Podcasts about Newley

Brad Newley joins the podcast to reflect on a remarkable career that spanned over two decades, three NBL clubs, countless international tournaments, and a stint with the NBA's Houston Rockets. From his breakout rookie season with Townsville to Olympic campaigns with the Boomers and his late-career leadership role at Melbourne United, Newley shares the highs, challenges, and defining moments that shaped his journey. We dig into his development at the AIS, becoming the first player to ever win NBL Rookie of the Year and Sixth Man in the same season, and his MVP performance at the 2005 NBL All-Star Game. Newley also opens up about his four-year run with Gran Canaria, international battles against Team USA, and the evolution of the Sydney Kings under Andrew Gaze and Will Weaver. Topics include:

Welcome back to the Sorry to Interrupt podcast and the final FFT of the Season! First, Reddo and Tom recap the final fantasy week of the season and give out season long awards. Next, (32:05) we get a word from the '24 Dinohypeco big-money league (rip)'s Newley crowned champion. Finally (46:05) Tom and Ryan recap his Championship match up, go around the league, and of course finish it off with some other topics. Follow us on twitter @sorrysports and TikTok @sorry_sports. Happy New Year!

Get ready to spin the vinyl of conversation with Scott McLean with Lou Colicchio and Mark Smith from the Music Relish Show, as we bring you an episode brimming with quirky record label tales, deep dives into '70s hits, and a game of '45 poker' that's sure to resonate with any music enthusiast. We're jamming out to the sweet sounds of nostalgia, from reveling in the disco era's gems to unearthing cold wave bands that channel the spirit of the '80s. But it's not just a trip down memory lane; we're also bringing to light the Vets Connect Podcast, a heartfelt endeavor that spotlights non-profits dedicated to aiding veterans, blending our passion for music with a cause that hits close to home.As your hosts, we're not afraid to stir up a little friendly competition, throwing down on who can claim the best finds in our vinyl showdown, all while dissecting the Rock and Roll Hall of Fame's latest controversies. Discover how we pit breakfast sausage against bacon in a culinary clash and wax poetic about our favorite morning cereals that fueled our cartoon-filled weekends. And whether you're a Metallica maven or a Beastie Boys buff, we'll share our vivid musical memories and the peculiar charm that keeps us coming back to albums like "Paul's Boutique." We wrap things up by tackling the tough questions—like whether the Rock and Roll Hall of Fame still holds its prestige or if it's turned into a mere popularity contest. Join us as we examine the larger-than-life impact of acts like Foreigner, mull over the exclusivity of this hallowed institution, and share a laugh about band poster decor mishaps. So pour a cup of your favorite brew and settle in for a chat that's as much about the universal language of music as it is about the simple joys of a good sandwich spread. With a side of music history, a dash of culinary debate, and a generous helping of heartfelt reflections, we're serving up an episode you won't want to miss.

Nick and Benji present… The Chat: Bond, Newley, Sleeper, Hats… Good Review Guy: The Seventh Doctor Adventures - Sullivan and Cross… Behind-the-scenes and Drama Tease: Twelfth Doctor Chronicles: You Only Die Twice… Also Available: Star Cops Blood Moon.

NBL NOW | Everything NBL Derek Rucker & Jack Heverin Abercrombie and Newley call time Can the Hawks go all the way? 2 big names call time on their careers Drama at the Cairns Taipans Creek and Browne back to make it hard for the Kings Adelaide need to make their move See omnystudio.com/listener for privacy information.

Newley signed kicker Cade York addresses the media after Friday's practice as Giants prepare for Sunday's matchup vs. Las Vegas Raiders.See omnystudio.com/listener for privacy information.

This week's sermon series, The Gospel of Luke, Part III: A Journey through Galilee, Exacting Discipleship, Newley continues telling the story of Jesus' transition from the years of teaching about the Kingdom of God, healing, and performing miracles to Jesus setting his way towards Jerusalem and talking with others along the way. In Luke 9:57-62, there is an emphasis placed on discipleship, the cost, and what it looks like to follow Him.

