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New year, new format? Sort of! Gabba Gabba Huh? is back with a tighter, more focused episode for your listening pleasure! This doesn't mean that the longer, artist's journey, style episodes are done, but expect a good mix of the two as I intend to bring you more consistent content for your ears this year! This week, I once again visit with Luke Edwards at his home in Shelby, NC to catch up on what's been going on with his Motörhead tribute band, Killed By Death. We also talk about the recent show he played with his former Animal Bag bandmate, Otis Hughes, about his town's relationship (or lack of) with heavier music, and round it out by talking about how a couple of old timers like us just have an addiction for this stuff! Featuring the song Tom by Animal Baghttps://killedbydeath2.bandzoogle.com/homehttps://www.facebook.com/Killed-By-Death-Mot%C3%B6rhead-Tribute-102383878981786Visit Gabba Gabba Huh? Records & Vintage Goods! Located on the first floor of Eastridge Mall in Gastonia, NC, near Dillards!Visit Hobo Wolfman Records, located inside Junky Monkey 3041 Kerr Ave, Wilmington, NC!Support the show
The always enjoyable musical conversation looks at the impact of the late Jeff Beck, heading up a list of iconic performers revealed in documentaries, or hitting the road to conjure up memories. Madonna, Men at Work, Jeff Lynne, Everything But the Girl, Steve Earle, and others explored.
Episode 058 TSM Skate Media Crew... Carl Carpentier, Marcelle Johnson, Tommie Zam The TSM boys have done True Skateboard Mag www.Truesk8boardmag.com for many years. They are also @tsm_media on insta as well. They've been doing a Podcast and Talk Shows based around the Skate and Music Scene for quite a while. I've sat in on their show before when they interview Ron Allen at Grinderz etc..... I like these guys and love their passion for skateboarding. Funny story is they told me that they wanted to do the show, and I assumed they wanted me to be on their show, so we set a date, and they came up to my office. I thought they were gonna start setting up their equipment and do a TSM Podcast/Show with me..., then they showed up and when I asked where they wanted to set up, they said we are here to be on your show.... It was a very classic moment and of course I was happy to do it that way. All the matters to me is enjoying conversations with people in the skate culture. I hope you enjoy our conversation and get a good laugh out of the confusion. We all sure did.
Michael Stein and Rod Ronquillo, the original DJs of KEXP's northwest music show, Audioasis, share songs that were staples of Seattle's music scene when the show began 40 years ago. Then, Audioasis' current DJ, Eva Walker, shares songs that represent the scene today. In this episode, we also get a little history lesson in Seattle's early jazz and funk scenes and beyond. Artists discussed: The Heats The Dynette Set Pudz Visible Targets Chong the Nomad Jango Screen Frogs Support the show: https://www.kexp.org/sound/See omnystudio.com/listener for privacy information.
We are back with another episode this year and we're dive into the young thug trial and the pleas taken by gunna and other YSL members. We also discuss how dangerous the music scene in the dmv is and in the music scene in general plus more. Tune in now to see what's real. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
On this episode, Allison Emm talks with internationally renowned accordionist and composer Stas Venglevski! Writing since he was 5 years old, Stas now holds a Masters of Music from the Russian Academy of Music in Moscow. Now Stas is taking gigs all over in Milwaukee and has immersed himself in the local scene.Find more info about Stas atwww.stasv.comCheck out more about TMV Podcast at www.themusiciansventure.com, @themusiciansventure on Facebook and Instagram, and @MusicianVenture on Twitter.
As eclectic and engaging as ever, the music commentary session has lists, arrivals, departures, documentaries and more of the plate featuring big stars, cult favorites, buried treasures and more in a very cool and eclectic conversation. Enjoy!
Welcome to the final show of 2022 with the Fffffing 40s!This time we have two long time friends of the show and returning guests. First we catch up with John William Wade who we first met way back in episode 11. John has had an eventful few years between his REMAX business, his entry into politics and his new venture the Calgary Investment Group.We then chat to Frank DeVille and learn about his new solo and group projects in LA. We also include a full listen to his new song, a cover of the Gap Band's Early in the Morning. Frank is currently working with a new band and getting things going in our post-covid world. John William Wade: twitter - facebook - websiteFrank Deville: facebook - Family of Funk Follow us on Facebook! Sponsored by:Claudia SantiagoJohn William Wade & AssociatesTracksVRComedy Tuesday NightBucket Brigade Recording StudioDLC Entertainment ServicesSoulmate Shoes Inc
Hello, Lit Listeners. I hope you're all geared up to party with the bands in this episode's rock novel, because you've got a backstage pass and VIP access. Sarah Priscus is here to talk about her new novel, ‘Groupies', a story that shines a light on the grungy yet glittery world of 1970s Los Angeles rock 'n roll and the women—the groupies—who unapologetically love too much in a world that doesn't love them back.Later, who else is better qualified to give real-world context to this very topic than the fabulous Super Groupie, member of Frank Zappa's GTOs, and talented writer and podcaster, Pamela Des Barres? That's right, Miss Pamela herself joins me during the last segment of the show, so break out your groovy boas and hot pants and drop some far-out vinyl on the turn table. You're all with the band tonight. EPISODE HIGHLIGHTS:Sarah and I talk aboutWhat she and Suzi Quatro have in commonSarah's experience writing and publishing her debut novelOverview of plot and characters of ‘Groupies'The setting of ‘Groupies': Los Angeles in the late 1970sThe early seasons of SNL as part of Sarah's research into the era/other research Sarah did for the novel, including watching ‘Almost Famous' againSarah's long love affair with Pamela Des Barres' seminal memoir ‘I'm With the Band'Led Zeppelin references in the novel and our shared love of the bandGroupie definitions and rules, as presented in the novel ‘Groupies'Feminism and groupie culture in the 1970s/the Baby Groupie issueInstant gratification and the 1970s and Polaroid cameras, which the character Faun usesPamela and I talk aboutHow and when she first got into the L.A. music sceneWho christened each of the GTOs “Miss”The kazillion rock icons she's known, including Frank Zappa, The Byrds, Gram Parsons, Led Zeppelin, The Stones, Love, Three Dog Night, Gene Simmons, Keith Moon The GTOs' album ‘Permanent Damage', which Frank Zappa producedThe L.A. scene in the ‘60s and ‘70sBaby Groupies of the 1970sThe first time Pamela heard the word “groupie” and her definition of the word‘I'm With the Band' and some of the ridiculous comments people—especially early interviewers—have made Pamela's ex-husband Michael Des Barres' thoughts on ‘I'm With the Band'How Gram Parsons turned her onto Country music MUSIC IN THE EPISODE IN ORDER OF APPEARANCE:1970's Retro Background Music (Royalty Free)“Our Last Summer” by ABBA“Mrs. Robinson” by Simon & Garfunkel“It's Only Rock ‘N' Roll” by The Rolling StonesClip of early SNL opening“Life in the Fast Lane” by The Eagles“Whole Lotta Love” by Led Zeppelin“I Am Woman” by Helen Reddy“We Shall Go Forth” by Margie Adam“Hey Ya!” by OutKast“Famous Groupies” by Paul McCartney“I'm In Love With The Ooo-Ooo Man” by The GTOs“Shock Treatment” by The GTOs, featuring Jeff Beck and Rod Stewart“Sixteen and Savaged” by Silverhead“Christine's Tune” by The Flying Burrito Brothers“Mystery Roach” by Frank Zappa and The Mothers LINKS: Sarah Priscus's website: https://sarahpriscus.com/Sarah on Twitter, @sarahpriscusSarah on Instagram, @sarah.priscus Pamela Des Barres' website: https://www.pameladesbarresofficial.com/Pamela on Facebook, Instagram, Twitter, @PamelaDesBarres Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/Christy Alexander Hallberg on Twitter, @ChristyHallbergChristy Alexander Hallberg on Instagram, @christyhallbergChristy Alexander Hallberg's YouTube channel, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag
We're revisiting our conversation with Jess Shoman, frontwoman of the band Tenci. She joined Reset to discuss her music, recent tour and Chicago's DIY music scene. For more Reset interviews, subscribe to this podcast. And please give us a rating, it helps other listeners find us
Ultra-eclectic edition covers concerts ahead, documentaries, milestones, untimely losses, and many other stories featuring Taylor Swift, the late Terry Hall of The Specials, A and M records, 1979, house music, The Judds, and numerous others.
Ann talks to Dave Innis (Restless Heart) and Jacob Green (Keep Waco Loud) from Stay Classy about their collaboration and the music scene in Waco. Learn more about your ad choices. Visit megaphone.fm/adchoices
Today - our monthly deep dive into Colorado's rich musical tradition with Sun writer Kevin Simpson and longtime music reporter G. Brown, whose Colorado Music Experience website maintains a comprehensive collection of information, videos and recordings of live Colorado shows spanning decades.See omnystudio.com/listener for privacy information.
In her new book, Laur remembers her days on tour and the many musicians she's befriended along the way.
In her new book, Laur remembers her days on tour and the many musicians she's befriended along the way.
This week, Alt Press put out a pretty great article tracing the history and impact of New Brunswick's basement music scene. We figured this was a perfect opportunity to pull our episode on the NJ music scene out from behind the Patreon paywall where it's lived for over a year. If you're not a Patron, enjoy for the very first time this look into Jersey's legendary music scene, featuring quotes from members of The Front Bottoms, Night Birds, Screaming Females, Worriers, Don Giovanni Records, Long Neck, GDP, and Mikey Erg, as well as reminiscences about times spent at legendary shows and venues all over this state. (And for anyone who does remember this from the Patreon way back when, THANK YOU for supporting us so much and we can not express our appreciation for you enough!) Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
This week Ricky Bolufe stopped by the studio for his new project Long Live the Scene and so much more. Long Live the Scene is essentially a grassroots effort to bolster local musicians by giving them a website platform to blog on as well as putting out compilation albums from live shows. Long Live the Scene can be found at the following links: Facebook: https://www.facebook.com/longlivethescenefl Instagram: https://www.instagram.com/longlivethescenefl Website: http://www.longlivethescene.com Enjoy the compilation albums on Spotify, or you can find them on the new 561 Music Playlist we created of various local artists that we will be continually updating. Long Live the Scene on Spotify: https://open.spotify.com/artist/6CM0pS399WTkDZhpoLxqee?si=LZqe3dg7QoKDHrqcCrM-2g 561 Music Playlist: https://open.spotify.com/playlist/7y2i0AgJTGRMtxMADgZ7AZ?si=Zp77sqBTuewWTDouxH2g 561 Music Links: Facebook: https://www.facebook.com/561musicpodcast Instagram: https://www.instagram.com/561musicpodcast Twitter: https://twitter.com/561musicpodcast YouTube: https://www.youtube.com/c/561musicpodcast A huge thank you to our sponsors this week. HANDLEBARS BAR AND GRILL Handlebars is a little biker bar in Tequesta FL with a lot of history. Famous with bikers around the world in its previous incarnation as Judy's, the new owners have kept the feel and vibe of the place while upgrading the quality of the food and drink. From its bike nights that fall every 2nd Thursday of the month to its daily great food and drink and cool atmosphere, Handlebars is a destination bar for anyone who owns a bike, and even if you don't ride you are welcome to come and soak in the vibe with an ice-cold beer. Go online and check the place out at www.handlebars-bar-and-grill.com or find us on Facebook to keep up with events and find out about bookings and menu items. OASIS ROOT COFFEE AND KAVA LOUNGE Oasis Root Coffee and Kava Lounge in Jupiter is a fun, relaxing place to come by drink kava, java, or tea, and hang out… South Pacific Style! Open daily from 8am-1am. Located at 185 E. Indiantown Rd., Suite 111, Jupiter, FL 33477. LIVE MUSIC COMMUNITY Thank you to Justin and Live Music Community for all they do to make our podcasts as professional as possible. If you are looking to do a podcast, record an album, do a live stream, or anything of that type, Live Music Community is the place to go. LMC is also a music school that takes it up a notch by not only teaching the foundations of music theory and songs on instruments and vocals but also teaches the students the full band experience. They team your child up with like-minded individuals who then go on to play shows, do live streams, and learn the dos and don'ts of being in a successful working band. You can find them online at https://www.livemusiccommunity.com and on Facebook and Instagram @LMCFlorida 561 Music Podcast was recorded by our producer Justin Hucker at Live Music Community, which offers podcasting, video production, live stream, music lessons, recording and so much more. Check them out and take a virtual studio tour here: https://www.livemusiccommunity.com Special Guest: Ricky Bobby.
On this episode, Nick O'Brien talks with full time musician, singer-songwriter Kal Schimmers! Kal grew up watching his family around him playing music, and soon began pursuing music form an early age. Growing up in Appleton, Kal was influenced by all the wonderful music venues and events that the city has to offer.Find more info about Kal at:https://linktr.ee/KalSchimmersCheck out more about TMV Podcast at www.themusiciansventure.com, @themusiciansventure on Facebook and Instagram, and @MusicianVenture on Twitter.
Ben and Mia, young zombies in love, search for the perfect xmas present in a world of the walking dead. Cast List Mia - Brenda Dau Ben - Derek M. Koch of Mail Order Zombie Geek - Glen Hallstrom Tick - Frankenvox Chuck - Bob Noble Andy - Reynaud LeBoeuf Doris - Julie Hoverson Sheri - Crystal Thomson Ted - J. Spyder Isaacson Voicebox - Beverly Poole Fred & Bob - Big Anklevich & Rish Outfield of Dunesteef Audio Magazine Ben's Double - Danar Hoverson Mia's Double - Julie Hoverson Other zombies: Al Aseoche, Jacquie Duckworth, Reynaud LeBoeuf, Jack Hosley, Sidney Williams, Glen Hallstrom, Bob Noble, Brian Weingartner, Ferguson and family, Robyn Keyes, Kim Poole, Michael Hudson. Music by Jason Shaw (Audionautix.com) Show theme: Kevin MacLeod (Incompetech.com) Editing and Sound: Julie Hoverson Cover Design: Brett Coulstock "What kind of a place is it? Why it's an apartment on the wrong side of town, can't you tell?" ******************************************************************************************** GIFT OF THE ZOMBI Cast: [Opening credits - Olivia] Mia, zombie (20s) dating Ben Ben, zombie (20s) dating Mia Ted, zombie (30s), Mia's horny neighbor Andy, henpecked zombie (40s) Doris, Andy's wife (40s) Geek, a broker (30s) Sheri, a lovelorn friend (20s) Tick, an unscrupulous intact (human, 30s) Fred, a zombie (any) Bob, another zombie (any) Chuck, overseer zombie (any) Voicebox - mechanical translator ALL ZOMBIES (unless noted as exceptions, below) have dual vocal tracks - the "zombie-voice" track, which is unintelligible, but vaguely mirrors the normal voice and events, and the "mind voice" (sounds like a voiceover), which is how they sound to each other. /n = normal"mind voice" /z = "zombie voice" There are places where we only hear the zoombie voice. Exceptions: DORIS has no "mind voice", just incoherent shrieks GEEK only has a zombie voice, but he is clearly understandable, if still zombie-like TICK is human, and has no zombie-voice. NOTE: The zombie apocalypse has come and been dealt with more or less. Zombies might still attack humans, if they see them, but humans tend to live in the walled cities and have become somewhat mythological to the zombies outside. Zombies still are self-aware, but they think and speak so very slowly that they are difficult for humans to understand. Conversely, to a zombie, humans seem to speak incredibly fast - almost incomprehensibly so. That's why humans developed the voicebox to take what they say and slow it down enough for a zombie to understand. OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a crumbling apartment building, can't you tell? MUSIC SCENE 1. MIA'S APARTMENT SOUND WIND-UP ALARM GOES OFF SOUND FLIES IN THE B/G THROUGHOUT MIA/Z [distant moan of awakening, which continues, sporadically, punctuating the narrative] MIA/n I hate Mondays. SOUND ALARM SLAPPED OFF TABLE, STOPS RINGING SOUND STUMBLING FOOTSTEPS MUSIC VAGUE WARPED CHRISTMAS CAROL PLAYS SOMEWHERE MIA/n It doesn't help that it's two days til Christmas and I haven't got Ben his present. MIA/z [roar of anger] SOUND SOMETHING CRASHES TO FLOOR, GLASS BREAKS. MIA/N The holidays just bring out the worst in me. SOUND DOOR OPENS, FOOTSTEPS CONTINUE MIA/N [sigh] Checking my stitches in the mirror - nice to see nothing weird happened in the night. I love the hot pink against my pale skin. [beat] I know I'm swimming against the tide, but I still like to look nice, even when no one else gives a hang. They're welcome to run around unwashed, in raggedy-ass clothes, just leaves more Prada for me. SOUND SPRAY CAN PSSHT, FLIES STOP, TINY DROPPING NOISES MIA/n A little spray - no water, that's just asking for mold - and I'm ready to face the day. SOUND [under the next] SHAMBLING FOOTSTEPS OUT OF BATHROOM AGAIN, STRUGGLES FEET INTO SHOES, NOW SHAMBLING FEET ARE IN HEELS. MIA/n Ben's gift is the big problem. I know what I want to get him, but it won't come cheap. There just aren't that many floating around out there. MUSIC SCENE 2. OUTSIDE SOUND NO TRAFFIC. JUST BIRDS, SHAMBLING FOOTSTEPS, OR OCCASIONAL BREAKING THINGS. SOUND STRUGGLE WITH OBJECTS, THINGS FALL AWAY BEN/z [moans, fighting his way to his feet] BEN/n [hungover sounding] Wow, what did I do last night? BEN/z [shake head noise] BEN/n Oh, crap - Mia'll be expecting me-- SOUND SHAMBLING FEET SPEED UP BEN/n For all her persnickityness, Mia is totally the greatest babe around, and I am sooo lucky that I'm the one she's into. I figured for the longest time that she was just slumming with a grot like me - right up until we really did it. Went whole hog and did the handfast. It's like always having a piece of her with me. [note: in this case, the handfast was actually trading hands. zombies can buy and sell body parts and trade them with one another] ANDY/z [morning] BEN/z [yo! How's it going?] ANDY/z [falling moan, ending in a squeal] BEN/n Don't I know it! Man, if ever a guy was whipped, Andy is the poster boy. He's gonna catch hell for not getting home to Doris last night. Almost tempting to stay and see the fray, but meeting Mia is the only thing on my maggoty little mind right now. MUSIC SCENE 3. MIA'S STAIRCASE SOUND BODY FALLS DOWN STAIRS, FOLLOWED BY THE CLATTER OF A SHOE. MIA/z [distraught moan] MIA/n Darn stair carpet. Darn heels. SOUND FEELING AROUND FOR THE SHOE AND PUTTING IT BACK ON MIA/n Alas, vanity doesn't come cheap. Ben loves my little foibles. He understands why it matters so much to me, to be beautiful for him. Looking back at my pink stitches, almost tripping as I crane my neck to see, I wonder whether he will like them as much as I do. SOUND SHAMBLING FEET IN HEELS AGAIN, ANOTHER SET OF FEET COMES ON TED/z [moan approaches, vaguely suggestive] MIA/z [dismissive moan] MIA/n Not today, Ted. I don't have time for any of your nonsense. TED/z [moan ending in a squeak/question] MIA/n I'm with Ben, Ted. You know that. I'm not giving up what I have with him. He has my hand, and my promise. He even has my heart ... just in the old-fashioned way. TED/z [mournful and pissed moan] MIA/n Yeah, yeah, yeah - if you were the last one on earth, maybe. MIA/z [roar/moan as she brushes him aside] SOUND STUMBLING FEET QUICKLY TO DOOR, SLAMS OPEN, TUMBLES THROUGH MIA/z [roar of triumph] MIA/N First time!! [made it on the first try!] This is gonna be a great day! MUSIC SCENE 4. OUTSIDE, NEAR BEN ANDY/z [cursing groan] ANDY/n Come on, Ben. Doris likes you! If I say you needed my help, she'll buy it! BEN/z [dismissive groan] SOUND SHAMBLING FEET MOVING AWAY, STUMBLING AFTER ANDY/z [dude] ANDY/N Dude! Come on-- DORIS/z [distant strident squeal] ANDY/n Oh, crap! SOUND SOMETHING WET SPLATS ON PAVEMENT, THEN DISTANT FEET APPROACHING ANDY/z [strange gurgling warble] ANDY/n [sigh] I lose more tongues that way. DORIS/z [strident squeal, closer] MUSIC SCENE 5. OUTSIDE NEAR MIA'S BUILDING SOUND HIGH HEEL SHAMBLE MIA/z [low moan] GEEK/z [he speaks clear enough to understand, but still zombie-like] [hey, fingers!] MIA/z [quizzical] MIA/n Yeah, what's it to you? GEEK/z [you got any to spare?] MIA/n No! I like mine right where they are. GEEK/z [get you a good price. Fingers are always top value.] MIA/z [sharp moan of anger] MIA/n Look - these five are my boyfriend's, and this one says-- MIA/z [fuck you] GEEK/z [you'll be back [louder] they always come back!!] MIA/n Damn parts brokers - [jealous] always have the best tongues. MUSIC SCENE 6. OUTSIDE, ELSEWHERE [note: throughout the rest of the show, unless otherwise noted, appropriate zombie noises play under] MIA [calling] Hey babycakes! BEN [off] Yo sweet thang! SOUND PLODDING FOOTSTEPS COME TOGETHER MIA Mm. Missed you! BEN Double that. SOUND DISGUSTING SLOPPY LICKY KISSY NOISES MIA [mild slurp, then hot] You are such a good kisser. BEN Don't know how I'd get up each day without you to look forward to. MIA [giggles] BEN Let's walk. Want to show you something. MIA Oh? Well, I've got a little time before hitting the old treadmill. BEN You know I'd support you if I could-- MIA I like looking after my own needs. [flirting] Leaves you to look after my wants. BEN Ooh! MUSIC SCENE 7. OUTSIDE, NEAR STORE SOUND PLODDING FEET MIA I should have worn more convenient shoes. BEN Sorry! Almost there. MIA What is...it...? [awe] Oh! BEN I thought you might say that. Just saw them. Of course, they're not cheap. MIA [drooling -- zombie noises under get really slobbery] Patent leather, thigh high - oh, I'd never have to take them off! BEN The heels aren't too high, are they? MIA [sigh of ecstasy] I love stacks... MUSIC SCENE 8. OUTSIDE, Later BEN [bummed] I was right, she loved the boots. ANDY And how much did you say they were? BEN More than I've had in living memory. ANDY At any one time? BEN EVER. ANDY Woah. Well, suppose you can hit the mills like the rest of us schmoes - if you're truly that desperate. BEN [scoff noise] The mills? It'd take me ten years - and they'd probably sell by then. ANDY What, then? Go out snatching? That's pretty much your only other option. BEN [sighs] I thought I might ask around, see what I could borrow-- ANDY Woah, there! You know Doris holds the purse strings! BEN If I was going to snatch anyone, I'd snatch her - she's got enough body for three. ANDY [musing] You know... That's not a bad idea. BEN [disturbed] Serious? ANDY Nah. I'd fall apart without her keeping me moving. I guess that's love. BEN [agreeing hmph] MUSIC SCENE 9. TREADMILLS SOUND HEAVY WHIRRING NOISE UNDER. DISTANT NORMAL STREET SOUNDS MIA Hey! OTHER ZOMBIES [Morning!] [nice to see you!] [Mia! Looking good!] SOUND MANY PLODDING FEET MIA Hey Chuck! Got a space? CHUCK For you? Always, babe. Wanna lose the heels first? MIA Brought my work shoes. Just need a moment at the bench. CHUCK I'd offer to help, but...