Podcasts about Moonlight Serenade

This Saturday on Vintage Classic Radio's "Saturday Matinee," we open with "The Life of Riley" in the episode “The Christmas Club,” which first aired on December 23rd, 1949. In this festive episode, Chester A. Riley, portrayed by William Bendix, struggles to hide his Christmas club savings from his family, leading to a series of humorous misunderstandings. The cast includes Paula Winslowe as Peg Riley, John Brown as Digby "Digger" O'Dell, and Wesley Morgan as Junior Riley. Following that, we tune into the "Abbott and Costello Show" for "The Christmas Show," originally broadcast on December 23rd, 1943. Bud Abbott and Lou Costello bring their iconic comedy to the holiday season, involving a hilarious quest to buy a Christmas tree and a mix-up involving Santa Claus himself. The duo is joined by regulars such as Mel Blanc and Arthur Q. Bryan in supporting roles. Our third show features "The Christmas Seals Show," a charity radio special guest starring Frank Sinatra, which highlights the importance of supporting the fight against tuberculosis through the purchase of Christmas Seals stamps. Sinatra lends his voice to both song and story, encouraging listeners to contribute to the cause. He's supported by a lineup of guest stars and a full orchestra, adding to the festive spirit and charitable appeal. We conclude with "Moonlight Serenade," a show starring Glen Miller and his orchestra. In the "Christmas Show," broadcast on December 24th, 1941, listeners are treated to a selection of yuletide classics and big band favorites. This episode offers a warm, musical celebration of the holiday season, showcasing Miller's signature sound that has captivated audiences for decades. Together, these episodes offer a rich tapestry of holiday entertainment, blending comedy, music, and goodwill, perfect for ushering in the festive spirit on Vintage Classic Radio.

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On this episode of Tent Show Radio, enjoy an invigorating hour of jazz as the world-famous Glenn Miller Orchestra showcase the unforgettable musical legacy of one of the most iconic bandleaders of all time. Considered to be one of the greatest bands of all time, the world-famous Glenn Miller Orchestra continues to keep Miller's legendary jazzy sound alive onstage for old-time fans and new generations alike. Known for timeless classics like “In the Mood”, “Moonlight Serenade”, “Chattanooga Choo Choo”, and “Tuxedo Junction” the iconic bandleader's famous orchestra proves his unforgettable music is alive and well nearly 80 years after his passing. While the first Glenn Miller Orchestra was a total and absolute economic failure, Miller was dedicated to his dreams and relentlessly worked until he succeeded. He launched his second band in March of 1938, and The Glenn Miller Orchestra became the most sought-after big band in the world. A matchless string of hit records, the constant impact of radio broadcasts and the drawing power at theaters, hotels and dance pavilion, built and sustained the momentum of popularity. After joining the army in 1942, the band was temporarily disbanded while Miller organized and led the famous Glenn Miller Army Air Force Band which traveled through Europe to entertain servicemen. After disappearing on a flight mission in 1944, the army declared Miller dead in 1945. Following the release of the movie The Glenn Miller Story in 1954, there was growing and renewed interest in Miller's music legacy. Miller's estate authorized the formation of the present Glenn Miller Orchestra under the direction of drummer Ray McKinley, and since 1956, the band has been touring consistently, playing an average of 300 live shows around the world every year. Revered for its own unique and distinctive big band sound, The Glenn Miller Orchestra has always been very musical, disciplined, and visually entertaining. That sound is created by the clarinet holding the melodic line, doubled or coupled with the tenor sax playing the same notes; and the harmonies produced by three other saxophones, while growling trombones and wailing trumpets add their oo-ahs. Led by tenor saxophonist Erik Stabnau, the 18-member ensemble continue to play many of Miller's original arrangements both from the civilian band and the AAFB libraries. The band also plays more modern selections arranged and performed in the Miller style and sound. Just as it was in Glenn's day, the Glenn Miller Orchestra is still the most sought-after big band in the world.       EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/   Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/   Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism   The Bayfield Inn - https://bayfieldinn.com/   Cable Area Chamber of Commerce - https://www.cable4fun.com/   Kylmala Truss - https://www.kylmalatruss.com/  SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/  

    This year we've had quite a variety of mixes here at LLM headquarters. From underwater ambient to space rock guitar to alternative soundtracks to Thai funk/soul/psychedelia/surf rock. Now we take another turn, this time to atmospheric jazz.  I've done similar mixes in the past with Halloween sets and the original Mysterioso mix 7 years ago - https://www.mixcloud.com/lowlight/mysterioso/ This set comes to us from Kevin, a loyal listener & a man with excellent taste in music. He has provided us with three other great mixes, which you can find here: https://lowlightmixes.blogspot.com/2020/07/not-seeing-is-flower.html https://lowlightmixes.blogspot.com/2022/01/hymns-voices.html https://lowlightmixes.blogspot.com/2021/07/cello-mood-swings.html Here's what Kevin has to say about his mix: "I was trying to put together an atmospheric, classic jazz mix of tunes inspired from a slowed down and reverb version of Glenn Miller's Moonlight Serenade. However, I had some trouble finding the tracks which matched what I had in mind. This ambient jazz mix happened instead. There are a couple of ‘classics', Duke Ellington's haunting Solitude (1934) and Miles Davis' ethereal In A Silent Way (1969).  The other tracks are fairly recent in comparison but all have a loose jazz theme. Once I had finished the mix I discovered the Low Light Mysterioso mix which has a very similar feel and thinking behind it, dark, ambient, brooding, atmospheric. So here is Mysterioso 2 hope you enjoy listening." Thanks for the excellent mix, Kevin. Cheers!   T R A C K L I S T : 00:00    Dale Cooper Quartet - Une Petit Cellier 05:00    Fausto Illusion Orchestra - Someone sang and slowly 10:38    Kilimanjaro Dark jazz ensemble - The Nothing Changes 15:18    Black Chamber - Teleology 19:30    Duke Ellington - Solitude 22:38    Dictaphone - Opening Night 27:03    Angelo Badalamenti - Dance of the Dream Man 30:14    Bohren and Der Club of Gore - Constant Fear 36:25    Michael Andrews - Liquid Spear Waltz 38:26    Manet - Zygomatic Bones For days 46:12    Trigg and Gusset - Promenade 50:28    Miles Davis - Silent Way(edit) 54:30    Somewhere off Jazz Street - Rest Your Head 59:43    end

Die "Moonlight Serenade" war seine Erkennungsmelodie und "In the mood" ein Synonym für den berühmten Sound von Glenn Miller. Nun wäre der Bandleader und Musiker 120 Jahre alt geworden.

On this episode of Tent Show Radio, enjoy an invigorating hour of jazz as the world-famous Glenn Miller Orchestra showcase the unforgettable musical legacy of one of the most iconic bandleaders of all time. Considered to be one of the greatest bands of all time, the world-famous Glenn Miller Orchestra continues to keep Miller's legendary jazzy sound alive onstage for old-time fans and new generations alike. Known for timeless classics like “In the Mood”, “Moonlight Serenade”, “Chattanooga Choo Choo”, and “Tuxedo Junction” the iconic bandleader's famous orchestra proves his unforgettable music is alive and well nearly 80 years after his passing. While the first Glenn Miller Orchestra was a total and absolute economic failure, Miller was dedicated to his dreams and relentlessly worked until he succeeded. He launched his second band in March of 1938, and The Glenn Miller Orchestra became the most sought-after big band in the world. A matchless string of hit records, the constant impact of radio broadcasts and the drawing power at theaters, hotels and dance pavilion, built and sustained the momentum of popularity. After joining the army in 1942, the band was temporarily disbanded while Miller organized and led the famous Glenn Miller Army Air Force Band which traveled through Europe to entertain servicemen. After disappearing on a flight mission in 1944, the army declared Miller dead in 1945. Following the release of the movie The Glenn Miller Story in 1954, there was growing and renewed interest in Miller's music legacy. Miller's estate authorized the formation of the present Glenn Miller Orchestra under the direction of drummer Ray McKinley, and since 1956, the band has been touring consistently, playing an average of 300 live shows around the world every year. Revered for its own unique and distinctive big band sound, The Glenn Miller Orchestra has always been very musical, disciplined, and visually entertaining. That sound is created by the clarinet holding the melodic line, doubled or coupled with the tenor sax playing the same notes; and the harmonies produced by three other saxophones, while growling trombones and wailing trumpets add their oo-ahs. Led by tenor saxophonist Erik Stabnau, the 18-member ensemble continue to play many of Miller's original arrangements both from the civilian band and the AAFB libraries. The band also plays more modern selections arranged and performed in the Miller style and sound. Just as it was in Glenn's day, the Glenn Miller Orchestra is still the most sought-after big band in the world.       EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/   Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/   Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism   The Bayfield Inn - https://bayfieldinn.com/   Cable Area Chamber of Commerce - https://www.cable4fun.com/   Kylmala Truss - https://www.kylmalatruss.com/  SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/  

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium In the heart of a serene village nestled among rolling hills and thick forests, there resided a woman named Sapphire. She was celebrated far and wide for her exceptional talent: the ability to craft a Moonlight Sonata, a melody capable of lulling even the most restless souls into a deep and tranquil slumber. Sapphire's voice possessed a magical quality that resonated with the very essence of the moon itself. The village, known as Silverbrook, derived its name from the way the moonlight gracefully embraced everything it touched, casting a silvery glow upon the world each night. The villagers held the moon in high reverence, and they cherished nightly gatherings where they exchanged stories and sang beneath the moon's serene radiance. On a clear, starry night, with the moon hanging low in the sky like a radiant lantern, Sapphire made a decision to venture deep into the heart of the nearby Enchanted Grove. Legends whispered of the mystical creatures that called the forest home, and its secrets were said to be unveiled only to those with the bravest hearts. Driven by an insatiable curiosity, Sapphire felt an irresistible pull to explore its depths...

CBS_Chesterfield_Moonlight_Serenade_-_Glenn_Miller

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium In the heart of a serene village nestled among rolling hills and thick forests, there resided a woman named Sapphire. She was celebrated far and wide for her exceptional talent: the ability to craft a Moonlight Sonata, a melody capable of lulling even the most restless souls into a deep and tranquil slumber. Sapphire's voice possessed a magical quality that resonated with the very essence of the moon itself. The village, known as Silverbrook, derived its name from the way the moonlight gracefully embraced everything it touched, casting a silvery glow upon the world each night. The villagers held the moon in high reverence, and they cherished nightly gatherings where they exchanged stories and sang beneath the moon's serene radiance. On a clear, starry night, with the moon hanging low in the sky like a radiant lantern, Sapphire made a decision to venture deep into the heart of the nearby Enchanted Grove. Legends whispered of the mystical creatures that called the forest home, and its secrets were said to be unveiled only to those with the bravest hearts. Driven by an insatiable curiosity, Sapphire felt an irresistible pull to explore its depths. As she ventured deeper into the Enchanted Grove, the world around her underwent a breathtaking transformation. The trees seemed to come to life with a gentle, silvery luminescence, casting enchanting patterns upon the forest floor.

