, 1960), Ellington Medley: Do Nothing' Till You Hear From Me/Mood Indigo/It Don't Mean A Thing, Taking A Chance On Love (Live), Cry Me A River (Live), And The Angels Sing, Hallelujah, I Love Him So (Reprise / Live), Angel Eyes, Lorelei (Live at the Deutschlandhalle, Berlin, 1960), 'Round Midnight (Live In Berlin, 1961), I Won't Dance (Live), Take The "A" Train (Live In Berlin, 1961). This edition of GPE was produced by Ed Robertson Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: The second of two programs celebrating a series of four albums circa 1960 to 1965 in which Ella performed live in Germany, including Ella in Berlin (the famous concert album from 1961 for which Ella won two Grammys) and Ella: The Lost Berlin Tapes, the concert album that was recorded in 1962 but never released. Tracks this segment include Walk Right In, Gone With The Wind (Live at the Deutschlandhalle, Berlin, 1960), Ellington Medley: Do Nothing' Till You Hear From Me/Mood Indigo/It Don't Mean A Thing, Taking A Chance On Love (Live), Cry Me A River (Live), And The Angels Sing, Hallelujah, I Love Him So (Reprise / Live), Angel Eyes, Lorelei (Live at the Deutschlandhalle, Berlin, 1960), 'Round Midnight (Live In Berlin, 1961), I Won't Dance (Live), Take The "A" Train (Live In Berlin, 1961). This edition of GPE was produced by Ed Robertson Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: The second of two programs celebrating a series of four albums circa 1960 to 1965 in which Ella performed live in Germany, including Ella in Berlin (the famous concert album from 1961 for which Ella won two Grammys) and Ella: The Lost Berlin Tapes, the concert album that was recorded in 1962 but never released. Tracks this segment include Walk Right In, Gone With The Wind (Live at the Deutschlandhalle, Berlin, 1960), Ellington Medley: Do Nothing' Till You Hear From Me/Mood Indigo/It Don't Mean A Thing, Taking A Chance On Love (Live), Cry Me A River (Live), And The Angels Sing, Hallelujah, I Love Him So (Reprise / Live), Angel Eyes, Lorelei (Live at the Deutschlandhalle, Berlin, 1960), 'Round Midnight (Live In Berlin, 1961), I Won't Dance (Live), Take The "A" Train (Live In Berlin, 1961). This edition of GPE was produced by Ed Robertson Learn more about your ad choices. Visit megaphone.fm/adchoices

The 87-win Phillies are showing the world that winning 100 games far from guarantees a World Series victory.  The Mariners in 2001 won a whopping 116 games but did not even reach the WS!  This year for the 2nd time (4) teams won 100 games or more but only one is still playing - the Astros.  It didn't help the Braves (who've won 100 7x in franchise history but never won WS when they won 100 games), Mets or Dodgers. Winning 100 games is a little bit cool and fun for the fans since they go home happy almost 2/3 of the time. But give us a team that's hot late in the season and that's a better indicator of possible WS success than winning 100! Please subscribe to our podcast and thanks for listening! If you have a suggestion for an episode please drop us a line via email at Almostcooperstown@gmail.com.  You can also follow us on Twitter @almostcoop or visit the Almost Cooperstown Facebook page.  If you can please give the podcast 4 or 5 star rating! www.almostcooperstown.com

In the next instalment of our midterms series, we head to the suburbs of Atlanta in search of that rarest of political creatures: the swing voter. There aren't many of them, but they may well determine which party controls the Senate. Luxury brands are changing their outlooks and offerings as they seek new markets and younger consumers. And our culture correspondent visits a retrospective of William Kentridge's works.For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer Hosted on Acast. See acast.com/privacy for more information.

In the next instalment of our midterms series, we head to the suburbs of Atlanta in search of that rarest of political creatures: the swing voter. There aren't many of them, but they may well determine which party controls the Senate. Luxury brands are changing their outlooks and offerings as they seek new markets and younger consumers. And our culture correspondent visits a retrospective of William Kentridge's works.For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer Hosted on Acast. See acast.com/privacy for more information.