[chuckles] Thank god for velcro, eh? MIA Hah! I have all my fingers. CHUCK [chuckles] Coulda fooled me - [teasing] That looks like your fellow's hand...? MIA [chuckles] Jealous? MUSIC SCENE 10. OUTSIDE, ELSEWHERE [note - Ben has zombie noises under, geek does not - he always sounds like a zombie trying to talk] GEEK [Psst.] BEN What? GEEK [heard you were having some money troubles.] BEN What's it to you? GEEK [I might be able to help you with that.] BEN I don't think so. I don't have anything I feel like selling. GEEK [You got some extra fingers. An entire hand that looks... spare] BEN No way. Man! That's - that's Mia's hand! I should smack you with it just for suggesting that! GEEK [Hey! I don't want no trouble! I'm just a businessman!] BEN [spits out the word] Businessman. You're a parts broker. GEEK [Yeah, and we both know you come to me when you need something, then you spit on me when I try to help you out.] SOUND SHUFFLING FEET START TO LEAVE BEN Wait. GEEK [what?] BEN What - what's in high demand? GEEK [What?] BEN I mean, if I was... going to sell something ...just if... what would you be [reluctant, forcing the words out] paying the best prices for? GEEK [[chuckles] See? When you need me--] BEN Cut the crap and tell me. GEEK [Appendages are always good. Fingers, noses, ears. And soft parts, like tongues and, uh.... [suggestive] you know.] BEN [gulp] GEEK [Toes not so much - most just get by without - unless you have a complete foot somewhere - those are collectible, but only in pristine condition. Eyes are pretty good, and you hardly need two.] BEN What about parts that - aren't mine? GEEK [Stolen parts? What makes you think I trade dirty?] BEN Your type always does. GEEK [[pissed again] My type? My type? I think you just talked yourself out of a good deal, pal.] BEN Shit, I-- GEEK [incoherent roar, as he leaves] MUSIC SCENE 11. TREADMILL AMB - underlying zombies moans, many many plodding feet MIA [no specific moaning for this speech] Being on the treadmill gives you plenty of time to think. You stare at the back of the guy in front of you and wonder what's going through his head. Ben doesn't like the nine to five, but I figure - heck, you gotta do something, and if you feel the urge to walk, might as well get paid for it, right? SOUND SOMEONE CLIMBS ON THE TREADMILL [vocals have zombie noises under again] TED Hey Mia! MIA [sigh] Hi Ted. TED Funny running into you here. Shove over? MIA Right. Like I don't do this every day. No room. SHERI Hey Mia! [warm] Hey Ted. TED [dismissive] Sheri. [wheedling] Come on, Mia, squeeze in a little. There's space next to you if you make room. MIA Sorry, Ted [she's not]. Been saving that for... Sheri. SHERI Huh? TED Sheri won't mind - will you? SHERI I - I guess not... MIA Oh, no Ted. We have girl talking to do. Bye-bye. Hop up Sheri. TED Fine. See you at end of shift? MIA [muttered] Not if I see you first. SOUND TED FLOPS OFF MIA [up] I don't know what you see in him, Sher. SHERI Neither do I. Pheromones I guess. MIA Well, he does smell. SHERI [on an ecstatic sigh] Yes. MIA [ugh] Hey, Sher, I gotta problem. SHERI Oh? [horrified] You didn't... break up with Ben? MIA No! Why would you say that? SHERI Nothing. MIA Did you hear something, or are you just worried that Ted might somehow luck out and catch me on the rebound? SHERI Um. The second one. MIA Kinda thought so. O-K, passing over your insecurity, can we discuss my problem? SHERI [relieved] Sure! MIA I found the perfect present for Ben, and I don't know how I'm gonna afford it. SHERI You mean...um...what you said he's missing? MIA Yeah. All his fleshy parts haven't lasted so well - I keep telling him that sleeping rough isn't good for him, but he hates being cooped up. Says being nibbled on by rats is preferable to a cage. SHERI You live in a cage? MIA He means an apartment. SHERI Oh. Well, I'm sure he looks fine without one. You see plenty of missing ones out there every day. [NOTE: they're discussing noses, but it makes it sound like something more suggestive] MIA I know, but he would - well, from things he's said, he would actually LIKE one. Make him feel like a new man. I thought I might get him one of those artificial ones - you know, cast in plastic? In a skin tone, though - not one of those weird colored ones. SHERI They're all the rage with the trendoids these days, the neon ones. I guess they figure if it's gonna look fakey, might as well make a statement. And some of them get freakishly big. MIA Well, I found a place to get something real high quality. Won't look fake at all. They'll even tint it to match his skin. And it won't rot or fall off. Guaranteed to last. Not even a nibble. SHERI It won't make him smell any better. MIA No, but I get the feeling he would be more secure in our relationship if he - well - if he fit more the image he thinks I'd go for. SHERI Someone with all their parts? MIA Oh, heck. I'd love Ben with or without any number of parts, but he seems to think I'd like him better if he actually had a nose. SHERI [hmm] I could maybe loan you a little-- MIA No, this guy charges a bunch. I'm actually tempted to sell a part or two - something I don't use, or not so much, you know? SHERI Don't go there. Starts out simple, a finger here, an ear there, and then - voila! You end up checking people in at work like "Chuck, the torso" - stuck in admin cuz you got no limbs left. Or worse - that guy who talks out his neck since he woke up one morning and his head was gone. MIA [sigh] You're probably right. MUSIC SCENE 12. OUTSIDE, ELSEWHERE AMB SLIGHT ECHO - AND A DRIP SOMEWHERE SOUND FLOPPY STEPS IN WATER [note Tick speaks slowly and has no zombie echo, Ben sounds completely zombie - no voice over - for this scene TICK You looking for me? BEN [gasp] [what?] SOUND STUMBLE FLOPPY STEPS IN WATER TICK Don't bother - just stand still. BEN [you're a - an intact?] TICK And you're a dead lump of shit, but maybe we can help each other. BEN [moan of acceptance] TICK Good. Now stay quiet while I tell you what we're doing here. BEN [slurpy gasp] TICK That's disgusting. But I need a heap like you to front for me. I have some... parts... to be disposed of, but I can't just wander into maggotville myself. BEN [Why me?] TICK My source says you're tough and desperate. And stupid. BEN [stifled annoyed noise] TICK So maybe he's wrong. BEN [I am desperate] TICK [snort] Fine. Here's the deal - I don't give a flying fluck about your crappy corpse cash. On the other hand, I like having folks - dead or alive - who owe me. BEN [What you need from me?] TICK I'll tell you when it comes up. Right now, I just need this bag of ... parts to vanish. BEN [It's illegal.] TICK [cajoling] They're nice and fresh. [impatient] Fine. Clock is ticking. Tick tock. Tick tock. You even remember what "time" is, maggot? BEN [It's almost Christmas. [beat] I'll do it.] MUSIC SCENE 13. TREADMILL SOUND TREADMILL, FEET PLODDING SHERI You ever wonder what they do over there? MIA [lost in a daze] Hmm? Over the wall? SHERI Yeah. The [awed whisper] In-tacts? MIA Don't know. Don't care. Except for when they come over here and drag off my friends, I say leave them alone. SHERI But you do believe in them, don't you? MIA Believe in them? What's to believe - we see them marching on the wall, and they're the ones who shell out for us to walk on this damn treadmill day and night. They're as real as ... as... shoes. SHERI Some say we all came from in-tacts, way back when. MIA [lightly sarcastic] Yes, and a wasp nest in your head is a sign of good luck and not just poor hygiene. I swear Sheri, you'll believe anything. SHERI You believe they carry people off, though? MIA Well, yeah - we've all seen that. They appear from nowhere, in those dark helmets and suits, and by the time you catch your breath, someone's vanished. SHERI [awed] I saw one once. MIA A kidnapping? SHERI An in-tact. MIA [half-teasing, half worried] You know, they say if you mentioned them three times, they'll appear out of thin air. SHERI [agreeing, distant] They are really fast. MIA [exasperated] Sheri! Don't-- SHERI I did, though! I really saw one. Not just in a suit and helmet like they usually are, but one right... up... close. MIA [sighs, feels her pain] Tell me about it? SHERI It was a guy, I think, and the funny part is he looked so much like a regular person. Just that he was so fast and he was - well - he had everything. His skin was perfect, no holes or anything, and it was this warm rosy color. I... yearned to touch him, but when I reached out, he turned and ran away. MIA [uncertain] That...must have been ....weird. SHERI [almost teary] It was like I saw an angel, and it saw something horrible in me. MIA Oh, Sheri-- SHERI Maybe that's why Ted won't love me? Because I'm horrible inside? MIA Aw, Sheri. [reassuring] We're all horrible inside. And if anyone's seen an angel here and not realized it, Ted's the one. He sees you every day and misses out every time he turns his back. SHERI [sniff sniff] MUSIC SCENE 14. OUTSIDE, ELSEWHERE SOUND BAG PASSED WITH A SQUISH GEEK [you sure you don't want any of them?] BEN [upset] I... don't need any girl parts, thanks. GEEK [Squeamish? All you had to do was lug a bunch of fresh merchandise here to my humble workshop.] BEN I've never.... felt... they were so [disgusted] warm. GEEK [Fresher just means it'll last longer. Nothing more. You want your pay or not?] BEN [down] Yeah. MUSIC SCENE 15. TREADMILL SHERI --you know that guy Sam I was dating? MIA [worn down] Yeah? SHERI And how he was always mouthing off about-- SOUND WHISTLE, END OF SHIFT MIA [heartfelt] Oh yesss! What a relief! SHERI [not getting it] Yeah! Let's go somewhere - I was in the middle of telling you about Sam. MIA [almost panicky] Nah, save it for next time - I have to meet up with Ben. SHERI It's so great to have someone to talk to while we walk - Tomorrow, same time? MIA [transparently lying] Sure! Oh, no - wait - I promised I would do this thing with Ben tomorrow. SHERI What thing? MIA [panicky, trying to cover] You mean I didn't mention the thing? I--uh-- SOUND DISTANT ZOMBIE NOISES AND SCREAMS SHERI What the--? MIA Come on! SOUND SLOW PLODDING. LARGE GROUP OF ZOMBIES GATHERING MUSIC SCENE 16. OUTSIDE, ELSEWHERE SOUND SLOW PLODDING, ONE SET OF FEET ANDY [distant] Ben! Ben! BEN [sigh] SOUND PLODDING STOPS BEN Yeah? SOUND ANDY'S FEET APPROACH ANDY [panicky] Ben, man, am I glad to see you - it's Doris! Jeez, she slipped and I think something's broken! BEN [muttered] Lucky you. [up] What do you mean? ANDY Her leg - it snapped and now she can't get up! What am I gonna do, Ben? BEN Andy, Doris is such a-- ANDY I know I know. She gives me hell and treats me like a dog, but what can I do, Ben, I love her! You gotta help me. I'll do anything! BEN Let me take a look. MUSIC SCENE 17. ALTERCATION SOUND LOTS OF SHAMBLING FEET, MOANS MIA What happened? SHERI Where's everyone going? FRED It's one of the overseers! MIA An in-tact? What happened? BOB I seen the whole thing! He fell off the wall and someone made a grab fer him! SHERI Oh no! FRED Oh, yeah! He's somewhere in the middle of the dogpile there. MIA Isn't anyone helping? BOB What are you, some kind of pervert? This is an [spits out the word] In-tact. [excited] They're tearing him apart! MIA We should get out of here! SHERI B-but - They're gonna kill him! MIA [sad] I know, and there's nothing we can do about it. And we want to be out of here before they bring out the big guns. SOUND DRAGGING, SHUFFLING AWAY FROM THE FRACAS SHERI But what if he's that same one I saw before? MIA By now - you probably wouldn't know him. MUSIC SCENE 18. ANDY'S PLACE DORIS [squeals piteously] BEN Yep, that's a bad one. Twisted all up like this. ANDY Can't we do anything? BEN I'm no reconstructor. Maybe some duct tape and a stick? DORIS [Squeals angrily] ANDY He's just trying to help, honeybuunny. BEN Yeah, chill honeybunny. DORIS [squeals again, sort, sharp, warning.] ANDY [quiet] You gotta help me, Ben - you're the only one I can turn to! BEN Jeez Andy... [sigh] You'll pay me back? ANDY You know I'm good for it! Soon as that leg's on, we'll both hit the treads every day til we cover it. BEN [down] Sure. I-- ANDY Yes? BEN [muttered] I didn't like the way it felt anyway. [up] Here. SOUND PACKAGE CHANGES SLOPPY HANDS ANDY What - is it? BEN Enough to get her fixed up - you might go ahead and get her a new tongue while you're at it. ANDY [very quiet] Oh. No. Let's not go completely overboard... MUSIC SCENE 19. OUTSIDE, LATER, TOGETHER SOUND OUTSIDE. SHUFFLING FEET APPROACH MIA There you are - I was beginning to worry. SOUND BODY FALLS TO THE GROUND "ben relaxes" BEN [oof, then] It's been a really... weird day. SOUND BODY FALLS TO THE GROUND "mia relaxes" MIA [oof, then agreeing] Tell me about it. BEN [muttered] I would if I could. MIA Hmm? BEN Nah. Doris broke her leg and Andy needed help with getting her fixed up. MIA They better get her a good big leg. She goes through so darn many. BEN Really? It's happened before? MIA Every couple of years. I think the last time was before you showed up here. BEN I am such a sucker. MIA Whenever you start thinking like that, just look at Andy. That'd make anyone feel superior. BEN You always know just the right thing to say. MIA Can't help it. We're in tune. BEN Yeah, I guess we are. About Christmas-- MIA Don't worry - I love the boots! BEN Oh, the boots... MIA But only if you can afford them. If you can't, I might be able to get them myself. [sexy] You still get to enjoy them, though. BEN [grim] I'll get them-- MIA [sorry] I was just teasing. BEN Don't worry. [softening] Like I said, it's been a really strange day. MUSIC SCENE 20. SEWER AGAIN TICK [really fast] Yeah what? BEN [slow gasp] TICK [fast] crap. [deliberately going slower, down to normal speed] What do you want? BEN Geek said you have another job? TICK Not so much a job as a favor. BEN Need money. TICK What happened to the packet I gave you before? Never mind - don't want to know. [speeding up a bit] Look. I'm not some magic money tree. BEN Oh. TICK [slowing again] See right now, you owe me a favor - but I can be gracious about it. You give me what I need, and I will advance you what you need against the next job I give you. Sound good? BEN [carefully articulating] You pay now for next job if I do favor? TICK There you go. [quick] not so damn stupid after all. MUSIC SCENE 21. MIA'S APARTMENT SOUND ALARM CLOCK SOUND KNOCKED OFF TABLE MIA [just like at beginning] I hate Mondays. SOUND DOORBELL RINGS MIA Huh? MIA/Z coming! SOUND BAREFOOT SHUFFLE SOUND DOORBELL RINGS AGAIN, QUICKLY AND REPEATEDLY MIA/Z Hold your damn horses! SOUND DOORKNOB FUMBLES, DOOR IS SLAMMED OPEN. SOUND BODY FALLS MIA/Z [annoyed] hey! SOUND FEET MOVE QUICKLY INTO APARTMENT, SLAM DOOR MIA/Z [scared] Who are you--? SOUND SUPER-QUICK WHISPERED VOICES IN BACKGROUND VOICEBOX [mechanical voice] You were at the altercation near the wall yesterday. MIA/z uhhh VOICEBOX Yes or no. We ask yes or no questions. Answer yes or no. MIA/z yesss. VOICEBOX Did you take part-- MIA/z NO! VOICEBOX Did you see any of those who did? MIA/z [uncertain] no. VOICEBOX There was another female with you. Did it see anything? MIA Sheri? MIA/z No. VOICEBOX Please identify this female. MIA/z No. VOICEBOX That was not a question. Identify the female that was with you. MIA Yeah, right. MIA/z [incoherent moan] VOICEBOX Speak clearly. MIA/z Naaame isss [incoherent moan] VOICEBOX We are prepared to remove parts if you do not cooperate. SOUND STRUGGLE, KNIFE SNICKS OPEN MIA/z ohh! MIA No! that's Ben's! [the hand they're threatening] VOICEBOX Last chance. The name. MIA/z Naaame isss shhh-jerry VOICEBOX Jerry? MIA/z [reluctantly agreeing] Uh-huh. VOICEBOX Good. [commanding, disgusted] Let it go. SOUND BODY FLUNG TO FLOOR MIA/z [moans unhappily] SOUND FEET MARCH CRISPLY AWAY MUSIC SCENE 22. SEWER BEN You want WHAT? TICK Not like you'll miss it. BEN I-I don't-- TICK Hey, take it or leave it. You owe me, but not like I'm gonna wrestle you down and steal it from you. I got people - and your kind - who can do that for me. BEN When you need? TICK [irritated, speeding up] What do you mean when? You think I don't mean now? [like the crack of doom, slowly and clearly] Now! BEN Now... TICK Tick-tock. BEN [moans uncertainly, then glumly] yeah... MUSIC SCENE 23. OUTSIDE, ELSEWHERE MIA/z [muffled whispered moans] MIA Psst! SHERI Mia? What's with the getup? MIA Get over here! SOUND SHUFFLING SHERI/z [whiny querulous moan] SHERI What? MIA Ok, no one can see us-- SHERI You look like a clown. MIA Shh! Sheri, have any of the overseers [gulps] "talked" to you? SHERI In-tacts? No! MIA They found me. They'll find you. They want to know who killed that - in-tact - yesterday in the riot. SHERI Gary? Why? MIA No-no-no-no! I don't WANT to know who did it! They're asking, and they threatened to cut... off-- [sob] Th-they threatened me! SHERI [still not understanding it] Why? MIA They want to get the one who did it, I suppose! They'll come after you! SHERI How will they know to come for me? MIA [evasive] Well - how did - how did they know to come for me? SHERI Oh! MIA So now you're warned - stay away from the treadmill! SHERI [annoyed moan] MIA Well, I wanted to warn you. SOUND MIA STARTS TO WALK AWAY, STRANGELY LIMPING SHERI What's wrong? Mia? You're limping. MIA Nothing. Figured if I can't make the treadmill for a while, I'd need something to live on. SOUND STUMBLING FEET APPROACH SHERI and MIA [gasping moans] FRED [gasp] Oh, hey! Don't tell anyone I'm here. MIA They found you too? FRED I - I heard they're coming - how'd you know? SHERI We saw it happen. FRED Woah! You better hide. Least for a while. They're taking folks again. MUSIC SCENE 24. MIA'S APARTMENT BEN Mia? SOUND TAPPING ON DOOR, DOOR CREAKS OPEN BEN [worried now] Mia? TED [off, questioning moan] BEN You Ted? TED yeah [affirmative moan, voice getting clearer] BEN Where the hell's Mia? TED She took some stuff and left. What's it to you? SOUND SHUFFLE TURN BEN I'm Ben. TED Ugh! What the hell does she see in you? MUSIC SCENE 25. OUTSIDE, ELSEWHERE MIA [off a bit] Ben? BEN [phantom of the opera cringing noise] What? MIA Ben - I'm over here. BEN Mia - don't look. MIA [almost laughing] What? BEN Please. MIA All right. I'll close my eyes. BEN Thanks. SOUND SHUFFLING STEPS TO MIA BEN Why are you hiding? MIA I saw something - there are in-tacts maybe looking for me. I don't know. BEN They're just full of surprises, aren't they? MIA Are they? SOUND MOMENT OF JUST PLODDING ALONG TOGETHER BEN Helluva way to spend the holidays. MIA It is Christmas, isn't it? [beat] Can I look now? BEN No! [short barking laugh] I - I know it's silly for me to be vain, but, uh - I lost something. MIA I got you something! BEN Don't turn around-- Ohhhh. [disappointed] MIA [concerned] What happened? BEN Some guy named Gary needed a new face. MIA [concerned for him] I hope you got something good for it. BEN Actually I did. Take off your shoes. MIA [more panicked than should be] No! BEN Don't worry - I'll carry them for you. MIA No - I... I kind of needed to make a trade too. BEN Your leg--? MIA I guess feet with toes are sort of collectable. BEN Oh. I hope ... [chuckles] I hope you got something good for it. MIA [laughs a bit] SOUND STICKY SOUND AS SHE STROKES HIS RAW FLESH MIA At least you kept your lips. BEN Are you kidding? Had to keep those - they're my best feature. MIA Well, here's a new one, but I don't know how it will go on - you might have to wait until you have a place to hang it again. SOUND PACKAGE UNWRAPS, OPENS BEN It's beautiful. MIA It's latex. It won't rot or get chewed on by rats. I think I got the right color, but now - BEN It's a fine nose. MIA Not too big? I mean, I never saw you with-- BEN It's perfect. MIA We should get going. If they're still after me, we'll have to ... find some place else to-- BEN Waitaminute. Now you have to open yours. MIA Oh, you--! SOUND UNWRAPPING OF PAPER MIA The patent leather! BEN Yeah. You know, maybe you could brace and stuff them-- MIA It's just the one foot. BEN Ok, stuff the one, and still walk on it. MIA Not if we're going a long way - I don't want these puppies to get worn out on any stupid road trip. [ecstatic intake of breath] This is the best Christmas ever! BEN You know? I think you're right... Here, take my hand. MIA [teasing sweetly] That's my hand. BEN Come on. [grunt to help her up] MIA Which way? [their voices, along with their moaning and plodding footsteps, begin to slowly fade out] BEN A wise man once said "the sun never sets on those who ride into it". [the quote is from the end of Shock Treatment] MIA Which wise man was that? BEN Um.... MIA Are we talking like "three wise men" kind of wise man? BEN Um - no. I think it was... Richard O'Brien. MIA Who? BEN You know, the time warp guy. MIA Oh, man - I haven't been to THAT movie in months. CLOSER "The Gift of the Magi" is a famous story by O. Henry where a newlywed couple (around 1900) each sell something to buy the other a present - He sells his watch to get her a fancy hair comb and she sells her long hair to get him a new watch fob. The entire story is inspired by this.