El trío Divinas, formado por Carla Móra, Irene Ruiz y Marta Móra nos presentan "Moonlight serenade", su nuevo espectáculo de cabarét lunático que se está representando en el Teatro Arbolé desde el 6 al 15 de octubre, todos los días a las 20.30 horas.

Olá seja bem vinda ou bem vindo ao nosso podcast na boca do mundo Eu sou Cristina George idealizadora e apresentadora deste podcast e agradeço a vc meu ouvinte por mais de 50 mil reproduções do nosso podcast     Eu te convido a dar uma volta no tempo... Neste episódio nós vamos fazer uma viagem à Glenn Miller Orchestra uma oportunidade única de mergulhar na atmosfera envolvente e nostálgica do jazz das décadas de 1930 e 1940. Glenn Miller foi um músico de jazz dos Estados Unidos e bandleader na era do swing. Foi um dos artistas de mais vendas entre 1939 e 1942   Com sua formação e repertório repletos de clássicos como "In the Mood" e "Moonlight Serenade" a orquestra transporta o público para uma época marcada pela elegância e pelo swing característico. Com arranjos fiéis e uma performance impecável, a Introdução à Glenn Miller Orchestra proporciona uma experiência musical emocionante e memorável para os amantes do jazz e da música de qualidade.   A história e a fundação da Orquestra por Glenn Miller são elementos fundamentais para compreendermos a importância e o legado desse renomado grupo musical. Glenn Miller, trombonista e líder da banda, foi um dos principais responsáveis pelo desenvolvimento do estilo swing, popular na década de 1930 e 1940. Através da fusão do jazz com a música popular americana, Miller e sua orquestra conquistaram milhões de fãs ao redor do mundo. A fundação da Orquestra ocorreu em 1937, e logo se tornou um dos principais nomes da cena musical da época. Com arranjos sofisticados e performances enérgicas, a Orquestra de Glenn Miller alcançou sucesso tanto em gravações quanto em apresentações ao vivo   Glenn Miller deixou sua marca no cenário musical durante a Era do Swing. Sua orquestra cativou plateias ao redor do mundo com seu som único e vibrante. Ingressou no exército americano durante a Segunda Guerra Mundial e chegou a patente de major Mesmo após a sua trágica morte em 1944, Ao voar do Reino Unido para Paris, desapareceu, não tendo os corpos nem os destroços dos ocupantes do avião em que viajava sido avistados ou recuperados. Miller continua sendo uma inspiração para muitos músicos e aficionados pela música dessa época. Seu legado vive através de gravações icônicas e das inúmeras adaptações de suas composições. A influência da orquestra de Glenn Miller pode ser sentida até os dias atuais, Este epsódio fica por aqui e em breve a gente volta com muito mais do mundo da música pra você. Siga o nosso podcast no instagram o link está na descriçao deste episódio. Até a proxima Siga o nosso Podcast Na Boca do Mundo no Instagram https://www.instagram.com/podcast_na_boca_do_mundo/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/cristina-george/message

You can run from aging but you can't hide, so the inevitable question is, how are you going to meet it? In this captivating podcast episode, Dr. Gordon Wallace, a psychologist who specializes in treating midlife and older clients, illuminates how aging can be a precious gift if approached with acceptance, curiosity, resilience, and gratitude. He emphasizes the importance of being present in the moment and cherishing our experiences. Dr. Wallace also reveals the profound benefits of his mindfulness program for hospice, bereavement, and palliative care patients. He concludes by warmly inviting listeners to embrace the gifts of aging and to consciously engage with time to enhance the quality of their remaining lifetime. Learn more about Gordon Wallace and his book, Moonlight Serenade, at www.embracingagingmindfully.com.. Learn more about Best Self Magazine at bestselfmedia.com

Playlist: Jazzy Jingle Bells. (Ray Everly) The Story of a Starry Night. (Ray Everly) Nobody Ever Wants Me. (The Modernaires) Sunvalley Jump. (Instrumental)

Troisième émission de la saison 2022-2023, en compagnie de Chloé Lebas, doctorante en Sciences Politiques à l'Univeristé de Lille, son travail portant sur les mobilisations collectives et le syndicalisme chez les livreurs à vélo et les travailleur·euses du jeu vidéo. Émission diffusée le 27 novembre 2022. Au programme :– La chronique de Lys qui nous parle de Disco Elysium du studio ZA/UM, de sa forme très écrite et de ses inspirations littéraires.– La chronique d'Alexandre dans laquelle il nous parle de Sonic Frontiers, de ses réussites, et de ses échecs.– La première chronique trimestrielle de Thaïs qui aborde la question, parfois épineuse, des tutoriels dans les jeux vidéo. – 1ère pause musicale : Jotunheim composé par Bear McCreary pour l'OST de God of War Ragnarok.– L'entretien avec Chloé par Jean et la 2ème pause musicale : Moonlight Serenade composée par Naofumi Harada pour l'OST de Bayonetta 3.– La chronique de Calypso qui nous parle de la vision de l'écologie véhiculée par les Sims 4.– Le blind test de jeux qui se déroulent sur la route par Jean. Le reportage de Game Investigation sur les Sims 4 Eco Lifestyle par Game Impact. Casting :– Alexandre Hanquier, chroniqueur– Calypso Meszaros, chroniqueuse– Jean Jouberton, intervieweur– Lazare Jolly, réalisateur, monteur et responsable technique– Lys Sombreciel, chroniqueuse– Thaïs Arias, chroniqueuse– Vincent Boutin, programmateur musical Production : Pixel Up! en partenariat avec Radio Campus Paris et grâce au financement de Paris 3 Sorbonne Nouvelle.

Glenn Miller Bandstand-Moonlight Serenade-411224-First Song-Jingle Bells http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Playlist: Sigla e sottosigla, poi: 1. Devagar com a louça /Haroldo Barbosa/Luiz Reis) incidentale Moonlight Serenade, Elza Soares & João de Aquino (rec degli anni 90), pubblicato dalla Deck nel dic 2021 2. Hy-Brasil Terra sem mal, Tom Zé, Língua Brasileira, 2022 3. Pompeia, piche no muro nu, idem 4. Clarice, idem 5. Língua brasileira, feat. Maria Beraldo, idem 6. Olha Maria (Jobim/Vinícius de Moraes/Chico Buarque), Stefania Tallini (pianoforte), Gabril Grossi (armonica cromatica) feat. Jaques Morelembaum (violoncello) Brasita, 2022 7. Acho que hoje mesmo eu dou, Tulipa Ruiz, Habilidades extraordinárias, 2022 8. Você pode ser atriz, Djavan, D, 2022 9. Estrela do mar, João Donato, Serotonina, 2022 10. Faraó (Luciano G. dos Santos/Sérgio Pedro de Freitas), Margareth Menezes live, Brasileira Ao Vivo: Uma Homenagem Ao Samba-Reggae, 2006 11. Vento Bravo (Edu Lobo/Paulo César Pinheiro), Edu & Tom – Tom & Edu, 1981

Glenn Miller Bandstand-Moonlight Serenade-410506-First Song-Sweeter Than The Sweetest http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

For the Greatest Generation, no other song could match Glenn Miller's Moonlight Serenade. From Frank Sinatra's 1956 album Moonlight Sinatra, here is his definitive recording of this iconic song. Lyrics by Mitchell Parish. Arranged and conducted by Nelson Riddle. Credits: Theme music by Erik Blicker and Glenn Schloss Edited by Katie Cali Mixing and mastering by Amit Zangi Send comments to sinatramatters@gmail.com

Glenn Miller Bandstand-Moonlight Serenade-401127-First Song-Slumber http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Glenn Miller Bandstand-Moonlight Serenade-401119-First Song-Five O]Clock Whistle http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Glenn Miller Bandstand-Moonlight Serenade-401104-First Song-Midnight On The Nile http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Today we have the September 24, 1942, broadcast of the Chesterfield Moonlight Serenade show, the final broadcast before Glenn Miller joined the U.S. Army. Miller, one of the most popular performers of the big band era, volunteered to join the Army and entertain the troops. The 38-year-old band leader gave up a salary of more than $15,000 a week to serve. Miller and his band entertained thousands of Allied troops over the next two years. During a flight from England to France on December 15, 1944, Miller's plane disappeared over the English Channel. He was posthumously awarded the Bronze Star in 1945. Be sure to visit our website at BrickPickleMedia.com/podcasts, where you can find links to past episodes, as well as the books featured in our podcasts. --- Support this podcast: https://anchor.fm/worldwar2radio/support

Glenn Miller Bandstand-Moonlight Serenade-400917-First Song-Stardust http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Glenn Miller Bandstand-Moonlight Serenade-400613-First Song-Solitude http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Bienvenidos amantes de la música, Joey DeFrancesco ha sido el heredero natural del sonido del órgano Hammond B3 y de su admirado Jimmy Smith. Penosamente el 25 de agosto esa sonoridad y talento se apagaron, con apenas 51 años nos dejó este gran músico que supo evolucionar y crecer en su instrumento e incluso incorporar el aprendizaje de otros durante su carrera, como la trompeta en los 90 y el saxofón tenor desde 2018. A los 17 años acompañó a Miles Davis en una gira de 5 semanas y luego el propio Miles lo citó para grabar su disco "Amandla". A los 22 años hizo banda con John McLaughlin en guitarra y Dennis Chambers en Batería, con quien grabó varios álbumes. Participó como actor en el film "Moonlight Serenade" con Amy Adams y además compuso la banda sonora de la película. Ha hecho discos tributo a Frank Sinatra y Michael Jackson, fue amante del Blues, del Pop, del Rock, ha incursionó en el canto, una vez dijo "Si me gusta, me gusta. Todo es música para mí” haciendo evidente su talento y mirada desprejuiciada. Hoy escucharemos una selección de su último disco "More Music" de 2021. Que lo disfruten! Los temas son: 1. Free 2. Roll with it 3. Lady G 4. Soul Dancing *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios adelantados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

Glenn Miller Bandstand-Moonlight Serenade-400528-First Song-Polka Dots And Moonbeams http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Glenn Miller Bandstand-Moonlight Serenade-400411-First Song-A Hat With Cherries http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Glenn Miller Bandstand-Moonlight Serenade-400403-First Song-The Woodpecker Song http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Glenn Miller was a trombonist, composer, superstar bandleader, and a war hero. On 15th December he hitched a ride on a plane across the English Channel - and was never seen again.  This week we discuss some of the many, alleged deaths of them remarkable Mr Miller.  Note: Normally I'm fairly claiming all music yours truly - the ‘music box' arrangement of Miller's Moonlight Serenade (1935) at the beginning is my interpretation of his composition cribbed by ear off of the original.  Later in the piece Miller's own (far superior) composition features.  We close the episode, not on the regular theme, but on Miller's arrangement of Leon Rene's When The Swallows Come Back to Capistrano.  Sources this week - I'll fill this in, in full later. I worked mostly from an old Readers Digest Mystery book, articles from the LA Times and Irish Times, and several random facts I carry in my head about the utterly deplorable Mr Heidrich.    The blog post of the episode is here. Support the show on Patreon for just $2 a month and get access to exclusive content.     Please leave a like and review wherever you listen. The best way you can help support the show is to share an episode with a friend - Creative works grow best by word of mouth. I post episodes fortnightly, Wednesdays. Tales of History and Imagination is on Facebook, Twitter, Pinterest and Instagram. The show has a YouTube Channel, largely for Audiogram advertisements.      Music, writing, narration, mixing all yours truly - except where stated otherwise (see above). For more information on Simone click here. 