5 Dinge, die es sich über die Trompete zu wissen lohnt. Bonusmusik: Clarke's Trumpet Voluntary, Tailor's Hijacker, und Ellington's It Don't Mean A Thing

Music by Dr. Thomas W. Smith

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

For this latest CSP episode, we welcome China's great historian, Sima Qian to the stage where he plays in a starring role in this tragic story behind the well-known Chinese Saying Jiǔ Niú Yī Máo 九牛一毛. One hair from nine oxen. Most Chinese speakers know of this one but not the story behind it. When faced with a tough choice after displeasing Han Emperor Wu, the future Grand Historian, after careful consideration accepted his sad fate and went on to finish the epic history of China from mythical times to the present day in the Han, begun by his father, Sima Tan. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

For this latest CSP episode, we welcome China's great historian, Sima Qian to the stage where he plays in a starring role in this tragic story behind the well-known Chinese Saying Jiǔ Niú Yī Máo 九牛一毛. One hair from nine oxen. Most Chinese speakers know of this one but not the story behind it. When faced with a tough choice after displeasing Han Emperor Wu, the future Grand Historian, after careful consideration accepted his sad fate and went on to finish the epic history of China from mythical times to the present day in the Han, begun by his father, Sima Tan. Enjoy!Support this podcast at — https://redcircle.com/the-chinese-sayings-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Soulful House Hour:Kimara Lovelace - When Can Our Love Begin (Fuminori Kagajo Previously Unreleased Remix),Neysa - Ride It Out,The Shamanic (Ralphi Rosario, Craig J Snider feat. Joaquina Daphne) - Higher Ground (Club Mix),Paris Cesvette feat. Lifford - Englishman in New York,Tom Glide, Sophia Ripley - A Deep Love (Love So Deep) (Tayo's Afroholistic Remix),Alex Agore - Polarity,Charles Dockiins - He Will,Mark Pichiotti & The Absolute (feat. Suzanne Palmer) -I Believe (Sophie Lloyd Remix),Marc Cotterell - Jersey Music,Black Magic - Freedom (Alex Di Ció Remix),Soul & Jazz-Funk Hour:The Spinners - Could It Be I'm Falling In Love (Paul Simpson Re-Edit),JD's Time Machine - Young Hearts (feat. Glenn Jones & Tony Terry),Tanika Charles - Love Don't Mean A Thing,The Groove Association - Living The Good Life,Output / Input - Eye To Eye,Lee Ritenour - Countdown (Mr K Edit),Karlos Edwards (feat. Everett Peters) - Summer Soft (Chillout Mix),Paolo Marini Latin Jazz Combo - Overjoyed,Str4ta - When You Call Me,Maze feat. Frankie Beverly - Twilight,Michael McDonald - I Keep Forgetting (DJS Remix),Evelyn King - I'm In Love,Otis Leavill - You Babe (instr.)www.starpointradio.com

David Richard Gallery is pleased to present Violets are Blue, an exhibition by New York-based artist Claire Seidl and her first solo presentation with the gallery. The exhibit is comprised of 15 oil paintings, mostly on linen and a couple on canvas, painted during 2021 and the first part of 2022 with just a few included from 2018 to 2020 that resonate with the new paintings. The compositions created by the artist's layering of drawn lines with a range of subtle to bold gestural strokes will be readily recognized. However, the surprise in this new body of work is the broader, more vivid color palette that includes pinks, yellows, blues and reds.   The three paintings incorporating pink are the largest in the presentation and would even make De Kooning take pause. The variations in hues are from soft pink infused with yellow, thinly applied as ground colors, with overlays of thin, bold, linear strokes of black in The Big Picture that create an upbeat nod to spring. Another painting with pink, Believe You Me, is moodier with combinations of red and pink, overlayed with thicker, bolder, wider strokes of black and white. The third painting, Take it From Me, uses darker pink with smudges of red, infused with yellow, to generate an orange glow. Black is also extensively used in this work, but in two contrasting ways: dark, fine lines and thin, translucent swaths of black that read as dark gray revealing the warmer colors below.   The yellows are also very dynamic, ranging from large passages of sun-kissed lemon yellow in It Don't Mean A Thing, to thick, short smudges of less vibrant, ocher yellow on a neutralized grey-green ground, accented with thin vertical strokes of bright yellow in This Must be the Place;  then, all the way to a darker painting derived from the surface-mixing of yellow with black that generates an olive green color with hints of bright yellow peeking through. 