This week we speak with Newley ordained priest for the Diocese of Parramatta, Fr Matthew Dimian about the fabulous topic of the Church's teaching authority, also known as the Magisterium of the Church. He dives deep into the scriptural and early Church foundation for the Church's teaching power on earth, touching on the authority of the Pope and Bishops. This is such an important topic, and can even be considered the very foundation of why we may believe in Christ altogether! Fr Matthew will leave you assured of Christ's promise to be with us until the end of the age, and invigorate your confidence in the teaching power of the Church despite the rough times we have endured in the past or are being challenged with in our present time, you will be quipped with the practical tools for your faith and being faithful in our age. – The Show is Live on the following Platforms Television   TV Maria: tvmaria.ph  Radio Platforms: Voice of Charity Australia (1701AM): www.voc.org.au    Radio Maria Australia: https://www.radiomaria.org.au/  Cradio: www.cradio.org.au  Social Media:  @thecatholictoolboxshow Facebook & Instagram - Partners: Parousia Media: www.parousiamedia.com EWTN Asia Pacific www.ewtnasiapacific.com Guest Link: https://catholicoutlook.org/matthew-dimian-keeping-his-eyes-firmly-fixed-on-christ/    - SUBSCRIBE to our weekly Alert and Newsletter: www.thecatholictoolboxshow.com Get your copy of "The Art of Practical Catholicism" by George Manassa: store.parousiamedia.com/the-art-of-practical-catholicism-your-faith-guide-george-manassa-paperback/  Book George Manassa to speak at your parish or event now: www.parousiamedia.com/george-manassa/    DISCLAIMER This Episode does not count as Medical, Psychological or professional advice. All the contents within the parameters of this episode are simply the personal views of the host and guest(s) and any personal advice reflected should always be verified by your relevant professional. In no way is this a substitute for seeking any professional advice and we urge that you seek relevant professional attention at any stage. Please seek the guidance of your doctor or other qualified health professional with any questions you may have regarding your health or a medical condition. Never disregard the advice of a medical professional, or delay in seeking it because of something you have read on this Website. If you are experiencing any emergencies please call  000 OR if you need assistance call  13 11 14 within Australia Or your national emergency service

Welcome back to the table with your favorite geeks : Larry , Mike , Kevin and George as we dive into our thoughts into the Season Finale of The Mandalorian, the Newley release Flash trailer and predictions for GOTG V3.So grab a chair, bring it up to the table cause we've got a lot to talk about!

The storm that presented itself in 2022 will push through by mid-year 2023. However, there's still more damage to be inflicted. Currently, in the mortgage secondary markets, there's a high probability of mortgage servicing rights (MSRs) flooding the market. When this happens, there will be a gluttony of supply with only a limited amount of demand. On the surface level, this will make the pricing on Newley originated home loans less attractive. More concerning is how this dumping of MSRs will impact certain mortgage banks balance sheets. Could this be what drives many more out of business or forces them to merge? Only time will tell, the odds are against a good number of mortgage companies.  www.TLOPonline.com for MORE CONTENT!

Happy New Year! It's Patrick's turn to show Lolo a film for the first time and he's decided to revisit a childhood favorite of his; the 1967 Doctor Dolittle. How did this film that was a box office flop and a critical failure go on to have 7 Oscar nominations and 2 wins? What are the connections between it Planet of the Apes and Star Wars: A New Hope? And what does Lolo think when she finally sits down and watches this film Patrick's been trying to get her to watch since they started dating almost 11 years ago? Listen now for all those answers and more!Become a Patron for access to exclusive episodes and videos: https://www.patreon.com/ixfilmproductionsNew episodes of First Timers Movie Club come out every other Friday so click SUBSCRIBE and rate us five stars to make sure you don't miss our next episode!Have a favorite (or least favorite) famous movie that you think we should've seen? Reach out to IX Film Productions on Twitter, Instagram or email and we'll add it to our list!Follow IX Film Productions for podcast updates, stand up comedy, original web shorts and comedy feature films at:Facebook: www.facebook.com/ixfilmproductionsTwitter: www.twitter.com/ixproductionsInstagram: @IXProductionsYouTube: www.youtube.com/ixfp"First Timers Movie Club" is brought to you by IX Film Productions."Making the World a Funnier Place one Film at a Time"MusicThe Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: http://creativecommons.org/licenses/by/4.0/