Matthew Alec is a jazz and popular music saxophonist, founder and Executive Producer at Cleveland Time Records, and bandleader for the high-energy jazz fusion group Matthew Alec and The Soul Electric. His debut album Cleveland Time featuring former Saturday Night Live Musical Director Tom “Bones” Malone was released in February of 2021. The album charted […] The post Matthew Alec Saxophone Podcast; Giving Back to the Music Scene in Cleveland – Ep. 153 appeared first on Everything Saxophone Podcast.
The always wonderful mixture of reviews, previews, tributes, and recommendations this time includes looks at The Eagles visit to Kansas City, the 2022 Rock Hall ceremony, the passing of Christine McVie, a Quincy Jones tribute, David Bromberg doc, and more. Enjoy!
Richard Barone is the author of the terrific book "Music and Revolution-Greenwich Village in the 60's" and he joins Buzz Knight for this episode. Richard is a musician and professor and he is passionate about the village music scene. Show Notes here to learn more. One Man's Mission to Share his Love of the Greenwich Village Music Scene with Richard Barone When we think of the term “musical range,” I think you have to actually think of Greenwich village in the sense that in the 60s, the village was such a hotbed of styles and personalities. The village is accorded the backbone of singers, song writing, and folk singing, because of this incredible range of poets and a live feeling of what was going on. You still feel it today, but it is different from the 60s. So, it's rather fitting that our guest today, on taking a walk, is not a stranger to the musical range. Richard Barone is an acclaimed recording artist, performer, producer, and author. Since pioneering the indie rock scene in Hoboken, NJ, as frontman of The Bongos and then helping to launch the chamber pop movement with his solo debut “cool blue halo,” Barone has produced countless studio recordings and worked with artists in every musical genre. Richard has spent decades navigating the musical neurons of the village with his great new book, Music and Revolution. This book is about Greenwich Village in the 60s. By the end, Richard will transport you in time. You will feel as if you are going through a meditation, you are part of. Get the experience of this amazing village with Richard Barone. Tune in! Key Highlights from the Episode [00:01] Meet Richard Barone from Greenwich Village [01:45] Richard's inspiration for authoring his book, Music+Revolution [03:21] Save the village movement [04:47] How a Sunday afternoon in a restaurant felt like in the 1960s at the village [06:43] Big poets at Greenwich Village in the 50s [11:00] A lunch Richard had with Barry Kornfeld [12:30] Several musical figures that you should know, as Barone mentions in his book [12:50] Richard Farina [19:51] Janis Ian [23:31] José Monserrate Feliciano [25:10] Fred Neil [28:09] Philip David Ochs [32:44] Comparing the music of the 1960s to that of 2020 [35:34] Ending the show and call to action Notable Quotes Compared to the 1960s, many songs do not address anything. Older songs were guided by a message or theme. Many people sing songs in 20222, but it does not bring togetherness of people to enjoy and feel it. In the 60s, concerts were packed with people of all races and ages. Get Richard's Book Music + Revolution: Greenwich Village in the 1960s: https://www.amazon.com/gp/product/B0B4FDSY5B/ Connect With Richard Barone Website: http://www.richardbarone.com/ Instagram: https://www.instagram.com/richardbarone/ Twitter: https://www.twitter.com/RichardBarone Facebook: https://www.facebook.com/RichardBaroneOfficial Email: rbm@richardbarone.com YouTube: https://www.youtube.com/richardbarone
This week I am joined by Bridge Nine Records owner and founder Chris Wrenn about the record label and the new Bridge Nine Record Store in Beverly, Massachusettes plus:- The 90's mail-order experience- If Chris ever saw vinyl having the huge resurgence it has- Music piracy in the early 00's- The one requirement of signing a band to Bridge Nine- Advice for up and coming record labels- Jumping into projects and not overthinking them- How the day to day or running Bridge Nine has changed over 25+ years &much more!Check out the Power Chord Hour radio show every Friday night at 8 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.Donate to help show costs -https://www.paypal.com/paypalme/pchanthonyhttps://cash.app/$anthmerchpowerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_MgFollow Chris/Bridge Nine Recordshttp://www.bridge9.comhttp://instagram.com/bridgeninehttps://www.instagram.com/chrisb9https://twitter.com/Bridge9https://www.facebook.com/bridge9
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Promo for episode releasing later this week with musician/author/professor Richard Barone.
Gabba Gabba Huh? is back?! Yes! At least this week! After this, it may (or may not) be next year before I get the ball really rolling again. Hear a little bit about that up front, but I was having microphone issues (causing some audio issues throughout), so some of what I had to say never made it, but you'll get the idea! This week's guest is Ahvid Harris, a local self-described impressionist, with poetry being the main subject. A little bit of a departure, but still local, still the arts, and still DIY. What you'll get here is two recent friends getting a chance to know each other a little bit more and talk about how our crafts are actually quite similar. Stick around through the sometimes crummy audio to hear some wonderfully recited poetry (luckily my audio issues not present during these segments), and get to know a little bit about the local poetry scene! Ahvid's YouTube playlist: https://www.youtube.com/playlist?list=PLMpip9Y1S7RfL31KGkg0HZZUwZXPeT9RVLocated inside Vintage Village, on the first floor near Dillards, in the Eastridge Mall, Gastonia, NC!Support the show
Have you ever wondered what the music scene was like in other countries around the world? In this episode, we chat with Karl Kongkham, who is the Managing Director of Warner Music Thailand. We find out what it takes to be a successful recording artist, and live touring performer in a nation of 70 million people. We discover how different and diversified their music culture is compared to other nations, especially to such surrounding nations as South Korea, Japan, and China, and how Thailand is making its mark on the world music stage. Before taking on the role at WMG, Karl Kongkham worked at the Leo Burnett Group, an agency that specializes in advertising, digital and social media, content and innovation, sales promotion, direct marketing and event management. He served as a business director of the company's ARC Worldwide and MSLGROUP subsidiaries. The Business Side of Music ™ © 2022 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2022 Lotta Dogs Productions, LLC, All rights reserved.
Kiffie joins us for Part 1 where we get right into the heart of all things independent music, and talk about his plans for the upcoming year. A great interview, well worth checking out! Then we head right into the music with brand new tunes by The Bedlam Furnaces, Ron Bowes, Marie Therese, Hart and Bowes, The Ruby Tuesday's, Candy Coffins, Smash Into Pieces, Frvgments, Landsdowne, Penny Rich, Toronto Is Broken ft Senotage, Music Ala Carte, and Goatchrist. For all the latest check out www.newmusicsaturday.com x --- Send in a voice message: https://anchor.fm/newmusicsaturday/message
[REBROADCAST FROM AUGUST 10, 2022] In the late 1970s, punk music was particularly popular amongst teenagers. In New York City, they filled clubs like CBGB, Max's Kansas City, Hurrah, and TR3. They also formed bands. Tim Sommer, journalist and former record executive, recently wrote about this era of New York City music history for the New York Times in the article "In the Late '70s, Teen Punks Ruled New York. These Are Their Stories." He joins us to discuss the piece alongside Kate Schellenbach, founding member of the Beastie Boys and drummer for Luscious Jackson who was a teenage punk in the 70s herself. Plus, we take your calls of your memories of the 70s New York punk scene.
Lively opinions, recommendations, and reflections varied and fascinating. In the mix John Kennedy, Carrie Underwood, Joni Mitchell, punk history, David Foster, Tom Petty, and much more!
This episode of THE Underground Source of El Paso, TX features Austin, TX based gothic fantasy pop rockers Demi the Daredevil! The group's lead singer, Jeff Azar, is an El Paso native - he discusses navigating the band through recording and releasing material and touring with new band members Jeremy B (bass) and Johnny D (drums). This was recorded LIVE at East El Paso's famed Album Park, hear us shiver as we podcast in the evening cold! Follow Demi the Daredevil on Instagram - @demithedaredevil - and hit the link in the bio! This episode produced by M. De Santiago and G. Armendariz. Edited and Hosted by M. De Santiago. Intro/outro music by Demi the Daredevil. Intro song: "Withering Heights" Outro song clip: "Rain Dogs" Cover photograph by YouKnowWho. RATED CHLL.
A new story chased by our best friends at the Weekly Bugle. Written and Produced by Julie Hoverson Cast List Leona - Robyn Keyes Theo "Smoothie" Walsh - Henry Mark Chief - Julie Hoverson Forsythe Dickman III - Mark Olson Farmer Hadley - Garr Godfrey Daisy - Cailean Evedus Bartender - Charles Austin Miller Desk Clerk - Brown Monkey's Old dude Second Demon - Sherman bear Reporters - Bryan, Wes, and Uncle Randy of Drunken Zombie, plus Brown Monkey Music by John Woodward Editing and Sound: Julie Hoverson Cover Design: Les Clay "What kind of a place is it? Why it's a familiar newsroom, can't you tell?" ******************************************************************** A Telegram ...to Satan! Cast: Leona Theo "Smoothie" Walsh Chief Forsythe Dickman III Reporters Farmer Hadley Daisy LuLu Reporters OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a tabloid bullpen, can't you tell? MUSIC Scene 1. SOUND PEOPLE ON PHONES, moving through the room REPORTER JUNE How many mummies? [dubious] Uh... we can't send a photographer for less than eight. REPORTER BOB So can we quote you on the health benefits of nude white water rafting? REPORTER KATHY We just want to give you a chance to tell your side of the story, doctor... REPORTER FRED And when the wax was ripped away, it left an image of jesus in your chest hair? Scene 2. CHIEF Shut the door. SOUND DOOR SHUTS THEO Where's Leona? CHIEF She'll be here in a minute. Wanted to say something to you first… just the two of us. THEO [a little worried] Yeah? CHIEF You're a cute young guy, Theo... THEO [starting to panic] Uh... CHIEF You seeing anyone right now? THEO I'm kind of ...married to the news. CHIEF I know the feeling. THEO Uh...! CHIEF It's a nice sentiment, but you can't let the news rule your life, sweetheart. THEO Uh. When is Leona gonna get here? CHIEF What are you doing on Friday night? THEO Uh... Uh... I ... CHIEF Cause my niece really really needs someone to take her to her senior prom, and I figure if you're married to the news, you're about as safe as they get. THEO [relieved] Oh! ah! I can clear Friday night. CHIEF It's either you or Forsythe Dickman the third, and I really don't want that greasy bastard within a city block of my poor little Aida. THEO Who? CHIEF But you didn't hear that from me. SOUND DOOR OPENS THEO Dickman? DICKMAN Yeah. THEO [gasp] Oh! I thought it would be Leona. SOUND DOOR SHUTS CHIEF Smoothie Walsh, meet Forsythe Dickman the third. His grandpa just picked up half the business. DICKMAN Things are gonna run a little different around here. THEO Oh. Is that good? CHIEF [insincere] Sure it is. We're just tickled to death to have some new blood in at the managerial level. SOUND DOOR OPENS LEONA Oh. SOND DOOR SHUTS AGAIN THEO Leona--? She left. CHIEF Musta forgot something. DICKMAN Is that Leona Pope? [chuckle nastily] I think she remembered something. THEO Should I ...go? CHIEF No, I was about to drop a lead on you. DICKMAN I hope you have something good. CHIEF Oh, are you staying? DICKMAN Gramps wants me to learn the tabloid business from the very bottom. So yeah, I'm staying. MUSIC Scene 3. AMB ROOF SOUND LIGHTER, SMOKING THEO [off] Leona? LEONA Are you alone? THEO Uh, yeah. LEONA Come on up, then. THEO That's a little far out on the ledge, isn't it? LEONA It's the only place for miles around that's far enough from a door to legally smoke. THEO Oh. [beat] We have an assignment. LEONA We as in you and me, or is there more "we" than I'm aware of? THEO Uh, no. Were you expecting someone? LEONA [sigh] I'll come down. MUSIC Scene 4. SOUND IN CAR LEONA What's the story? THEO I was about to ask you the same thing. LEONA [grr] The story we're supposed to go and get. THEO Oh! Cattle mutilation. It's a bit of a drive. LEONA And Dickman? THEO No. He's got a story of his own. LEONA Which is? THEO [a bit envious] The Weed-Whacker killer. LEONA Figures. Dickman gets the latest serial sensation and we get cow guts. THEO Well, it's actually-- LEONA That jackass gets everything he wants. Almost. THEO Sounds like you have a history. LEONA Used to have an entire curriculum. THEO Huh? LEONA [getting annoyed] History. Chemistry. Biology... [disgusted] Drama. MUSIC Scene 5. AMB FARM LEONA Bucolic. THEO I've never been on a farm before! LEONA I've worked hard to avoid them myself. HADLEY Hallooo! You must be the folks from the World Bugle! THEO Must we? Ah, yes. We must! I mean, that's us! LEONA [flat] Show us the cows. HADLEY I'm Mr. Hadley, and this is Lulu. LULU [goat] Maaaa. LEONA Don't try and tell me that's a cow. HADLEY No, no. Lulu's a goat. They're better than dogs. They can stand guard, fetch, and they're very loyal GOAT Maaa. LEONA You tell him. Show us the cows. HADLEY She can even fetch – here. THEO A ball? Should I throw it? HADLEY Nah – just hold it up. Fetch Lulu! LULU MAAA! SOUND THUMP THEO Ow. HADLEY And now she gets the ball. Just a little goat humor. SOUND BRUSHING OFF, GETTING UP THEO [sigh] Tell us all about this problem you're having with your cattles being... mutilated. LEONA Cattle is already plural. HADLEY Come along and you can see for yourself. THEO Ew? I mean - it's been a couple of days. Won't they be a bit ... ripe? LEONA [musing] Really quick shutter. THEO What? LEONA Catches all the flies in mid-flight. THEO Ewwww.. HADLEY Oh, are you thinking my cows are dead? Oh. No. Come on. MUSIC Scene 6. LEONA [stunned] And WHEN did this happen? THEO How many are there? HADLEY Five. Bessie, Buttercup, Wilamina, Miss Amoorica, and Fred. LEONA You have a cow named Fred? HADLEY She's had a hard life. THEO And all five of them have these... HADLEY Big tattooed triangles. Yep. LEONA Does it go underneath, too, or just end there? HADLEY Nope. Each one has her entire left flank covered in this...ink. THEO And it's not just paint? HADLEY Nope. LEONA Humh. Punk cows. Next thing you know, they'll be going for nipple piercings. THEO That would really be -- LEONA [trying not to laugh] An udder mess. THEO Ew. This doesn't look like something that happened overnight. HADLEY Nope. Someone's a-sneaking in each night and doing it. LEONA And they got THIS much done before you noticed? HADLEY What can I say? I'm a right-sided milker. MUSIC Scene 7. SOUND WALKING IN MUD THEO Ah, nature. LEONA One thing you can say for nature. It stinks. THEO That's the smell of life! LEONA No, it's the smell of the cowpie you just stepped in. THEO Ew. Hey look! Someone's coming! LEONA Is it Lulu? THEO No! [excited] It looks like a girl! LEONA Can't you tell? DAISY [off, calling] He-ey! THEO Hiya! LEONA [hissed, hinting] Interview. Witness. Stay on task. THEO What? SOUND SLAP THEO Right. Hello, miss--? DAISY [running up, panting] I'm Daisy! THEO Yeah? LEONA [hissed] Does she live near here? THEO Do you--? DAISY I'm just one farm over. THEO Oh. Good. LEONA Does she know anything about the cows? DAISY Huh? THEO HuH? LEONA Tell you what. We're gonna play blindfold questions. DAISY That sounds like fun! THEO What? [muffled] Hey, what are you doing? [clear again] But I can't see anything now! LEONA That's the idea. DAISY Who are you folks anyway? I never got a chance to-- THEO We're from the World Bugle. Investigating the cows. DAISY Oh! The tattoos? THEO Yeah. Are they happening at your farm too? LEONA Turn to the left, just a bit. THEO Huh? LEONA You're talking to her shoulder. THEO Ah. DAISY Well, no, ain't no one else in the valley having the same problem. And no one can figure out how it's happening, nohow! THEO No one knows how he's doing it? DAISY He? Do you know who it is? THEO Just reporter shorthand. Playing the odds. [serious sounding] Most of these kind of... uh "perps" are male. 82%, in fact. LEONA Nice fake. DAISY Wow! THEO Not that we rule anyone out. You could even be the one doing this. DAISY Not me! I can't even draw a cow. [sudden interest] Who's that? LEONA Who? Shit! My turn for the blindfold. SOUND WHIP OF FABRIC THEO [Baffled] Leo? What? Why are you tying that over your whole face? LEONA [muffled] Shut up! DICKMAN [coming on] Finally some sign of life out here in the hinterlands. DAISY I dunno where hinter's land is. Is he new around here? THEO [getting it] Oh! Hi, Mr. Dickman. DICKMAN You can call me Ace, kid. THEO [chummy] And you can call me Theo, Ace. LEONA [muffled] "Smoothie" THEO Shh. DAISY Can I call you Ace too? You look kinda familiar. Have we ever met? DICKMAN So, kid, who's the chick in the turban? THEO Oh, she's my new ... intern. Uh, she's -uh- devout. Can't show her face. DAISY But she had it off-- LEONA [zhagareet - high pitched warble] THEO [running over] We're very equal-opportunity at the world bugle, you see. DAISY Say, you look kinda like Clint Eastwood. Are you related to Clint Eastwood? DICKMAN [ignoring Daisy] Does she speak English, at least? THEO Only to people she's been... properly introduced to. It's very ...protective. DICKMAN Doesn't make for much of a reporter. THEO [warming to his lie] That's why she's learning to take photographs instead. [talking loud and slow like he's talking to someone foreign] Take picture now? Show? LEONA [muttered and muffled] I got something to show you-- THEO [snap] Jasmine? Take picture! LEONA [sort of vaguely pakistani] oh, yess. Picture take i. SOUND SNAP DICKMAN Hey! You didn't need a flash! It's broad daylight! Right in my damn eyes. SOUND SNAP LEONA Many apologies! DAISY Wanna take a picture of