David Richard Gallery is pleased to present Violets are Blue, an exhibition by New York-based artist Claire Seidl and her first solo presentation with the gallery. The exhibit is comprised of 15 oil paintings, mostly on linen and a couple on canvas, painted during 2021 and the first part of 2022 with just a few included from 2018 to 2020 that resonate with the new paintings. The compositions created by the artist's layering of drawn lines with a range of subtle to bold gestural strokes will be readily recognized. However, the surprise in this new body of work is the broader, more vivid color palette that includes pinks, yellows, blues and reds.   The three paintings incorporating pink are the largest in the presentation and would even make De Kooning take pause. The variations in hues are from soft pink infused with yellow, thinly applied as ground colors, with overlays of thin, bold, linear strokes of black in The Big Picture that create an upbeat nod to spring. Another painting with pink, Believe You Me, is moodier with combinations of red and pink, overlayed with thicker, bolder, wider strokes of black and white. The third painting, Take it From Me, uses darker pink with smudges of red, infused with yellow, to generate an orange glow. Black is also extensively used in this work, but in two contrasting ways: dark, fine lines and thin, translucent swaths of black that read as dark gray revealing the warmer colors below.   The yellows are also very dynamic, ranging from large passages of sun-kissed lemon yellow in It Don't Mean A Thing, to thick, short smudges of less vibrant, ocher yellow on a neutralized grey-green ground, accented with thin vertical strokes of bright yellow in This Must be the Place;  then, all the way to a darker painting derived from the surface-mixing of yellow with black that generates an olive green color with hints of bright yellow peeking through. 

Meet the hosts of Outside Voice Inside: Synitta Walker Delano: mother of the grandest SuperNova (Bug), writer, philosopher, and future bookstore owner and Tamara Joyner: writer, educator, and future restaurant owner. Episode 003 - Complexion Don't Mean a Thing Listen to us during Black History Month discussing our relationship to Blackness in regard to Colorism. Our Relationship w/Music This Week: Mary J. Blige "Enough", "Here With Me" and 2 Chainz "Pop Music feat. Moneybagg Yo & Beatking" Be sure to SUBSCRIBE! Follow us on Instagram and Twitter: Outside Voice Inside - @ovipodcast Synitta Walker Delano - @theepurpleonion Tamara Joyner - @iamtam_savage (Instagram) and @tam_savage (Twitter) Listen to us on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, and Audible.

At this point you've developed a philosophy on eating and what's considered healthy. You may want to reconsider some of those patterns after hearing this episode. I am unveiling 5 buzzwords and how you can liberate yourself from their restriction.

While Megan is on a little vacay, we have Maggie from the podcast Poppin' Off About Pop Culture to talk Vanderpump Rules, RHOSLC, and Below Deck. Follow us at @letstalkbravoFollow Maggie at @poppinoffaboutpopculture