2:47:41 – Frank in NJ, plus the Other Side. Topics include: Ramp Fiction, sideburns update, listening tokens, The Alan Parsons Project, Bowie on Newley, ephemerality of theater, seemingly irrational adherence to tradition, Burt Bacharach TV Special 1972 Full Show with Anthony Newley & Sammy Davis Jr., aspects of banter, tax exiles, risotto, ASCII Cantina, Ramp Verse, Mazenweed, […]

2:47:41 – Frank in NJ, plus the Other Side. Topics include: Ramp Fiction, sideburns update, listening tokens, The Alan Parsons Project, Bowie on Newley, ephemerality of theater, seemingly irrational adherence to tradition, Burt Bacharach TV Special 1972 Full Show with Anthony Newley & Sammy Davis Jr., aspects of banter, tax exiles, risotto, ASCII Cantina, Ramp Verse, Mazenweed, […]

Walter Zausch Owner & Hunter Coffee Master Distiller of the Newley renamed Whiskey Thief Distillery on The Three Boys Farm in Frankfort Kentucky, Welcome Tiny, Roxy, Super Nash, & Xavier to the distillery for a very cool podcast! They announce the name change with The Scotchy Bourbon Boys right here on this Podcast! So don't miss out on one second of this exciting visit to The Whiskey Thief Distillery! The Gaming BlenderHave you ever wanted to design your own video game?Listen on: Apple Podcasts Spotifywww.logstilldistillery.com Support the show

Interesting take on what Carlos considers to have been his college education. The College, "The Circle Star Theater" in San Carlos, California. His "Professors", Mr. Jones, Mr. Humperdinck, Mr.  Williams, Mr. Newton, Mr. Newley and Mr. Liberace. Support the show

Am I On The Air Quick Bites Comic-Con 2022 is here and Marvel hit the stage and discussed the plan for the Newley announced "Multiverse Saga"!! The projects will consist of phases 4, 5, and even some 6. What is coming over the next couple of years? Come listen to us break it all down. --- Send in a voice message: https://anchor.fm/popculturepros/message Support this podcast: https://anchor.fm/popculturepros/support

Comic Con 2022 is here and Marvel hit the stage and discussed the plan for the Newley announced "Multiverse Saga"!! The projects that will consist of Phase 4, 5 and even some 6. What is coming over the next couple years? Come listen to us break it all down. --- Support this podcast: https://anchor.fm/am-i-on-the-air/support

Kidoz (KIDZ: TSXV) owns the biggest mobile advertising platform for kids and families. How big? There are almost 4,000 apps around the world using Kidoz, reaching over 300 MILLION kids. The company works with top brands, including: Disney McDonald's Hasbro Lego …… and is a trusted partner of Apple and Google. More than just lip service, $KIDZ success can be seen in its annual revenue growth: 2017 $1.9M 2018 $3M 2019 $4.5M 2020 $7.1M 2021 $12.4M + 74%Q4 $5.88M + 109% 2021 Gross Profit $685k + 54% 2021 Adjusted EBITDA of $1.35M + 409% over Q3 $KIDZ continues to steam roll with more record revenues for Q1 2022 with this news Kidoz Inc. Announces Strong Growth in Q1 2022 with Revenue of $2,283,974 (up 47% over Q1 2021). Q1 is the industry's slowest quarter because Q4 is the biggest quarter as a result of back to school, Thanksgiving and Christmas / holiday season …. but that didn't stop $KIDZ from setting another Q1 record and setting the stage for a big year in which it also announced the following: RECORD REVENUE GUIDANCE FOR THE FULL YEAR 2022 “We are prepared to communicate 2022 revenue guidance of $19M to $21M, which represents approximately 60% year over year growth, and we expect 2022 Adjusted EBITDA to be positive and maintain our profitable Adjusted EBITDA for the third year in a row.” We sat down with $KIDZ. CEO Jason Williams to discuss this full year guidance, as well as, Q1 results, some highlights of which are as follows: Select Q1 2022 highlights: $2,283,974 Revenue - 47% growth compared to Q1 2021 $830,895 Gross Profit - growth of 21% compared to Q1 2021 Gross Profit of $685,041. Jason Williams, Kidoz CEO stated: "We're pleased with the first quarter of 2022. Our revenue grew greater than 40% compared to Q1 2021. This was driven by a substantial increase in volume through our leading kids-safe ad network. Meanwhile, we continue to invest in software development, marketing, and operations staff to raise our profile and enhance the technical and operational foundation of our new Performance and Programmatic growth initiatives," KIDOZ IS A GLOBAL PLAYER Eldad Ben Tora, Newley appointed President and GM EMEA: "The Company is building in an incredible way. We have become a leader in safe mobile advertising and the variety of opportunities in this area are immense as mobile continues to grow and become the dominant entertainment medium. Hundreds of millions of kids are consuming mobile content on a daily basis, and Kidoz helps to ensure their experience is safe, data-free and compliant while being performant for the mobile platforms. We are expanding our technology through as many platforms and channels as are available to reach and engage audiences globally. We believe 2022 will be another great year for Kidoz." Now sit back, relax and watch this powerful interview with the CEO of Kidoz Inc.