me? DICKMAN [stalking closer] Hey! That camera - it looks kinda familiar. THEO [covering] Oh! They all look alike. LEONA [panicking] uh -- No more talk. Time to pray. SOUND DROP TO THE GROUND LEONA [muttering, muffled] THEO You better not bother her now. She gets these breaks a - a bunch of times every day. It's freedom of religion, man. DICKMAN I'm sure I've seen her before. And she ain't no -- THEO ACE! Don't use that kind of language! [whispered] You could get us sued! LEONA [MUTTERS LOUDER] DAISY Can she take a picture of ME when she gets up? MUSIC Scene 8. AMB QUIET HOTEL ROOM THEO That was kind of... LEONA Mortifying? THEO Well... You don't know much about other cultures, do you? LEONA I only had to fool him, and he knows less. [annoyed] It's kind of like if you and I ever run into a lion - I don't have to outrun the lion... I just have to outrun you. THEO Are there a lot of lions in - [getting it] Ohhh... [moment of awkward silence] LEONA I suppose you're wondering about all this. THEO No. LEONA It's the most embarrassing episode of my life. THEO Oh. I wouldn't want to pry. LEONA Back when I was young and foolish. THEO [astonished] You were young? LEONA And that disgusting hunk of manhood swept me off my girlish feet... THEO [getting a bit weirded out] girlish? LEONA He was so confident... THEO Uh, Leona... LEONA So self assured... THEO Come on, Leona. LEONA And when he walked away that dark and stormy morning, leaving me lying in a puddle of my own tears... THEO Please stop. LEONA [snarl] He walked away with the best scoop I'd ever had. THEO [relieved sigh] Oh! LEONA That's why you can't tell him anything about our story. Not one iota. THEO Why would I, I don't plan to-- LEONA He'll knock on the door any minute now. SOUND KNOCK THEO Wow! LEONA Take him to the bar. THEO But what do I do? LEONA Get him drunk. Keep him talking. SOUND DOOR CHAIN LEONA [sharp whisper] Oh, and while you're distracting him— THEO Distracting? LEONA Yeah. See if you can steal his story! MUSIC Scene 9. AMB BAR DICKMAN This is the life, eh? Just us guys. Us reporters. No one understands the loneliness… THEO Uh, yeah. DICKMAN The mantle of responsibility we don every day-- THEO Really? DICKMAN Our responsibility to the public! To keep them informed. THEO Oh! Is that why your – uh – family bought into the World bugle? DICKMAN Nah. Grandad just loves Ratboy. THEO Oh. [trying to be subtle] So...how goes it with the weed-whacker? DICKMAN [suspicious] Hey – you trying something? THEO No! Just thought… uh… I might be able to [uncertain] Help? DICKMAN I don't need any help. THEO But I might have heard something. A lead. DICKMAN [skeptical] Reeeeally? THEO Oh, yeah. [warming to it] I overheard something. Recently. About –uh – [lost, then bright idea] about someone buying a lot of weed whackers! DICKMAN Really? And what could possibly make you think that he would need more than one weed whacker? THEO He? DICKMAN Playing the odds. 82% of these perps are male, you know. THEO Oh, yeah. I know. DICKMAN [intimidating] But what made you say that? THEO Its just what I heard! Really! DICKMAN [relenting] Cuz that's a detail the police have insisted on keeping back from the public. THEO Oh! MUSIC HOTEL CLERK May I help you? LEONA [talking in a fake deep voice] Package for Mr. Dickmam. What room is he in? HOTEL CLERK I can accept that for him. LEONA No. uh – it's special delivery. From the head office. HOTEL CLERK I can page him. LEONA Can't wait. Must stay… refrigerated. Plus, he's probably out on assignment-- HOTEL CLERK I think he's just over in the bar. LEONA [sigh, drops the voice] Fifty bucks? SOUND MONEY SLAPPED ON TABLE, SCOOPED UP HOTEL CLERK [low response] Here's the spare key. Have a nice day! MUSIC Scene 10. AMB BAR THEO --And he woke up with a donkey's head! DICKMAN What, like in the bed next to him? THEO No, this is Shakespeare, not the Godfather! Like his head was a donkey's head. DICKMAN [musing] Shakespeare WAS the original godfather. I think you might have a story there. THEO Still not as good as yours! DICKMAN When you been in the biz as long as I have… SOUND PHONE RINGS, ANSWERED BARTENDER No, sorry. We don't serve those here. DICKMAN [nasty laugh] Must be talking about your “sidekick.” THEO Ew! BERTENDER Oh, someone NAMED Smoothie. I'll check. [up] Is there a-- THEO [quick, sharp] It's for me! DICKMAN Smoothie? THEO Code name. Top secret. [to phone] Yeah? Yeah! Oh yeaaaaahhhhh. SOUND HANGS UP DICKMAN Yeah? THEO Yeah. Gotta go. The –uh- cows came home. MUSIC Scene 11. AMB NIGHT, PASTURE THEO We always seem to end up outside in the dark waiting for dangerous people. LEONA That's where the stories are. THEO Did you find out anything? LEONA Just that he's got nothing. [chuckles] THEO Isn't that bad for the paper? I mean, they still need stories! LEONA Puppy. [gasp] Look! THEO Lights! Is it aliens? LEONA Coleman. THEO Who's Coleman? LEONA A lamp. It's just the farmer. He must have the same idea we do. THEO We do? LEONA To keep watch until the vandal shows up. THEO Would this fall under vandalism? Hmm… I guess cows count as property. LEONA Shh! Look! THEO He's just going in to check on them. SOUND Mooooo THEO That didn't sound happy. LEONA They're cows. They don't really “do” happy. THEO Hey, where's Lulu? LEONA Lulu? THEO The goat- he said she follows him everywhere. LEONA I dunno. Sleeping? THEO Let's get closer to the barn. MUSIC Scene 12. AMB BARN THEO [whispering] I told you there was something wrong with a man who would leave his goat behind! LEONA If I had a nickel for every time I've heard… SOUND Bzz. Mooooo! THEO [standing up] How dare you! LEONA Oh, boy. HADLEY/DEMON Who dares disturb me at my work. THEO Uh… does he sound different? LEONA I'll be in the bushes – uh – stall. HADLEY/DEMON Come forward, mortal. THEO uh-- LEONA He means you. [uh - pushing him] SOUND PUSH, HE STUMBLES FORWARD THEO [whisered] What do I do? LEONA Interview him. It. Nah, think of it as a him – less scary that way. HADLEY/DEMON What do you want? THEO [gulp] I -- want to hear your side of the story! HADLEY/DEMON Story? THEO Uh, clearly you're doing something here – and very artistically, I might add – but I can't imagine a … s-something, such as yourself doing it for no reason. You must have a … a purpose. The people want to know! LEONA [hissed] step to the left! THEO Huh? LEONA You're blocking my shot! HADLEY/DEMON You think you will shoot me? Muhahahaha! Mortal bullets will have no effect! THEO no! no! not shot shot. Just picture shot. LEONA [whispered] Stay in the light - in case he eviscerates you. HADLEY/DEMON Pictures, yes. I make pictures too. THEO Right! What are they for? HADLEY/DEMON For? They are a summoning! When the ring is complete, he will come! THEO [shock and awe] Satan? HADLEY/DEMON [matter of fact] Nonsense, he's much too busy. That's why I'm here. [demony again] NO! It is the renegade that I am here to summon. I have been placed in his path and he will be mine! SOUND CAMERA CLICKS HADLEY/DEMON [petulant] If some people will go away and leave me to my work. THEO maybe we can help? LEONA [whispered] Ixnay! Otnay our Objay! HADLEY/DEMON Help? You? THEO I mean, if you will spend a little time maybe telling us more about what you're doing? HADLEY/DEMON Hmm…. [thinks long] Which do you think is my good side? MUSIC Scene 13. AMB OUTSIDE, DAY THEO We should tell him! He must have been drugged, or delusional, or sleepwalking! LEONA [assured] Possessed. THEO or sleepwalking. LEONA Possessed makes for a better story. THEO Oh. LEONA Did you have the mini recorder with you? THEO Uh, no. LEONA Dammit Smoothie! THEO I did ... something else with it. LEONA What? THEO Let me see if it worked first. LEONA [sigh] whatever. What's important is to figure out what questions to ask this demon possessor when we talk to him tonight. THEO Tonight? LEONA Meanwhile, we can get some quality time with the girls. THEO Girls? You mean like Daisy? LEONA No, I mean like Fred. MUSIC Scene 14. AMB BARN SOUND Moos THEO Oh, those girls. LEONA Shh. You'll put them off. THEO What are we doing here? LEONA Getting glamour shots. What else? Move that one in behind the one with the white ear. THEO Why don't we ask farmer Hadley to help with this? I don't know anything about cow maneuvers. DICKMAN [off, hding] [Laughs] LEONA [starts to laugh, then cuts it off with a snarl] THEO Holy cow! LEONA Five of them. Come out, Dick. DICKMAN Leona? And here I thought you'd converted. THEO Maybe I should leave you two alone? LEONA Yeah. I'm a transformer. {nyea-uh-uh-ow – transformer noise] Just call me optimus kick your ass. THEO Help me out, Fred, They're not listeneing. SOUND MOO, LICK THEO Ew. [up] We should go back to the – things to do – back at the hotel? LEONA No. I want to know why this notorious poacher is hanging around our story? Could it be because he's stumped on his own? DICKMAN Im never stumped. I'm [thinks, then nasty triumph] I'm multitasking! LULU [outside] Maaaaa THEO Hey guys, here comes Lulu! Better be nice. DICKMAN Who's LuLu? Is she that dishy Barbie in the teensy cutoffs from yesterday? LEONA [chuckles] Nah, she's even more perfect for you. DICKMAN [suggestive] Hot, stupid and has a great story? LEONA [taking it personally] I was never hot – I mean, I was never STUPID! SOUND DOOR OPENS THEO [loudly, trying to break up the fight] Oh, Farmer Hadley! Lulu! How nice to see you both! LEONA Here Dickman. Hold this. Lulu, fetch! LULU Maaaa! DICKMAN What's with the ball? Ow! SOUND THUMP, BODY DROP MUSIC Scene 15. AMB BARN, NIGHT THEO He said he'd explain the whole thing tonight. LEONA Smacks of super villain rhetoric. THEO Huh? LEONA You know, all that “Before I kill you, Mister Bond” crap. THEO Kill? HADLEY/DEMON Oh, yes, I am here to kill. THEO [gasp!] LEONA [gasp] I'll be in the hayloft. HADLEY/DEMON {chuckles] I thought you might like a sound bite for your show. THEO Uh, we're print news. HADLEY/DEMON Too bad. That would have been sweet. THEO But we do have a website! LEONA But he wasn't recording. HADLEY/DEMON [disgruntled] Well, stay out of my way, then. THEO You said tonight you would reveal all. LEONA I'll get the wide angle lens. HADLEY/DEMON Tonight I will return an escaped soul back to hell!!! LEONA Is his name Dickman? HADLEY/DEMON He's not an escapee. But we have him on our radar. THEO Ew. LEONA Good. HADLEY/DEMON No, this is a soul that escaped and is even now cutting a swath across the country! THEO and LEONA [unison] The weed-whacker!? LEONA [musing] Scooping him is almost better than sending him to hell… HADLEY/DEMON These cows are the living, breathing summoning spell. Watch as I circle them up, nose to tail-- LEONA Facing widdershins, I see. THEO Huh? LEONA Anti-clockwise? THEO Oh. HADLEY/DEMON It's a satanic thing. THEO Ahh. LEONA Omigod! HADLEY/DEMON [slightly offended] Please! LEONA Just an interjection. I see it all now! I relaly do need to get up into the hayloft! THEO Why? HADLEY/DEMON Why don't you both go up there and observe? THEO Uh, okay. LEONA Come on! SOUND CLIMBING LADDER HADLEY/DEMON [begins the chant] loren ipsum dolar sit amat… THEO What am I supposed to see? LEONA Look down! SOUND SNAPPING PHOTOS, THROUGHOUT THEO Uh...Cows. LEONA and? THEO Oh! Oh, wow! When they're all in a circle like that, with the tattooed triangles on the inside, it makes-- LEONA A pentagram. Yeah. Trippy. SOUND DOOR OPENS, OFF THEO Did you hear that? LEONA Hear what? SIOUND CAMERA STILL CLICKING AWAY THEO I'll go check. LEONA [absorbed in her work] Yeah, yeah. SOUND CREAKING AS THEO MOVES THEO [muttered] I think it was over … here? DICKMAN [muffled a bit, dictating] Investigating strange noises in the barn, hoping that the killer was hiding out, I courageously – no, scratch that – with no thought for my own safety, just the safety of the world, I pressed on. THEO [to self] Oh, heck! [quiet, calling] Leona? LEONA [snapped hiss] Busy. THEO Oh, boy… SOUND OTHER DOOR SLAMS OPEN HADLEY/DEMON [Cuts off in mid-sentence] [dramatic] You! WW DEMON [dramatic] Yes, it is I! HADLEY/DEMON [matter of fact] I'm here to take you home, Jerry. WW DEMON I don't wanna. HADLEY/DEMON Too bad. Get in the box. WW DEMON [huffy sigh] Fine. But I'm going because I want to and not because you told me to. HADLEY/DEMON Yup. Just like the last four times. whatever. SOUND SORT OF A WHISTLY NOISE DICKMAN Is that it? HADLEY/DEMON Yeah. Why? DICKMAN Seems anti-climactic. HADLEY/DEMON Who do I look like? Peter Jackson? Gotta go, then. [to Leona] One mor pic before I drop this carcass? SOUND CLICK DICKMAN [stunned] You! LEONA [sneering] You! THEO Uh, guys--! SOUND WEIRD SWIRLY NOISE DICKMAN This is my story, Leo. But I'll let you in as my photographer. THEO Guys??? LEONA I'll give you a shot. But not from my camera! SOUND WEIRD SWIRLY NOISE GETS LOUDER THEO I'll be in the bushes. SOUND WEIRD SWRILY EXPLOSION Scene 16. EXPLOSION TURNS INTO "on tape" SOUND CLICK, turns off CHIEF [concerned] Is Leona's film okay? THEO Oh, yeah. It was the weirdest thing, too - no one was actually hurt, but they all had this weird blackout period. I guess I got away early enough to miss most of it, but even I don't rmember everything on the tape. CHIEF Waitaminute - didn't you say in there somewhere that you didn't have your recorder on you? THEO Uh, yeah... SOUND DOOR OPENS, LEONA ENTERS LEONA Here's those photos. SOUND SLAPS THEM DOWN CHIEF [going through] yeah, yeah. Yeah - OHHH! Nice goat. Yeah, yeah. Cute. Holy crap! LEONA [chuckles] THEO Hwat - what was that? CHIEF I take it this compromising picture of Forsythe Dickman the third has some little part in why you got his story without him arguing at all? LEONA [overly innocent] Nah - he just admitted that it was all one story from the beginning, and since we did all the work-- THEO [confidential] It was really hard, getting the goat to stand still for the picture! CHIEF you didn't- uh - I mean, that poor goat! LEONA Nah, once we got her into the tutu - it's all in the lighting. THEO Was harder to dress Dickman. CHIEF Well, get out of here and write up your story-- My personal shopper Pierre is gonna be in here any minute - Wednesday is intimates. LEONA Going. Now. SOUND THEY RUSH OUT Scene 17. REPORTER FRED Oh, please, you're the fourth Hitler sighting this week! REPORTER KATHY Are you sure these tiny people who appear when you drink from your magic bottle aren't just ...uh... D-Ts? REPORTER BOB And you're willing to wear that fur suit and infiltrate the secret hideout? Do you know the paw-shake? SOUND HANG UP PHONE REPORTER JUNE [excited yell] Aliens are landing in Branson!!! They're demanding tickets for Dolly! END
Andy Frye has written for Rolling Stone, ESPN, and Forbes, and has interviewed scores of rock stars and athletes from Smashing Pumpkins to Shaquille O'Neal. In June 2022, Andy published NINETY DAYS IN THE 90s: a Rock N Roll Time Travel Story—a novel about the 1990s music scene and 90s pop culture.I have written for Rolling Stone, ESPN, and currently interview pro athletes and sports legends for Forbes. In June, I published my first novel, NINETY DAYS IN THE 90s, a plot-driven fiction title travel story that encompasses music, pop culture, and contemporary history.www.andyfrye.comwww.90daysinthe90s.comwww.sportyfrye.com
Theo and Leona of the World Bugle (Team E-O to you) return for another scoop. (they originally appeared in Cultists Stole My Baby!) Written and produced by Julie Hoverson Cast List Theo - Henry Marks Leona - Robyn Keyes Chief - Julie Hoverson Larry - Dave Fontenot Baby Dali1 - Julie Hoverson Baby Dali2 - Risa Torres Baby Dali3 - Danar Hoverson Waitress - Sirena Raine Melody - Tanja Milojevic Harmony - Cailean Evedus Other Dalis - Marleigh Norton, Kat Pryde, Gwendolyn Gieseke-Woodard, Kimberly Gianopoulos, Kimberly Poole, Brittney Cruz Music by Josh Woodward Dali Song - Music by Reju (used under creative commons license), words by Arthur O'Shaugnessy, Sung by Julie Hoverson Editing and Sound: Julie Hoverson Cover Design: Julie Hoverson "What kind of a place is it? Why it's an infamous newsroom, can't you tell?" **************************************************************************** Whatever Happened to Baby Dali? Cast: [Opening credits - Olivia] Chief Theo "Smoothie" Walsh Leona Pope Dali 1 Other Dalis Melody Harmony Waitress Larry Four Reporters OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a notorious Newsroom, can't you tell? MUSIC SCENE 1 SOUND bullpen REPORTER 1 So your sister said - oh, not YOUR sister, a NUN named SISTER. REPORTER 2 Drinking the vinegar counteracts the toxins in the system due to-- REPORTER 3 Fourteen people just vanished? Were you on any mind-altering substances? REPORTER 4 Yes, if you spell it backwards it certainly does make the word-- SOUND DOOR CLOSES THEO Chief? I - uh-- [breaks off in horror] SOUND RUSTLE OF TAFFETA CHIEF Whaddaya think? THEO [freaked out] Are you... getting married? [squeak] In white? LEONA [quiet] Are you really asking? THEO Uh-- CHIEF Nah - scared ya didn't I? THEO Uh-- CHIEF Don't worry. I'm still eligible. THEO Uh--? LEONA Back away. Don't take your eyes off her. CHIEF Whaddaya think? It's a little tight in the gut. Gonna have to cut some of them carbs. THEO [trying] Yeah. That would do it. CHIEF At least I got the shoulders to pull off strapless. Hey, where you going? THEO Uh--! LEONA Eager to get to work. You know these young pups. CHIEF Good attitude. Interview room 3. THEO Oh, good! LEONA [side of her mouth] Quick. SCENE 2 SOUND DOOR SHUTS THEO what was that? LEONA It's June. THEO And? LEONA Happens about this time every year. THEO Why? LEONA Bridal feature pull-out? I don't know! [hissed] I don't ask! [commanding] Room 3. THEO Oh, right. SOUND DOOR OPENS LEONA You go first. THEO Right. [a beat] Holy cow! It's her! LEONA Chief doesn't move that fast. Especially in a train. THEO No, I mean - I mean - It IS you, isn't it? DALI 1 Is it safe here? THEO Why does everyone ask that? LEONA Who does he think you are? DALI 1 I'm - I'm Baby Dali. THEO I knew it! I love your music. LEONA We don't do publicity stunts. C'mon, Smoothie. SOUND HUSTLES HIM OUT OF ROOM, DOOR SHUTS THEO We don't? LEONA Of course we do. When we arrange them. Part of our job - your job - is to protect the Bugle from being used for anyone ELSE's cheap publicity. THEO Oh. But Baby Dali's been missing for fourteen days! LEONA Probably in rehab. THEO No! No one knows where she's been! If we could break the story-- SCENE 3 LARRY Hey! You'll never guess who I just took a call from! THEO Ratboy? LEONA State mental