Enjoy a lively hour of the World Famous Glenn Miller Orchestra on this episode of Tent Show Radio.  After the legendary composer's death in 1944, the band re-formed and continued performing Miller's classic pieces including In the Mood, Chattanooga Choo Choo, A String of Pearls, Moonlight Serenade, and Tuxedo Junction. Now regarded as the most sought-after big band in the world, the Glenn Miller orchestra has played an average of 300 shows a year since 1956. This episode revisits the group's 2021 performance under the tent.

Chris Rutkowski is a Canadian science writer and educator with degrees in both science and education. Since the mid-1970s, he's written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials (The Monster of Lake Manitoba, 1996), planetarium shows (Moonlight Serenade, 1983, and Amateur Nights, 1989) and newspaper columns (Strange Tales, in the Northern Times, Thompson, Manitoba,1984 to 1985). He has nine published books on UFOs and related issues, a collection of short stories and has contributed to many other volumes, both fiction and non-fiction. His book Unnatural History was a comprehensive and historical survey of many kinds of paranormal phenomena, including ghosts, UFOs, Sasquatch and lake monsters, and documented many of his own investigations. His recent works include A World of UFOs (2008), I Saw It Too! (2009) and The Big Book of UFOs (2010). He is on Twitter (@ufologyresearch) and blogs at: http://uforum.blogspot.com/. In addition, he is a book reviewer for the Winnipeg Free Press, appears often on TV and radio, teaches courses on communication and is past-president of the Manitoba Writers' Guild and the Royal Astronomical Society of Canada - Winnipeg Centre. He recently was appointed the new moderator and administrator of UFO UpDates, founded by the late Errol Bruce-Knapp.

Its a HOT ONE tonight folks! Dave is in a MOOD and fires some SHOTS early, before he simmers down and starts talking about the Simulation he's running! We go DEEP on Multiverse of Madness, SPOILERS KIDS, Rich takes us on Moonlight Serenade, Embracer Group is buying up video game companies, Dave is Excited about his Simulation, the Wonder Twins are RIP, Hal Jordan is Pansexual according to Grant Morrison, and Dave fantasizes about Resurrecting Gardner Fox! Weekly Comics Bzerker #8 Flashpoint Beyond #1 The Amazing Spider-Man: Soul of the Hunter #1 TRADE OF THE WEEK El Diablo Please support the show on Patreon! Every dollar helps the show!https://www.patreon.com/SignalofDoom Follow us on Twitter: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost Follow Dave on Twitter: @redlantern2051

Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're Gonna Miss Me" by the Thirteenth Floor Elevators. 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/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and  originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way,  slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone",  but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life.  He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life.  He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not  died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter.  The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as  synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either.  The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response.  This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for  Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows",   but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]

This episode of Tent Show Radio features the world-famous Glenn Miller Orchestra. After the legendary composer's death in 1944, the band re-formed and continued performing Miller's classic pieces including In the Mood, Chattanooga Choo Choo, A String of Pearls, Moonlight Serenade, and Tuxedo Junction. Now regarded as the most sought-after big band in the world, the Glenn Miller orchestra has played an average of 300 shows a year since 1956. This episode revisits the groups 2021 performance under the tent.   First broadcast in 1994, Tent Show Radio is a one-hour public radio program hosted by author & humorist Michael Perry, and  created from the best live recordings from acclaimed musical acts who grace the Big Top Chautauqua stage each summer in beautiful Bayfield, WI.  Running 52 weeks a year, Tent Show Radio is broadcast on 31 listener supported radio stations across 6 states and on most podcast streaming platforms.  Lake Superior Big Top Chautauqua was founded in 1986. The first show under canvas was the Nelson-Ferris Concert Company Production Riding the Wind, the story of Bayfield and Madeline Island. Since then Big Top has welcomed over 700,000 patrons to the grounds for 3,000+ concerts and events. Our resident band, the Blue Canvas Orchestra, also tours to theaters and schools throughout the Upper Midwest. Over the course of 35 years we've touched millions of lives and created millions of memories with our eclectic blend of excellent musical offerings.

Welcome to the Instant Trivia podcast episode 323, where we ask the best trivia on the Internet. Round 1. Category: I'd Rather "Not" 1: According to tradition, Robin Hood was born in this English place. Nottingham. 2: Generic name for a lightweight laptop computer. notebook (or notepad). 3: South Bend school noted for its law school and sports teams. Notre Dame. 4: "Public" person authorized to authenticate contracts and other documents. a notary (public). 5: One of Jean-Paul Sartre's best-known works is "Being and" this. Nothingness. Round 2. Category: "Moon"S 1: Title of the following, it can be performed by a big bandleader or a nighttime Romeo. "Moonlight Serenade". 2: Michael Jackson and Neil Armstrong are both experts at this. the moonwalk. 3: Every week Cybill Shepherd and Bruce Willis have been doing this on ABC. Moonlighting. 4: The French title of this 1865 Jules Verne classic is "De la Terre a la Lune". From the Earth to the Moon. 5: “Moon shots” referred to home runs hit by this Dodger over short left field screen in L.A. Coliseum. Wally Moon. Round 3. Category: Holy Blank 1: Bovine. cow. 2: City in Ohio. Toledo. 3: Fish of the genus Scomber. mackerel. 4: Son of Amram and Jochebed. Moses. 5: Last Supper chalice. grail. Round 4. Category: Women 1: (Hi, I'm Tara Lipinski ["World Class Skater"]) In 1998 I broke a 70-year-old record when I replaced her as the youngest Olympic figure skating champ ever. Sonja Henie. 2: She helped found the Rancho Mirage, California drug treatment center named for her. Betty Ford. 3: Cindy Crawford is one of "The Most Unforgettable Women in the World" who wear this makeup brand. Revlon. 4: On Dec. 2, 1994 this alleged "Hollywood Madam" was found guilty of pandering. Heidi Fleiss. 5: This modern dance pioneer lost her two children when they drowned in a 1913 auto accident. Isadora Duncan. Round 5. Category: A Jug Of Wine 1: In the '90s the U.S. banned the once-common use of this metal in the foil over a bottle's neck. Lead. 2: As well as port and Madeira wines, Portugal produces half the world's supply of this stopper material. Cork. 3: It's a simple glass vessel for wine, or the glass pot of a drip coffeemaker. Carafe. 4: Until vintners learned to test sugar levels in the 19th C., half of the bottles of this French wine would explode. Champagne. 5: This indentation in the bottom strengthens the bottle, which is useful when putting your fourth down. Punt. Thanks for listening! Come back tomorrow for more exciting trivia!

http://millermem.blogspot.com/ Alton Glenn Miller (March 1, 1904 – December 15, 1944 missing in action) was an American big band musician, arranger, composer, and bandleader in the swing era. He was one of the best-selling recording artists from 1939 to 1943, leading one of the best known Big Bands. Miller's notable recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", "(I've Got a Gal In) Kalamazoo", "American Patrol", "Tuxedo Junction", and "Little Brown Jug". While he was traveling to entertain U.S. troops in France during World War II, Glenn Miller disappeared in bad weather over the English Channel.

방송 녹음 당시 음량 조절을 실수를 해서.. 멘트 음성이 상당히 좋질 못합니다. 이 점 많은 양해 부탁 드립니다. 눈부신 햇살이 비치고 산들바람이 살랑살랑 불고 기온은 적당하여 재킷을 걸치지 않고서도 밖에 앉아 있기에 딱 좋은 날. 우리는 행복과 세상의 평온 그리고 상쾌함을 느끼게 된다. 그뿐만 아니라 빗속을 걷거나 눈사람을 만들거나 바람이 나무를 흔드는 모습을 볼 때에도 행복을 느낀다. 자연은 우리에게 진정한 것이 무엇인지 알게 해주고 그에 귀 기울이도록 해준다. - 긍정의 한줄...중..

This week: Geoff plays music arranged by Frank DeVol and performed by Ella Fitzgerald. Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: Geoff plays songs arranged by Frank DeVol and performed by Ella Fitzgerald. Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: Geoff plays music arranged by Frank DeVol and performed by Ella Fitzgerald, including a 1957 recording of "Night Wind." Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: Geoff celebrates the career of composer and arranger Frank DeVol. Though best known for writing the theme songs for My Three Sons and The Brady Bunch (and for playing bandleader Happy Kyne on Fernwood Tonight), Frank DeVol was always a brilliant if unheralded musician, and he wrote many memorable arrangements for Ella Fitzgerald.  Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices

Story: Moonlight Serenade Author: SadBeautifulTragic08 Rating: GA Site link: https://archiveofourown.org/works/31183961 Read by: red2007 Summary: She thinks she's got a firm hold on her forgiveness for him, but it's a goddamn wedding and he's here and close, and asking to share her drink like they're still the same people who used to steal food from each other's plates, or finish a beer after the other left the bar. Used by the author's permission. The characters in these works are not the property of the Audio Fanfic Podcast or the author and are not being posted for profit

Noted Canadian UFO researcher/scientist Chris Rutkowski delivers a no-holds-barred reality check about the recently-released Pentagon UAP Task Force report to the U.S. Congress. Does it satisfy the needs of people hoping for UFO disclosure, or do its uncertain conclusions simply add to the confusion? Since the mid-1970s, Chris has written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials (The Monster of Lake Manitoba, 1996), planetarium shows (Moonlight Serenade, 1983, and Amateur Nights, 1989) and newspaper columns (Strange Tales, in the Northern Times, Thompson, Manitoba,1984 to 19

Chris Rutkowski is a Canadian science writer and educator with degrees in both science and education. Since the mid-1970s, he's written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials (The Monster of Lake Manitoba, 1996), planetarium shows (Moonlight Serenade, 1983, and Amateur Nights, 1989) and newspaper columns (Strange Tales, in the Northern Times, Thompson, Manitoba,1984 to 1985). He has nine published books on UFOs and related issues, a collection of short stories and has contributed to many other volumes, both fiction and non-fiction. His book Unnatural History was a comprehensive and historical survey of many kinds of paranormal phenomena, including ghosts, UFOs, Sasquatch and lake monsters, and documented many of his own investigations. His recent works include A World of UFOs (2008), I Saw It Too! (2009) and The Big Book of UFOs (2010). He is on Twitter (@ufologyresearch) and blogs at: http://uforum.blogspot.com/. In addition, he is a book reviewer for the Winnipeg Free Press, appears often on TV and radio, teaches courses on communication and is past-president of the Manitoba Writers' Guild and the Royal Astronomical Society of Canada - Winnipeg Centre. He recently was appointed the new moderator and administrator of UFO UpDates, founded by the late Errol Bruce-Knapp.