Unfortunately, it is the tragic headlines that grab us. We read further to find out what happened. We may shake our heads in disbelief... but then, we quickly move on because after all, it's just another tragic story -- that didn't happen to us. My guest today is Melissa Wandall. She was that story 18 years ago. Newley married, in a new home, and 9-months pregnant, she got a phone call that dramatically changed her life forever. In this episode, you will learn ... What terrible news Melissa got as a young mother. Her incredible response and life-long https://www.melissawandalladvocate.com (Advocacy) quest to help others. Where her personal strength comes from. The Florida Statute she got passed to improve highway safety. The https://www.themarkwandallfoundation.org (Florida foundation) she started for children grieving the loss of a loved one. ... and much much more! I'm so glad you stopped by today. It is my hope that you will listen... learn... and connect! https://www.facebook.com/TheMarkWandallFoundation (Facebook) https://twitter.com/MarkWandall (Twitter) https://www.youtube.com/user/TMWFoundation (Youtube) https://www.linkedin.com/in/melissa-wandall-1995442a/ (Linkedin)

Hour 4- Newley acquired Brooklyn Nets PG Ben Simmons speaks to the media for the first time. He speaks on mental health issues, but somehow doesn't talk about his shooting issues!

Newley signed Shady Records artists Grip stops by the show to re introduce himself. The crew even shares a story about how they all met Grip in the early daysFollow @moranthaman @topfloorbeelax @deeleww @infinitevibesshow 

On this special episode of S.A.M.E., The guys reflect on the current wrestlers that WWE just cut and how they could have easily had an impact on the business if they got the right push. The also look at the logistics for this year's Summerslam Pay-Per-View and Review AEW Double or Nothing. As promised before this show will have, double the questions, double the Topics and double the laughs and good times. This is Episode 10 of S.A.M.E: Saturday Afternoon's Main Event. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Newley engaged couples starting their planning process often wonder just how much they should be budgeting for their NJ wedding. On this week’s planning tips, EMG Partners and Industry Professionals Mike Carleo, Tom Gambuzza, and Mike Saulpaugh peel back the curtain and share some numbers. 

Newley engaged couples starting their planning process often wonder just how much they should be budgeting for their NJ wedding. On this week’s planning tips, EMG Partners and Industry Professionals Mike Carleo, Tom Gambuzza, and Mike Saulpaugh peel back the curtain and share some numbers. 

Newley married couple Justin and Krystal gives us the inside of there married lives.

Last pod for 2020 and have we got audio treaats for you.  This is our longest episode ever as we feaature Scrooge The Musical with Antony Newley as Scrooge.  We also have Navy Lark, Cosmic Quest the prunes drop in and a bit of fun from your hosts as an innkeeper drops by in the form of our own John Lingard.  Enjoy.

Music & Lyrics by Leslie Bricusse & Anthony Newley(an attempt to show more than just the early morning horror show part of my journey)

This is a special extra episode of the podcast, not one of the “proper” five hundred. A book I’ve written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I’ve done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut. Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence. (more…)

