Podcast appearances and mentions of noble sissle

Episode 151 Chapter 12, The History of Audio Recording Technology. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.   Playlist: THE HISTORY OF AUDIO RECORDING TECHNOLOGY   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Leon Scott “Au Clair de la Lune” (1860). Phonautograph. One of about 50 recordings made around 1860 by Édouard-Léon Scott de Martinville's on his invention, the Phonautograph that were digitally restored in 2008 by the First Sounds collaborative. These were created using the Lawrence Berkeley National Laboratory's virtual stylus technology, which sought to track the wavy lines scratched on soot-covered paper as though they were standard record grooves. 00:20 01:38 2.     Alice J. Shaw, an improvised whistling performance (1888) from an Edison Records cylinder recording. 02:13 01:58 3.     George J. Gaskin, “Drill Ye Terriers Drill” (1896) from an E. Berliner's Gramophone shellac disc. 01:24 04:10 4.     Sousa's Band, “Happy Days In Dixie” (1897) from an E. Berliner's Gramophone shellac disc. 01:43 05:36 5.     Emperor Franz Joseph, short message recorded on Valdemar Poulsen's Telegraphone (1900). Early magnetic wire recording. Recording made without microphone. 00:09 07:18 6.     Sousa's Band, “The Mosquito Parade” (1904) from Columbia Records shellac disc. Note the higher fidelity of the instruments compared to earlier recordings on disc, recorded without electrical microphones but optimizing the use of acoustic horns for sound intake. 02:54 07:28 7.     Noble Sissle (vocals) and Eubie Blake (piano), medley of popular songs (1923). Recording using onto an early sound film using the Phonofilm process invented by Lee de Forest. 06:51 10:22 8.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1924) from an RCA Victor shellac disc. This is an acoustically recorded version of this piece, without the benefit of vacuum tube amplification or electrical microphones. Compare to the 1927 version (next), also by Whiteman, produced using electrical recording. 09:06 17:12 9.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1927) from RCA Victor, His Master's Voice shellac disc. An electrical recording using vacuum tube amplification and electrical microphones. 08:59 26:30 10.   Paul Hindemith, “Trickaufnahme” (excerpt) (1930), an experiment in turntablism using turntable discs to both record, mix, and playback the result. 00:58 35:28 11.   BBC, “Pieces of Tape” excerpt of a program (1933) produced by editing together segments recorded previously using the Blattnerphonesteel tape recorded that used a magnetic process. This was the first audio recording assembled using tape editing. A dozen years prior to the available of magnetic tape, edits made to steel tape had to be made by spot welding. 05:29 36:28 12.   Sidney Bechet, “Blues of Bechet” (1941) from an RCA Victor shellac disc. An early example of overdubbing/multitracking. Bechet played every instrument on this track, including the piano, clarinet and soprano saxophone. Each instrument was recorded onto a new master disc and mixed on another disc to create the final recording. 01:57 41:56   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Community Connection Wednesday, January 29th, 2025. Today on Community Connection, Open Lines with our contributing analyst, James Patterson! Join us as we speak with Veteran Democratic Political & Campaign Strategist Ms. Cordelia Lewis Burks about today’s pressing topics, community events & more! Local Author of "The Robust Life & Music of Noble Sissle, Sr." Aleta Hodge will also be joining us today!See omnystudio.com/listener for privacy information.

Sintonía: "Love for Sale" - Barney Kessel"There´s Going To The Devil to Pay" - Fats Waller & His Rhythm; "Walkin´ Slow Behind You" (feat. Jimmy Rushing) - Count Basie Orchestra; "Tiger Moan" - The State Street Ramblers; "Don´t Fall Asleep" (feat. Helen Forrest) - Artie Shaw Orchestra; "Tain´d a Fit Night For A Man Or Beast" (feat. Noble Sissle´s Swingsters) - Sidney Bechet; "Skeleton In The Cupboard" - Teddy Foster And His Kings Of Swing; "Dr. Heckle and Mister Jibe" - Benny Goodman with Jack Teagarden; "Who Dat Up Dere" - Woody Herman Orchestra; "Wake Up Sinners" (feat. Jabbo Smith) - Lloyd Smith´s Gut Bucketeers; "Old Man Mose" - Georgia GibbsTodas las músicas (menos la sintonía) extraídas de la recopilación (1x10") "Hells Bells - Swing Candies for Doomsday 1928-49" (Stag-O-Lee, 2018)"16 toneladas (Sixteen Tones)" - Noriel Vilela; "The Carioca" - Fred Astaire; "Brazilian Baion" - Betty Reilly & Les Baxter Orchestra; "Voce e eu" - Milton Banana e o Conjunto de Oscar Castro Neves Todas las músicas (incluída la sintonía) extraídas de la recopilacion (1x10") "Samba do Brazil" (Doghouse & Bone, 2018)Escuchar audio

Jazz from the 1930s and '40s tonight. We'll hear: Louis Armstrong and His Hot Five, The Last Time Louis Armstrong and His Orchestra, I Gotta Right To Sing The Blues Clyde McCoy, Sugar Blues Bob Crosby and His Orchestra, The Big Noise from Winnetka Fats Waller & His Rhythm, Lulu's Back In Town Jimmie Lunceford, For Dancers Only Duke Ellington, New East ST. Louis Toodle-Oo Sidney Bechet with Noble Sissle, Viper Mad Fats Waller, Keepin' Out of Mischief Now Benny Carter, Beale Street Blues Benny Goodman, One O'Clock Jump Ella Fitzgerald, Stairway To The Stars Glenn Miller, Rhapsody in Blue Erskine Hawkins, After Hours (Digitally Remastered) Charlie Christian, Six Appeal (My Daddy Rocks Me) Billie Holiday and Her Orchestra, Am I Blue? Bunny Berigan, Skylark Thelonious Monk, 'Round Midnight Les Brown, Leap Frog

Jazz from the 1930s and 40s tonight. We'll hear: Louis Armstrong and His Hot Five, The Last Time Louis Armstrong and His Orchestra, I Gotta Right To Sing The Blues Clyde McCoy, Sugar Blues Bob Crosby and His Orchestra, The Big Noise from Winnetka Fats Waller & His Rhythm, Lulu's Back In Town Jimmie Lunceford, For Dancers Only Duke Ellington, New East ST. Louis Toodle-Oo Sidney Bechet with Noble Sissle, Viper Mad Fats Waller, Keepin' Out of Mischief Now Benny Carter, Beale Street Blues Benny Goodman, One O'Clock Jump Ella Fitzgerald, Stairway To The Stars Glenn Miller, Rhapsody in Blue Erskine Hawkins, After Hours (Digitally Remastered) Charlie Christian, Six Appeal (My Daddy Rocks Me) Billie Holiday and Her Orchestra, Am I Blue? Bunny Berigan, Skylark Thelonious Monk, 'Round Midnight Les Brown, Leap Frog

“Miller, Lyles, and I were standing near the exit door . . . Blake stuck out there in front, leading the orchestra—his bald head would get the brunt of the tomatoes and rotten eggs.” This is the story of American musical theater and the dawn of modern Broadway.  Popular entertainment is evolving fast in the early twentieth century. Minstrel shows just aren't drawing the same numbers anymore (for good reason), and burlesque and variety shows abound. The earliest “official” musical, The Black Crook takes several notes from these sometimes scandalous shows, as do Flo Ziegfeld's new “revues.” By the 1920s, composers, writers, and choreographers are experimenting with what a musical production can do: using songs to advance the plot (thanks Hammerstein!), and incorporating new music genres like jazz.  Big players including George Gershwin, Noble Sissle, and Irving Berlin all play a role in crafting the perfect environment for the American musical to emerge, but the production Show Boat really gives a glimpse of the future of musical theater. It entertains even as it tackles heavy topics, and the score is seriously moving. It's difficult to anticipate how audiences will receive this new form—less pompous than a European operetta, but definitely more substantial than one of Ziegfeld's musical revues. So, without further ado . . . take your seat, the show's about to begin.  ____ Connect with us on HTDSpodcast.com and go deep into episode bibliographies and book recommendations join discussions in our Facebook community get news and discounts from The HTDS Gazette  come see a live show get HTDS merch or become an HTDS premium member for bonus episodes and other perks. HTDS is part of the Airwave Media Network.  Interested in advertising on the History That Doesn't Suck? Email us at advertising@airwavemedia.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sintonía: "Save The Roach For Me" - Buck Washington"Sendin´ the Vipers" - Mezz Mezzrow & His Orchestra; "I´m Gonna Get High" - Tampa Red & The Chicago Five; "Spinach Song (I Didn´t Like It The First Time)" - Julia Lee & Her Boy Friends; "Do You Dig My Jive" - Sam Price & His Texas Bluesicians; "Knockin Myself Out" - Yack Taylor; "Reefer Man" - Harlan Lattimore & His Connie´s Inn Orchestra; "The Man From Harlem" - Cab Calloway Orchestra; "If You´re A Viper" - Bob Howard & His Boys; "Light Up" - Buster Balley´s Rhythm Busters; "Viper Mad" - Sidney Bechet with Noble Sissle´s Swingers; "Weed Smokers Dream" - The Harlem Hamfats; "The ´G´ Man Got The ´T´ Man" - Cee Pee Johnson & Band; "All The Jive Is Gone" - Andy Kirk & His Twelve Clouds Of Joy; "Suff Is Here" - Georgia White; "Weed" - Bea Foote; "Knockin´ Myself Out" - Lil Green; "If You´re a Viper" - Lorrain Walton Todas las músicas extraídas del primer CD de la recopilación (2xCD) "Dope & Glory - Reefer Songs from the 30s & 40s" (Trikont, 2002)Escuchar audio