health board? LARRY [gloating] Baby Dali. She's ready to come home, and called US to break the story! THEO Wait, but she-- SOUND SLAP LEONA [covering] When did she call? LARRY Just now. THEO Where did she say she was? LARRY Hah! No way. This is MY scoop! [running away, laughing] My ticket out of the bullpen! [stops, turns back] Hah! THEO That's ... sad. LEONA Yeah. Send a stripper. Come on. THEO Where are we going? LEONA [exasperated] Room 3? THEO Aha! SCENE 4 SOUND DOOR OPENS LEONA Sorry about that. Had to do some quick fact checking. THEO Yeah! Make sure you're really.... [melting] Really her. DALI 1 Precisely the problem! Proving I'm her! I mean me. LEONA [muttered prompt] Oh? THEO [gasp] Oh? DALI 1 I'm plagued with posers! LEONA [sigh] Aren't the solid black sunglasses and white fright wig a bit of a giveaway? THEO [infatuated] I knew who you were the moment I saw you. DALI 1 You have a nice face. THEO I do? LEONA My colleague will now take notes. SOUND PEN, PAPER, SLAPPED DOWN THEO Yeah.... MUSIC SCENE 5 SOUND IN CAR THEO Where are we going? LEONA Following Larry. THEO Who? LEONA [disgusted sigh] THEO [getting it] Oh, him! How do we find him again? LEONA He hasn't left yet. THEO How do you know? LEONA I ordered donuts. DALI 1 Oh! LEONA Shh. You're not here, remember? DALI 1 [singing] I swear! THEO Why is she hiding in the back seat under your gym bag? LEONA One - so she won't be seen, since she won't take off that wig. DALI 1 It is my own hair! LEONA Like hell. I saw it shift. DALI 1 It is a wig - but it IS my own hair. LEONA [shudder] uhhhhh. THEO And two? LEONA Two what? THEO You said that was reason one. What's two? LEONA So you can focus, dumbass. THEO Oh. LEONA There he goes! Keep your eyes on the green Camaro. THEO Camaro? LEONA [growl] Green car. Coming out of the parking garage! THEO Gotcha. MUSIC SCENE 6 AMB PARK LARRY [giving a code phrase] The dog flies in the springtime. DALI 2 [squeaky] Yellow is the color of my true love's eyes. LARRY You sound... different. DALI 2 I use a voice modulator on stage. LARRY Ah. So. The world is listening. Tell me your story. DALI 2 Listening? Aren't you from the print media? LARRY Oh. Yeah. I was speaking figuratively. DALI 2 I see. Anyway... I have a really big story, but I have to be certain it will see print! LARRY Of course! SOUND FOOTSTEPS STORM UP DALI 1 Imposter! DALI 2 Imposter! LEONA [off, whispered] I thought you were watching her! THEO [vague] Uh-huh. LEONA Go get the story dumbass. THEO But you? LEONA I can take photos from here. THEO [vague] Okay. SOUND SLAP LEONA Did I mention I'm not giving warnings any more? LARRY [angry] You? No way! The tale of two Dalis is all mine! THEO I - we - brought one of them. LARRY Then dance with the Dali you came with! It's only fair! DALI 1 She's a fake! DALI 2 She's a fake! THEO Waitaminute. You don't even sound like-- BOTH DALIS Autotune!! DALI 3 [chiming in] Autotune. THEO Oh. Huh? Three? MUSIC SCENE 7 WAITRESS All, righty then - that will be 3 orders of waffles, three fruit cups- ALL DALIS It's the only thing vegan on the menu. WAITRESS And two pots of coffee. Comin right up! SOUND DOOR OPENS SOUND DINER NOISES SOUND DOOR SHUTS, CUTTING OUT THE SOUND LEONA [prompting] Ok, this isn't going to last forever - someone will say something, eventually, and then these three won't be an exclusive any more! LARRY Exclusive to all three of us. I get my credit, too. THEO Of course! Fair is fair. LEONA [muttered] I got your credit right here. DALI 1 Can we get on with this? DALI 2 I have a recording session in two hours. DALI 3 No, I do. DALI 1 How can they be so much like me? LEONA Ask them some questions - figure out which is the real one. THEO Right. Ok. Which of you is the real Baby Dali? ALL DALIS I am. DALI 3 Or should I say [singing] I am me and no one else is. LARRY Sounds convincing to me. LEONA I think that one's a guy. THEO That doesn't help... there's been "speculation" about Dali. LEONA [disgusted noise] Ugh! At least let me get some snaps while you think. SOUND TAKING PHOTOS THEO Gee, they even pose alike. LARRY I guess it will all come down to DNA. THEO I don't think so. Dali is a notorious germophobe, and a compulsive clean freak. [nervously over explaining] According to her official web page, which I only browsed for informational newspaper business reasons. LARRY Yeah, me too, but I didn't read much. Those costumes are pretty skimpy. THEO Don't be so creepy, not right in front of her - uh, them. SCENE 8 SOUND DOOR KICKED IN THEO Whoa! LARRY [faints] Uhhh... LEONA I'll be in the... uh... Corner. THEO Stop right there! MELODY You're not giving orders here! HARMONY Yeah. Get those hands up where we can see them. LEONA Keep them talking, this is great. THEO Talking? LEONA Find out what they want. THEO They're dressed like ninjas. MELODY What did you say? THEO Nothing! MELODY I heard you, and I have perfect pitch. THEO oh. Nothing ... uh... uncomplimentary. MELODY [getting closer] Do you know who we are? LEONA Say no. THEO Uh, no? and - and I don't want to, because that way I can never identify you or even report you for robbing a waffle house! MELODY [scoffing] Waffle house! HARMONY We care nothing for your waffles. THEO Uh, ok. ALL DALIS We're having the fruit cup. MELODY No. No fruit cup today. You are coming with us. Just you three. LEONA You can't just leave us here. We might-- [prompting] might--? THEO Uh, what? LEONA We might [prompting] do something? Ugh! THEO We might tell [heavy import] THEM. MELODY [horrified] How do you know about THEM? LEONA I'm actually impressed. THEO oh... Everyone knows about THEM. But only a select few know how to reach THEM. LEONA Smoothie. MELODY [grim] right. You will come with us as well. HARMONY What about the sleeping one? Does he know THEM? LEONA Oh, him? He doesn't know anyone. MUSIC SCENE 9 SOUND WALKING, ECHOEY MELODY Stop! THEO Can we take off the blindfolds now? MELODY Harmony! Take off the blindfolds. And search them. We don't want any messages getting to THEM. SOUND RUSTLING ALL DALIS [general interjections of annoyance like Hey! Stop! Ouch! Ooh!] HARMONY Give me your phone. LEONA Here. SOUND ZIP HARMONY What's this, in your bag? [confused, examining a camera] It has a lens like a phone, but it's awfully big. And it doesn't even have a keypad. LEONA Hmph. It's an antique. Keepsake. I keep meaning to have it mounted on a keychain. HARMONY It's big for a keychain. LEONA [exasperated] I'll never lose my keys. Besides, I still use the flash... uh - flashlight function sometimes. See? SOUND CAMERA SNAPS HARMONY Oh. Ok then. And you. THEO Be gentle. LEONA [sarcastic aside] Be careful. At least she left on the ninja mask. [up, to Theo] find out what's going on. THEO Harmony, is it? A codename, I'm sure, since you and your partner there are clearly too smart to use your real names in front of your victims - I mean in front of civilians. HARMONY [noncommittal grunt] Hmph. THEO All right. I'm not asking for me, but what do you plan to do with the Baby Dalis? I worry that something bad is going to happen. HARMONY Nothing bad. To them. THEO That's a lower case "them," right? Not a THEM them? MELODY Enough chit-chat! You probably know why we brought you here-- LEONA Not a clue. THEO No. MELODY We are the Secret Protectorate Aligned to Reduce or Control Leaching of Entertainers. THEO Leaching? Huh? MELODY We needed an "L". LEONA Sparcle? [snort of almost laughter] THEO Tell me more. I'm a good listener. MELODY You don't know it, friend, but there's a celebrity crisis happening every 20 minutes, and no one else is trying to help! THEO No? Really? MELODY That - those three - are proof of the latest perfidy the government has in the works. ALL DALIS We are? MELODY [definite] Cloning. THEO Wow. ALL DALIS Uh... DALI 3 [panicked] I need to use the bathroom. MUSIC SCENE 10 [Whispered conversation] DALI 1 Yes, my disappearance was a publicity stunt, and yes I am the real Baby Dali. LEONA Heh heh - just like To Tell The Truth. DALI 2 What? LEONA God I feel old. THEO And the other two - you and ... her? DALI 2 Professional Dali impersonator. I was just taking advantage of the vacuum left by her-- SOUND DOOR OPENS, FEET ENTER DALI 3 [crying and running in] MELODY Do not worry, Baby Dalis, we are only here to liberate you and facilitate your re-entry into society. LEONA Like a celebrity dogpound. THEO Wait! MELODY What? THEO Uh-- LEONA Better make it truly, monumentally good. DALI 2 Way to take the pressure off. THEO Uh, what if I were to tell you I'm a reporter for the Weekly World Bugle? MELODY I would be forced to kill you. HARMONY We're not yet ready to reveal our manifesto to the world. THEO Ah. Good thing that would have been a ruse, then, eh? LEONA We're gonna die. THEO But you have to ask yourself, then, how DO I know about THEM? Moment of silence MELODY [cold] I don't have to ask anything. HARMONY [shocked] Melody! You know that we can't do that! [cut off] MELODY Shh!!! How do I even know that you know about THEM, eh? LEONA I do not want to die at the hands of bimbos named after the bugaloos. THEO [ominous but vague] Do you know about the government connection? MELODY [shocked] You know? THEO But it's not who you think it is. They want us to believe it's this department, or that [hinting] bureau, when ultimately... [trails off suggestively] HARMONY He does know! THEO The officials in question might just find themselves a little less able to sleep at night, if they knew that you knew that I know that THEY know just what's behind it all. MELODY Do you know the countersign? THEO Like that incident last month. [breaking his train] The what? LEONA [muttered] Bugaloos. THEO What? MELODY [suspicious] It almost sounds like you're one of us. Do you know the countersign? LEONA [muttered] Benita Bizarre? THEO Uh... Josie and the Pussycats? LEONA [exasperated] Damn! MELODY Welcome brother! LEONA [impressed] Damn! MUSIC SCENE 11 AMB DIFFERENT ROOM SOUND STEPS MELODY Don't speak yet. SOUND MUSIC TURNED ON MELODY It jams any listening device. THEO I love this song. MELODY It seemed fitting. [suddenly brisk] So. What do you know about the cloning project? THEO Uh... nothing specific. We've had our eye on suspicious activity for quite some time. MELODY Damn. I was hoping. THEO But-- MELODY What? THEO Well... I don't think they can be actual "clones". Don't they take years to grow? And Baby Dali only really got famous with her song "Treehouse victim" last year. MELODY You underestimate the cloning process. The technology is there. THEO Oh. But they're not... perfect copies...? MELODY That is the trickiest part. They are clearly mixing DNA. THEO Clearly? MELODY Yes. The squeaky one is probably mixed with that creepy chick from Poultergeist. THEO Ri-i-ight. And the other? MELODY [definite] Morgan Freeman. THEO Uh, yeah. SOUND DOOR FLUNG OPEN HARMONY (breathless) We've found more! There must have been a breach at the Baby Dali containment center! THEO Containment Center? MELODY They had to breed them some place. THEO Tell me, do you guys see a lot of Elvises? MELODY How many? THEO Thousands. MELODY No, I mean how many Babys have we found? HARMONY Four more, and another 8 possible sightings. THEO That's a lot of Dalis. MUSIC SCENE 12 SOUND DOOR OPENS, SCUFFLE SUDDENLY STOPS SOUND FEET, DOOR SHUTS THEO What are you doing? DALI 2 I want to take this all off and get them to let me go! But they won't let me! LEONA Naked? That'll be a photo op. DALI 2 Just the makeup and wig! DALI 1 Never tarnish the illusion. THEO Don't! Their belief in this clone thing might be the only thing keeping us all alive. DALI 3 Besides, I can't take it off - I've had surgery. THEO [creeped out] Oh? DALI 3 For my FACE. Not down there. That's probably what started all the rumors. DALI 1 I love the rumors. DALI 3 [starstruck] You do? Really? LEONA Shh! SOUND SILENCE, DOOR OPENS HARMONY Get in there! SOUND SEVERAL PAIRS OF FEET LEONA More? THEO Oh, yeah. They've been finding more of them. SOUND DOOR SLAMS, LOCKS DALI 4 They took me right off the stage! DALI 5 I was on a date. DALI 7 Busking in the subway. DALI 8 [bad asian accent] I Baby Dorry. DALI 6 I was working a party. THEO And no one tried to stop them from taking you? DALI 6 What could 6-year olds do? THEO Oh. [gets it] Ohhh. DALI 9 I like your glasses. Are those Couture? DALI 10 Knockoffs, but they're good aren't they? I'll give you the url. LEONA Even if one of them does get naked, I don't think it will stop them. [up] Haven't you - no I mean you - already done that on stage? ALL DALIS I am a SPECTACLE! LEONA She's done just about everything on stage except light her farts. THEO That's it! ALL DALIS We're vegan. LEONA Don't look at me. THEO I don't mean [hinting] lighting gas... LEONA You lost me. THEO Have you ever seen the movie Gaslight? MUSIC SCENE 13 THEO Hey! You better get in here! SOUND LOCK UNLOCKING LEONA One more shot. SOUND SNAPSHOT SOUND DOOR OPENS HARMONY [horrified] What happened? Where's their hair? MELODY Is she - uh, that one - dead? THEO [strange voice] She is dying of captivity. ALL DALIS [chanting together] We are the music makers and we are the dreamers of dreams. MELODY But she's still talking. THEO Mechanical convictions. HARMONY I love that song. MELODY Brother Theo, what happened? THEO There is more at work here than you can comprehend. I like you. LEONA Straight from Gaslight to Star Trek. Smooth. MELODY What? THEO But I hate you. HARMONY You're mean! SOUND SHE GOES RUNNING OFF, CRYING ALL DALIS [CHANTING ALONG] World-losers and world forsakers, on who the pale moon gleams. THEO Oh! Uh-- LEONA Don't back off. THEO Right. [trying to match the Dali tone] We are the Music Makers and We are the Dreamers of Dreams. LEONA You do realize she didn't write that, don't you? MELODY [confused] Why are you just speaking it like that, why aren't you singing? THEO [creepy whisper] Because - we have no melody! MELODY [disturbed] But-but I'm Melody! THEO Are you? Are you even here? MELODY I - I am! And I still have the gun - uh... [horrified] My gun?! LEONA Plan B. SOUND GUN COCKS LEONA [commanding] Time to go. THEO Ok, we-- LEONA Quick, before they decide on an encore. MUSIC SCENE 14 CHIEF Good thing you got them all moving. LEONA We got pictures of them both with and without the wigs, and of them leaving to get on a special charter bus. THEO They painted the name on the side really fast. LEONA No, that's actually a company that only gives tours to Dali impersonators. THEO Go figure. Do they have an Elvis bus too? LEONA Yeah. But they get fewer drag performers. CHIEF [reminiscent] Yeah. They serve deep fried bananas, and spin a wheel to see which color outfit gets to sit shotgun. [breaking out] Uh, uh - I mean, I hear they do. LEONA [quick, changing the subject] Right. We've got at least four stories out of this. THEO And something for Larry. LEONA [annoyed and horrified] What? THEO He was in on it, too. [sheepish] at the beginning. CHIEF Larry? Larry who? LEONA From the switchboard. CHIEF Look kid. Being nice ain't how news gets made. It's just a fact o' life. THEO Well... If we don't give him something, he might take what he DOES have and go to another paper. LEONA You want to give him a story? THEO [weakly] He could have the waffle house kidnapping. LEONA [long suffering sigh] I guess. As long as he leaves our names out of it. You just volunteered to edit it. THEO Okay. CHIEF So what else do you have for me? THEO Mass migration of dalis. LEONA [snickering] SPARCLE. THEO The sublimation of and abrogation of self in the gestalt identity of celebrity. LEONA Seriously? THEO I can spin it. CHIEF Nice. Big words make people believe crap like that. Whatever it is. THEO I meant an article on how people try and be like famous people. CHIEF Keep the big words. It sounds better. THEO I'll find some experts. LEONA [another idea] There's also that thing about whether she is a he. Theo found out-- THEO Uh, no. CHIEF What do you mean? THEO The real one wouldn't confirm or deny. LEONA Even when she kissed you? THEO Yeah, well... [shrugs] A Dali is a Dali. CHIEF You could do something with that, you know. On the puzzles page. Get three of them and one fake impersonator. LEONA [chuckles] CHIEF Put pictures of them all in a four box grid and stick some clues in as to which is which. Run a little contest. Think about it. [commanding] In your office. I have to call someone about flowers. THEO [thinking back to the wedding thing] Flowers? For? CHIEF Truman at the Guardian when he drops dead seeing our headlines. THEO Ohhh. Good. LEONA Come on. CHIEF Eh. Maybe I should just send that stripper. SOUND DOOR SHUTS SOUND THEY LEAVE - THIS FADES ACROSS THE BULLPEN LEONA I like the puzzle idea, though we should make it 9-up, like the brady bunch. THEO Who? LEONA [angry growl] Nostalgia. Look it up. THEO Who will be the fake impersonator? LEONA She did say you have a nice face. THEO NO way! LEONA I have to take the picture. REPORTER 4 We actually already have all the Dalis we can use. REPORTER 3 No, thanks, but if you have an MJ sighting? No? REPORTER 2 Anything else? Photo of the prez stepping into a spaceship? REPORTER 1 Yes, yes I'll ask - can we use anything from Ringo Starr? He's on the line and-- ALL REPORTERS Naaaaaaaah. FADE TO END
Episode 111 of The Popko Project Podcast features singer/songwriter, Brenden Starr. Brought to you by Keller's Garden Center/Keller’s Lawn Care And Landscaping Services LLC, Ionic Development, The V-Spot Bar in Scranton, MerchBooth.com and Axelrad Screen Printing. In this episode, we talk about the release of his new song “Top of the World” which has amassed […]
The Bay Area has a vibrant and eclectic music scene, but when Jessica Kariisa moved here last year she couldn't find many places playing the African dance hits she loves. But African music is her passion, so Jessica went on a mission to find it. You'll definitely want to turn the volume up for this episode! Additional Reading: Finding Musical Gems in the Bay Area's African Club Scene A longer version of this story first appeared on Afropop Worldwide Your support makes KQED podcasts possible. You can show your love by going to https://kqed.org/donate/podcasts This story was reported by Jessica Kariisa. It was edited by Victoria Mauleon. Bay Curious is made by Olivia Allen-Price, Katrina Schwartz and Brendan Willard. Our Social Video Intern is Darren Tu. Additional support from Kyana Moghadam, Jen Chien, Jasmine Garnett, Carly Severn, Joe Fitzgerald Rodriguez, Jenny Pritchett and Holly Kernan.