Think it's too late in life to follow your creative dreams? Then let Robert Finley show you how it's done. Over six decades as a student, a soldier, a carpenter, and a family man, he made sure the blues remained a part of the fabric of his life. But when he was forced to retire due to failing eyesight, Robert decided that it was time to take his music seriously. An impromptu jam session led Robert to a deal with Fat Possum Records, and the beginning of his new career as a recording star at sixty-one years of age. Join Nick as Robert reminisces about his amazing life and the lessons learned along the way, a life that has taken him from rural Louisiana, to touring the world with legendary session musicians, to the upcoming release of his new album "Sharecropper's Son".   HIGHLIGHTS:   [02:01] Robert looks back on the low budget recording of his first album in 1999 [03:10] Robert was born and raised in northern Louisiana, the heartland of the Southern blues [04:32] Robert credits his religious upbringing for giving him an open mind about faith and how it applies to the everyday world [09:12] When he was a boy, Robert used the money his father gave him for shoes to buy a guitar [11:55] As a 10 year old kid, Robert was routinely exposed to loud blues music from the juke joint across the street from his church [13:46] Robert has always been able to use the Bible to justify being his own person and not following the crowd [16:54] Losing his father at 17 drove Robert to joining the Army, despite losing many friends to the Vietnam war [21:11] Robert has friends who were there with him from the early days, but he's learned that some people become haters when you make it in life [22:42] Robert's musical talent was constantly being rewarded during his military career [31:18] In 2015 Robert realized he was losing his sight, but even after being diagnosed with glaucoma he persevered [32:21] When Robert got out of the military, he started a gospel group with his mother that performed live on the radio [35:18] Robert's dad was a carpenter who built the house he grew up in back in the 1950s, a house where Robert's daughter and grandson are living now [36:53] After his second marriage ended, Robert found he could travel about the country easier because he only had to look out for himself [39:27] Gathering a crowd during a jam session in Arkansas in 2015, Robert wound up playing a 12 hour set for appreciative crowds [48:55] Tim Duffy of Music Maker Relief Foundation saw Robert performing, and after recording some of his songs, introduced him to the people at Fat Possum Records [50:37] While Robert was recording "Age Don't Mean A Thing", his first record with Fat Possum, he was attending a school for the blind, to learn how to work with his diminishing eyesight [51:35] After fellow label mate Dan Auerbach got Robert to sing on his musical book project, Auerbach decided to record and produce Robert's second album "Goin' Platinum!" in three days [56:46] The session players who worked with Robert on "Goin' Platinum" had such a great time in the studio, they came out of retirement to go on tour with him   Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook. Find out more about today's guest, Robert Finley. Find out more about your host, Nick Terzo   MENTIONED IN THIS EPISODE: @FatPossum @theblackkeys @danauerbach @musicmakerblues [Tim Duffy's foundation, the guy who saw Robert at his jam in Arkansas] @ArethaFranklin @algreen @JimBeam    

In our For The Birds segment, we discuss all of the drama that's been flooding our Twitter timelines this past week. Trey Songz has found himself in some boiling hot tea he can't sing his way out of and Jeffree Star claims to have traded in his racist ways for the BLACK man of his dreams.  The Under Our Umbrella segment focuses on the significance of a ring within a marriage. Is it necessary to wear at all times or when you find it most convenient?  Follow us: @TBUpodcast- Instagram & Twitter  E-mail us:  theblackumbrellapc@gmail.com

greetings! welcome to The Blood Zone! go to around 7:00 to me talking about the subject of this episode and around 10:00 to skip the intro entirely.  i (your host, Liz Ryerson) intro the podcast. then me and perennial First Guest Nathan Altice discuss the sexy apocalypse, various technical wizardry, irony vs. sincerity, why to never read the press release, and why most music reviews are terrible via the (puzzlingly) not particularly well-received 2015 electronic music masterpiece "Lustmore" from UK producer Laplaux. support the Lapalux on bandcamp! https://lapalux.bandcamp.com/music Nathan's twitter: http://www.twitter.com/circuitlions more info about Nathan's book I AM ERROR: https://mitpress.mit.edu/books/i-am-error support me on Patreon if you like this podcast! http://www.patreon.com/ellaguro song clips referenced/used: Gin Blossoms - Follow You Down Lapalux - U Never Know (feat. Andreya Triana) ScHoolboy Q - Man of The Year Lapalux - Without You Lapalux - Closure (feat. Szjerdene) Lapalux - Sum Body Lapalux - Midnight Peelers Lapalux - Puzzle (feat. Andreya Triana) Lapalux - Push N' Spun Lapalux - Don't Mean A Thing podcast theme is "Museum of Agony" by Norio Hanzawa from the game Stretch Panic.