Features vintage recordings by Gene Krupa, Vincent Lopez and George Paxton.  We also listen to a Soundie by Noble Sissle and learn the benefits of Fitch Shaving Cream. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

In this episode, K and Warren watch and discuss Shuffle Along - a Black musical classic from 1921 by Eubie Blake, Noble Sissle, Flournoy Miller (whose name K can't pronounce), and Aubrey Lyles. K discovers their new favorite author, Caseen Gaines, we discuss the double standards in what is considered a "classic", and Warren discovers that love uh ... finds a way. Promo: One Mic Black History Help out local theatres and check out BeAnArtsHero, Arts Leaders of Color Emergency Fund, The Actor's Fund, and the Artist's Relief Tree to find out how you can help local theatres! Buy some merch at our TeePublic!  Join the Podcast Nexus (formerly Cast Junkie discord) and help support indie podcasts at https://discord.gg/ajPg3JSg6e. Follow us on Twitter, Instagram, Tumblr, Bluesky, and Facebadger @ToneDeafMusical for some dank theatre memes, check out the patreon at https://www.patreon.com/tonedeafmusical and visit our website, tonedeafmusical.com

Live and early recorded jazz from Cleveland, OH. Featuring Andy Kirk, Woody Herman, Bix Beiderbecke, Will Marion Cook, Noble Sissle, Artie Shaw, Art Tatum, Perry Como, Tad Dameron, Sarah Vaughan,

SynopsisYou might say that Eubie Blake flunked retirement.In 1946, with a five-decade career as a successful performer and composer behind him, Blake retired at 63. He was the son of former slaves, and his religious mother objected to ragtime music on principle. But in 1899, while still a teenager, Blake penned a classic: The Charleston Rag. In 1915, he formed a songwriting partnership with a talented young singer named Noble Sissle, and, in the 1920s, the two men fused ragtime and operetta into a series of smash Broadway shows.During World War II, Blake toured with USO shows, and, after retiring in 1946, studied composition formally at New York University, collecting and editing his works for posterity.In the 1950s, a revival of interest in early jazz coaxed Blake out of retirement, and the use of ragtime music in the film The Sting transformed that interest into a pop culture sensation.On today's date in 1973, on the occasion of his 90th birthday, Blake was honored by ASCAP (the American Society of Composers, Authors and Publishers), and in 1981, at 98, was awarded the Presidential Medal of Freedom.Music Played in Today's ProgramSousa, arr. Eubie Blake (1887-1983) Semper Fidelis; Eubie Blake, piano Columbia (LP) C2S-847

In this episode, six of this season's guests--Caseen Gaines (Episode 87: Eubie Blake, Noble Sissle, Flournoy Miller, and Aubrey Lyles's Shuffle Along), Mike Meaney (Episode 90: The Lyrics of Yip Harburg), Christopher Culp (Episode 100: TV Musical Episodes Part II), Tammy Tuckey (Episode 101: David Bryan and Joe DiPietro's Diana), BethAnn Cohen (Episode 95: Five-Year Anniversary Live Show), and Victoria Myers (Episode 102: Mary Rodgers, Marshall Barer, Jay Thompson, and Dean Fuller's Once Upon a Mattress)--return to discuss the topics from the season and listener questions and comments. We also discuss the song "Home" from the 1975 Charlie Smalls and William F. Brown musical The Wiz. This discussion was held live on Sunday, December 17th on Scene to Song's Facebook page, and was recorded for this podcast almost in its entirety. Scene to Song will be going on a brief hiatus to prepare for season seven and will return in early 2024. In the meantime, you can write to scenetosong@gmail.com with a comment or question about an episode or about musical theater, or if you'd like to be a podcast guest. Follow us on Instagram at @ScenetoSong, on Twitter/X at @SceneSong, and on Facebook at “Scene to Song with Shoshana Greenberg Podcast.”  And be sure to sign up for the new monthly e-newsletter at scenetosong.substack.com. Contribute to the Patreon. The theme music you are hearing is by Julia Meinwald. Music played in this episode: "Home" from The Wiz

Over 350,000 African American men joined the United States military during World War I, serving valiantly despite discrimination and slander. Historian and civil rights activist W. E. B. Du Bois had hoped that their patriotism would help them gain respect and equality, but after the war it was quickly evident that would not be the case. Du Bois spent the next several decades attempting to tell the full story of Black soldiers in the Great War, but despite a vast archive of materials entrusted to him and his own towering intellect, Du Bois was never able to craft a coherent narrative of their participation.  Joining me in this episode to discuss Du Bois and his relationship with World War I is Dr. Chad L. WIlliams, the Samuel J. and Augusta Spector Professor of History and African and African American Studies at Brandeis University, and the author of The Wounded World: W. E. B. Du Bois and the First World War. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “All Of No Man's Land Is Ours,” written by James Europe and Noble Sissle, with vocals by Noble Sissle; the song was recorded around March 14, 1919 and is in the public domain and available via Wikimedia Commons. The episode image is “The famous 369th arrive in New York City,” photographed by Paul Thompson on February 26, 1919; the image is in the public domain and is available via the National Archives (National Archives Identifier: 26431290; Local Identifier: 165-WW-127A-12). Additional Sources: “W.E.B. Du Bois,” NAACP.  "Du Bois, W. E. B.," by Thomas C. Holt, African American National Biography. Ed. Henry Louis Gates Jr. and Evelyn Brooks Higginbotham. New York: Oxford UP, 2008. "W. E. B. Du Bois in Georgia," by Derrick Alridge,  New Georgia Encyclopedia, last modified Jul 21, 2020.  “Niagara Movement,” History.com, Originally posted December 2, 2009 and updated February 24, 2021. “U.S. Entry into World War I, 1917,” Office of the Historian, Foreign Service Institute, United States Department of State. “The African Roots of War,” by W. E. B. Du Bois, The Atlantic, May 1915. “Why Frederick Douglass Wanted Black Men to Fight in the Civil War,” by Farrell Evans, History.com, Originally posted February 8, 2021 and updated November 22, 2022. “Patriotism Despite Segregation: African-American Participation During World War I,” The Delaware Division of Historical and Cultural Affairs. “African Americans in the Military during World War I,” National Archives. “The 93rd Division During the Meuse-Argonne Offensive,” Pritzker Military Museum & Library. “African-American Soldiers in World War I: The 92nd and 93rd Divisions,” EdSiteMent, The National Endowment for the Humanities “W. E. B. Du Bois, World War I, and the Question of Failure,” by Chad Williams, Black Perspectives, February 19, 2018. Learn more about your ad choices. Visit megaphone.fm/adchoices