Chris Rutkowski is a Canadian science writer and educator with degrees in both science and education. Since the mid-1970s, he's written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials (The Monster of Lake Manitoba, 1996), planetarium shows (Moonlight Serenade, 1983, and Amateur Nights, 1989) and newspaper columns (Strange Tales, in the Northern Times, Thompson, Manitoba,1984 to 1985). He has nine published books on UFOs and related issues, a collection of short stories and has contributed to many other volumes, both fiction and non-fiction. His book Unnatural History was a comprehensive and historical survey of many kinds of paranormal phenomena, including ghosts, UFOs, Sasquatch and lake monsters, and documented many of his own investigations. His recent works include A World of UFOs (2008), I Saw It Too! (2009) and The Big Book of UFOs (2010). He is on Twitter (@ufologyresearch) and blogs at: http://uforum.blogspot.com/. In addition, he is a book reviewer for the Winnipeg Free Press, appears often on TV and radio, teaches courses on communication and is past-president of the Manitoba Writers' Guild and the Royal Astronomical Society of Canada - Winnipeg Centre. He recently was appointed the new moderator and administrator of UFO UpDates, founded by the late Errol Bruce-Knapp.

So much new music today that I don't know where to start! Enjoy the fresh picks from BBE, Eleuthera, Jazz & Milk, Heavenly Sweetness, Loma Vista, Rika Muzika, Tru Thoughts, Warp, and more!Episode #256 Enjoying the show? Please support BFF.FM with a donation. Playlist 0′11″ (Where Do I Begin) Love Story by Shirley Bassey on The Shirley Bassey Singles Album (United Artists) 3′21″ Just by Mark Ronson on Exit Music: Songs with Radio Heads (BBE Music)

Michigan Avenue Media Podcasts are fun, informative discussions that are based on writing and the interesting topics that the guests want to discuss.  SHOW TIME - LIVE MAY 6 - 4 EST  3 CST 2 MT 1 PST  - AFTER THE SHOW IT'S ON DEMAND AND ON ITUNES   Marsha Casper Cook's guest this week is Chris Karlsen.  Chris was raised in Chicago. Her father, a history professor, and her mother, a voracious reader passed on her love of history and books along with a love of travel.She’s a retired police detective and after twenty-five years in law enforcement she decided to pursue her dream of writing and has completed a historical-time travel romance series called Knights in Time and is now currently writing a historical suspense one called The Bloodstone Series. She also is working on a world war two series of novella romances. The first is Moonlight Serenade and currently available for free and her second is The Ack-Ack Girl, a historical romance set in WW2 England.  

Hoy hablaremos de mi querida ciudad adoptiva, Chicago.  Música:  - Cross Roads and Amazing Grace by Alessandro Ricciarelli  - Hey Mama Baby 19th century  - My Kind of Town by Frank Sinatra  - Moonlight Serenade by Kurt Elling  - My Sweet Home Chicago by Blues Brothers - The Untouchabes by Ennio Morricone  - Take Me Out To The Ball Game by Bill Murray at Championship Finals 2016 - Chicago Bulls Theme  - Brain Damage by Pink Floyd - Halloween by John Carpenter - Cherub Rock by Smashing Pumpkins  - Black, Red, Yellow by Pearl Jam and Dennis Rodman, Live at Wrigley Field August 22nd 2017 - Tonight, Tonight by Smashing Pumpkins  - Present Tense by Pearl Jam   

Gene and Randall welcome long-time UFO researcher and science writer Chris Rutkowski, who will reveal details about the 2020 Canadian UFO Survey, which concluded that "it was an exceptional year for UFOs, as well as being a strange year for all of us because of the pandemic." Chris will also bring you up to date on genuine lunar mysteries.  Since the mid-1970s, he’s written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials ("The Monster of Lake Manitoba"), planetarium shows ("Moonlight Serenade," and "Amateur Nights"). He is author of "A World of UFOs" (2008), "I Saw It Too!" (2009), and "The Big Book of UFOs" (2010).

Glenn Miller was the best-selling recording artist from 1939 to 1942, leading one of the best-known big bands. Miller's recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", "(I've Got a Gal In) Kalamazoo", "American Patrol", "Tuxedo Junction", "Elmer's Tune", and "Little Brown Jug". In just four years Glenn Miller scored 16 number-one records and 69 top ten hits. In 1942, Miller volunteered to join the U.S. military to entertain troops during World War II, ending up with the U.S. Army Air Forces. On December 15, 1944, while flying to Paris, Miller's aircraft disappeared in bad weather over the English Channel. R.I.P. Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com You’ll hear: 1) American Patrol by Glenn Miller & His Orchestra 2) Little Brown Jug by Glenn Miller & His Orchestra 3) Elmer's Tune by Glenn Miller & His Orchestra (with Ray Eberle & The Modernaires) 4) The Saint Louis Blues March by Captain Glenn Miller & The 418th Army Air Force Training Command Band" 5) People Like You And Me (from the 1943 film Orchestra Wives) by Glenn Miller & His Orchestra (with The Modernaires & Marion Hutton & Tex Beneke, vocals) 6) 7-0-5 by Glenn Miller & His Orchestra by The 418th Army Air Force Band under the direction of Sgt. Jerry Gray 7) When Johnny Comes Marching Home by Glenn Miller & His Orchestra (with Marion Hutton, Tex Beneke & The Modernaires, vocals) 8) Tuxedo Junction by Glenn Miller & His Orchestra 9) Chattanooga Choo Choo (From the film "Sun Valley Serenade") by Glenn Miller & His Orchestra (with Tex Beneke, Paula Kelly & The Modernaires, vocals) 10) Bugle Call Rag by Glenn Miller & His Orchestra (with Ray McKinley, drums) 11) Jukebox Saturday Night by Glenn Miller & His Orchestra (with Marion Hutton, Tex Beneke & The Modernaires, vocals) 12) Ciribiribin by Glenn Miller & His Orchestra (with Ray Eberle, vocal) 13) Boom Shot (from the 1943 film Orchestra Wives) by Glenn Miller & His Orchestra 14) Make Believe Ballroom Time by Glenn Miller & His Orchestra (with The Modernaires, vocal) 15) A String Of Pearls by Glenn Miller & His Orchestra (with Bobby Hackett, trumpet solo) 16) The G.I. Jive by Glenn Miller & The Army Air Force Band (with Ray McKinley & The Crew Chiefs, vocals) 17) Anchors Aweigh by Glenn Miller & His Orchestra 18) Pennsylvania 6-5000 by Glenn Miller & His Orchestra (with vocals by the band) 19) Moonlight Serenade by Glenn Miller & His Orchestra 20) I've Got A Gal In Kalamazoo (From "Orchestra Wives") by Glenn Miller & His Orchestra (with Marion Hutton, Tex Beneke & The Modernaires, vocals) 21) In The Mood [Reached #1 on February 10th 1940 & lasted 13 weeks at #1] by Glenn Miller & His Orchestra

Years ago, the Make Believe Ballroom took you to the greatest ballrooms imaginable to listen [over the radio] to the great bands of the era. Come with us now as Danny Lane takes you “high above the dance floor” of the Suncoast Supper Club. It’s just like being there. Imagine four stages with continuous music and a dance floor that swings and sways. You’ll be under the stars and overlooking Sarasota Bay. **** On the main bandstand tonight the headliner is The Glenn Miller Orchestra. Also, over in the M’ Toto Lounge you’ll hear Patti Page, Sammy Davis Jr, and Lucy Ann Polk. **** Right this way, we’ve reserved a VIP table just for you. That's our virtual ballroom. Enjoy. **** On stage tonight are: 1) Let's Dance [Excerpt] by Benny Goodman & His Big Band 2) Bugle Call Rag by Glenn Miller & His Orchestra (with Ray McKinley, drums) 3) 'Deed I Do by Bunny Berigan and His Orchestra (Kathy Lane, vocal) 4) 'Tain't What You Do (It's The Way That You Do It) by Chick Webb (Ella Fitzgerald, vocal) 5) How About You by Frank Sinatra 6) Imagination by Lucy Ann Polk 7) (I've Got A Gal In) Kalamazoo by Glenn Miller (with Marion Hutton, Tex Beneke & The Modernaires) 8) Moonlight Serenade by Glenn Miller & His Orchestra 9) Ciribiribin by Pérez Prado & His Orchestra 10) They All Laughed by Patti Page 11) Red Bank Boogie by Count Basie Orchestra 12) American Patrol by Glenn Miller & His Orchestra 13) My Romance by The Les Brown Orchestra 14) Out Of This World by Sammy Davis Jr. 15) St. Louis Blues March by Glenn Miller & The Army / Air Force Band 16) The G.I. Jive by Johnny Mercer 17) I'm Stepping Out With A Memory Tonight by The Jimmy Dorsey Orchestra (with Helen O'Connell, vocal) 18) Jukebox Saturday Night by Glenn Miller & His Orchestra (with Tex Beneke, Marion Hutton & The Modernaires) 19) In The Mood by Glenn Miller & His Orchestra 20) Let's Dance [Excerpt] by Benny Goodman & His Big Band

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In this short bonus episode, we discuss yet another history mystery: the disappearance of Glenn Miller. Glenn Miller was one of the most famous celebrities of the 1940s, known for such hit as Moonlight Serenade, Don't Sit Under the Apple Tree, and Little Brown Jug.  But in 1944, he disappeared on his way to preform for US troops in Paris. What happened to him?  Was it simply a case of pilot error or was there something greater?  We don't have answers, but it's a good story. music by V►LH►LL vlhll.bandcamp.com

MP3

«Moonlight serenade» ist Glenn Millers grösster Erfolg und zugleich der einzige seiner vielen Hits, den der legendäre amerikanische Posaunist und Bandleader selber komponiert hat. Sich von anderen abheben und einen eigenen Orchesterklang «erfinden», war in der der Zeit der grossen Orchester eine überlebenswichtige Notwendigkeit. Wer wie Glen Miller eine solch einprägsame Melodie wie «Moonlight serenade» schreibt, der hat's definitiv geschafft. «Signature tune» Ein «Signature tune» ist die Erkennungsmelodie eines Orchesters, einer Big Band oder auch von Solisten. Sie sollte repräsentativ sein, ein echter «ear catcher», und den speziellen und eigendständigen Sound eines Klangkörpers hervorheben. Denn was sich von der Masse abhebt, hat in der Regel Erfolg und wird statt zu einer Eintagsfliege zum Klassiker. In der Sendung «Time to swing!» stellt Musikredaktor Jürg Moser Woche für Woche einen dieser Ohrwürmer vor.