PBS, Golden World/Motown, Dick Clark Caravan of StarsSeems all of the Great Music Scene Happened before My Entrance in the World!!Tony Micale is my Guest & The Original Lead Singer of the Reflections. The Reflections were Golden World's most successful group. This Interview was so much Fun.! Tony & The Reflections are still on Tour Today & thru 2023. reflections-music.comI Could Not do a Spotlight on the Music Scene without highlighting Golden World Records in Detroit, Michigan.Black Business owners the Beautiful Joanne Bratton & Businessman Ed Wingate opened The label Golden World Records in 1964. Joanne ran the Company. My Family were Business Partners with the owners. They owned Hotels, Nightclub's also. Gold World Music & Artists would eventually be acquired by Berry Gordy to become a part of Motown.The Group the Reflection's had the labels 1st Million Selling Hit " Just Lke Romeo & Juliette" The Made the cover of Record World & toured with the Dick Clark Caravan of Stars. They played the Apollo Theater with James Brown. The Reflections achieved success purely on the strength of their well-crafted harmonies and cool professionalism. It's no wonder that six decades later The Reflections are still heralded as one of the finest vocal groups of The Sixties Pop and Doo-Wop Music Era.They made their movie appearance in Columbia Pictures "Winter-A-Go-Go" in 1965, performing "I'm Sweet On You". They were signed to the same Detroit R&B label as their blue-eyed soul peers, The Flaming Ember and The Shades Of Blue..Songwriter Edwin (Hatcher) Starr, The Dramatics, Carl Carlton, The Sunliners (Rare Earth), George Clinton, Sidney Barnes, Pat Lewis & many other Producers, Songwriter, Artists & Musicians started their careers at Golden World.The Golden World studio became Motown's "Studio B", working in support of the original Motown recording studio (Studio A) at Hitsville USA. Before its purchase by Gordy, the studio's recordings often included moonlighting Motown back-up musicians, including James Jamerson on bass and George McGregor on percussion.The famous clock that hung in Golden World Records is currently owned by Melodies and Memories in Eastpointe, Michigan, and is on display there. A restored old Steinway piano that Motown inherited from Golden World is now on display at the Motown MuseumThe Reflections continued to dominate the charts with "Shabby Little Hut", "Poor Man's Son" and "Like Columbus Did". They are still performing today to sold out shows and standing ovations throughout The U.S.A. and Canada. The Reflections' name is proudly displayed on the wall of The Cleveland Rock n' Roll Hall of Fame! Reflections-Music.com© 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASJoin me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
The always diverse and entertaining discussion ranges far and wide from November concerts to vintage documentaries to iconic performers. Garth Brooks, The Eagles, Thundergong, Jerry Lee Lewis, CD history, James Bond music, ticketing strategies, and much more in the mix!
As the air gets crisper and cooler, you might be looking for a musical pairing of acoustic arrangements, clear vocal harmonies and cozy, catchy, simple familiar tunes. In other words, folk music. Folk musicians Heather Wood and Jules Peiperl, board members of the Folk Music Society of New York, discuss the New York folk music scene, and preview the best upcoming acts and standout venues in our area.
A girl living in a haunted house must find a way to protect her way of life.. Written and produced by Julie Hoverson Cast List Eden - Jaiden Douwes Henry - Danar Hoverson Callandra - Julie Hoverson Frederick! - Reynaud LeBoeuf Ethan - Scott Douwes Mrs. Sherman - Angela Kirby Garth Sherman - Luke LeBoeuf News - Suzanne Dunn Henry's Mom - Gwendolyn Gieseke-Woodard Music by Kevin MacLeod (Incompetech.com) Sound mastering: Julie Hoverson Cover Design: Dennis Hager "What kind of a place is it? Why it's an old brownstone home, can't you tell? Where else would you expect to find ... a couple of ghosts? *************************************************************** A Ghost of a Chance Cast: Eden Anderson, precocious 11-year old Ethan Anderson, her dead father, 47 Callandra O'Doul, dead Irish maidservant, 20 Henry Torrence, burglar, 23 Frederick Ferryman, dead actor, 40s-50s Ms. Sherman, CPS, 32 Garth Sherman, her son, a bully, 13 News [anything] OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a big old brownstone, can't you tell? Where else would you find a ghost or two? SCENE 1 – coming home MUSIC SOUNDS MODERN STREET NOISE. SOUND WE FOLLOW THROUGH A CREAKY GATE. STREET NOISE QUIETS A BIT. FOOTSTEPS ON LEAVES, THEN ON WOOD PORCH. KEY IN LOCK, DOOR OPENS, FOOTSTEPS PASS THROUGH. SCENE 2 – HALLWAY AND KITCHEN EDEN Hey! I'm home! SOUND BACKPACK FLUNG ONTO TABLE. DOOR SHUTS AND IS CAREFULLY LOCKED. CALLANDRA You're going to have to do some shopping soon, miss. We're almost out of soap powder. EDEN [sigh] I'll put it on the list. SOUND FOOTSTEPS, THEY HESITATE, THEN STOP EDEN What? Move it. I'm tired. CALLANDRA [evasive] You're looking a mite peaked. You could use a bite to eat. Come into the kitchen and have some soup. EDEN [slightly suspicious] O-kay... SOUND MODERN JAZZ, PLAYED LOW, SLIGHTLY MUFFLED EDEN Dad's not at the videos again is he? SOUND OPENING CUPBOARDS, CANS BEING PULLED OUT AND PLACED ON THE COUNTER CALLANDRA [not quite convincing] No. EDEN Then why don't you want me to go upstairs? SOUND POP TOP ON CAN, SOUP INTO BOWL CALLANDRA Whatever gave you that idea--? EDEN Oh, please. CALLANDRA Can I not just be concerned about you? Someone has to be! SOUND MICROWAVE OPENS, FOOD IN, SETTING TIME EDEN I'm fine. SOUND TURNS ON MICROWAVE MUSIC SCENE 3 – A BIT LATER AMBIANCE TELEVISION PLAYS LOW IN THE BACKGROUND News ....was stolen from the J.J. Holdings museum at the university today. The vase is attributed to the school of Cellini, and has been valued at nearly half a million dollars. SOUND CELLPHONE DIALS, RINGS, PICKS UP EDEN Hey Ariel. ... Nothing. Look, I've been thinking about-- SOUND THUMPING ON CEILING EDEN --trying out... for... Can you wait a minute, Ariel? SOUND HOLD BUTTON IS PRESSED SOUND DOOR OPENS. STEPS INTO FOYER, SLIGHT ECHO SOUND THUMPING FROM ABOVE. A COUPLE OF RAPID STEPS. SOUND [WHOOSHING SOUND OF A GHOST ARRIVING] CALLANDRA Oh no, miss. EDEN Yeah? Stop me. It's not dad - I can hear his computer going, and it's not you, since you're right here. Maybe Frederick? [yelling] Frederick? CALLANDRA [worried] Oh... SOUND [WHOOSHING SOUND OF A GHOST ARRIVING] FREDERICK [overly theatrical, as always] Enter stage right. Yeeeees? CALLANDRA See, it's all gone now-- SOUND THUMPING FROM ABOVE CALLANDRA [dismay] Ooh! EDEN [grim] What is it? FREDERICK Shall I make a recon, my young commander? EDEN Oh! Shoot! SOUND BEEP ON PHONE EDEN Gotta call you back, Ariel. Yeah, it's dad. SOUND PHONE HANGS UP EDEN Callandra? You want to explain-- SOUND DOORBELL RINGS. WHOOSH [GHOSTS LEAVING] EDEN [exasperated sound] Uuh! SOUND STAMPING FEET, CHAIN LOCK GOES ON EDEN [sighs] SOUND DOOR OPENS EDEN [sweetly] Yes? SHERMAN Good evening. Are your parents around? EDEN My father is asleep. He hasn't been feeling very well. SHERMAN I think he'll want to speak to me. FREDERICK [whisper] Why? Is she covered in chocolate? EDEN [gritted teeth] Maybe when he's feeling better. Can he call you? SHERMAN Here's my card. EDEN Oh. CALLANDRA What's C-P-S? Does that mean she's with the coppers? EDEN What's this about? I would invite you in, but-- SHERMAN No, I understand. Safety first. [serious] There's been a complaint. EDEN By who? FREDERICK [booming voice] Whom. EDEN I mean - by whom? SHERMAN I'll discuss all that with your father. Please do have him call me. [going off] All my info's on the card. EDEN [calling] Thanks - uh - Ms. Sherman. SOUND DOOR SHUTS EDEN Oh, shoot! CALLANDRA Now, it's not that bad. Is it? FREDERICK Of course it is. CPS are the child police service. They arrest bad little children. CALLANDRA The devil you say! Oh, Eden, tell me darling! They won't arrest you! EDEN They don't - but they do take children away from the wrong type of home environment. CALLANDRA [relieved] Ohhh! We're safe enough then. EDEN [as if] Ri-ight. SOUND THUMPING EDEN Are you going to tell me, or do I just get to find out for myself? CALLANDRA Oh, my stars... MUSIC SCENE 4 - UPSTAIRS SOUND DOOR UNLOCKS, OPENS HENRY [gasps] Jeez! About flipping time! You ever hear of unlawful imprisonment? EDEN I've heard of burglary. HENRY You're kinda small for a cop. EDEN [exasperated noise] Dude. You can come out now, but just so you know, I've got a taser. SOUND SLOW FOOTSTEPS EDEN [gasps, shocked] You look like--! HENRY Got my hands up, all that. [quoting] Don't tase me, [ending lamely] uh, bro. SOUND A COUPLE MORE STEPS, THEN HENRY [grunt as he lunges at her] SOUND SCUFFLE. FALLING FURNITURE, SOMETHING BREAKS, THEN... FREDERICK [unearthly wail] HENRY [screams, then gibbers until noted] SOUND SOMETHING SMALL CLATTERS TO THE FLOOR EDEN I hate when you do that! That is so gross! [tsk, annoyed sigh] You coulda left your head on... FREDERICK [huffy] It was effective. EDEN [sigh] You. What's your name? HENRY [gibbering] ...head came off, and cold, so cold! SOUND SLAP HENRY [sharp intake of breath] Wha-ah-ah? EDEN Your name, mister burglar. HENRY Henry. Henry Torrence. [whispered] What the heck was that? EDEN A ghost. Now, Mister Torrence, I suppose I'm gonna have to tie you up or something, so you don't try and jump me again-- HENRY Howzabout just letting me - ya know - go? EDEN You broke in. I have to do something, and I really don't want to have to deal with the cops - they'll bother dad. HENRY Look, I never hurt no one, I ain't the type. I swear! EDEN Still... I think you need to stay locked up for a while. CALLANDRA Can I keep him? Please? I caught him! FREDERICK Shut up woman, we may be able to use this fellow's services. EDEN [ordering] March! I'll put you somewhere better than that closet, but you better stay put or - FREDERICK Boooooo! HENRY [gasps] EDEN [unenthusiastically] Yeah, that. Boo. MUSIC SCENE 5 - DOWNSTAIRS CALLANDRA What do you plan to do with him? Please say I can have him for me own - he's such a fine specimen of a man. EDEN If you keep him, I have to feed him. CALLANDRA Well... not necessarily... EDEN No. No. No. I'm not having any more ghosts around here. CALLANDRA You never let me have any fun! EDEN Besides, didn't you notice the resemblance? CALLANDRA To a man? SOUND WHOOSH, FF ENTERS FREDERICK Our dear Callandra never looked above his [mocking her accent] "luuuvly broad shoulders!" CALLANDRA Bite your tongue, Frederick! I still have those clippings of yours, and you will sorely regret having a jape at my expense-- EDEN Shut up! MUSIC SCENE 6 – BREAKFAST IN BED SOUND MORNING BIRD NOISES SOUND MUFFLED THUMP, RATTLE AT DOORKNOB HENRY [yawns, waking] SOUND CHAIN RATTLES, BEDCLOTHES RUSTLE EDEN [muffled] Are you awake? HENRY Yeah, sure. Whatever. SOUND DOOR OPENS WITH DIFFICULTY SOUND EDEN ENTERS WITH TRAY EDEN I hope you like bacon. HENRY Uh, yeah! [surprised and enthused] SOUND SHIFTING AS HE SITS UP IN BED, CHAIN MOVES HENRY Thanks. Breakfast in bed. Almost like a dream, except-- SOUND RATTLE OF CHAINS CALLANDRA [snarky] Well, we can't have you wandering around the house like some sort of ... burglar, can we? HENRY Does she need to be here? SOUND SETS DOWN TRAY, DISHES RATTLE EDEN She's my backup. I need to talk to you. HENRY [annoyed] Go ahead. I don't eat with my ears. SOUND EATING NOISES EDEN [snort of laughter] This is going to sound really dumb, but... [thinks hard] I have a kind of proposition for you. HENRY [offended] You are way too young, and she's dead. EDEN Huh? CALLANDRA Shame on you! HENRY Nothing. [eats noisily] EDEN Ew! [angry sigh] Look, no. My dad is out of town, and I need someone to pretend to be him and talk to CPS. HENRY CPS? The CPS? Hell no. I hate those bast‑‑ uh-- buttheads. EDEN Why? You got kids? HENRY Never mind. No way you can talk me into-- EDEN We'll pay you. HENRY --into-- How much? EDEN Dad said we could give you a thousand. For staying here for two weeks and pretending to be him. HENRY He's not coming home for two weeks? [truly offended] What the hell is wrong with him, leaving you all alone? CALLANDRA Language!! HENRY I don't give a flying rat's patoot about my language! If your dad is so flipping negligent to leave you all alone for weeks at a time, [losing steam] then maybe you'd be ... better off-- EDEN [anguish] In foster care? No way!! HENRY Well, no, but... don't you have any other family? EDEN [mumbled] Not anywhere around here. HENRY [sincere] That sucks! EDEN Look, I'm not supposed to say anything, but my dad... He [whispers importantly] he works for the government. Top secret. HENRY Seriously? EDEN Uh-huh! So he can't always control when he'll be back. HENRY Why would he - why would you even trust me? EDEN You won't get paid until after the two weeks is up. Besides... I'm a pretty good cook? HENRY Okay, but I have to be able to tell my mom. She'll worry if I don't get home. EDEN You live with your mom? But you're like a grownup. That's weird. HENRY Why do you think I don't have a real job? MUSIC SCENE 7 – MEETING CPS FREDERICK [sharp whisper] Now you just behave now, my lad, or I'll give you what for again. HENRY [trying to be flippant] “Boo.” I get it. This makeup itches. EDEN Sorry. You had to look a little older. HENRY It is kinda creepy how I look so much like your dad. EDEN Yeah. [fretting] Where IS she? SOUND KNOCK ON THE DOOR CALLANDRA Eep! EDEN [to the ghosts] Scat! [quiet] Ready? HENRY Guess we'll find out. SOUND FEET, DOOR UNLOCKS and OPENS EDEN Hello? Ah. Right on time. SHERMAN Your father--? EDEN Right here. Come on in. HENRY [trying too hard to sound old] Ethan Anderson. Pleased to meet you. You're Ms. Sherman? EDEN [warning] Dad! [explaining] He's had a cold. SHERMAN [warm] Ah! I hope you're on the mend? HENRY [clears his throat, sounds more normal] Yes, yes. Much better. MUSIC SCENE 8 – WAITING IN THE KITCHEN SOUND FLAP OF KITCHEN DOOR, FEET CALLANDRA [very nervous] How goes it? EDEN Seems OK, so far. HENRY [off, furious] What? EDEN Oh no! SOUND RUNS OFF, FLAP OF DOOR EDEN [breathless] What? HENRY [grim] Tell her. SHERMAN [sweet] My dear, um, Eden. I was just telling your father that your school has raised issues about your father's involvement-- EDEN Why? He emails them all the time. They understand how busy he is. SHERMAN We still have to take it under advisement. Now, off the record, and with the understanding that you, sir, are a fairly wealthy man, I might ask why you haven't engaged a nanny or other similar household staff-- EDEN [QUIET, prompting] DAD! HENRY [angry] What business is it of yours, lady? SHERMAN Perhaps you should step out and leave us alone again, dear. EDEN No. I may be too young for my opinion to count, but I want to hear what you plan to do to me. We don't need anyone to look after the house. I can do that. SHERMAN But you shouldn't have to - you are a child, dear, and you have better things to do. EDEN Like what? Play Xbox and get fat? MUSIC SCENE 9 – AFTER SHE LEAVES SOUND FRONT DOOR SHUTS, LOCKS HENRY You have 20 million dollars? EDEN And a half. Not like I can spend it. They don't trust me - that's why they call it a trust fund. HENRY [snort] SOUND SHE STARTS UP THE STAIRS HENRY Hey, we're talking here. EDEN [upset] You're only my dad while there's an audience. HENRY [calling] Why don't you want a nanny or something? SOUND RUNS UP THE STAIRS CALLANDRA Poor child. HENRY [gasps] Oh, right. CALLANDRA Pity you're not much of a father. HENRY [offended] You're not much help, either. CALLANDRA Oh? And what do you expect from me? I've been dead over a century, boyo. HENRY How's that work, anyway? CALLANDRA [pouty] Don't know. Wouldn't tell you if I did. HENRY Fine. Whatever. You have anything to drink around this place? CALLANDRA [rolls eyes] Oh, yes. That would look terrible good to Ms. Sherman, wouldn't it? HENRY I'm going out for a while. Don't worry - I'll sneak out the back. I'm good at THAT. MUSIC SCENE 10 – HENRY'S HOME SOUND DOOR OPENS, MUSIC PLAYS IN THE BACKGROUND HENRY [sigh, then calling] Hey mom! MOM [bleary drunk] Baby? That you? HENRY [resigned] Yes, mom. MOM Where you been? HENRY I gotta job, mom. Been working. MOM You bring me back a little something, baby? Medicine? HENRY [down] Tomorrow. I promise. MOM [sarcastic] Such a good boy. You gon' expect me to bail you out again? You need to get you some better friends, baby. HENRY I'm not a baby, mom. I'm thirty-five. MOM You'll always be my baby, Henry, won't you? You know how much I count on you. How much it hurts every time you been taken away from me. What would I do if you were in jail? Do you ever think about that? HENRY Yeah. [under his breath] All the time. MUSIC SCENE 11 – CHAT WITH DAD SOUND COMPUTER KEYS SOUND DOOR OPENS HENRY Eden? EDEN [gasps] What? Oh! You're back! SOUND FOOTSTEPS HENRY You shouldn't sit in the dark like that. EDEN [sarcastic] Thanks dad. [serious] I've been chatting with my real dad. HENRY I didn't hear anything, if that's what you're worried about. EDEN Duh. Computer chatting. HENRY Typing. Right. I'm not much for the whole computer thing. EDEN That could be awkward, if Ms. Sherman decides to quiz you on what you do for a living. Dad's a programmer. HENRY For the government? EDEN [scornful] No! [realizing] Oh, I mean... uh... he's a programmer for real, but he doesn't program for them. HENRY [suspicious] Can I type something to him? EDEN Sure. SOUND