A popular tap dancer and a highly decorated World War I general both appear at a popular dining hotspot, so has the hostess finally solved her money troubles? March & April 1932, Cobina Wright's Sutton Club is a successful hotspot.  She has the famous African American vaudeville comedy duo Buck and Bubbles performing.  She also hosts the famous war hero General John Pershing amidst his celebrations commemorating World War I. Other people and subjects include: John “Bubbles” Williams Sublett, Ford “Buck” Washington, Bill “Bojangles” Robinson, Private Henry Johnson, Private Needham Roberts, Micheline Resco, James “Jimmy” HR Cromwell, Cornelius “Neily” Vanderbilt III, Grace Wilson Vanderbilt, President Herbert Hoover, President Woodrow Wilson, President Bill Clinton, President Barack Obama, Brigadier General John Ross Delafield, World War I, Victory Parade, War Museum in Paris, Fort Bliss, mentor, World War II generals, Dwight D. Eisenhower, George Marshall, George Patton, Douglas MacArthur, Nita Patton, 92nd Infantry Unit, 93rd Infantry Unit, Buffalo Soldiers, separate but equal, racism, 369th Infantry Unit, Harlem Hellfighters, Colonel William Hayward, Battle of Argonne, French Croix de Guerre, Harlem Hellfighters Band, James Reese Europe, Noble Sissle, Eubie Blake, Blackbirds Orchestra, jazz, Harlem Renaissance, Duke Ellington, Walter Donaldson, Nicholas Brothers, Cab Calloway, Lena Horne, Nat King Cole, “Black Garbo” Nina Mae McKinney, Louis Armstrong, Bessie Smith, Coleman Hawkins, Kentucky State Fair, New York Palace Theater, Ziegfeld Follies, Fred Astaire, Al Jolson, Eddie Cantor, Dannie Kaye, Tuskegee Choir, Radio City Music Hall, BBC broadcast, Prince of Wales – future King Edward VIII – Duke of Windsor, George Gershwin, Porgy & Bess (1935), Carmen Jones (1946), Vietname USO tour, Eddie Fisher, Newport Jazz Festival, Sammy Davis, Jr., Gregory Hines, Michael Jackson, Greta Garbo, Ethel Barrymore, Lionel Atwill, revisionist, apologist, historiography, modern ideologies, Lil Colonel (1935), Shirley Temple, Michael Jackson's chimpanzee Bubbles, US Senator from New York Charles Shumer, Purple Heart, Medal of Honor --Extra Notes / Call to Action:Rhythm Tap Dance 1937 (John Bubbles)https://www.youtube.com/watch?v=mq38QLBE6wM Buck and Bubbles Varsity Show 1937https://www.youtube.com/watch?v=dCpKx64EivE THE SUN QUEEN | trailer | American Experience PBShttps://www.youtube.com/watch?app=desktop&v=e07pJ0FPCGk What's Her Name Podcast by Dr. Katie Nelson and Olivia Meiklehttps://whatshernamepodcast.com/https://pod.link/1320638747 Share, like, subscribe                                                                                                                                       --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music:The Younger Generation by Ray Noble, Album The Great Dance Bands Play Hits of the 30sSection 2 Music: The Charleston by The Savoy Orpheans, Album Fascinating Rhythm – Great Hits of the 20sSection 3 Music:Hep! Hep! Jumpin' Jive by Nat Gonella & His New Georgians, Album Dance CrazyEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands --https://asthemoneyburns.com/TW / IG – @asthemoneyburns Facebook – https://www.facebook.com/asthemoneyburns/

In this episode, author and journalist Caseen Gaines discusses Eubie Blake, Noble Sissle, Flournoy Miller, and Aubrey Lyles's 1921 musical Shuffle Along, looking not just at the musical itself but how musicals can get lost to history. We also talk about the song "Skid Row (Downtown)" from the Little Shop of Horrors. Gaines's book When Broadway Was Black comes out February 7, 2023. Learn more and purchase the book. You can write to scenetosong@gmail.com with a comment or question about an episode or about musical theater, or if you'd like to be a podcast guest. Follow on Instagram at @ScenetoSong, on Twitter at @SceneSong, and on Facebook at “Scene to Song with Shoshana Greenberg Podcast.” And be sure to sign up for the new monthly e-newsletter at scenetosong.substack.com. Contribute to the new Patreon. The theme music is by Julia Meinwald. Music played in this episode: "I'm Just Wild About Harry" from Shuffle Along "Love Will Find a Way" from Shuffle Along "Election Day" from Shuffle Along "Skid Row (Downtown)" from the Little Shop of Horrors

Tonight's show is the 600th episode of Jazz After Dark! We'll hear selections from 1934 – 1969: Benny Carter, Sidney Bechet with Noble Sissle, Lena Horne, Stan Kenton and His Orchestra, Helen Carr, Gerry Mulligan, and Harold Land. Also: Ella Fitzgerald live from Copenhagen in 1959, in a newly released recording, and then Russ Freeman, Earl "Fatha" Hines, Count Basie & His Orchestra, Paul Desmond, and Ben Webster.

The 1920's brought the second great era of musicals that were written by, staged by, and starring Black theater artists to Broadway. In this episode I profile these brilliant creators and stars including Eubie Blake & Noble Sissle, Flournoy Miller & Aurbry Lyles, Bill "Bojangles" Robinson, and their musicals -- "Shuffle Along", "Runnin' Wild", "Blackbirds of 1929", "Hot Chocolates" and more. It also includes a brief history of that great African-American/Irish-American co-creation -- Tap Dancing. And featuring music by The Paragon Ragtime Orchestra -- for more music from this era check out their terrific "Black Manhattan" series of recordings. Learn more about your ad choices. Visit megaphone.fm/adchoices

BlackFacts.com presents the black fact of the day for May 23.Shuffle Along, the 1st black hit musical, opened at the 63rd St. Music Hall in New York City.The show was developed by black comedians Flournoy Miller and Aubrey Lyles and featured music by Eubie Blake and lyrics by Noble Sissle.Based loosely on Miller and Lyles' vaudeville act “The Mayor of Dixie,” the show told the story of a heated mayoral election in Jimtown, Dixieland.Lively dancing and memorable songs—including “I'm Just Wild About Harry” and “Love Will Find a Way”—contributed to the musical's great popularity with audiences. The show ran a total of 504 performances and helped widen opportunities on Broadway for black musicians and performers.During its long run, the show introduced three entertainers whose later careers would be notable: Paul Robeson, Florence Mills, and Josephine Baker.It was the first Broadway musical to feature a sophisticated African-American love story, rather than a frivolous comic one.Learn black history, teach black history at blackfacts.com 

SHUFFLE ALONG COMPOSER: Eubie Blake LYRICIST: Noble Sissle BOOK: F.E. Miller, Aubrey Lyles DIRECTOR: Walter Brooks PRINCIPLE CAST: Lottie Gee (Bessie), Aubrey Lyles (Sam), F.E. Miller (Steve) OPENING DATE: May 23, 1921 CLOSING DATE: Jul 15, 1922 PERFORMANCES: 484 SYNOPSIS: Sam and Steve are business owners who decide that they will both run for the Mayor of Jimtown, USA. Whichever one wins will appoint the other their chief of police. Complications arise when the two men are so busy squabbling they do not realize that a new candidate is ready to take on their corrupt administration. Shuffle Along was significant as an early Broadway revue written by and starring Black vaudeville artists that became a smash hit with Depression-era audiences. Jerrell L. Henderson outlines the ways the show proved Black musicals, Black love stories, and Black-lead productions could be successful in the United States with strong emphasis placed on creators Eubie Blake, Noble Sissle, Flournoy Miller, and Aubrey Lyles, as well as the show's original performers including Josephine Baker, Adelaide Hall, Florence Mills, Fredi Washington, and Paul Robeson. An analysis of George C. Wolfe and Savion Glover's 2015 reexamination of the show, with cast members Audra McDonald and Billy Porter, is explored as well.  Jerrell L. Henderson is a Director and Puppeteer. Upcoming Puppet Short Films include, Hamlin: La Revue Sombre with Handmade Puppet Dreams and Diamond's Dream with Chicago Children's Theatre. He performed his signature puppetry piece, I Am The Bear, this fall with Chicago International Puppet Festival's Living Room Tours. His shadow play, 3 American Myths: A Riff in Shadow & Light in 3 Rhythmic Movements was a finalist for a 2019 Jim Henson Foundation Grant. Recent directing credits include Mlima's Tale with Griffin Theatre (Jeff Award Nomination for Direction and Best Play) and Thurgood with Walnut Street Theatre. Other credits include The River with BoHo Theatre, Untitled with Inis Nua (Barrymore Award nomination for Outstanding Direction of a Play) and Something Like A War: A New Musical with 11th Hour Theatre. As an assistant director, Jerrell has worked with The Goodman Theatre, Steppenwolf Theatre, and Lookingglass Theatre. He received an MFA in Directing from Northwestern University, is a member of the Lincoln Center Directors Lab (2012), an Artistic Associate of Black Lives, Black Words, and a Henson Foundation sponsored participant at the Eugene O'Neill Theater Center National Puppetry Conference (2020). SOURCES Carlin, Richard, and Ken Bloom. Eubie Blake: Rags, Rhythm, and Race. Oxford University Press, USA, 2020.  Gaines, Caseen. Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way. Sourcebooks, 2021.   Kimball, Robert, and William Bolcom. Reminiscing with Noble Sissle and Eubie Blake. Cooper Square Pub, 1973.    Miller, Flournoy, et. al. Shuffle Along. CreateSpace, 2015.   Rose, Al. Eubie Blake. New York : Schirmer Books, 1979.    Woll, Allen. Black Musical Theatre. Da Capo Press, 1991. Shuffle Along, Studio Cast, New World Records (1976) Learn more about your ad choices. Visit megaphone.fm/adchoices

Features vintage recordings by Woody Herman, Noble Sissle, Ella Fitzgerald and Tommy Dorsey. We also learn a little bit about an AFRS program called "Your Navy Show". Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