This is a special extra episode of the podcast, not one of the “proper” five hundred. A book I’ve written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I’ve done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   —-more—- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week’s normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn’t make the list of songs I’m covering. But this week, a book I’ve written has gone on pre-order, and it’ll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties — and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I’m going to talk today about some of Newley’s music. If you’re not interested in anything that isn’t part of my “official” five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain’s most interesting stars of the pre-Beatles era. So let’s look at “Strawberry Fair” by Anthony Newley: [Excerpt: Anthony Newley, “Strawberry Fair”] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn’t go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn’t afford the fees, he found another way in — he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, “Downtown”] Clark also encouraged him to start singing — something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn’t interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief — he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film — the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don’t know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley’s singing first came to public attention: [Excerpt: Anthony Newley, “Cold Comfort”] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, “Candy Floss”] Dene’s story must have struck a chord with Newley, who’d had a very similar Army experience, though you couldn’t tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I’ve Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, “I’ve Waited So Long”] Somehow, despite Newley being an actor — and someone who despised a lot of rock and roll music — he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he’d been making films since 1946. “I’ve Waited So Long” was co-written by Jerry Lordan, who wrote “Apache”, and Len Praverman, but two of the other songs in the film were written by Newley and Joe ‘Mr. Piano’ Henderson, and this would soon set Newley on the way to a career as a songwriter — indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price’s “Personality”, or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. “Strawberry Fair” is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould — the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote “Onward Christian Soldiers”, was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym “Nollie Clapton”: [Excerpt: Anthony Newley, “Strawberry Fair”] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, “Twelve Randy Men”] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don’t realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley’s TV character Gurney Slade. Much of Newley’s work seems to be trying to be three different things at the same time — he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour — this is a man who would later write a song called “Oh What a Son of a Bitch I Am”, and mean it — while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements — *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. “What Kind of Fool Am I?” became a big hit for Sammy Davis Jr, and won the Grammy for “Song of the Year” at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., “What Kind of Fool Am I?”] Davis also recorded another song from that show, “Gonna Build a Mountain”, as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, “Gonna Build a Mountain”] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. “Who Can I Turn To?” was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, “Who Can I Turn To?”] But the song from that musical that is now best known is almost certainly “Feeling Good”, which you’ve almost certainly heard in Nina Simone’s staggering version: [Excerpt: Nina Simone, “Feeling Good”] They also wrote the theme to “Goldfinger”, with John Barry: [Excerpt: Shirley Bassey, “Goldfinger”] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn’t that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like “Moogies Bloogies”, a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, “Moogies Bloogies”] That was recorded in 1966, though it wasn’t released until much later. Newley’s career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: “Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?” trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it’s a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you’d normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It’s a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I’d say it’s closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns — God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley’s career was like that — a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don’t want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don’t want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, “Princess Trampolena”] The film also was one of the things that led to Newley’s breakup with Collins — she decided that she didn’t like the aspects of his character, and his attitudes towards women, the film revealed — though Newley claimed until his dying day that while the film was inspired by his own life, it wasn’t directly autobiographical. Given that the film’s main character, in one sequence, talks about his attraction to underage girls, that’s probably for the best. (And Newley did have a deplorable attitude to women generally — I’m not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it’s never been available on DVD in the UK, and only sporadically elsewhere — DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley’s career as an auteur. It wasn’t, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory — songs like “Pure Imagination”: [Excerpt: Gene Wilder, “Pure Imagination”] That film also featured “The Candy Man”, which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, “The Candy Man”] After that, though, Newley didn’t have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said “I never thought I could sing very well, and I used to try on people’s voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him — one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, ‘I like what this guy’s doing, where he’s going is really interesting’. And so I started singing songs like him… and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles” If you listen to Bowie’s earliest work, it’s very, very apparent how much he took from Newley’s vocal style in particular: [Excerpt: David Bowie, “Rubber Band”] There is a whole vein of British music that usually gets called “music hall” when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur… even a performer like John Lydon, someone who would seem worlds away from Newley’s showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as “quintessentially British”, you’re probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn’t work hard enough at any of those things to become as great as he could have been — there are odd moments of genius scattered throughout his work, but very little one can point to and say “that is a work worthy of his talents”. His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie — his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley’s work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock’s Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I’ll provide a link in the show notes. While you’re there, check out some of the other books Obverse have put out — they’ve published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I’ll be back in a couple of days with the next proper episode.