En el espacio de hoy, que dedicaremos al jazz, hablaremos del Swing, un estilo de jazz popularizado en la década de 1930 y que se caracteriza por su ritmo vivo y flexible y por estar orientado al baile. El Swing aparece de la mano del famoso crack de 1929. A pesar de ello, o precisamente por ello, los blancos ven en el jazz una oportunidad económica ante la evidente fuente de beneficios que produce, claro que esa música había que normalizarla, o lo que es lo mismo, blanquearla. Se trata, en definitiva, de una colonización blanca para monopolizar la popularización del jazz, que ya comienza a traspasar fronteras y que concluyó con la aceptación por la burguesía blanca estadounidense, en sus versiones más comerciales. Fue la época en la aparecieron grandes orquestas como rosquillas, las famosas Big Band, y con ellas los grandes músicos e instrumentistas. Uno de los más famosos, cuya orquesta o un sucedáneo de ella, sigue girando por el mundo, es sin duda Glenn Miller. Hemos escuchado la famosa Moonlight Serenade interpretada por la orquesta de Glenn Miller. Glenn Miller tuvo un final rodeado de cierto misterio. Tras la liberación de París, en la segunda guerra mundial, se le ordenó realizar una gira de seis semanas allí y en otras ciudades europeas, que ya estaban en poder de los aliados. El día 15 de diciembre de 1944, salió en un avión monomotor desde el aeródromo de Twinwood, 50 millas al norte de Londres. El avión desapareció en vuelo y, nunca se encontraron los cadáveres de Miller y sus acompañantes, lo que propició una serie de leyendas que le suponían vivo. Uno de los rumores más persistentes dice que murió en un burdel alemán, apuñalado por una prostituta, aunque esta historia nunca se ha podido confirmar. La teoría más probable es que el avión fue accidentalmente derribado por bombarderos RAF sobre el canal de la Mancha. A pesar de la desaparición del músico, la banda continuó sus actividades bajo la dirección de Jerry Gray hasta el 13 de noviembre de 1945, cuando hizo su última presentación ante el presidente Harry Truman, en Washington. Vamos a escucharlos nuevamente en At Last La primera orquesta del trompetista y trombonista Tommy Dorsey se formó con los restos de otras orquestas pero, su limpio y lírico fraseo con el trombón, tanto en las baladas como en los temas más bailables, se convirtió en una de los sonidos característicos de toda la era del swing. Esta nueva orquesta obtuvo éxitos casi desde el mismo momento en que firmó con la discográfica RCA Víctor y contó con un gran número de los mejores instrumentistas de jazz de la época, entre ellos el trompetista Bunny Berigan, el trompetista/arreglista/compositor Sy Oliver, el batería Buddy Rich y cantantes tan famosos como Frank Sinatra. Sinatra alcanzó sus primeros grandes éxitos como vocalista en la orquesta de Dorsey y terminó afirmando que su control de la respiración lo había aprendido viendo a Dorsey tocar el trombón. Dorsey tuvo de disolver su orquesta tras la Guerra, en concreto a finales de 1946, como otras muchas big bands debieron de hacer por culpa de los cambios en el negocio de la música producidos en esos años. Pero un disco de grandes éxitos (All-Time Hits) le permitió reorganizar la orquesta a comienzos de 1947. Lo escuchamos en “I’m Getting sentimental over you” Artie Shaw nació en el seno de una familia judía. Aprendió a tocar el clarinete y el saxofón e Inició su carrera en orquestas de baile. En 1936 crea su propia orquesta, con poco éxito al principio. Sin embargo, las cosas cambian a partir de abril de 1937. Con una renovada composición de su orquesta inicia su camino hacia el éxito. En 1938 graba su primer “hit”: “Begin the Beguine” de Cole Porter. De marzo a noviembre de 1938, Billie Holiday es la cantante de la orquesta, lo que provoca algunos problemas en esas épocas de segregación racial , pero a pesar de todo la orquesta alcanza entonces su apogeo y se convierte en el principal rival del “rey del swing” Benny Goodman. Hombre de espectáculo, poseedor de una considerable fortuna personal, coprotagonista de varios matrimonios y divorcios clamorosos (como el de Ava Gardner), un día decidió clausurar su brillante carrera musical. Fue en 1954 con 44 años. Políticamente progresista, fue uno de los escasos jazzistas que tuvo problemas con el senador McCarthy y su comisión de triste memoria. Tras dos horas de interrogatorio en los que la prensa se cebó con él por sus amoríos morbosos, en 1955, decidió que América había terminado para él. Se marchó a Begur, en Girona, en la Costa Brava española durante cinco años, hasta que la fiebre MacCarthysta se apaciguó. Fue también, y se expuso por ello, un hombre de profundas convicciones siempre contrario a la segregación racial. Un gran tipo. Este es uno de sus más sonados éxitos: “Begin the Beguine”” Benjamin David Goodman, más conocido como Benny Goodman, nació en Chicago, el 30 de mayo de 1909 y fue un famosísimo clarinetista y director de orquesta de jazz. Conocido como El rey del swing, es, junto con Glenn Miller y Count Basie, el representante más popular de este estilo jazzístico e iniciador de la llamada era del swing. Benny, que fue el noveno de doce hermanos e hijo de emigrantes judíos procedentes de Polonia, comenzó a tocar el clarinete a la edad de diez años en la sinagoga, tras lo que se unió a una banda local. Hizo su debut profesional a los doce años y abandonó la escuela a los catorce para hacerse músico profesional. A los 20 años, y tras pasar por numerosas orquestas,se traslada a Nueva York donde trabajó como músico independiente hasta que con "Moon Glow" alcanzó el primer lugar en las listas de éxitos en julio de 1934. El punto álgido de su carrera, y uno de los momentos más importantes de la historia musical de los EEUU se produjo gracias a su amistad con Lionel Hampton y Teddy Wilson, con los cuales hizo la primera actuación pública de músicos interraciales. La leyenda dice que conoció a Lionel Hampton (vibrafonista) cuando desayunaba en la cafetería donde este trabajaba como camarero, cocinero, cantante e intérprete. Junto con Artie Shaw (judío), Django Reinhardt (gitano) y Lionel Hampton (negro) se convirtió en uno de los símbolos de la apertura cultural y la tolerancia, y de cómo la música no entiende de prejuicios. Y por alusiones, Lionel Hampton, nacido en Louisville, el 20 de abril de 1908 fue vibrafonista, pianista, batería, cantante y director de orquesta. Hampton fue el primer vibrafonista del jazz y una de sus grandes figuras desde la década de 1930. Su estilo es fundamentalmente el del jazz clásico, con fuertes vínculos con el jazz de las big bands, esto es, con el swing. Hampton comenzó como batería, y tocó con varios grupos hasta que, durante una sesión de grabación en 1930, a instancias de Louis Armstrong, Lionel, que ya había practicado previamente con él, tocó el vibráfono, siendo el primero en improvisar con tal instrumento durante una grabación. Actuando con su propio grupo en el Paradise Cafe de Los Ángeles, una noche en 1936 Benny Goodman lo vio actuar. Hampton grabó con él de forma inmediata, junto con Teddy Wilson y Gene Krupa en un cuarteto que se haría famoso. Hampton estuvo con Goodman hasta 1940, a veces tocando la batería e incluso cantando hasta que, en 1940, Lionel formó su primera big band y consiguió un gran éxito con "Flying Home". Otro de los músicos aludidos ha sido Gene Krupa, un afamado e influyente músico estadounidense de jazz y un gran batería de big band, conocido y reconocido por su enérgico y brillante estilo de tocar. Ampliamente considerado como el baterista más influyente y popular del siglo XX, fue el primer baterista solista de la historia. Nació en Chicago, Illinois y comenzó su carrera profesional a mediados de la década de los años 1920. Emergió en la escena musical de Chicago en 1927, cuando fue seleccionado por la MCA para convertirse en miembro de la orquesta de Thelma Terry y Sus Playboys, entonces la más notable banda americana de jazz liderada por una mujer. En 1934 se unió a la banda de Benny Goodman, donde su particular forma de tocar la batería le convirtió en una celebridad nacional. En 1938, tras una pelea pública con Goodman en Filadelfia, dejó la orquesta para lanzar su propia banda, con la que obtuvo diferentes grandes éxitos junto a la cantante Anita O'Day y el trompetista Roy Eldridge. Krupa se retiró musicalmente a finales de los años 1960, aunque tocaba ocasionalmente en público hasta su muerte por leucemia en Yonkers, Nueva York. Un trompetista que tocó con los mejores instrumentistas y las mejores bandas fue Rowland Bernard "Bunny" Berigan; cornetista, trompetista y cantante estadounidense. En Nueva York tocó en la big band del violinista Frank Cornwell, en la de Fred Rich y, entre 1932 y 1933, con Paul Whiteman. Después tocó con Jimmy y Tommy Dorsey y, finalmente, con Benny Goodman (1935). Como músico fue un fenómeno, pero como administrador fue otro fenómeno, aunque de signo distinto. Fundó una orquesta que apenas duró un año debido a su mala gestión. Su estilo, fuertemente influenciado por Louis Armstrong, era lírico e inventivo en las baladas, y poseedor de una gran técnica, con un vibrato muy personal era especialista en el registro grave de su instrumento. Lo escuchamos en una versión de la famosa “Caravan” Edward Kennedy «Duke» Ellington, nacido en Washington, el 29 de abril de 1899 fue un compositor, pianista y líder de su big band, y disfrutó de una carrera que duró más de cincuenta años. A partir de mediados de los años veinte vivió en la ciudad de Nueva York, y se ganó un reconocido prestigio a través de sus apariciones con la orquesta en el Cotton Club, en Harlem, aunque su actividad no se limitó a Harlem. En la década de los años treinta, su orquesta salió de gira a Europa con un éxito considerable. Hoy es considerado una figura fundamental en la historia del jazz. Algunos de los músicos que pasaron por su orquesta, como el saxofonista Johnny Hodges, están incluidos entre los mejores músicos de jazz de toda la historia. Ellington los unió en, casi podríamos decirlo, la mejor orquesta de la historia del jazz. Ellington escribió más de mil composiciones; en ocasiones en colaboración con otros músicos. También grabó canciones escritas por sus compañeros de banda, por ejemplo "Caravan" y "Perdido" de Juan Tizol, un músico puertorriqueño. Su reputación continuó en ascenso incluso después de su muerte, y se le entregó un Premio Pulitzer especial por su música en 1999. Vamos a escucharlo en una interpretación típica de Big Band: “Takethe a train” Coleman Hawkins fue un saxofonista y clarinetista estadounidense. Fundamentalmente conocido como saxofonista, Hawkins es un intérprete clásico del jazz cuyo estilo se mantuvo siempre dentro de los límites del swing y del bop. En una época en que el saxo era considerado un instrumento nuevo y no muy bien considerado, Hawkins ayudó a que desarrollase su propio sonido como instrumento asociado siempre a la música de jazz. Hawkins era muy expresivo y técnicamente muy habilidoso. Su sonido era directo, un poco agresivo quizá en las piezas rápidas. Muy melódico y sensual en las baladas, llenas de fuerza expresiva, como «Body and Soul». Y se acabó por hoy. Hemos revisado un buen número de grandes orquestas e intérpretes y hemos recordado un puñado de buenísimas canciones. Espero veros a todos aquí la próxima semana. Hasta entonces, os deseo a todos un felicísimo fin de semana. Señoras, señores, … ¡¡¡BUENAS VIBRACIONES!!!