"Fallout" The Joe Wilder Quartet Jazz From Peter Gunn (Columbia, 1959) Joe Wilder, Milt Hinton, Hank Jones, John Cresci Jr. El tema es una composición de Henry Mancini. ¿Sabías que? Aprovechando el éxito de la serie de televisión Peter Gunn, Joe Wilder grabó con su cuarteto (en el que estaba el gran Hank Jones), una grabación con música de la serie, aunque en esta no estaba el celebérrimo "Peter Gunn". Joe Wilder nació el 22 de febrero de 1922 en Pennsylvania, aunque fue educado en Chicago, donde su padre dirigía una orquesta. De niño debutó en un programa radiofónico y posteriormente ingresó en la Mastbaum School Of Music. A principios de los años 40 lo contrataron Les Hite y Lionel Hampton, aunque tuvo que hacer una pausa para servir como marine en la Segunda Guerra Mundial. Tras licenciarse tocó con Jimmie Lunceford y Noble Sissle entre otros, y también participó en las orquestas de los espectáculos de Broadway: acompañó a la comedia musical Guys and Dolls durante tres años. En la primavera de 1954 Count Basie lo contrató para su gira europea. En 1957 retoma su trabajo de estudio en Nueva York entrando en la orquesta regular de la cadena ABC/TV. La abandonaría en 1973. También tocó con Benny Goodman en 1962 en la URSS y en orquestas de música clásica participando en 1975 en cuatro conciertos de la New York Philharmonic. Otros músicos con los que tocó fueron Tony Bennett, Lena Horne, Michel Legrand, Charles Mingus o Dizzy Gillespie entre otros. A pesar de todo ello no llegó a tener una discografía amplia (más bien fue todo lo contrario) a su nombre. Participó como músico en películas como Malcolm X, Poderosa Afrodita y Todos dicen I Love You, y en el célebre documental The Sound Of Jazz. Como actor participó en un episodio de La hora de Bill Cosby titulado "Play It Again, Russell". Además de músico, Joe Wilder fue fotógrafo. Falleció con más de 90 años en 2014. © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=61576 https://www.tomajazz.com/web/?p=47859 https://www.tomajazz.com/web/?p=59944 https://www.tomajazz.com/web/?p=60399 Más información sobre Joe Wilder https://www.allaboutjazz.com/joe-wilder-a-true-living-legend-joe-wilder-by-greg-thomas Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

In this episode, music director Sean Mayes and Reader in Musical Theatre Dr. Sarah K. Whitfield discuss the Black history of British musical theater from 1900 to 1950, highlighting performances and looking at how one studies musical theater history itself. We also talk about the song "Memories of You" from Eubie Blake, Noble Sissle, F.E. Miller, and Aubrey Lyles's 1921 musical Shuffle Along. You can write to scenetosong@gmail.com with a comment or question about an episode or about musical theater, or if you'd like to be a podcast guest. Follow on Instagram at @ScenetoSong, on Twitter at @SceneSong, and on Facebook at “Scene to Song with Shoshana Greenberg Podcast.” And be sure to sign up for the new monthly e-newsletter at scenetosong.substack.com The theme music is by Julia Meinwald. Music played in this episode: "Overture" from In Dahomey from "Black Manhattan: Theater and Dance Music of James Reese Europe, Will Marion Cook, and Members of the Legendary Clef Club" "Weeping Mary" from An Inconvenient Black History of British Musical Theatre 1900-1950 Live at Wigmore Hall "Memories of You" from An Inconvenient Black History of British Musical Theatre 1900-1950 Live at Wigmore Hall "Memories of You" from Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed "Memories of You" sung by Alberta Hunter to Eubie Blake Purchase their book: An Inconvenient Black History of British Musical Theatre by Sean Mayes and Sarah K. Whitfield

This week I continue my conversation with author Cassen Gaines whose fascinating new book Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way tells the story of how in 1921 four talented and determined young black vaudevillians -- Noble Sissle, Eubie Blake, Flournoy Miller and Aubrey Lyles -- against incredible odds, teamed up to produce a runaway Broadway hit that ushered in a vibrant decade of Black Musicals on Broadway. If you missed the first episode of this series you may want to go back and listen to that before you continuing with this one. Although we now know that Shuffle Along became a giant, unprecedented hit -- no one, except for possibly the shows four creators, could have expected that it would have any chance of success. There had not been a black musical on Broadway in more than 10 years, and some people were even suggesting if Shuffle Along opened it might insight a race war! That's where we begin out conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices

This year marks the 100th Anniversary of Shuffle Along! The groundbreaking musical that kicked off a decade of vibrant black musical theatre on Broadway which included more than a dozen shows created by black songwriters, black bookwriters, black producers, black directors and choreographers -- and these shows brought hundreds of black actors, singers, dancers, and musicians to Broadway. This landmark event is being celebrated with the release of two wonderful new books – including the first full biography of Shuffle Along's composer titled -- Eubie Blake: Rags, Rhythm and Race by Richard Carlin & Ken Bloom And Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way by Caseen Gaines. I have had the great pleasure of interviewing the authors of both of these books and you have the opportunity to meet all three of them in a series of upcoming episodes.  This week it is my honor to introduce you to Caseen Gaines whose extraordinary book, Footnotes, tells the story of how four young black artists -- Noble Sissle, Eubie Blake, Flournoy Miller and Aubrey Lyles overcame poverty, racism, violence and the legacy of slavery to produce a runaway Broadway hit that ushered in both the Harlem Renascence and the “Jazz Age” on Broadway. If you pay close attention to Broadway, as I know many of my listeners do, you will remember the that in 2016, writer and director George C. Wolfe created a star-studded Broadway musical which he tittled “Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed”. As that title suggests, this was not a revival or revisal of the of the original show but instead it attempted to tell the behind-the-scenes story of the making of Shuffle Along. You will also remember that it closed rather abrubtly and unexpectedly less than 3 months after it opened. There was, however, at least one positive outcome from the early demise of that show -- and that's where my conversation with Caseen begins.   Learn more about your ad choices. Visit megaphone.fm/adchoices

One hundred years ago, the first all-Black musical, SHUFFLE ALONG, helped change the face of Broadway. Host Jo Reed and AudioFile's Sandi Henschel discuss author and narrator Caseen Gaines's fascinating and well-researched history of the struggles of Black actors. Noble Sissle, Eubie Blake, Flournoy Miller, and Aubrey Lyels combined their talents to write SHUFFLE ALONG, a political satire that challenged the racist norms and had Black actors portraying non-stereotypical characters. Gaines's narration brings both the period and the people to life. Read the full review of the audiobook on AudioFile's website. Published by Blackstone Audio. Find more audiobook recommendations at audiofilemagazine.com Support for AudioFile's Behind the Mic comes from PENGUIN RANDOM HOUSE AUDIO, dedicated to producing top-quality fiction and nonfiction audiobooks written and read by the best in the business. Visit penguinrandomhouseaudio.com/audiofile now to start listening. Learn more about your ad choices. Visit megaphone.fm/adchoices

Business in Q - Archie Bleyer 2 .. more arrangements by the prolific Mr. Bleyer, played by Frank Trumbauer, Cab Calloway, Ben Pollack, Gene Kardos, Joe Haymes, Red Nichols, Noble Sissle, Ambrose and His Orchestra, McKinney's Cotton Pickers, Clarence Williams, Fletcher Henderson, Bubber Miley and His Mileage Makers, Andy Kirk and His Clouds of Joy, Jack Teagarden, Dave Nelson and the King's Men, George Olsen --- Support this podcast: https://anchor.fm/john-clark49/support

Today’s show features some of my favorite 78s from my collection. I thought it would be fun to feature hokum blues and jazz records from the pre-war era. A subcategory of the blues, hokum was popular in the late 1920s and early 1930s. Hokum songs were often uptempo, funny, and on the raw to often raunchy side. The origins of this style of blues can be traced back to the vaudeville and minstrel show era of the late 19th Century, where songs of this type were performed with a touch of innuendo and comedy. This genre became wildly popular with adult audiences during the 20s and 30s. In the early days, common performers surfaced in jug bands that performed in the beer joints and brothels found up and down Beale Street, in Memphis, Tennessee. Jug bands like the Memphis Jug Band and Gus Cannon's Jug Stompers played good-time, upbeat music on assorted instruments like washboards, fiddles, triangles, harmonicas, guitars and banjos, all anchored by bass notes of an empty jug. Later on, duets featuring the piano and guitar would become popular as well. I’ve always found these types of records entertaining and I thought it would make for a good show to combine these types of hokum records along with some early pre-war jazz records and a few piano stomps thrown in for good measure. Please subscribe to the show if you haven't done so already and share with family and friends. Also, go take a visit to the show's new website olddingyjukebox.com and have a look around. Thanks for listening and I hope you enjoy the show. “Get Your Mind Out The Gutter”: Pre-War Hokum Blues and Jazz 78s.Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USWebsite: https://www.olddingyjukebox.com/homeFacebook: https://www.facebook.com/olddingyjukeboxpodcastInstagram: @olddingyjukeboxpodcastE-mail: olddingyjukebox@gmail.comClarence Williams’ Jug Band. “You Ain’t Too Old” 1933Lil Johnson “My Stove’s In Good Condition” 1936Jelly Roll Morton “Mr. Jelly Lord” 1924Hokum Boys “Keep Your Mind On It” 1936Duke Ellington and His Cotton Club Orchestra “When A Black Man’s Blue” 1931Sweet Violet Boys “Sweet Violets” 1936Sidney “Pops” Bechet with Noble Sissle’s Swingers “Viper Mad” 1938Eddie Lang (Blind Willie Dunn) and Lonnie Johnson 1929Django Reinhardt Hot Club of France “Paramount Stomp” 1937Pigmeat Pete and Catjuice Charlie “Get Your Mind Out The Gutter” 1929Lonnie Johnson and Clarence Williams “Wipe It Off” 1930Fats Waller “Serenade For A Wealthy Widow” 1934Georgia Tom and Hannah May “What’s That I Smell?” 1934Red Nichols and His Five Pennies “Boneyard Shuffle” 1927Stuff Smith and His Onyx Club Boys “Old Joe’s Hittin’ The Jug” 1936Smokehouse Charley “Pig Meat Blues” 1929Louis Armstrong and His Hot Five “West End Blues” 1928Support the show (https://paypal.me/christiangallo1?locale.x=en_US)