This is a special extra episode of the podcast, not one of the "proper" five hundred. A book I've written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I've done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   ----more---- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week's normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn't make the list of songs I'm covering. But this week, a book I've written has gone on pre-order, and it'll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties -- and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I'm going to talk today about some of Newley's music. If you're not interested in anything that isn't part of my "official" five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain's most interesting stars of the pre-Beatles era. So let's look at "Strawberry Fair" by Anthony Newley: [Excerpt: Anthony Newley, "Strawberry Fair"] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn't go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn't afford the fees, he found another way in -- he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, "Downtown"] Clark also encouraged him to start singing -- something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn't interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief -- he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film -- the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don't know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley's singing first came to public attention: [Excerpt: Anthony Newley, "Cold Comfort"] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, "Candy Floss"] Dene's story must have struck a chord with Newley, who'd had a very similar Army experience, though you couldn't tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I've Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, "I've Waited So Long"] Somehow, despite Newley being an actor -- and someone who despised a lot of rock and roll music -- he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he'd been making films since 1946. "I've Waited So Long" was co-written by Jerry Lordan, who wrote "Apache", and Len Praverman, but two of the other songs in the film were written by Newley and Joe 'Mr. Piano' Henderson, and this would soon set Newley on the way to a career as a songwriter -- indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price's "Personality", or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. "Strawberry Fair" is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould -- the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote "Onward Christian Soldiers", was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym "Nollie Clapton": [Excerpt: Anthony Newley, "Strawberry Fair"] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, "Twelve Randy Men"] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don't realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley's TV character Gurney Slade. Much of Newley's work seems to be trying to be three different things at the same time -- he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour -- this is a man who would later write a song called "Oh What a Son of a Bitch I Am", and mean it -- while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements -- *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. "What Kind of Fool Am I?" became a big hit for Sammy Davis Jr, and won the Grammy for "Song of the Year" at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., "What Kind of Fool Am I?"] Davis also recorded another song from that show, "Gonna Build a Mountain", as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, "Gonna Build a Mountain"] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. "Who Can I Turn To?" was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, "Who Can I Turn To?"] But the song from that musical that is now best known is almost certainly "Feeling Good", which you've almost certainly heard in Nina Simone's staggering version: [Excerpt: Nina Simone, "Feeling Good"] They also wrote the theme to "Goldfinger", with John Barry: [Excerpt: Shirley Bassey, "Goldfinger"] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn't that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like "Moogies Bloogies", a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, "Moogies Bloogies"] That was recorded in 1966, though it wasn't released until much later. Newley's career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: "Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?" trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it's a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you'd normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It's a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I'd say it's closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns -- God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley's career was like that -- a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don't want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don't want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, "Princess Trampolena"] The film also was one of the things that led to Newley's breakup with Collins -- she decided that she didn't like the aspects of his character, and his attitudes towards women, the film revealed -- though Newley claimed until his dying day that while the film was inspired by his own life, it wasn't directly autobiographical. Given that the film's main character, in one sequence, talks about his attraction to underage girls, that's probably for the best. (And Newley did have a deplorable attitude to women generally -- I'm not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it's never been available on DVD in the UK, and only sporadically elsewhere -- DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley's career as an auteur. It wasn't, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory -- songs like "Pure Imagination": [Excerpt: Gene Wilder, "Pure Imagination"] That film also featured "The Candy Man", which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, "The Candy Man"] After that, though, Newley didn't have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said "I never thought I could sing very well, and I used to try on people's voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him -- one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, 'I like what this guy's doing, where he's going is really interesting'. And so I started singing songs like him... and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles" If you listen to Bowie's earliest work, it's very, very apparent how much he took from Newley's vocal style in particular: [Excerpt: David Bowie, "Rubber Band"] There is a whole vein of British music that usually gets called "music hall" when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur... even a performer like John Lydon, someone who would seem worlds away from Newley's showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as "quintessentially British", you're probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn't work hard enough at any of those things to become as great as he could have been -- there are odd moments of genius scattered throughout his work, but very little one can point to and say "that is a work worthy of his talents". His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie -- his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley's work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock's Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I'll provide a link in the show notes. While you're there, check out some of the other books Obverse have put out -- they've published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I'll be back in a couple of days with the next proper episode.

Logan and Will talk about.. Newley announced NES Lego Set Super Mario Bros. auctioned for a record $114,000 Redskins announce name change New York Times Blame Churches for outbreak with poor reporting and more...