CHAIR SHIFTS, CLUMSY, SLOW TYPING EDEN Is this a secret, or can I type it for you? HENRY Yeah, go on - at this rate I'll be here all night just to say Hi. Um... [thinking] Mister... uh ... can I call him Ethan? EDEN [responding to dad] All right. He says let's turn on the microphone. SOUND CLICK EDEN Now you can just talk. He still has to type, though. His mike is broken. HENRY I don't know you, so maybe I'm not the one who should be saying this, but - here goes. Dude, leaving your kid alone makes you a bad dad. So what if the government needs you! EDEN You're... serious? HENRY Hell yeah. You're gonna grow up robbing banks and stuff. EDEN Hmm. He says, just because your dad was a deadbeat, doesn't mean -- HENRY What the hell do you think you know? EDEN He says-- HENRY I can see what he says. Background check, my ass! EDEN I told you he's a computer guy. HENRY Fine. You need to take care of-- EDEN Don't tell me how to raise my daughter. Oh, and he says "watch"-- SOUND [some CCTV video comes on the computer] HENRY [shocked] How did he get that? EDEN Is that you? Breaking into a building? Wow. Wait, is that the museum? HENRY So that's your way of keeping me in line? EDEN Are you the one who stole the Cellini vase? HENRY I plead the fifth. [angry sigh] Fine. I'll do my two weeks, and then I am the hell out of here. EDEN [angry] Very well, you worthless wretch! HENRY What? EDEN [innocent] Just what he said. MUSIC SCENE 12 – RUDE AWAKENING SOUND POUNDING ON DOOR CALLANDRA Mr. Anderson!! HENRY [sleepy] What? CALLANDRA That woman is at the door! HENRY I can't answer it like this! I don't have that old-age makeup-- CALLANDRA Frederic! HENRY No, no - I can do it-- SOUND POUNDING AGAIN FREDERIC Did I hear a cue? HENRY No, we-- CALLANDRA He needs to look old and ill. And right fast. HENRY Really, I-- FREDERIC Hmm. Here. [horrible ghostly noise] HENRY [screams] CALLANDRA Shh! FREDERIC Damnation. Once that would have turned your hair quite white - as it is, you will have to wear a cap. MUSIC SCENE 13 – CPS AGAIN SOUND DOOR OPENS SLOWLY HENRY [shaky] Yes? SHERMAN Took you long enough. HENRY I was in the shower. Nearly killed myself slipping when I came down the stairs. SHERMAN Are you going to ask me in? HENRY You might have heard the scream. SHERMAN No. [hinting to let her in] It is rather chilly out here. HENRY [sigh] Very well. SOUND THEY GO IN, HE FAKES A LIMP CALLANDRA You watch out for that one! HENRY Shh! FREDERICK She can't hear us unless we want her to. SHERMAN I expect Eden is at school right now? HENRY She's a very good student. SHERMAN [disdainful] B plus. HENRY That ain't nothing to sneeze at, lady! SOUND SITS SHERMAN But we both know she could do better. HENRY What makes you think that? SHERMAN You could get her tutors. HENRY Why? She's real smart. FREDERICK You tell her! But you might try using proper grammar. SHERMAN There's so many things your money could do for your daughter. HENRY I'd rather let her be herself. CALLANDRA Oh, that's touching, that is. SHERMAN You could send her to private school. My own son Garth is in private school. HENRY [faltering] She has ...friends.... here. SHERMAN [hinting] A very expensive private school. HENRY You recruiting or something? I ain't making any decisions behind my kid's back. SHERMAN You could pay me to leave you alone. HENRY She wants to stay -- WHAT? CALLANDRA Horrors! FREDERIC Bezom! SHERMAN You must understand, Mr. Anderson, just how poorly compensated we civil servants are these days. What a completely thankless job we do. HENRY You really just hit me up for money? SHERMAN And how particularly expensive a really good school is. HENRY [incredulous] Money. You're asking for money. SHERMAN Of course. HENRY You're a skanky money-grubbing ho! FREDERIC Filth straight from the bowels of satan's own thrice-crowned hounds of hell! SHERMAN Language! [evil nice again] You have plenty of money. I've looked into your financials. Not just Eden's little trust fund, but liquid assets as well. HENRY That's blackmail! SHERMAN Technically, it's extortion. So far. Extortion is getting money with a threat of something yet to come. HENRY It's still illegal. CALLANDRA Oh, horrors! SHERMAN Blackmail, on the other hand, is getting money with the threat of revealing something from the past. Like your criminal record? HENRY My... [confused] what? SHERMAN Mr. Anderson, I have no wish to go into detail, but do you really think I would come here with just the might of CPS behind me? HENRY Maybe. SHERMAN No. I have something concrete on you. HENRY Doesn't ring a bell. [chuckles lamely] Criminal record? Me? [laughs] SHERMAN Do the words 1987 and dot com mean anything to you? HENRY But I was just-- ["a kid", but he cuts off] SHERMAN Using an assumed name? You're very lucky no one thought to cross-reference your fingerprints before, but once they do what I did... HENRY Oh, crap. SHERMAN I'm in no hurry. I'd be happy to take a little something up front, and then a larger payment by the end of the week, perhaps? HENRY I'll ...see what I have lying around. MUSIC SCENE 14 – CHAT WITH DAD SOUND DOOR OPENS, FEET STORM IN HENRY Is your mike on, Mr. Anderson? SOUND COMPUTER BEEP HENRY Good. Cause I don't know jack about how to work these things. SOUND COMPUTER BOOP HENRY You heard what happened? How? SOUND BOOP HENRY I didn't even notice a computer in the living room. SOUND BOOP HENRY Huh? Which button? SOUND BOOP HENRY No need to get snippy. SOUND BUTTON PUSHED ETHAN [computer generated voice] You will go immediately to the first hill bank and trust-- HENRY What do you mean immediately? I gotta do grocery shopping this morning. ETHAN Delivered. HENRY Not for here. for my mom. ETHAN Get it delivered. HENRY Hey! Mom may be an old lush, but she expects to see me from time to time. ETHAN Bank after. HENRY What's all this crap that witch was talking about, anyway? ETHAN No time. Bank today. Take three thousand dollars-- HENRY I can't pass for you at a damn bank! I can't sign your name! ETHAN Account in your name. Use your own I-D. HENRY What? In my name? What makes you think I won't just walk off... [back on topic] Second - why three thousand? She won't settle for just three-- ETHAN Three thousand will pay off her car. HENRY Damn. You really can find out anything, can't you? MUSIC SCENE 15 – HENRY HOME SOUND DOOR OPENS, MOM'S HOUSE. TV ON HENRY I brought your groceries. MOM Good. Didja get any beer? HENRY It's still in the car. MOM Bring that in next, woudja? That's a good boy. HENRY [from other room, confused] Mom? Where's my TV? MOM Mine was ...uh...on the fritz, so I moved yours in here. HENRY You did? MOM I had help. HENRY You forgot to pay, didn't you? MOM That is no way to talk to your mother! Besides, if you weren't gone all the time, I wouldn't have such a problem. You know I never was good with money. HENRY Yeah. MOM When did you say you'd get paid for this new job you got? MUSIC SCENE 16 – DINNER WITH EDEN SOUND DINNER NOISES HENRY You made this? EDEN [sullen] Yeah. HENRY It's pretty good. EDEN Should be. Been cooking since I was [Callandra's accent] "just a wee thing". [change of tone, sullen] You were gone all day. Again. HENRY I came back. EDEN Well, duh. We're paying you to be here. HENRY Are the ghosts joining us? EDEN [still sullen] Frederic gets too jumpy around food, and Callandra "doesna feel tis proper." MOMENT OF SILENCE HENRY Are you mad at me? SOUND THUMP - VASE ON TABLE HENRY What the h---ay? You going through my room? EDEN Callandra saw you hide it. SHE's very upset with you. CALLNDRA [from off] Though it is a right pretty wee thing! HENRY I had to bring it along - mom was about to use it as an ashtray. EDEN Why do you steal? HENRY Whoa! That ain't polite to ask. EDEN It isn't polite to steal. MOMENT OF SILENCE HENRY What else am I gonna do? Shove burgers? I ain't even got a GED. Without that… well… EDEN If you're trying to convince me to stay in school, there's no point. HENRY No way! You gonna drop out? Smart kid like you – you could be any darn thing you want! EDEN Oh, please. I already have a GED. Or at least, I took the test – just to see, you know? And I've taken a few college courses on the Internet. I stay in school for the socialization. HENRY Huh? EDEN I stay in school to look normal and have friends. The work is boring as hell, but I don't want to stand out. Do you know how hard it is to manage a B+ average? HENRY [sarcastic] Never had that problem, myself. EDEN [mounting upset] I have to guess on each test what the correct percentage of answers is to get wrong. I have to dumb my writing down for essay questions. I have to-- HENRY Why? EDEN Why? HENRY Why not just say to hell with it, and let em see how smart you are? EDEN Smart kids get noticed. I can stand out when I'm older. When it's safe. MUSIC SCENE 17 – WHERE'S DAD SOUND COMPUTER NOISES HENRY You need to get your butt home, dude. Your government might need you, but your daughter needs you more. ETHAN Not possible. HENRY What, are you in deep cover or something? In a foreign prison? [slow realization] Oh.... crap. ETHAN We are both in crap. HENRY No, I mean you - you're like them, aren't you? ETHAN Define "them". HENRY The ghosts. ETHAN [beat] Yes. HENRY Holy crap. ETHAN No. Just regular crap. HENRY I can't stay here forever! ETHAN Eden needs you. HENRY [wobbling] My mom... she needs me, too. ETHAN Open the scanner. HENRY What? Oh, that. SOUND SCANNER NOISE ETHAN I need your hand. MUSIC SCENE 18 – WHERE'S MOM SOUND SILENT HOUSE, KEY IN LOCK, DOOR OPENS HENRY Mom, why's the TV --? [panicky] Mom? SOUND MOVES THROUGH, TALKING HENRY Mom, please say you're okay. Say something! Hello? Oh, jeez, what could they'a done to‑‑ [cuts off as he spots something] What? SOUND PAPER PICKED UP HENRY [Reading] Hope you get this. Woulda called, but-- MOM [continuing, guilt tripping] --you never gave me your number at "work". Won a cruise in a mail-in contest. Back in a month. "Mom." P-S, all expenses paid - how you like them apples. Oh, and make sure to pay the electric bill. Want heat when I get home. HENRY [half amused, half annoyed chuckle] Ethan, you king of all shits. MUSIC SCENE 19 – LIKE MOTHER SOUND OUTSIDE, DAYTIME STREET GARTH Hey! EDEN [suspicious] Can I help you? GARTH [mean chuckle] You bet. SOUND CLICK OF CAMERA PHONE GARTH [annoyed] Hey! EDEN [scared, but standing her ground] If this is a mugging, I just e-mailed your picture to my dad. GARTH He's not gonna do anything. EDEN What makes you so sure? GARTH My mom has him by the short hairs. EDEN Your mom? GARTH Sherman? From CPS? Ring any bells? EDEN She went away. Everything is fine. GARTH Course it is. It's fine as long as you guys play ball. EDEN [starting to get it] As long as we--? GARTH Pay up. EDEN But that's-- GARTH You wanna complain, go whine to your dad, he'll explain the facts of life. For now... you got an ipod? EDEN [starting to break] I-- GARTH [threatening] Or should I say, do I got an ipod? [snarl] Hand it over. SOUND HAND OVER EDEN [nearly in tears] There. Choke on it, you bully! GARTH Uh! [shoves her] SOUND EDEN FALLS EDEN [gasp, trying hard not to cry] SOUND GARTH WALKS AWAY GARTH Hah! She got the Bieber fever. [nasty laugh] Ooh! Beyonce! EDEN [long sniffle] SOUND RUNNING FEET HENRY What happened? Here, let me-- SOUND SHE JUMPS UP AND THROWS HER ARMS AROUND HIM EDEN [crying] HENRY [nervous, not sure what to say] It's okay! I'll handle this. It's-- [determined, personal] It's going to be okay. MUSIC SCENE 20 – getting even SOUND QUIETLY DRESSING HENRY [whispering] It's easy to forget she's just a kid. FREDERIC [stage whisper] She is a most self-possessed young lady. HENRY Shh. She only just got to sleep. FREDERIC And you? Are you leaving her now, in her hour of need? HENRY [grim] Something I gotta do. FREDERIC In the middle of the night? SOUND ZIPPER ZIPS FREDERIC And dressed all in black? I sense skullduggery! HENRY Sense all you want, but stay quiet about it. FREDERIC Alas that I cannot do more than keep the light burning for your return. HENRY Yeah. See you in the morning. MUSIC SCENE 21 – SATISFACTION SOUND LOUD BANGING ON THE FRONT DOOR, DOOR OPENS HENRY [self satisfied] Ahh! [yawns] So sorry. Long night. SHERMAN Your check bounced! HENRY [congenial] No, I put a stop payment on it. Won't you come in? SHERMAN You WHAT? HENRY I - we - aren't playing your game any more. SOUND DOOR CREAKS OPEN A CRACK, UP CLOSE EDEN [whispered, eavesdropping] Go, Henry! FREDERIC I could always give her a visitation - maybe we'll get lucky and she'll keel over from the shock! EDEN No! He may be a butt, but I don't want you to kill some kid's mom! CALLANDRA They've gone into the living room! EDEN I'll have to listen on the laptop then. Right dad? SOUND BEEP MUSIC SCENE 22 – REVELATION HENRY Would you like a soda? SHERMAN I would like an explanation. What makes you think I won't go through with turning you in? HENRY Go ahead. When they take my fingerprints and they don't match the ones you have on file, you'll look pretty silly. SHERMAN You - you...! HENRY You might have noticed that I'm a bit of a computer nerd. SHERMAN Oh-ho-ho! [getting composure back] You may have changed the prints on the system, But you can't get into my backups. HENRY Call my bluff. SHERMAN Very well-- HENRY BUT-- SOUND MOMENT OF AWKWARD PAUSE SHERMAN [worried] What? HENRY I'm afraid you have a problem of your own. SHERMAN I have a what? Are you trying to blackmail me? I am very careful. HENRY About your money stuff, yeah - I'm sure you are. This is something else. A vase. SHERMAN A what? HENRY Have you read the papers recently? The museum? SHERMAN The Cellini Vase? HENRY Yeah, that thing. SHERMAN What does that have to do with me? HENRY It's in your house. MUSIC SCENE 23 – FINALE EDEN What if she finds it? HENRY What's she gonna do with it? She don't know no fences. CALLANDRA Or any place to sell it either. EDEN She might give it back? FREDERIC And try to explain how she happened to come by such a fugitive object? Hah! HENRY Hah is right. EDEN [down] So I guess this means you're gonna go now. I mean now that it's all clear. HENRY I guess. EDEN Would you stay? I mean, if you could? HENRY I'd like to but.... I dunno. My mom-- SOUND BEEP ETHAN [computer voice] Was lucky and got an apartment in a new full-service assisted living community. HENRY What? You can't just-- ETHAN Try and get her out. They have KeNo every Thursday. HENRY [annoyed but thinking] Hmm..... Does she get to have a nice TV? ETHAN No. HENRY What? How can you--? ETHAN You will bring one to her. EDEN Clever. FREDERIC Brilliant! CALLANDRA [sniffling] Touching. HENRY Gotcha. And what about me? EDEN I have four more years before I can technically be emancipated. If you're willing to be my dad til then, we'll-- ETHAN Pay you one hundred thousand per year. HENRY [dubious] That's pretty good. Hmm... Four years. EDEN Well, what do you want, then? HENRY Four years sounds like a heckuva lot like college. EDEN I'm still too young. HENRY Nah... I was thinking... you know... [quiet] For me. [up] But only if you'll help me get my GED and stuff. EDEN I bet I could be a really good tutor! MUSIC END
This episode of THE Underground Source of El Paso, TX features local rock and roller - the prolific, terrific, decibel bustin' Melt Citizen! We mainy discuss his new 10 track album "Joylessness" while fending off mosquitoes at Thomas Manor Park - includes bonus horror movie chat towards the end! Enjoy boils and ghouls! Follow Melt Citizen on Instagram - @meltcitizen - and hit the link in the bio! This episode produced by M. De Santiago and G. Armendariz. Edited and Hosted by M. De Santiago. Intro/outro music by Melt Citizen. Intro song: "Even When I Can't Think, I Think of You" Outro song clip: "Some Kind of Indifference" - both taken from Melt Citizen's "Joylessness" album. Cover photograph by YouKnowWho. RATED CHLL.
Famo is often described as Lesotho's “traditional music” and is the country's leading music genre. In recent times, rivalry among Famo artistes has led to bloodshed. Some music experts say this recent behaviour mirrors some of the US hip hop rivaly in the 1990s; the so-called East Coast v West Coast beef. Many Famo artists are divided into two warring factions, Terene and Seakhi. Terene members are known for draping their distinct yellow traditional blankets over their shoulders. Those who belong to Seakhi, prefer blue and black blankets. The two have been clashing for years, leading to the deaths of dozens of people. But what's behind the battles? Alan Kasujja speaks to Famo's experts and local musicians.
Another delicious dive into shows big and small, anniversaries, reflections, and opinions. Lizzo, Taylor Swift, Brandi Carlile, The Traveling Wilburys, Lynard Skynard, merch, and more in the musical mix!
Reporter Jessica Kariisa is Ugandan American, and she's spent years listening to and writing about African pop music. When she moved to the Bay Area, she wasn't sure what she'd find in terms of an African music scene. Gentrification and the rising cost of living have pushed many Black communities out of cities in the Bay Area and beyond. But, after doing some digging, Jessica discovered an African music scene that's thriving. And we pay tribute to the first DJ to play rock and roll on the West Coast. Art Laboe cultivated a devoted fan base over his nearly 80 years on the air. He trademarked the term “oldies but goodies,” and claimed to have invented the on-air dedication, where lovers send songs to each other over the airwaves. Laboe died earlier this month at age 97. We reprise host Sasha Khokha's interview with him from 2019.