You might say that Eubie Blake flunked retirement. In 1946, with a five-decade career as a successful performer and composer behind him, Eubie Blake retired at the age of 63. The son of former slaves, Blake’s religious mother objected to ragtime music on principle, but in 1899, while still a teenager, Blake penned a classic: “The Charleston Rag.” In 1915, he formed a songwriting partnership with a talented young singer named Noble Sissle, and, in the 1920s the two men fused ragtime and operetta into a series of smash Broadway shows. During World War II, Eubie Blake toured with USO shows, and, after retiring in 1946, studied composition formally at New York University, collecting and editing his works for posterity. In the 1950s, a revival of interest in early jazz coaxed Blake out of retirement, and the use of ragtime music in the film “The Sting” transformed that interest into a pop culture sensation. On today’s date in 1973, on the occasion of his 90th birthday, Blake was honored by ASCAP, the American Society of Composers, Authors and Publishers, and in 1981, at the age of 98, was awarded the Presidential Medal of Freedom.

You might say that Eubie Blake flunked retirement. In 1946, with a five-decade career as a successful performer and composer behind him, Eubie Blake retired at the age of 63. The son of former slaves, Blake’s religious mother objected to ragtime music on principle, but in 1899, while still a teenager, Blake penned a classic: “The Charleston Rag.” In 1915, he formed a songwriting partnership with a talented young singer named Noble Sissle, and, in the 1920s the two men fused ragtime and operetta into a series of smash Broadway shows. During World War II, Eubie Blake toured with USO shows, and, after retiring in 1946, studied composition formally at New York University, collecting and editing his works for posterity. In the 1950s, a revival of interest in early jazz coaxed Blake out of retirement, and the use of ragtime music in the film “The Sting” transformed that interest into a pop culture sensation. On today’s date in 1973, on the occasion of his 90th birthday, Blake was honored by ASCAP, the American Society of Composers, Authors and Publishers, and in 1981, at the age of 98, was awarded the Presidential Medal of Freedom.

Seguro que os acordáis de la película Acordes y desacuerdos, una película de Woody Allen, acerca de un guitarrista ficticio llamado Emmet Ray, que según la película pudo haber sido el único guitarrista comparable a Django Reinhardt, durante la época de la Gran Depresión. La trama nos cuenta los momentos de gloria con su quinteto y su guitarra; sus romances y sus tropiezos; su gusto por la opulencia, la bebida y el billar. Allen dota a su protagonista de una particular sensibilidad, extrañas aficiones (matar ratas a balazos en el vertedero o ver pasar trenes, por ejemplo) y una pasión casi enfermiza por la música. La película está muy bien pero, lo que no tiene desperdicio, como en muchas otras películas de Woody Allen, gracias amigo, es la banda sonora. Y vamos a empezar con “I'll See You in My Dreams", una canción escrita por Isham Jones, y publicada en 1924. Originalmente grabada por el propio Isham Jones y la Ray Miller Orchestra, estuvo en las listas durante 16 semanas durante 1925. Por supuesto, la canción también fue grabada por Django Reinhardt, el ídolo de nuestro personaje. Esto es “I’ll see you in my dreams”, en la versión para la película de Dick Hyman Grup. Caravan" es un estándar de jazz estadounidense que fue compuesto por Juan Tizol y Duke Ellington y interpretado por primera vez por Ellington en 1936. Irving Mills escribió la letra de la canción pero la verdad es que nunca se canta. Ah pero, eso sí, se han grabado más de 350 versiones. Hemos pasado, como de puntillas, sobre el nombre de Juan Tizol. Buen, pues merece la pena reseñar, que este trombonista puertorriqueño, es coautor de los mayores éxitos de “el duque”, (también “Perdido” lleva su firma), y que durante los más de quince años que estuvo en la orquesta de Ellington se convirtió en el mayor exponente puertorriqueño en la historia del jazz. "Viper Mad", algo así como Víbora Loca, es una composición de Sidney Bechet y Rousseau Simmons que se publicó en 1924 interpretada por la vocalista Blossom Seeley . El propio Bechet grabó una versión como líder en 1938, con la Orquesta de Noble Sissle . La letra, que festeja el consumo de marihuana, dice que se llamaba "víbora" al fumador de yerba, debido al silbido de la inhalación. La letra dice, más o menos: "Envuelve tus chuletas alrededor de esta barra de té / Sóplate este medidor y ponte alto conmigo / El buen té es mi debilidad, sé que es malo / Me envía, puerta, y no puedo esperar, Estoy loco por las víboras ". Mucha metáfora, verdad? Viper Mad, interpretada para la ocasión por el autor, Sidney Becket. Old Fashioned Love, el corte que escucharemos a continuación fue compuesto por James Price Johnson, un pianista estadounidense nacido el 1 de febrero de 1894 que fue uno de los músicos más importantes en la época en que se empezaba a grabar, y que revolucionó la técnica de ragtime hacia lo que finalmente se llamaría jazz. Este hombre ejerció una gran influencia en músicos tan importantes como Count Basie, Duke Ellington o Art Tatum, sin ir más lejos. Johnson compuso muchas canciones de éxito, incluido el himno no oficial de los locos años veinte, “The Charleston” y siguió siendo el rey de los pianistas de jazz de Nueva York durante la mayor parte de la década de 1930. Old Fashioned Love está incluida en la banda sonora de la película de Woody Allen versionada por Dick Hyman Grup. La canción Just a Gigolo fue publicada por primera vez en Alemania en 1929 e interpretada por varias orquestas. La versión original tiene un contenido muy interesante. Viene a ser una visión poética del colapso social vivido en Austria después de la Primera Guerra Mundial , representado por la figura de un ex húsar que se recuerda a sí mismo desfilando con su uniforme, mientras que ahora tiene que arreglárselas como bailarín en un music-hall de mala muerte. En las versiones posteriores, nuevos letristas se encargaron de cambiar el sentido del texto y, aunque mantuvieron una triste historia, perdieron el valor histórico que tenía el original. La canción ha tenido numerosas versiones, como la Louis Armstrong o la Marlene Dietrich en su última aparición cinematográfica. En esta ocasión, son nuevamente Dick Human Grup los encargados de versionar para la película Just a Gigolo. Otra de las joyas con las que Allen nos obsequia es esta estupenda versión de All of me, Todo de mi, un estándar de jazz escrito por Gerald Marks y Seymour Simons en 1931. Grabado por primera vez por la famosa cantante de los años 20 y 30 Ruth Etting, con el paso de los años se ha convertido en una de las canciones más versionadas de mundo del jazz, con aportaciones de músicos tan notables como Billie Holiday, Frank Sinatra o Willie Nelson. Como no, en la película se hace referencia a la estupenda versión que grabó Django Reinhard. Los técnicos han desmenuzado la canción dándole mil vueltas y explicando lo inexplicable. Los simples aficionados que solo gozamos de un poco de oído, nos sentimos pagados con reconocer, cada vez e inmediatamente, sus primeras notas. Fruto de la improvisación, por cierto. Y si, la versión de la película está a cargo, nuevamente de Dick Human Grup. Vamos a terminar el repaso del álbum con un título que lo resume todo: “Todo esto no es nada, si no tiene swing” una canción compuesta por Duke Ellington y grabada el 2 de febrero de 1932. El tema fue compuesto por Duke Ellington y la letra fue escrita por Irving Millis. La letra no es tan extensa como en las canciones que estamos acostumbrados a escuchar, pero aun así, el mensaje es claro y conciso: todo lo que necesitas es Swing. Durante toda la canción, se repite y se argumenta el mismo mensaje, revindicar el Swing. Una idea que os dejo. Buscar la versión que grabaron Lady Gaga y Tony Bennett para su álbum de Jazz en común Cheek To Cheek. Impresionante. Y hemos terminado por hoy. Nos han quedado alguna que otra canción que hubiera merecido mejor suerte pero, bueno, las que hemos oído merecían la pena. Volvemos la semana que viene. Con más música, más músicos y más historias. Hasta entonces… “Buenas vibraciones”.