Facebook invested $5.7 billion for a 10% stake in Indian telecom operator Jio Platforms Ltd, the biggest telecom operator in the country with more than 370 million subscribers. The deal not only made Facebook the largest minority shareholder in the Indian telecom network, but also brought India’s emerging tech scene back into the global spotlight. In this episode, WSJ Asia tech reporter Newley Purnell gives us a detailed overview of the prosperous tech scene in India, the struggles that local startups face when competing against American & Chinese tech giants, Indian government’s antitrust actions, and emerging trends the land promises. Newley also comments on the socio-political life in India in general – from India’s democracy to caste structures, from religious identities to linguistic barriers, as well as issues in Indian business practices that may hinder growth and inclusivity. This interview was recorded in February after Tiger’s return from a three-week trip in India. Newley and Tiger originally planned on meeting up in New Delhi to do the interview in person but ended up moving to a remote format. The recording does not touch on the most recent Jio-Facebook deal but still provides timely updates on the Indian tech market and its dynamics. Newley Purnell is a Hong Kong-based journalist working for the Wall Street Journal, where he covers technology and business. Before joining in 2014, Mr. Purnell was a Bangkok-based freelance journalist, contributing to The Journal, Quartz, The New Yorker, and The New York Times. He received his Bachelor of Arts in English from Emory University and a Master’s in Business and Economics journalism from Columbia University, where he was a Gray International Reporting Fellow. When this interview was conducted, Newley was based in New Delhi. If you'd like to learn more about Newley's work, please visit "newley.com," where you may sign up for his insightful newsletter!

durée : 00:58:42 - "Goldfinger" (John Barry / Anthony Newley / Leslie Bricusse) - par : Laurent Valero - Première collaboration entre le compositeur John Barry et le réalisateur Guy Hamilton. "Goldfinger" est le troisième opus de la saga James Bond... Goldfinger He's the man, the man with the Midas touch A spider's touch Such a cold finger Beckons you to enter his web of sin But don't go in... - réalisé par : Marie Grout

durée : 00:58:42 - "Goldfinger" (John Barry / Anthony Newley / Leslie Bricusse) - par : Laurent Valero - Première collaboration entre le compositeur John Barry et le réalisateur Guy Hamilton. "Goldfinger" est le troisième opus de la saga James Bond... Goldfinger He's the man, the man with the Midas touch A spider's touch Such a cold finger Beckons you to enter his web of sin But don't go in... - réalisé par : Marie Grout

The journalism industry is forever changing, but one local journo is fighting to keep stories local. Shannon Newley, Editor at the Queensland Times sat down with Phoenix Radio reporter Annie to give us the scoop.

The self-proclaimed Marmite Man, Carl Abbott joins us this week to have his say and address some of the misconceptions people may have about him. Abbo the gaffa reflects on his time at Wolverhampton Casuals, Hinckley AFC, Market Drayton Town, and Quorn AFC; while Honestly highlighting some of the highs and lows of non league management including playing budgets, Twitter Spats, Fall outs, and future ambitions. The current Evesham United manager also outlines what he is expecting to see from his Newley assembled step 4 side this season.

This week Phil, Kate & Diana speak to Author and Historian Paul Hooley about his fascinating new book 'Nuremberg's Voice of Doom'. Newley appointed Chief Executive of the Union of Jewish Students, Arieh Miller chats about his vision for the organisation. Editor Richard Ferrer reviews The Jewish News and our Rabbinic Thought for the Week comes from Rabbi Harvey Belovski of Golders Green United Synagogue.

In this installment of "Leonard Lopate at Large" Alexander Newley—the British artist best known for his ‘portrait of a portrait’ type paintings of some of the world’s most well-known faces across theatre land—discusses his memoir "Unaccompanied Minor." The book is about what it was like for him growing up with a film icon—Joan Collins, as a mother and Oscar-winning composer, stage genius and entertainer, Anthony Newley as a father.

Jim explores an early Hammer Film that helped pave the way for the company's legendary status as one of the great Horror and Monster Movie film companies with 1956's "X The Unknown," starring Dean Jagger, Edward Chapman, Leo McKern, Michael Ripper and Anthony Newley. A strange radioactive substance from out the ground threatens a small Scottish village and possibly the world. Find out what happens on this episode of "Monster Attack!"  