A classic-style caper, chock-a-block with art theft, swindling, and romance! Written and produced by Julie Hoverson Cast List Algernon Winthrop - Will Watt Bartholomew Hetheredge - Glen Hallstrom Harriet Carter-Nelson - Julie Hoverson Attendant - Russell Gold Music by Laché Swing (Free Music Archive) Editing and Sound: Julie Hoverson Cover Design: Julie Hoverson (in the style of the Dell Mapback mystery covers) with help from Steve Guy "What kind of a place is it? Why it's a gentleman's club in the 1930s, can't you tell?" *********************************************************************** THE PERFECT PIGEON Cast: Announcer Algernon Winthrop, a young gentleman whose profession is art broker - with a secret life as a gentleman thief Harriet Carter-Nelson, country heiress, who has inherited some paintings Bartholomew Heatheredge, elder bachelor, friend and confidante of Algernon Butler, discreet and very well trained THE PERFECT PIGEON MUSIC TO OPEN - LIGHT 1930s JAZZ OLIVIA What do you mean what kind of place is it? Why it's a private room in a proper Gentleman's Club in London in the 1930s - can't you tell? MUSIC SCENE 1 THE CLUB ROOM SOUND RADIO PLAYS JAZZ IN ANOTHER ROOM ALGY Bartholomew, old man - believe it or not, I've been HAD. BART [mock incredulous] Algernon Winthrop the third? "Had"? Hold on, shh! [beat] No, no... I don't think I hear the trumpet hailing the end of all things, so how could You possibly-- ALGY Hush! Do you want to hear the story or not? BART [teasing] I dunno - do I? ALGY You're the only one I can tell, so I expect you can guess what this is in regards to. BART [knowing smirk] "Art"? ALGY Yes. I was approached last Wednesday week by [wistful] a vision of loveliness-- BART Male or Female? ALGY Female, of course! You know which direction my loveliness runs. A trim auburn lass with a back like she'd been born on a horse. BART There is something to be said for centaurs. ALGY She said she had been referred to me as a leading authority on certain kinds of paintings. BART [chuckles expectantly] A-ha! ALGY Well, I am! And I have the advantage of being outside the normal rope and cap mobs. BART Someone with no affiliation to bat for. ALGY Correct. [sigh] She invited me to her country estate, and how could I refuse? There are untold treasures hidden in mouldering attics throughout the land! BART Better you than me. I loathe the country. ALGY You loathe anything beyond a ten minute walk from this club. BART Very true. [arch] Oh, you've reminded me, we're in a club. That means there is hot and cold running alcohol to hand. Shall we? ALGY I'll stick to a weak Gin and Tonic, if you don't mind. I may have ...work... to do later. BART Oh-ho!! SOUND GENTLE BELL RINGS, GENTLE DOOR OPENS BUTLER Sir? BART Drinks, please. G and T, heavy on the T, and some of that port I'm so fond of. BUTLER Excellent selections, sir. SOUND DOOR CLOSES ALGY [chuckling] He'd say that regardless of what you asked for. BART True, but he would say it with a subtle sneer in his voice. Frankly, I can't remember the vintage of the port in question... but apparently he does. ALGY Indispensible. BART I know you won't recount anything juicy until he returns, so tell me more about this girl? ALGY Harriet Carter-Nelson. Last heir of some family or other. Was left the only house not entailed to a distant chinless wonder. Took possession, found it rather a crumbling heap, but discovered there were some potentially salable items hidden about the place. BART Items in the "canvas" line, I assume? ALGY Precisely. SOUND TAP AT THE DOOR BART Come in. SOUND BUTLER ENTERS, PUTS DOWN DRINKS, LEAVES ALGY [sips] Perfect. Gem of a man. BART Can't remember his name any more than the vintage, but I do try and appreciate him whenever I have the chance. ALGY Appreciate him a bit for me, too, would you? BART Certainly. [drinks] Now, the canvasses. ALGY After an hour or so of driving - the place was halfway to Inverness - I came upon a stark silhouette set against a striking sunset. BART You paint such pictures with your words. ALGY I suppose an eye is an eye, for all that. Checking the coordinates, I discovered I had arrived. More striking still was the vision of loveliness that greeted me at the door. BART NOT a butler, then? ALGY No. There was some sort of staff about, but she was expecting me, and made certain to be ready upon my arrival. BART Curiouser and curiouser - a woman who doesn't make one wait an half hour for her entrance? I like her already. ALGY [rueful] As do I. She lacks that sheen of plasticine that so many women don the moment they "come out" and never seem to take off again. Everything about her seemed so natural. So genuine. MUSIC TRANSITION SCENE 2 OUTSIDE THE HOUSE SOUND FROGS, NIGHT NOISES HARRIET I'm so pleased you found it! Come in, come in! Oh, no wait - sorry. You should turn your car around before the light goes. Some of the ground is boggy and it's quite treacherous in the dark. ALGY I'll be perfectly fine. HARRIET [mock sigh] Your funeral. Come along. SOUND FOOTSTEPS ON GRAVEL THEN WOOD, DOOR SHUTS ALGY I didn't realize there was any civilization this far into the hinterlands. HARRIET Oh, there isn't. Not really. But I love it out here. The country is so beautiful - nine weeks out of the year. Between mold season and mosquito season. ALGY [laughs] BART [Voice Over] Enough with the flirting - tell me about the paintings. ALGY [VO] Give me a moment to wallow in our collective wit, won't you? BART [VO] One more moment, then. Proceed. HARRIET There's a set of rooms that's quite liveable, and a few larger enclosed spaces that might pass for human habitation. [drops the banter] I'm hoping - truly - that some of the paintings will be worth enough that I can sell them and [loving] rescue the poor house. [clipped again] You did say you have contacts and know people who might be looking to buy? ALGY I shall do the best for you that I can. ALGY [VO] And I would. Whatever my other interests are, once I give my word, I always keep it. BART [VO] Particularly to such a lovely young thing, eh, wot? HARRIET It's very kind of you. ALGY Well, I do expect to make some little commission on it, of course. HARRIET Of course. Right through here. MUSIC SCENE 3 THE CLUB ROOM SOUND ALGY DRINKS ALGY [disgusted sigh] and it was ... tragic. BART Strong word. ALGY Strong feeling. The room she took me into was hung with a dozen limp landscapes. BART Limp? ALGY Oh, you know the type "Aunt so-and so painted this in 1860 on the French Riveria". Or "Grandmama was always well regarded for her eye for beauty". BART Good night. And after such a long drive! ALGY And watching that look of hope slide off her dainty face. The light going out in her hazel eyes. MUSIC SCENE 4 INSIDE THE HOUSE SOUND SLIGHT CREAKS WHEN THEY WALK HARRIET That bad? ALGY I may be able to get you an odd bob or so - perhaps from an American. Not more. HARRIET Oh. ALGY It happens to the best of us. ALGY [VO] She turned away, and the line of her shoulders spoke volumes. BART [VO] Reading her shoulders? On a first date? [chuckles] ALGY I-I-- Perhaps I should... go? HARRIET No. [coming to a decision, almost teary] I... Can I trust you? ALGY Goodness, would anyone say no to that? HARRIET [burst of laughter] Goodness be blowed! I'm going to take a chance. People have said good things about you. Come along. SOUND WALKING, CREAKING, UNDER VO ALGY [VO] She took me deep into the bowels of the house, into some sort of secret room. I watched closely as she tweaked various odds and sods on a rococo mantlepiece, and a panel slid open. SOUND CREAK AS PANEL SHIFTS SOUND HOLLOW MOANING WIND HARRIET There's a family ghost, but it's benign. ALGY Spirits have never bothered me. ALGY [VO] And in this room - by gad! BART [VO] Yes? ALGY [VO] Arrayed around the walls were a good dozen of what looked like genuine Old masters. Undiscovered, possibly unknown. BART [VO] Real? ALGY Real? HARRIET Yes, but. Problematic. ALGY How so? HARRIET Apparently, according to unverifiable family lore, one of our ancestors was quite the notorious bandit. ALGY Bandit? HARRIET Highwayman, I believe they called the titled ones. He raided everything within a week's ride, they say, and stashed most of the boodle here. Everything that could be sold easily, went long ago. Gold, jewels, things like that. ALGY Well, if they were stolen so long ago, I doubt there would be any debate as to the ownership. HARRIET [very doubtful] Oh... I'm sure. It's just... ALGY Yes? HARRIET [pitiable] There's no money. Not a sou. I can't possibly defend even the slightest case. A solitary whisper of doubt, and I'll lose everything. ALGY I see. HARRIET And without concrete provenance, there's no legitimate way I can sell even one of these. Tragic, isn't it? ALGY There are plenty of people who would buy, provenance or no. You might not get full measure, but that all depends on your patience and negotiating talent. HARRIET [exasperated] Buyers there may be, but I wouldn't know where to find them! ALGY I would. HARRIET [still fuming, not hearing him immediately] And even if I did, I wouldn't know the first thing to say-- [breaks off, realizing] What? ALGY I know all the right people. If you can trust me with any one of those, I'll get you top dollar. HARRIET But why would you help me? And how can I possibly trust you? ALGY Oh, I'll take my standard commission, of course. And I'll play you fair on the first one, if for no other reason than in hope that you'll let me take on the rest. HARRET [worried musing] It's a big step. The mere thought of letting them out of my sight terrifies me. It's not as if I have insurance or anything. If the worst should happen - I'd be lost. ALGY If I could, I would buy one outright from you - at a discount, you understand - and hazard a chance I could make a profit. But these are far out of my range, unless I were to insult you by offering a pittance. HARRIET A pittance would at least keep body and soul together until you were able to sell it. Could you - manage something in a down payment? Even just call it an assurance - we could write up a contract and everything! ALGY Oh, I don't think we need go that far. But I could advance you something, if you don't mind waiting a day or two. HARRIET [musing] Let's see - a day or two for you to get back, then I have to arrange a lift into the city, to get to the bank, and back.... ALGY [amused] Are you hinting that you would prefer cash? HARRIET Am I that transparent? [sweetly] I used to be quite a good liar, I'm told, but desperation does wear one's nerve a bit thin. And the local shops no longer honor this house with credit. ALGY I could manage, say, a thousand pounds assurance. If you'll let me take that small one. HARRIET A thousand? You think this is worth so much? ALGY Ten times that, at least. HARRIET My hero! I'll have it crated and ready for transport when you return, will that be all right? ALGY Certainly. MUSIC SCENE 5 THE CLUB ROOM BART You didn't. ALGY I did. BART And which one of the limp landscapes did you purchase for a thousand pounds? ALGY [sigh] A rather dreadful view of some lighthouse that's slightly off plumb. BART [laughs heartily] And what do you plan to do about it? ALGY What do you think? BART Can you find your way back in again? ALGY I believe so. I truly would have played fair with her, but... BART What can she expect? Swindling a notorious art thief like "The Badger"? MUSIC - TIME PASSES SCENE 6 THE CLUB ROOM - NEXT DAY SOUND DOOR OPENS ALGY [entering melodramatically] Oh, Bart! Bart, my old chum! All is lost! SOUND DOOR SHUTS BART Sit, dear boy. Sit and tell! Is this your enchanting titian-haired siren? ALGY Enchanting! Enchantress is more like it! BART Why? Don't tell me you couldn't get back into her secret painting room? ALGY [chortles sarcastically] Oh-ho-ho. It's far worse than that. BART Ah. Good thing I laid on some rather strong liquor when I got your cable. Drink up. ALGY [drinks] There's really not much to tell. BART I hope you have more than that! This is expensive stuff! ALGY I got into the house. Even managed to find the right combination of whorls on the carving - she'd pushed a number of extra thingumees, did I mention that? BART So she knew you were watching? ALGY [sighing admission] Yes. She's frightfully brilliant. BART Let me get this straight - this charming chit of a girl has fooled you twice, and yet you still admire her? ALGY I admire her because she has fooled me twice. BART And her loveliness has nothing to do with it? ALGY Well... [smiling] it certainly doesn't hurt. BART [beat] So... you got into the room. ALGY Yes. Yes. I got in. BART [exasperated] And? ALGY Every one of the frames that I had so closely examined not two weeks before was filled... with landscapes! BART THE landscapes? ALGY For all I know she has an infinite supply of the blasted things! [sudden realization] By Jove! BART What? ALGY I can't believe it never occurred to me before - what if I'm not the first? BART Whatever do you mean? ALGY What if this little minx has pulled this same trick on other so-called art dealers? BART [chuckles] Are you outraged at her daring, or because she didn't pick you first? ALGY There she was, dressed in plain homespun, crying infinite poverty, when she may have just held up half the crooked daub handlers in Piccadilly! BART I can see why you admire her. ALGY The beast! BART I can't wait to meet her. ALGY Wretch! BART You'll have to bring her around sometime. ALGY What? BART Well, you are going to see her again, aren't you? ALGY You old dog. You know everything. [beat] She should be here any minute. BART Then I expect it's a good thing I've dropped a word here and there about a niece who might be coming into town any day now, isn't it? ALGY I don't know why I even try-- SOUND KNOCK AT DOOR BART Yes? SOUND DOOR OPENS, BUTLER ENTERS BUTLER Sir, there is a young lady here to see mister Algernon Winthrop. I told her merely that I would inquire...? BART Proper, as always. Don't give her any definite answer, there's a good chap, but bring her on up. BUTLER [slightly miffed] Very good, sir. SOUND DOOR CLOSES BART That. That is definitely the sound he would make if I placed an order for anything substandard. ALGY I say, Bart, hide me, would you? BART What and leave your young lady entirely in my clutches? ALGY I know you'll get something out of her, and all the more if she doesn't realize I'm here. BART [indulgent] That door there. It has a lovely large keyhole, and a connection to the corridor. I'll ferret out whatever she's hiding. You'll get your hands on those paintings yet. ALGY Oh, I already have plans for that. BART Oh? What--? SOUND KNOCK ON DOOR. SOUND SCRAMBLE AS ALGY HIDES SOUND HIS DOOR QUIETLY CREAKS SHUT BART [calling] Come in. SOUND HER DOOR OPENS SOUND BART POURS DRINK BUTLER [introductions] Miss Harriet Carter-Nelson. Mister Bartholomew Heatheredge. SOUND FOOTSTEPS, DOOR SHUTS [NOTE: from this point until she "overplays her hand", BART and ALGY are pulling a con on Harriet to get her to trade back the painting] BART [suddenly stern] Please have a seat, Miss Carter-Nelson. I pray you won't take offense at my not rising, but my gout has been simply murder this past week. HARRIET [uncertain] But... I was invited here by Mister Winthrop? BART I have sent him on some trifling errand, in hopes that we might finish our business without his interference. HARRIET Business? BART Poor Algy has a lamentably sentimental nature when it comes to these things. HARRIET Pray enlighten me of "these things" that you are speaking of? BART I assume you will not be adverse to endorsing this. SOUND PAPER PRODUCED WITH A FLOURISH HARRIET What is it? [almost a laugh] A bill of sale? For-- BART The painting currently in Mr. Winthrop's possession. HARRIET But it's-- BART Practically worthless? Nonetheless, Mr. Winthrop requests that you make it over to him in its entirety, in return for monies which have already changed hands - to wit, one thousand pounds. HARRIET Why should he want to claim ownership of the silly thing? BART [fraught with ominous meaning] Why indeed. [brisk] All you need concern yourself with is your signature on that document, placing the item into legal custody of my client. HARRIET Client? BART Did he fail to mention that I am his family solicitor? HARRIET [worried] Solicitor. Yes, I believe he overlooked that. BART Come, come. He won't be gone all day. HARRIET No. I would like to hear the reason for this. BART [furious] Miss Carter-Nelson! I am not here to give explanations, merely to get one of two outcomes from you - and while my preference would be for you to regain your painting, and my client his money, that is undoubtedly out of the question. Should the need arise, I am also prepared to begin legal proceedings. HARRIET [gasp] SOUND KNOCK ALGY [outside] I say, Bart, have you got someone in there? BART Drat. HARRIET [musing] Lamentably sentimental, you say? BART Mister Winthrop, perhaps you would-- HARRIET [loud, over him, cheery] Come in! SOUND DOOR OPENS, ALGY ENTERS ALGY Good gracious! Are you keeping secrets from me, old man? BART I am merely trying to legitimize the transaction that passed between you two-- HARRIET [flirty] He's trying to get me to sign over all ownership of that painting. ALGY Oh! Good job. Go on. HARRIET You... you actually WANT it? ALGY [hinting] It's not a matter of what I want-- BART [cutting him off] AHEM. It's a matter of making the entire situation clear and above board. The painting has more than been compensated for. HARRIET [suspicious] What do you plan to do with it? BART [rising irritation] That is none of your concern! The only thing that needs to happen here and now is for you to transfer title or return my client's deposit. HARRIET This is hardly fair. I should need to consult a solicitor as well - see to it that this bill of sale is proper and aboveboard! BART You're right, of course. If you will give me the name of your solicitor, I can contact him directly. [muttered] Probably best to have him on hand, regardless, just in case Mr. Winthrop decides to take my advice as to... legal action. HARRIET Mr. Winthrop, I just want to-- ALGY You can call me Algernon, if you like, Miss Carter-Nelson. HARRIET [hesitant, confused] Algernon. Very well, but I-- ALGY And perhaps I might be allowed to call you Harriet? HARRIET [a bit wry] Will it help convince you this does not require legal action if we are on a first name basis? ALGY [laughs] Perhaps. HARRIET [slightly wheedling] Will it help convince you to let me in on the big secret about the... uh... painting in question? ALGY Oh, that. It's really quite simple-- BART Ahem. ALGY [fatuous] Hush, Barty. I know how to handle women. BART AHEM! ALGY Shall I ring and have someone bring you a lozenge? No? Very well. [confidential, pleased] Now Harriet. I can take a joke as well as the next fellow. Don't you agree? HARRIET You've been a pip. ALGY And I'm sure you feel that perhaps I've only got what I deserve, as I may very well have been on the verge of stealing your lovely old master, or at the very least short-changing such a poor but lovely young heiress. HARRIET You would be surprised how many might consider such dastardly deeds, given our relative positions. ALGY [annoyed] How many? [smooth again] Well, I can assure you that I would have played fair with you - and got you the best possible deal-- BART That is all moot. Why don't you just null the entire transaction and give the painting back. The colonel-- [catching himself in a mistake] I mean, the person in question - ahem - has stated a clear unwillingness to own any piece of dubious origin. ALGY A-HEM. HARRIET [musing] A Colonel? ALGY I suppose you must have realized by now that I have a potential buyer for the painting, and that I will be making back - mm - more than my thousand. HARRIET For that drab thing? ALGY Some pieces sell on merit, others on sentiment. The best salesmen are those who find the right customers. HARRIET How much? BART As far as you are concerned, it is one thousand pounds, already paid, and an agreement on my client's part not to litigate for false pretenses. HARRIET No, really, [very warm] Algernon. How much? ALGY [melting] I've been offered five thousand, but only with a clear title. HARRIET [shock] Five? For Great Aunt Ermintrude's "Impressions of a Baltic Lighthouse?" BART [muttered] A leaning Baltic lighthouse. ALGY [annoyed] A Baltic lighthouse a certain colonel recognizes as a place near where he was once stationed in his youth. A place he used to meet his one true love. HARRIET [amazed] Truly? ALGY So he says, and I was of no mind to disabuse him. HARRIET Suddenly I have been hit with a terrible guilt complex about having taken such foul advantage of you. ALGY Oh really? HARRIET Such a sentimental streak - I never would have suspected it. ALGY I hide it well. BART [snort of laughter turned into cough] HARRIET I think the best way to handle this is to give you your money back and call it all even. ALGY Oh, really? HARRIET Yes. And, just to show what a good sport I am, I'd - I'd like to make a present of the silly thing to your friend -um- colonel, uh...? [hinting] ALGY [breaks down laughing] BART I fear you've overplayed your hand, young lady. HARRIET I? Whatever do you mean? ALGY You are adorable. HARRIET [offended] You make it sound as if I was a puppy! ALGY [still trying to stop laughing] No, no, no. You are far cleverer than any puppy. HARRIET I should hope so. [huff] I think this is where I should take my leave. ALGY [suddenly sober] No. HARRIET [wary] Why? ALGY There's still the matter of my money. HARRIET Get it from your colonel! SOUND A BIT OF A SCUFFLE AS HE STOPS HER FROM LEAVING BART Here now! Here now! I will not have this! Sit down, both of you! SOUND THEY BREAK APART WITH A GASP BART I said sit! SOUND CHAIR NOISES SOUND DRINKS POURED BART I have the perfect answer to this dilemma, if you will just be quiet and listen. ALGY He probably does. He's very clever. HARRIET I think you both find yourselves too clever by half. ALGY You fit in quite nicely, then, don't you? BART How odd. I distinctly recall-- Did I not say to be quiet? ALGY [teasing] We'll be good, papa. HARRIET Are you planning to mete out justice like old king Solomon? BART Do you want half a painting? [beat] Good. Now. The way I see it, your problem, Miss Carter-Nelson, is you wish to preserve your home, and are going about it in this rather nefarious manner. HARRIET Well... BART This is no time for prevarication, miss --Harriet. HARRIET I am using what little I have to save my home. Yes. BART Very well. HARRIET And if I happen to take slight advantage over those who otherwise would have taken similar advantage of me-- ALGY I already told you, Harriet darling, I would never have-- HARRIET But I couldn't know that, could I? BART Hush! [beat] I swear you bicker like-- well, we'll leave that for the moment. [chuckles] And your problem, dear boy, is you would love to get your hands on the lovely old masters this young woman consorts with. HARRIET [amused] You make it sound quite filthy! ALGY [quiet] Not the only thing. [up] Yes. I would love to be the one to discover such lovely pieces and be able to find them good homes. Even legitimate ones. BART Oh, well then - the answer is simple. HARRIET Oh? Really? BART You two should marry. HARRIET [startled, outraged] What? ALGY Capital idea. Was thinking something along those lines myself. HARRIET oh! [indignant gasp] Here! SOUND PURSE CLICKS OPEN, COUNT OUT MONEY HARRIET Here is your blasted thousand pounds. SOUND MONEY TOSSED ON TABLE SOUND PURSE SNAPPED SHUT HARRIET [huff] Good day! SOUND SHE LEAVES, SLAMMING THE DOOR BART [chuckle] She suits you. ALGY [confident] Just a matter of time. BART Make sure to send along some of the wedding cake, there's a good chap. THE END ANNOUNCER [credits]