En el espacio de hoy, que dedicaremos al jazz, hablaremos del Swing, un estilo de jazz popularizado en la década de 1930 y que se caracteriza por su ritmo vivo y flexible y por estar orientado al baile. El Swing aparece de la mano del famoso crack de 1929. A pesar de ello, o precisamente por ello, los blancos ven en el jazz una oportunidad económica ante la evidente fuente de beneficios que produce, claro que esa música había que normalizarla, o lo que es lo mismo, blanquearla. Se trata, en definitiva, de una colonización blanca para monopolizar la popularización del jazz, que ya comienza a traspasar fronteras y que concluyó con la aceptación por la burguesía blanca estadounidense, en sus versiones más comerciales. Fue la época en la aparecieron grandes orquestas como rosquillas, las famosas Big Band, y con ellas los grandes músicos e instrumentistas. Uno de los más famosos, cuya orquesta o un sucedáneo de ella, sigue girando por el mundo, es sin duda Glenn Miller. Hemos escuchado la famosa Moonlight Serenade interpretada por la orquesta de Glenn Miller. Glenn Miller tuvo un final rodeado de cierto misterio. Tras la liberación de París, en la segunda guerra mundial, se le ordenó realizar una gira de seis semanas allí y en otras ciudades europeas, que ya estaban en poder de los aliados. El día 15 de diciembre de 1944, salió en un avión monomotor desde el aeródromo de Twinwood, 50 millas al norte de Londres. El avión desapareció en vuelo y, nunca se encontraron los cadáveres de Miller y sus acompañantes, lo que propició una serie de leyendas que le suponían vivo. Uno de los rumores más persistentes dice que murió en un burdel alemán, apuñalado por una prostituta, aunque esta historia nunca se ha podido confirmar. La teoría más probable es que el avión fue accidentalmente derribado por bombarderos RAF sobre el canal de la Mancha. A pesar de la desaparición del músico, la banda continuó sus actividades bajo la dirección de Jerry Gray hasta el 13 de noviembre de 1945, cuando hizo su última presentación ante el presidente Harry Truman, en Washington. Vamos a escucharlos nuevamente en At Last La primera orquesta del trompetista y trombonista Tommy Dorsey se formó con los restos de otras orquestas pero, su limpio y lírico fraseo con el trombón, tanto en las baladas como en los temas más bailables, se convirtió en una de los sonidos característicos de toda la era del swing. Esta nueva orquesta obtuvo éxitos casi desde el mismo momento en que firmó con la discográfica RCA Víctor y contó con un gran número de los mejores instrumentistas de jazz de la época, entre ellos el trompetista Bunny Berigan, el trompetista/arreglista/compositor Sy Oliver, el batería Buddy Rich y cantantes tan famosos como Frank Sinatra. Sinatra alcanzó sus primeros grandes éxitos como vocalista en la orquesta de Dorsey y terminó afirmando que su control de la respiración lo había aprendido viendo a Dorsey tocar el trombón. Dorsey tuvo de disolver su orquesta tras la Guerra, en concreto a finales de 1946, como otras muchas big bands debieron de hacer por culpa de los cambios en el negocio de la música producidos en esos años. Pero un disco de grandes éxitos (All-Time Hits) le permitió reorganizar la orquesta a comienzos de 1947. Lo escuchamos en “I’m Getting sentimental over you” Artie Shaw nació en el seno de una familia judía. Aprendió a tocar el clarinete y el saxofón e Inició su carrera en orquestas de baile. En 1936 crea su propia orquesta, con poco éxito al principio. Sin embargo, las cosas cambian a partir de abril de 1937. Con una renovada composición de su orquesta inicia su camino hacia el éxito. En 1938 graba su primer “hit”: “Begin the Beguine” de Cole Porter. De marzo a noviembre de 1938, Billie Holiday es la cantante de la orquesta, lo que provoca algunos problemas en esas épocas de segregación racial , pero a pesar de todo la orquesta alcanza entonces su apogeo y se convierte en el principal rival del “rey del swing” Benny Goodman. Hombre de espectáculo, poseedor de una considerable fortuna personal, coprotagonista de varios matrimonios y divorcios clamorosos (como el de Ava Gardner), un día decidió clausurar su brillante carrera musical. Fue en 1954 con 44 años. Políticamente progresista, fue uno de los escasos jazzistas que tuvo problemas con el senador McCarthy y su comisión de triste memoria. Tras dos horas de interrogatorio en los que la prensa se cebó con él por sus amoríos morbosos, en 1955, decidió que América había terminado para él. Se marchó a Begur, en Girona, en la Costa Brava española durante cinco años, hasta que la fiebre MacCarthysta se apaciguó. Fue también, y se expuso por ello, un hombre de profundas convicciones siempre contrario a la segregación racial. Un gran tipo. Este es uno de sus más sonados éxitos: “Begin the Beguine”” Benjamin David Goodman, más conocido como Benny Goodman, nació en Chicago, el 30 de mayo de 1909 y fue un famosísimo clarinetista y director de orquesta de jazz. Conocido como El rey del swing, es, junto con Glenn Miller y Count Basie, el representante más popular de este estilo jazzístico e iniciador de la llamada era del swing. Benny, que fue el noveno de doce hermanos e hijo de emigrantes judíos procedentes de Polonia, comenzó a tocar el clarinete a la edad de diez años en la sinagoga, tras lo que se unió a una banda local. Hizo su debut profesional a los doce años y abandonó la escuela a los catorce para hacerse músico profesional. A los 20 años, y tras pasar por numerosas orquestas,se traslada a Nueva York donde trabajó como músico independiente hasta que con "Moon Glow" alcanzó el primer lugar en las listas de éxitos en julio de 1934. El punto álgido de su carrera, y uno de los momentos más importantes de la historia musical de los EEUU se produjo gracias a su amistad con Lionel Hampton y Teddy Wilson, con los cuales hizo la primera actuación pública de músicos interraciales. La leyenda dice que conoció a Lionel Hampton (vibrafonista) cuando desayunaba en la cafetería donde este trabajaba como camarero, cocinero, cantante e intérprete. Junto con Artie Shaw (judío), Django Reinhardt (gitano) y Lionel Hampton (negro) se convirtió en uno de los símbolos de la apertura cultural y la tolerancia, y de cómo la música no entiende de prejuicios. Y por alusiones, Lionel Hampton, nacido en Louisville, el 20 de abril de 1908 fue vibrafonista, pianista, batería, cantante y director de orquesta. Hampton fue el primer vibrafonista del jazz y una de sus grandes figuras desde la década de 1930. Su estilo es fundamentalmente el del jazz clásico, con fuertes vínculos con el jazz de las big bands, esto es, con el swing. Hampton comenzó como batería, y tocó con varios grupos hasta que, durante una sesión de grabación en 1930, a instancias de Louis Armstrong, Lionel, que ya había practicado previamente con él, tocó el vibráfono, siendo el primero en improvisar con tal instrumento durante una grabación. Actuando con su propio grupo en el Paradise Cafe de Los Ángeles, una noche en 1936 Benny Goodman lo vio actuar. Hampton grabó con él de forma inmediata, junto con Teddy Wilson y Gene Krupa en un cuarteto que se haría famoso. Hampton estuvo con Goodman hasta 1940, a veces tocando la batería e incluso cantando hasta que, en 1940, Lionel formó su primera big band y consiguió un gran éxito con "Flying Home". Otro de los músicos aludidos ha sido Gene Krupa, un afamado e influyente músico estadounidense de jazz y un gran batería de big band, conocido y reconocido por su enérgico y brillante estilo de tocar. Ampliamente considerado como el baterista más influyente y popular del siglo XX, fue el primer baterista solista de la historia. Nació en Chicago, Illinois y comenzó su carrera profesional a mediados de la década de los años 1920. Emergió en la escena musical de Chicago en 1927, cuando fue seleccionado por la MCA para convertirse en miembro de la orquesta de Thelma Terry y Sus Playboys, entonces la más notable banda americana de jazz liderada por una mujer. En 1934 se unió a la banda de Benny Goodman, donde su particular forma de tocar la batería le convirtió en una celebridad nacional. En 1938, tras una pelea pública con Goodman en Filadelfia, dejó la orquesta para lanzar su propia banda, con la que obtuvo diferentes grandes éxitos junto a la cantante Anita O'Day y el trompetista Roy Eldridge. Krupa se retiró musicalmente a finales de los años 1960, aunque tocaba ocasionalmente en público hasta su muerte por leucemia en Yonkers, Nueva York. Un trompetista que tocó con los mejores instrumentistas y las mejores bandas fue Rowland Bernard "Bunny" Berigan; cornetista, trompetista y cantante estadounidense. En Nueva York tocó en la big band del violinista Frank Cornwell, en la de Fred Rich y, entre 1932 y 1933, con Paul Whiteman. Después tocó con Jimmy y Tommy Dorsey y, finalmente, con Benny Goodman (1935). Como músico fue un fenómeno, pero como administrador fue otro fenómeno, aunque de signo distinto. Fundó una orquesta que apenas duró un año debido a su mala gestión. Su estilo, fuertemente influenciado por Louis Armstrong, era lírico e inventivo en las baladas, y poseedor de una gran técnica, con un vibrato muy personal era especialista en el registro grave de su instrumento. Lo escuchamos en una versión de la famosa “Caravan” Edward Kennedy «Duke» Ellington, nacido en Washington, el 29 de abril de 1899 fue un compositor, pianista y líder de su big band, y disfrutó de una carrera que duró más de cincuenta años. A partir de mediados de los años veinte vivió en la ciudad de Nueva York, y se ganó un reconocido prestigio a través de sus apariciones con la orquesta en el Cotton Club, en Harlem, aunque su actividad no se limitó a Harlem. En la década de los años treinta, su orquesta salió de gira a Europa con un éxito considerable. Hoy es considerado una figura fundamental en la historia del jazz. Algunos de los músicos que pasaron por su orquesta, como el saxofonista Johnny Hodges, están incluidos entre los mejores músicos de jazz de toda la historia. Ellington los unió en, casi podríamos decirlo, la mejor orquesta de la historia del jazz. Ellington escribió más de mil composiciones; en ocasiones en colaboración con otros músicos. También grabó canciones escritas por sus compañeros de banda, por ejemplo "Caravan" y "Perdido" de Juan Tizol, un músico puertorriqueño. Su reputación continuó en ascenso incluso después de su muerte, y se le entregó un Premio Pulitzer especial por su música en 1999. Vamos a escucharlo en una interpretación típica de Big Band: “Takethe a train” Coleman Hawkins fue un saxofonista y clarinetista estadounidense. Fundamentalmente conocido como saxofonista, Hawkins es un intérprete clásico del jazz cuyo estilo se mantuvo siempre dentro de los límites del swing y del bop. En una época en que el saxo era considerado un instrumento nuevo y no muy bien considerado, Hawkins ayudó a que desarrollase su propio sonido como instrumento asociado siempre a la música de jazz. Hawkins era muy expresivo y técnicamente muy habilidoso. Su sonido era directo, un poco agresivo quizá en las piezas rápidas. Muy melódico y sensual en las baladas, llenas de fuerza expresiva, como «Body and Soul». Y se acabó por hoy. Hemos revisado un buen número de grandes orquestas e intérpretes y hemos recordado un puñado de buenísimas canciones. Espero veros a todos aquí la próxima semana. Hasta entonces, os deseo a todos un felicísimo fin de semana. Señoras, señores, … ¡¡¡BUENAS VIBRACIONES!!!