Katie Gilmartin, newly elected to the Scranton School Board, talks to Frank Andrews about the school district problems (the auditor general's report)

Well Hello Everybody,   We've got a great podcast for you!  What's the recipe you ask? First start with a Newley minted broth with some H. P. Sauce for kick. Add a little beatles gone awry, some gamey news and a French Murderer and presto you got the show.   Enjoy!          

We interview Jon Peterson, creator and star of the one-man musical on the life of Anthony Newley, "He Wrote Good Songs," and play music written and performed by Newley.

Newley Purnell from Wall Street Journal joined us to discuss his current coverage on the India startup & technology ecosystem. We examine the day of reckoning for the India startup unicorns and their challenges from both funding and competition from US technology companies. We also discussed how the India startups are competing with the US The post Episode 134: The Open India Market Onslaught with Newley Purnell appeared first on Analyse Asia.

In this episode, Newley Purnell, journalist from Wall Street Journal joined us to discuss the recent controversy of Facebook’s Internet.org initiative in India and the implications of the initiative with reference to net neutrality, privacy and security among the different stakeholders. We discussed the relaunch efforts of Google’s Android One, and understand how US technology The post Episode 77: Facebook Internet.org, Android One & India with Newley Purnell appeared first on Analyse Asia.

The newly formed South African Public Service Union (Sapsu) has reportedly latched onto issues which have been long neglected in public sector bargaining as a launch pad and is set to take part in the upcoming round of wage talks. SAPSU says the formation of a progressive,non-aligned union for public service workers was conceptualized by the workers who decided to distance themselves ,their membership from public sector unions who were in alliance with political parties in governance.

Grizz & Tizz chat to Australian Boomers assistant coach Luc Longley and veteran swingman Brad Newley about the upcoming FIBA Oceania Championships against New Zealand. They boys also ask Longley and Newley about their memories of last year’s FIBA World Cup and what they’re expecting from the Tall Blacks next month. facebook.com/downtownball @downtownball The post 109 – Luc Longley and Brad Newley appeared first on Mammoth Audio.

Sammy Davis, Jr. and Anthony Newley were musical soulmates: two powerhouse little chaps--one performer, one composer--who rendered some of the most powerful show music of the 1960s and 70s.

Biography[] Wills' parents, Alaric and Anna Willys planned to buy a house in the  but their plan was ended by the outbreak of . Alaric Wills's gambling debts forced his wife to find work while he became a captain in the  and an absent figure. Anna was occupied as a companion to a blind aristocrat, gardener, teacher - moving Anneke and her brother Robin around the country.[] Career[] Wills gained her first role at the age of 11 while she was living on a houseboat in ,. The film was called Child's Play and she gave the £9 fee to her mother. Deciding she wanted to be an actress she then studied drama at the  and  in  and quickly became one of the busiest actresses of her generation, early roles included an appearance as Roberta in the second TV version of  in 1957. At 17 she began a relationship with  while working on the TV series . Newley fathered Wills' first child, but left her to marry . During the 1960s Wills spent much of her time at the famous Troubadour Coffee Shop and , and was part of the so-called Chelsea Set, counting among her close friends  and, , ,  and ,  and  among others. Wills married actor  in 1962, but Gough's infidelity and possessive nature led to the end of their marriage and the couple divorced in 1979. In 1966 she took the role of  in Doctor Who and appeared in the show into 1967 alongside  and then . Other television credits include appearances in  and as Evelyn in  (1969–70). She left the latter series when it was planned to switch filming to Hollywood. Personal life[] In 1970, Wills gave up acting and moved to , throwing herself into motherhood and gardening. During this time she travelled to and  and spent time at ,  at the  of . Known then as Ma Prem Anita, she visited the ashram many times in the 1970s and early 1980s, accompanied by her son Jasper (Swami Dhyan Yogi). She has remarried twice and lived in  and in an artists' colony on  in , returning to the UK in the mid-1990s. She is still involved in the worlds of Doctor Who, being a popular guest at  and being employed by the  and  to record various Doctor Who related audio and DVD projects. The first volume of her autobiography, Self Portrait, was published in 2007 by Hirst Books, and a second volume, Naked, followed in 2009. Wills's latest book Anneke Wills - In Focus, was published in May 2012 by Fantom Films, an updated paperback version will be released in 2014. In October 2013 she recorded an abridged version of Who's There? the biography of , written by his granddaughter, Jessica Carney. References