Seguro que os acordáis de la película Acordes y desacuerdos, una película de Woody Allen, acerca de un guitarrista ficticio llamado Emmet Ray, que según la película pudo haber sido el único guitarrista comparable a Django Reinhardt, durante la época de la Gran Depresión. La trama nos cuenta los momentos de gloria con su quinteto y su guitarra; sus romances y sus tropiezos; su gusto por la opulencia, la bebida y el billar. Allen dota a su protagonista de una particular sensibilidad, extrañas aficiones (matar ratas a balazos en el vertedero o ver pasar trenes, por ejemplo) y una pasión casi enfermiza por la música. La película está muy bien pero, lo que no tiene desperdicio, como en muchas otras películas de Woody Allen, gracias amigo, es la banda sonora. Y vamos a empezar con “I'll See You in My Dreams", una canción escrita por Isham Jones, y publicada en 1924. Originalmente grabada por el propio Isham Jones y la Ray Miller Orchestra, estuvo en las listas durante 16 semanas durante 1925. Por supuesto, la canción también fue grabada por Django Reinhardt, el ídolo de nuestro personaje. Esto es “I’ll see you in my dreams”, en la versión para la película de Dick Hyman Grup. Caravan" es un estándar de jazz estadounidense que fue compuesto por Juan Tizol y Duke Ellington y interpretado por primera vez por Ellington en 1936. Irving Mills escribió la letra de la canción pero la verdad es que nunca se canta. Ah pero, eso sí, se han grabado más de 350 versiones. Hemos pasado, como de puntillas, sobre el nombre de Juan Tizol. Buen, pues merece la pena reseñar, que este trombonista puertorriqueño, es coautor de los mayores éxitos de “el duque”, (también “Perdido” lleva su firma), y que durante los más de quince años que estuvo en la orquesta de Ellington se convirtió en el mayor exponente puertorriqueño en la historia del jazz. "Viper Mad", algo así como Víbora Loca, es una composición de Sidney Bechet y Rousseau Simmons que se publicó en 1924 interpretada por la vocalista Blossom Seeley . El propio Bechet grabó una versión como líder en 1938, con la Orquesta de Noble Sissle . La letra, que festeja el consumo de marihuana, dice que se llamaba "víbora" al fumador de yerba, debido al silbido de la inhalación. La letra dice, más o menos: "Envuelve tus chuletas alrededor de esta barra de té / Sóplate este medidor y ponte alto conmigo / El buen té es mi debilidad, sé que es malo / Me envía, puerta, y no puedo esperar, Estoy loco por las víboras ". Mucha metáfora, verdad? Viper Mad, interpretada para la ocasión por el autor, Sidney Becket. Old Fashioned Love, el corte que escucharemos a continuación fue compuesto por James Price Johnson, un pianista estadounidense nacido el 1 de febrero de 1894 que fue uno de los músicos más importantes en la época en que se empezaba a grabar, y que revolucionó la técnica de ragtime hacia lo que finalmente se llamaría jazz. Este hombre ejerció una gran influencia en músicos tan importantes como Count Basie, Duke Ellington o Art Tatum, sin ir más lejos. Johnson compuso muchas canciones de éxito, incluido el himno no oficial de los locos años veinte, “The Charleston” y siguió siendo el rey de los pianistas de jazz de Nueva York durante la mayor parte de la década de 1930. Old Fashioned Love está incluida en la banda sonora de la película de Woody Allen versionada por Dick Hyman Grup. La canción Just a Gigolo fue publicada por primera vez en Alemania en 1929 e interpretada por varias orquestas. La versión original tiene un contenido muy interesante. Viene a ser una visión poética del colapso social vivido en Austria después de la Primera Guerra Mundial , representado por la figura de un ex húsar que se recuerda a sí mismo desfilando con su uniforme, mientras que ahora tiene que arreglárselas como bailarín en un music-hall de mala muerte. En las versiones posteriores, nuevos letristas se encargaron de cambiar el sentido del texto y, aunque mantuvieron una triste historia, perdieron el valor histórico que tenía el original. La canción ha tenido numerosas versiones, como la Louis Armstrong o la Marlene Dietrich en su última aparición cinematográfica. En esta ocasión, son nuevamente Dick Human Grup los encargados de versionar para la película Just a Gigolo. Otra de las joyas con las que Allen nos obsequia es esta estupenda versión de All of me, Todo de mi, un estándar de jazz escrito por Gerald Marks y Seymour Simons en 1931. Grabado por primera vez por la famosa cantante de los años 20 y 30 Ruth Etting, con el paso de los años se ha convertido en una de las canciones más versionadas de mundo del jazz, con aportaciones de músicos tan notables como Billie Holiday, Frank Sinatra o Willie Nelson. Como no, en la película se hace referencia a la estupenda versión que grabó Django Reinhard. Los técnicos han desmenuzado la canción dándole mil vueltas y explicando lo inexplicable. Los simples aficionados que solo gozamos de un poco de oído, nos sentimos pagados con reconocer, cada vez e inmediatamente, sus primeras notas. Fruto de la improvisación, por cierto. Y si, la versión de la película está a cargo, nuevamente de Dick Human Grup. Vamos a terminar el repaso del álbum con un título que lo resume todo: “Todo esto no es nada, si no tiene swing” una canción compuesta por Duke Ellington y grabada el 2 de febrero de 1932. El tema fue compuesto por Duke Ellington y la letra fue escrita por Irving Millis. La letra no es tan extensa como en las canciones que estamos acostumbrados a escuchar, pero aun así, el mensaje es claro y conciso: todo lo que necesitas es Swing. Durante toda la canción, se repite y se argumenta el mismo mensaje, revindicar el Swing. Una idea que os dejo. Buscar la versión que grabaron Lady Gaga y Tony Bennett para su álbum de Jazz en común Cheek To Cheek. Impresionante. Y hemos terminado por hoy. Nos han quedado alguna que otra canción que hubiera merecido mejor suerte pero, bueno, las que hemos oído merecían la pena. Volvemos la semana que viene. Con más música, más músicos y más historias. Hasta entonces… “Buenas vibraciones”.

Eubie! Recordings from 1969 and 1971 of Eubie Blake playing some of his own tunes from the 1920's and 30's along with Noble Sissle and Ivan Harold Browning . . medleys from "Shuffle Along" (1921) and African-American shows from the turn of the century as well as ragtime and very early stride piano showpieces. --- Support this podcast: https://anchor.fm/john-clark49/support

Sidney Bechet in the 1930's . . .with Noble Sissle's Swingsters, Tommy Ladnier's Orchestra, Sidney Bechet Orchestra . .featuring Ernie Caceres, Mezz Mezzrow, Cliff Jackson, Billy Banks, Clarence Brereton, Leonard Ware --- Support this podcast: https://anchor.fm/john-clark49/support

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This new series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future. Songs born along Tin Pan Alley, on 42nd Street, down Broadway, and beyond. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. In this episode, you’ll hear: 1) The Lady Is A Tramp by Lena Horne / Richard Rodgers (music) & Lorenz Hart (lyrics) [1937] 2) I've Got The World On A String by Mel Tormé / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 3) I'm Just Wild About Harry by Judy Garland / Eubie Blake (music) & Noble Sissle (lyrics) [1921] 4) Nancy (With The Laughing Face) by Frank Sinatra / Jimmy Van Heusen (music) & Phil Silvers (lyrics) [1942] 5) I Can't Believe That You're in Love with Me by Dinah Washington / Jimmy McHugh (music) & Clarence Gaskill (lyrics) [1926] 6) Let's Call The Whole Thing Off by Harry Connick, Jr. / George & Ira Gershwin [1937] 7) Ten Cents a Dance by Doris Day / Richard Rodgers (music) & Lorenz Hart (lyrics) [1930] 8) I'll Never Stop Loving You by Andy Williams / Nicholas Brodzsky (music) & Sammy Cahn (lyrics) [1955] 9) Make It Another Old-Fashioned, Please by Julie London / Cole Porter (music and lyrics) [1940] 10) Call Me Irresponsible by Michael Bublé / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1962] 11) Let's Take A Walk Around The Block by Ella Fitzgerald / Harold Arlen (music) & Edgar “Yip” Harburg and Ira Gershwin (lyrics) [1934] 12) It Might Be You by Alan Bergman / Marilyn & Alan Bergman (lyrics), Dave Grusin (music) [1982] 13) All The Way by Billie Holiday / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1957] 14) Evergreen by Paul Williams / Barbra Streisand & Paul Williams [1976] 15) Isn't It Romantic by Jack Jones / Richard Rodgers (music) & Lorenz Hart (lyrics) [1932] 16) We Have All The Time In The World by Louis Armstrong / John Barry (music) & Hal David (lyrics) [1969] 17) Don't Cry For Me Argentina by Patti LuPone / Andrew Lloyd Webber (music) & Tim Rice (lyrics) [1978] 18) Ain’t Misbehavin’ by Johnny Guarnieri / Thomas "Fats" Waller & Harry Brooks (music) Andy Razaf (lyric) [1929]