The Nikki Rich Show live with Moonlight Serenade Apparel 

Today:s Episode with talk with Moonlight Serenade Apparel.Moonlight Serenade Apparel is a contemporary plus-size dress and lingerie collection with a variety of clothing in both prints and colors. We believe that our curvy customers should have the option to feel both fashionable and sexy without having to sacrifice comfort or style. We consider the feel, drape and comfort of the fabric, as well as the overall quality of all of the garments in our collection. Kara Oguschewitz is both the owner and head designer of Moonlight Serenade. She is a graduate of prestigious F.I.T. (Fashion Institute of Technology) in New York City and has been designing clothing for more then 20 years. Working extensively in both New York and California, her designs reflect her passion for both prints and colors, as she incorporates them into her contemporary dress and lingerie designs. Kara has designed for companies such as Rampage, Caroll Little and BCBG, creating designs that have sold in stores like Nordstrom, Dillard's, & Hot Topic. Through her Moonlight Serenade Brand, Kara wishes to continue to provide stylish clothing that will allow her customers to feel fashionable and sexy.  

The NIKKI Rich Show Live with Kara Moonlight Serenade Apparel

About This Episode The world-famous Glenn Miller Orchestra is the most sought after big band in the world today. Their classics include In the Mood, Chattanooga Choo Choo, A String of Pearls, Moonlight Serenade, and Tuxedo Junction. After Miller’s death in 1944, the band was reformed in 1956 and has played an average of 300 shows a year ever since. About Michael Perry Michael Perry is a New York Times bestselling author, humorist and radio show host from New Auburn, Wisconsin. Perry's bestselling memoirs include Population 485, Truck: A Love Story, Coop, and Visiting Tom, and his latest, Montaigne in Barn Boots: An Amateur Ambles Through Philosophy. His first book for young readers, The Scavengers, was published in 2014 and first novel for adult readers, The Jesus Cow, was published in May of 2015. Raised on a small Midwestern dairy farm, Perry put himself through nursing school while working on a ranch in Wyoming, then wandered into writing. He lives with his wife and two daughters in rural Wisconsin, where he serves on the local volunteer fire and rescue service and is an intermittent pig farmer. He hosts the nationally-syndicated "Tent Show Radio," performs widely as a humorist, and tours with his band the Long Beds (currently recording their third album for Amble Down Records). He has recorded three live humor albums including Never Stand Behind A Sneezing Cow and The Clodhopper Monologues. Learn more about Michael and where to get his publications at www.sneezingcow.com. Follow Michael Perry www.sneezingcow.com Twitter Facebook Instagram Other Ways to Stream Public Radio Exchange: www.prx.org/tentshowradio Podcast: www.libsyn.com/tentshowradio iTunes: www.itunes/tentshowradio Stitcher: www.stitcher.com/tentshowradio Player.FM: www.player.FM/tentshowradio iHeart Radio: www.iheart.com  

Howard Chackowicz visits the Gateway to explain what music he does not like (Chris De Burgh, Joy Division, Kraftwerk, and The Beatles!!?!) and what he does (Queen especially "Don't Stop Me Now", Free To Be You & Me, Can, and "Moonlight Serenade"). Eventually he explains the decidedly non-musical reasons for his initial interest in the album "Jazz" by Queen. Along the way we discuss where to get the best lox in Montreal and he explains the origin story of how he worked against adversity to become a drummer. Spotify Playlist of songs referenced or played on the episode: https://open.spotify.com/user/x5228znb6j0817tdq7otw61fi/playlist/3X9TCYdGXItD3NVJnaySDL?si=--jGs3wDROKYv1ss_XfBFQ You can also access this podcast on Spotify, Stitcher and all other platforms that peddle podcasts. If you have an apple product you can access the show on iTunes/Apple Podcasts at: https://podcasts.apple.com/ca/podcast/gateway-music/id1456290890 Facebook: https://www.facebook.com/Gatewaymusicpodcast/

Retrouvez nous pour ce dixième épisode depuis la reprise de la série en 2005 : "The Doctor Dances". L’équipe de Doctor What, accompagné de Audrey, poursuit l'aventure dans la deuxième partie succédant à l'épisode "The Empty Child". Audrey des podcasts "Geon Bae" (https://podcast.ausha.co/geon-bae) et "La menstruelle" (https://podcast.ausha.co/la-menstruelle) nous accompagne dans l'aventure de ce double épisode Si vous aimez Glenn Miller mais que vous en avait assé de Moonlight Serenade découvrez "In The Mood" : https://www.youtube.com/watch?v=_CI-0E_jses  Soyez au rendez vous toutes les deux semaines avec Pomme, GrandPoil, Zu et NimpNaw pour un nouvel enregistrement sur la série Doctor Who.  Comme le dirait un célébre philosophe pour cette saison : FANTASTIC Que ce soit pour tenir le coup pendant une année sans épisode ou pour découvrir cet univers dont vos amis ne cessent de vous parler, Doctor What est fait pour vous! Suivez nous également sur twitter à l'adresse @doctorwhat_pod et sur instagram @doctorwhat.pod Doctor What est un podcast membre du label @podcut Retrouvez les 22 autres podcasts du label ici : https://podcut.studio/ Et si vous souhaitez encourager le label : https://www.patreon.com/podcut

Retrouvez nous pour ce dixième épisode depuis la reprise de la série en 2005 : "The Doctor Dances". L’équipe de Doctor What, accompagné de Audrey, poursuit l'aventure dans la deuxième partie succédant à l'épisode "The Empty Child". Audrey des podcasts "Geon Bae" (https://podcast.ausha.co/geon-bae) et "La menstruelle" (https://podcast.ausha.co/la-menstruelle) nous accompagne dans l'aventure de ce double épisode Si vous aimez Glenn Miller mais que vous en avait assé de Moonlight Serenade découvrez "In The Mood" : https://www.youtube.com/watch?v=_CI-0E_jses  Soyez au rendez vous toutes les deux semaines avec Pomme, GrandPoil, Zu et NimpNaw pour un nouvel enregistrement sur la série Doctor Who.  Comme le dirait un célébre philosophe pour cette saison : FANTASTIC Que ce soit pour tenir le coup pendant une année sans épisode ou pour découvrir cet univers dont vos amis ne cessent de vous parler, Doctor What est fait pour vous! Suivez nous également sur twitter à l'adresse @doctorwhat_pod et sur instagram @doctorwhat.pod Doctor What est un podcast membre du label @podcut Retrouvez les 22 autres podcasts du label ici : https://podcut.studio/ Et si vous souhaitez encourager le label : https://www.patreon.com/podcut

About This Episode The world-famous Glenn Miller Orchestra is the most sought after big band in the world today. Their classics include In the Mood, Chattanooga Choo Choo, A String of Pearls, Moonlight Serenade, and Tuxedo Junction. After Miller’s death in 1944, the band was reformed in 1956 and has played an average of 300 shows a year ever since. About Michael Perry Michael Perry is a New York Times bestselling author, humorist and radio show host from New Auburn, Wisconsin. Perry's bestselling memoirs include Population 485, Truck: A Love Story, Coop, and Visiting Tom, and his latest, Montaigne in Barn Boots: An Amateur Ambles Through Philosophy. His first book for young readers, The Scavengers, was published in 2014 and first novel for adult readers, The Jesus Cow, was published in May of 2015. Raised on a small Midwestern dairy farm, Perry put himself through nursing school while working on a ranch in Wyoming, then wandered into writing. He lives with his wife and two daughters in rural Wisconsin, where he serves on the local volunteer fire and rescue service and is an intermittent pig farmer. He hosts the nationally-syndicated "Tent Show Radio," performs widely as a humorist, and tours with his band the Long Beds (currently recording their third album for Amble Down Records). He has recorded three live humor albums including Never Stand Behind A Sneezing Cow and The Clodhopper Monologues. Learn more about Michael and where to get his publications at www.sneezingcow.com. Follow Michael Perry www.sneezingcow.com Twitter Facebook Instagram Other Ways to Stream Public Radio Exchange: www.prx.org/tentshowradio Podcast: www.libsyn.com/tentshowradio iTunes: www.itunes/tentshowradio Stitcher: www.stitcher.com/tentshowradio Player.FM: www.player.FM/tentshowradio iHeart Radio: www.iheart.com

L'épisode qui prends les armes. Pour cet épisode Grey Pigeon et Spades reviennent sur la Seconde Guerre Mondiale en vous parlant de Sgt Rock : Between Hell and a Hard Place de Brian Azzarello et Joe Kubert. Notre générique c'est This ain't the end of Me par White Comic : https://www.youtube.com/watch?v=_gCKwA5refw Retrouvez nous sur notre site Sur les réseaux sociaux : _Facebook _Twitter Si vous souhaitez nous soutenir n'oubliez pas d'aller nous mettre 5 étoiles sur Itunes Notre chanson de fin est Moonlight Serenade par Glenn Miller:

Gene and Randall present Canadian Fortean researcher Chris Rutkowski. Since the mid-1970s, he’s written about his investigations and research on UFOs, for which he is best known. He has been involved in writing and media projects for more than 30 years, including TV specials ("The Monster of Lake Manitoba," 1996), planetarium shows ("Moonlight Serenade," 1983, and "Amateur Nights," 1989) and newspaper columns ("Strange Tales," in the Northern Times, Thompson, Manitoba, 1984 to 1985). Chris has also written nine books on UFOs and related issues, a collection of short stories and has contributed to many other volumes, both fiction and non-fiction. This episode will offer news of his latest work, plus a dose of pop culture as Chris and Gene talk briefly about super heroes in the movies and on TV.