The 1920's brought the second great era of musicals that were written by, staged by, and starring African-American theater artists to Broadway. In this episode I profile these brilliant creators and stars including Eubie Blake & Noble Sissle, Flournoy Miller & Aurbry Lyles, Bill "Bojangles" Robinson, and their musicals -- "Shuffle Along", "Runnin' Wild", "Blackbirds of 1929", "Hot Chocolates" and more. It also includes a brief history of that great African-American/Irish-American co-creation -- Tap Dancing. And featuring music by The Paragon Ragtime Orchestra -- for more music from this era check out their terrific "Black Manhattan" series of recordings. Learn more about your ad choices. Visit megaphone.fm/adchoices

Playlist: James and Troy Andrews - Bourbon Street ParadeDirty Dozen Brass Band - My Feet Can't Fail Me NowLouis Prima - Basin Street BluesJelly Roll Morton's Red Hot Peppers - Dead Man BluesSadie Green - Vamp of New OrleansBois-Sec and Isom on triangle - Allez-Vous-EnNoble Sissle and his Orchestra featuring Bix Beiderbecke - Dear Old SouthlandIrma Thomas - Back Water BluesErnie K-Doe - Ain't It The Truth/Mother-In-LawOtis Smith - You're So Good LookingVan Alexander & His Orchestra - Way Down Yonder in New Orleans MamboGregg Stafford & Dr. Michael White - Bye & Bye/Saints

»Latinmusik i USA #2, New Orleans og tidlig New York« Radio Jazz studievært Ole Matthiessen præsenterer musik fra, om og med Jelly Roll Morton, Jimmy Yancey, W.C. Handy & St Louis Blues, Louis Armstrong, Pablo Valenzula, James Reese Europe & Hell Fighters Band, Noble Sissle & Shuflfe Along, Trio Borinquen, puertorikansk emigration, Joe Cuba, Rafael Hernández, Don Azpiazu & Havana Casino Orchestra, Xavier Cugat Waldorf Astoria Orchestra, The Peanut Vendor med Duke Ellington & Red Nichols.