Tonight we invite you to turn down your lights and settle in for a different sort of tale. A dark tale of mystery and suspense. The Razor, master thief, returns for a special episode of Tales of the Liberty Flyer! This episode was written by Damion Damaske with Drew Franzblau and Chris Nebergall Starring: Sandy Stoltz as Rick Romano aka The Razor Julianne Ruck as Betsy David King as Vicente Fazio Rissy Dollins as Dr . Ingrid Wagner Aaron Warner as the Commissioner Additional voices: Kelsey Osborne Audrey Weaver Thom Pugh Josh Pinkowski Chris Nebergall Original music by Bobby Brader with additional music by Kevin Macleod "In the mood" performed by Julianne Ruck, "Moonlight Serenade" performed by Melissa Sakrison Check out friend of the show David King at Midnight Marinara: http://www.benviewnetwork.com/midnightmarinara/ Click here to find out more about the free music archive: http://freemusicarchive.org/ Tales of the Liberty Flyer is created by Drew Franzblau & Chris Nebergall

Moonlight Serenade 411224 - First Song - Jingle Bells http://oldtimeradiodvd.com

Our annual Halloween show with full moon songs.

Chris Rutkowski is a Canadian science writer and educator with degrees in both science and education. Since the mid-1970s, he’s written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials (The Monster of Lake Manitoba, 1996), planetarium shows (Moonlight Serenade, 1983, and Amateur Nights, 1989) and newspaper columns (Strange Tales, in the Northern Times, Thompson, Manitoba,1984 to 1985). He has nine published books on UFOs and related issues, a collection of short stories and has contributed to many other volumes, both fiction and non-fiction. His book Unnatural History was a comprehensive and historical survey of many kinds of paranormal phenomena, including ghosts, UFOs, Sasquatch and lake monsters, and documented many of his own investigations. His recent works include A World of UFOs (2008), I Saw It Too! (2009) and The Big Book of UFOs (2010). He is on Twitter (@ufologyresearch) and blogs at: http://uforum.blogspot.com/. In addition, he is a book reviewer for the Winnipeg Free Press, appears often on TV and radio, teaches courses on communication and is past-president of the Manitoba Writers’ Guild and the Royal Astronomical Society of Canada - Winnipeg Centre. He recently was appointed the new moderator and administrator of UFO UpDates, founded by the late Errol Bruce-Knapp.

Chris Rutkowski is a Canadian science writer and educator with degrees in both science and education. Since the mid-1970s, he’s written about his investigations and research on UFOs, for which he is best known. However, he has been involved in many other writing and media projects for more than 30 years, including TV specials (The Monster of Lake Manitoba, 1996), planetarium shows (Moonlight Serenade, 1983, and Amateur Nights, 1989) and newspaper columns (Strange Tales, in the Northern Times, Thompson, Manitoba,1984 to 1985). He has nine published books on UFOs and related issues, a collection of short stories and has contributed to many other volumes, both fiction and non-fiction. His book Unnatural History was a comprehensive and historical survey of many kinds of paranormal phenomena, including ghosts, UFOs, Sasquatch and lake monsters, and documented many of his own investigations. His recent works include A World of UFOs (2008), I Saw It Too! (2009) and The Big Book of UFOs (2010). He is on Twitter (@ufologyresearch) and blogs at: http://uforum.blogspot.com/. In addition, he is a book reviewer for the Winnipeg Free Press, appears often on TV and radio, teaches courses on communication and is past-president of the Manitoba Writers’ Guild and the Royal Astronomical Society of Canada - Winnipeg Centre. He recently was appointed the new moderator and administrator of UFO UpDates, founded by the late Errol Bruce-Knapp.

046 - Molly Walker Detection System #4 - S2-S3 Hiatus Graphic Novels Lilith and Ricky discuss the Graphic Novels between Season 2 and Season 3 – discussion includes The Golden Goose, the Man with Too Much Brains, Hana and Druckers Plot Discovered, The End of Hand and Drucker, History of a Secret, Past Experience, War Buddies Part 7, Blindsided, A Lesson in Electricity, Pieces of Me, On the Lam, Bounty Hunter, Different and the Same, Moonlight Serenade, Donna Big Date 1-2, Career Choices, Trust Issues 1-2, Face 1-2, Root and Branch 1-3, Berlin 1-2, The Kill Squad 1-3, the Going Postal Websiodes, Going Postal The Graphic Novel, Our Lady of Blessed Acceleration 1-2, Hindsight, Foresight, and Into the Wild 1-3. They also wrap up Season 2 in terms of the Writers Strike, Heroes Origins, and what they thought about Season 2 in general.    Follow Primatech Files on their social media – just search “Primatech Files” on facebook, tumblr, youtube, twitter or clammr. You can also email primatechfiles@gmail.com or find them on their individual twitters @rickyjdiaz or @lilithhellfire   NB There may be spoilers in this review    

The songs of lyricist, Mitchell Parish.  Songs include: Stardust, Sleigh Ride, Stars Fell On Alabama, The Lamp is Low, My Window Faces the South,Sweet Loraine, Stairway to the Stars and Moonlight Serenade. Performers include: Thomas "Fats" Waller, Dinah Shore, Hoagy Carmichael, Nat King Cole, Jack Teagarden and Beverly Kenney.

The last two episodes of Moonlight Serenade prior to Glenn Miller going into the service. Original Air Dates: September 23 and 24, 1942 Click here to add to Itunes.

The Show Notes GEOLOGIC JAZZ QUARTETCHRISTMAS CONCERT 1. Bewitched 2. Misty 3. Christmas Time is Here 4. Hungry Like The Wolf 5. Moonlight Serenade 6. It Had to Be You 7. ¿Eres Famoso? 8. All the Things You Are 9. Nothing (But Flowers)10. Just In Time11. I Don’t Believe in Christmas12. Melt With YouMerry Christmas, Everybody! ...................................
 IceHouse Concert Information Accommodations for the IceHouse Concert Hotel Bethlehem800-607-BETH800-607-2384
promo code: Geologic A Gneiss Night Out The IceHouse Geologic Concert21812 The Official 21812 Ticket Site ...................................
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 Sign up for the mailing list: Write to Geo! A reminder that the new portal to the Geologic Universe is at GeorgeHrab.com. Score more data from the Geologic Universe! Get George's Non-Coloring Book at Lulu, both as and E-BOOK and PRINT editions. Check out Geo's wiki page thanks to Tim Farley. Get your George HrApp here. Thanks to Gerry Orkin for the design and engineering. Have a comment on the show, a Religious Moron tip, or a question for Ask George? Drop George a line and write to Geo's Mom, too! Ms. Info sez, "Merry Newtonmas, everyone!"

Million selling records from the late 1930s.  Songs include: Little Brown Jug, Lili Marlene, Body and Soul, Three Little Fishes and Moonlight Serenade.  Performers include: Kay Kayser. Glenn Miller, Ella Fitzgerald, the Phildelphia Orchestra and Artie Shaw. Source for this weeks show: Million Selling Recods, An Illustrated directory by Joseph Murrells.

Glenn Miller hits performed by rival bands. Musicians include: Count Basie, The Andrews Sisters, Benny Goodman and John Kirby. Songs include: Moonlight Serenade, In The Mood, Tuxedo Junction and I've Got a Gal In Kalamazoo.

Glenn Miller and his orchestra were first heard on CBS radio in 1939. The show was often broadcast from a "remote" location, such as Cafe Rouge, NY, Paradise Restaurant, NY, and other locations. Mr Miller died in an airplane crash during WW II. His music was famous for several more years, as the era of the Big Band declined (many of the members were drafted into the Armed Services). theme songs were used by the band, "Moonlight Serenade"being the most popularListen to our NEW Radio Station, Oldies Big Band Jazz and More   HempUSA Store       

Από ένα πασχαλιάτικο Λονδίνο (not!), κάνουμε μια αναδρομή στην ιστορία του πώς ανακαλύψαμε έναν από τους πιο βασικούς νόμους της φύσης: την βαρύτητα!Download MP3: Episode 36 (1:08:09, 94 MB)Podcast feed: click hereComments: timaras@gmail.comWebsite: http://themos-podcast.blogspot.comShownotesCover Art: Η εικόνα του Kepler για τον κόσμο: 6 σφαίρες ανάμεσα στα 5 πλατωνικά στερεά, αντιστοιχώντας στους 6 γνωστούς - τότε - πλανήτες του ηλιακού συστήματος.News & Σχόλια:- Χορτοφάγοι και άθεοι: ιστορίες παράλληλες- Εντυπώσεις από το Coventry- Ηνωμένο Βασίλειο vs. Μεγάλη Βρεταννία- iPhone: Δύο καλά apps (Bump, tube boards) και αίτημα για battery saving mode- Κινεζάκια για Ph.D.Movies & Shows: - Monsters vs. Aliens 3D- Les Mis - κορυφαία παράστασηΕπιστήμες:Η εντυπωσιακή ιστορία της βαρύτητας: Πτολεμαίος, Κοπέρνικος, Kepler, Brahe, Γαλιλαίος, Νεύτωνας, Einstein.Music:- Αίγια φούξια (antenna.com.cy)Από το music.podshow.com- Great Big Sea - Jolly Roving Tar- Great Big Sea - Yarmouth Town- Dean Madonia - Poor man's physician- Φινάλε: Beethoven, Moonlight Serenade

Big Band Serenade presents Glenn Miller and His Orchestra. June 25, 1938.  A band remote from The Paradise Restaurant, New York City. The first tune is, "Why'd Ya Make Me Fall In Love" (announced inaccurately). The program's closing theme ("Moonlight Serenade") is announced as "having no name."  Glenn Miller and His Orchestra, Gail Reese (vocal), Ray Eberle (vocal)

Virginia Holgate has won two medals in the Olympic Games as a horse trials rider. In conversation with Michael Parkinson, she recalls her childhood travels round the world with her father who was in the Royal Marines, and talks about her career which nearly ended with a disastrous fall.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Moonlight Serenade by Glenn Miller and his Orchestra Book: Do-it-yourself manual Luxury: Never-ending supply of smoked salmon

Virginia Holgate has won two medals in the Olympic Games as a horse trials rider. In conversation with Michael Parkinson, she recalls her childhood travels round the world with her father who was in the Royal Marines, and talks about her career which nearly ended with a disastrous fall. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Moonlight Serenade by Glenn Miller and his Orchestra Book: Do-it-yourself manual Luxury: Never-ending supply of smoked salmon

Bud shares his knowledge and expansive music collection to uncover the life and music of Glenn Miller. Alton Glenn Miller (March 1, 1904 – disappeared December 15, 1944) was an American big-band trombonist, arranger, composer, and bandleader in the swing era. He was the best-selling recording artist from 1939 to 1942, leading one of the best-known big bands. Miller's recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", "(I've Got a Gal In) Kalamazoo", "American Patrol", "Tuxedo Junction", "Elmer's Tune", "Little Brown Jug" and "Anvil Chorus". In just four years Glenn Miller scored 16 number-one records and 69 top ten hits—more than Elvis Presley (38 top 10s) and the Beatles (33 top 10s) did in their careers. In 1942, Miller volunteered to join the U.S. military to entertain troops during World War II, ending up with the U.S. Army Air Forces. On December 15, 1944, while flying to Paris, Miller's aircraft disappeared in bad weather over the English Channel. He was posthumously awarded the Bronze Star Medal.