Highlights Financing WWI - Reaching for the stars | 01:55 The 369th hits the front lines | 08:30 The British Struggle continues - Mike Shuster | 10:40 The Yankee Division learns at seicheprey - Dr. Edward Lengel | 15:10 A century In the Making - The maquettes get busy | 21:00 “Lest We forget: The Great War” - Kenneth Clarke & Michael Robbins | 25:05 How to teach about WWI - Dr. Ian Isherwood | 32:30 Speaking WWI - Pilates | 38:25 100 Cities / 100 Memorial in Jackson, TN - Dr. Alice-Catherine Carls | 40:25 WWI War Tech - Carrel-Dakin Antiseptic | 45:55 The Weekly Dispatch Newsletter overview | 47:50 The Centennial In Social Media - Katherine Akey | 50:25----more---- Opening Welcome to World War 1 centennial News - episode #67 - It’s about WW1 THEN - what was happening 100 years ago this week  - and it’s about WW1 NOW - news and updates about the centennial and the commemoration. This week our guests include: Mike Shuster, from the great war project blog updates us on what the UK Forces are up against both on the front and in recruitment Dr. Edward Lengel with the story of the US Yankee Division as they enter serious battle. Kenneth Clarke and Michael Robbins introduce a pictorial book, a perfect souvenir of the centennial from the Pritzker Military Museum and Library and the US WW1 Centennial Commission -  Lest We Forget: The Great War Dr. Ian Isherwood shares his experience in creating a WW1 educational programme structured around a soldier’s letters Dr. Alice-Catherine Carls, the project instigator for  the 100 Cities/100 Memorials project from Jackson, Tennessee and the local research the project spawned Katherine Akey keeps us in Tennessee with a social media post about a great commemoration event. All this and more... on WW1 Centennial News -- a weekly podcast brought to you by the U.S. World War I Centennial Commission, the Pritzker Military Museum and Library and the Starr foundation. I’m Theo Mayer - the Chief Technologist for the Commission and your host. Welcome to the show. [MUSIC] Preface Just one year after the declaration of war, 100 years ago, it is time for the third Liberty Loan drive to raise money to pay for the war effort. Let me put the Liberty Loan drive into perspective for you. In early 20th century thinking, Woodrow Wilson’s government was completely clear that the war would be financed by money raised specifically for it. And a majority of that money was to come from the American People - ordinary citizens. By contrast, today in our late 20th /early  21st century, money for our wars and military expenditures are financed from a big boiling cauldron called the national debt. Today the average American Citizen feel little or no real connection with or responsibility for our military expenditures.    Not so in 1917 and 1918. In those two years, during four Bond drives, twenty million individuals purchase Liberty War bonds. 20 million investors is pretty impressive given that there were only twenty-four million households in America at the time. More than 17 billion dollars are raised. In addition, taxes are collected to the sum of 8.8 billion dollars… in short, $26 billion dollars is gathered to finance the fight in WWI. Now that’s in 1918 dollars. Today that equates to nearly ½ a TRILLION dollars raised in bonds, largely from citizen, specifically for a purpose. With that as background, let’s jump into our centennial time machine a take a look at the national fundraising effort and a whole lot more 100 years ago this week in the war that changed the world. World War One THEN 100 Year Ago This Week On April 6th 1918 - President Wilson makes a speech to launch the third Liberty Bond Campaign. Here is his declaration as reported in the pages of the Official Bulletin - The government’s war Gazette published by Wilson’s propaganda chief George Creel. [SOUND EFFECT] Dateline: SATURDAY, APRIL 6, 1918 The headline Reads: The President delivered the following address at Baltimore to-night on the occasion of the opening of the Third Liberty Loan Campaign: “Fellow Citizens: This is the anniversary of our acceptance of Germany's challenge to fight for our right to live and be free, and for the sacred rights of free men everywhere. The Nation is awake. There is no need to call to it. We know what the war must cost, our utmost sacrifice, the lives of our fittest men and, if need be, all that we possess. The loan we are met to discuss is one of the least parts of what we are called upon to give and to do, though in itself imperative. The people of the whole country are alive to the necessity of it, and are ready to lend to the utmost, even where it involves a sharp skimping and daily sacrifice to lend out of meagre earnings. They will look with reprobation and contempt upon those who can and will not, upon those who demand a higher rate of interest, upon those who think of it as a mere com-. mercial transaction. I have not come, therefore, to urge the loan. I have come only to give you, if I can, a more vivid conception of what it is for.” The president goes on to explain the situation on the ground in europe and the dire need for America as a nation to take a stand, take a lead and defend all that the nation holds dear. And so kicks off the third Liberty bond campaign. A few days later the Official Bulletin reports on the Cabinet’s Liberty Bond appeal Dateline: TUESDAY, APRIL 9, 1918 The Headline reads: CABINET MEMBERS APPEAL TO ALL TRUE AMERICANS TO SUPPORT WITH THEIR DOLLARS OUR GALLANT FIGHTERS IN THE FIELD; BUY LIBERTY BONDS, THEY ASK, IN PROOF OF YOUR PATRIOTISM The article goes on with a number of cabinet members presenting their appeal of the importance and patriotic imperative for buying bond.. But my favorite part comes at the end of the full page article with a subheadline of: [SOUND EFFECT] WHAT LIBERTY BONDS WILL BUY. The article reads: Eighteen thousand dollars invested- in Liberty bonds will equip an infantry battalion with rifles. Fifty thousand dollars will construct a base hospital with 500 beds, or equip an infantry brigade with pistols. One hundred thousand dollars will buy five combat airplanes, or pistols, rifles. and half a million rounds of ammunition for an infantry regiment. Just like today - contributors to a cause want to know exactly what their contribution is buying! These guys know exactly what they are are doing! In another smart move, presumably pulled off by George Creel - the campaign cleverly recruits four of the most popular movie stars of the day and puts them on the road to help raise money. The headline reads: LIBERTY LOAN SPEAKING TOURS FOR FOUR MOTION PICTURE STARS And the story opens with: Today we are announcing The itineraries of Charles Chaplin, Douglas Fairbanks, Mary Pickford, and Marguerite Clark for their speaking tours during the forthcoming Liberty loan campaign! And the article continues with the schedule of appearances by the stars. Then on Saturday April 13th 1918, just one week after launching the campaign, the headline in the official bulletin reads TOTAL SALES OF LIBERTY BONDS AS REPORTED TO THE TREASURY, PASS THE HALF BILLION MARK AS SCORES OF TOWNS EXCEED QUOTAS It’s a big week on the home front - raising money 100 years ago, for America’s participation in a war that changed  the world! Links: https://www.federalreservehistory.org/essays/liberty_bonds http://www.worldwar1centennial.org/index.php/educate/places/official-bulletin/2381-ww1-official-bulletin-volume-1-issue-4-may-14-1917.html http://www.worldwar1centennial.org/index.php/educate/places/official-bulletin/2497-ww1-official-bulletin-volume-1-issue-31-june-15-1917.html https://muse.jhu.edu/article/639845 http://www.worldwar1centennial.org/index.php/educate/places/official-bulletin/2850-ww1-official-bulletin-volume-1-issue-121-october-1-1917.html https://timesmachine.nytimes.com/timesmachine/1918/04/04/102979322.pdf Liberty Loan articles from Times: https://timesmachine.nytimes.com/timesmachine/1918/04/04/102979322.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/04/102979339.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/05/102687136.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/06/102687648.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/12/98261150.pdf Americans needed by allies as action on front continues. https://timesmachine.nytimes.com/timesmachine/1918/04/02/102685967.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/08/317376142.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/10/102690083.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/12/98261154.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/01/102685527.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/02/102685966.pdf https://timesmachine.nytimes.com/timesmachine/1918/04/03/102686544.pdf And it is also a very big week on the fighting front! Here is a story that is not covered in the government press - and doesn’t really pop up in the popular press either - But 100 years ago this week, The 369th US Infantry Regiment goes to the front lines to fight --- but with the French! - on April 8th 1918 the 369th is amalgamated into French Army. But wait a minute….. - Didn’t General Pershing insist on keeping the American Expeditionary Forces together as a distinct American fighting force.   Well yea - he did - but Pershing’s insistence on keeping all American forces together didn’t extend to the black troops in the segregated US Army.   Among them were the 15th New York National Guard Regiment, redesignated the 369th Infantry Regiment but better known as the Harlem Rattler or the Harlem Hellfighters.   Now Pershing presumably didn’t have any problems with black soldiers per se, but the question of how to use black troops in the front lines, where they’d have to rely on the full cooperation of white units on either side, was really gnarly. The online blog “today in World War 1,  posted a quote from Hamilton Fish - a New Yorker, who served as one of the regiment’s white officers: Quote: The French were crying out for U.S. regiments to go into the French Army.  So I guess Pershing figured he could kill two birds with one stone–solve the problem on what to do with us and give something to Foch.  From then on we spent our entire service in the French Army. Oh officially we were still the 369th U.S. Infantry, but to all intent and purposes we were francais. The post goes on with a quote from Noble Sissle, who served in the regiment’s famous band: We were fully equipped with French rifles and French helmets.  Our wagons, our rations, our machine guns and everything pertaining to the equipment of the regiment for trench warfare was supplied by the French Army. The 369th went on to serve with great distinction spending more time on the front line that any other US forces… with a fierceness and bravery that never gave ground to the enemy. A proud combat service started 100 years ago this week, in the war the changed the world... http://today-in-wwi.tumblr.com/post/172746986523/369th-us-infantry-regiment-begins-front-line [MUSIC TRANSITION] Great War Project Continuing to explore the story on the front, we are going to go to Mike Shuster former NPR correspondent and curator for the Great War project Blog…. Mike: Your post this week speaks to what can only be thought of as moment of total desperation for the British lines… It has just been exactly two years since they brutally put down Ireland’s Easter Uprising - Now they are trying to conscript them - They are not having much luck drafting more Canadian either - General Haig puts out his out his inspirational “Backs To The Wall” Order - and at this very moment of do or die - Well… you story this week closes on a note of hope. Fill it in for us Mike… [Mike Shuster] Mike Shuster from the Great War Project blog. LINK: http://greatwarproject.org/2018/04/08/allies-face-resistance-in-own-ranks/ [SOUND EFFECT] America Emerges: Military Stories from WW1 And one last story from the front for our segment -  America Emerges: Military Stories from WWI with Dr. Edward Lengel. As Mike indicated, this is the time when the American infantry does arrive on the front… The boys are fresh, healthy and eager when compared to their battle weary allies. They’re also green. The Germans want to -- Maybe they NEED TO discredit them. The school of combat is now is session for the Americans. And the lessons begin 100 years ago this week in Seicheprey - lessons for all sides. And Ed is here to tell you the story: [Ed Lengel] [MUSIC TRANSITION] Dr. Edward Lengel is an American military historian, author, and our segment host for America Emerges: Military Stories from WWI. There are links in the podcast notes to Ed’s post and his web sites as an author.   Links:http://www.edwardlengel.com/combat-seicheprey-yankee-division-100-years-ago/ https://www.facebook.com/EdwardLengelAuthor/ http://www.edwardlengel.com/about/ The Great War Channel For videos about WWI 100 years ago this week, check out our friends at  the Great War Channel on Youtube. New episodes this week include: Operation Michael Runs out of Breath France before WW1 -- La belle epoque? See their videos by searching for “the great war” on youtube or following the link in the podcast notes! Link:https://www.youtube.com/user/TheGreatWar World War One NOW Alright  - It is time to fast forward into the present with WW1 Centennial News NOW - [SOUND EFFECT] This part of the podcast focuses on NOW and how we are commemorating the centennial of WWI! A Century in the Making The Maquette and it’s Travels We have an update for our segment: A century in the making - America’s WW1 Memorial in Washington DC. As our regular listeners know, we are building a national WWI Memorial at Pershing Park in the nation’s capital. It’s a big project. And It’s been a long time coming. We spoke with sculptor Sabin Howard back in episodes #54 and #55 about a new process. Sabin combined advanced 3D printing technology at the WETA Workshop in New Zealand with traditional classic sculpture techniques to create a 10’ miniature draft the sculptural centerpiece for the memorial. The result is called a maquette. We made two of them to show America and to help us raise money for this strictly publicly funded memorial. One maquette was on display at the Visitor's Center in the Tennessee Bicentennial Mall, in downtown Nashville --- right in front of the state capital. It was quite a hit at the Tennessee Great War Commission's event this last Saturday, where it was featured as part of the presentation from Terry Hamby - the WW1 Centennial Commission Chairman. Both Maquettes are being prepped for a busy schedule of showings at special events and fundraisers around the country. We will keep you updated as the schedule evolves… Katherine - You went to a fundraiser on wednesday and got your first look at the sculpture that is called “A soldier’s Journey” - what was your first reaction? [Katherine’s reaction to seeing the Maquette] Learn more about the memorial and follow the incredible journey of a project that has been a century in the making - Go to ww1cc.org/memorial or follow the link in the podcast notes Link:http://ww1cc.org/memorial Remembering Veterans Lest We Forget: Book and Exhibition And while we are speaking about the Memorial - we have a brand new way for you to help build America’s WWI Memorial in Washington DC and at the same time, get yourself a very special, colorful, inspiring and lasting souvenir of the centennial! This week marks the release of a new visual pictorial table book called  “Lest We Forget: The Great War” - The book is dedicated to the centennial and produced by The Pritzker Military Museum and Library along with the WW1 Centennial commission - When you get this visual remembrance  - a full ½ of the proceeds go building the Memorial! With us to tell us more about “Lest We Forget” which also has a companion exhibit in Chicago at the Pritzker - are Kenneth Clarke, Former President and CEO of the Pritzker Military Museum and Library, and Michael Robbins, historian. Ken was the executive and creative director for the book and exhibition and Michael was writer for the text. Welcome, Gentlemen! [greetings/welcome] [Ken, can you give us an overview of the project and the concept?] [Insert questions if it fits] Ken there are nearly 350 images in this book -- how did you select them?] [Michael -- you were the writer on the project - What story are you telling and how do the words and the pictures interact?] [Ken -- Sir Hugh Strachan (STRAWN) - who has been on the show - did an introduction for the book. What was his emphasis?] [Ken -- In closing - Who is this book for?] The book is available in bookstores nationwide, but the easiest place to get it is in the commission’s Merchandise shop. Look under Commemorate at ww1cc.org and we have link to the commission's shop in the podcast notes .. Thank  you both for coming on the podcast and introducing us to this beautiful “must get” souvenir of the Centennial! [goodbyes/thank you] Kenneth Clarke and Michael Robbins the creative director and writer for the Lest We Forget: The Great War - available through the links in the podcast notes. Link: https://shop.worldwar1centennial.org/merchandise-gifts-awards?product_id=188 https://www.pritzkermilitary.org/store/pmml-merchandise/lest-we-forget-michael-robbins/ https://www.pritzkermilitary.org/whats_on/video-rucksack/lest-we-forget-exhibit-opening-remarks/ Education Teaching WWI - A great approach Now for our Education segment -- A story of a teacher and his approach to teaching WWI! Collections of soldier’s letters and diaries from the war continue to be discovered and rediscovered one hundred years after they were first written. As we have learned from a number of museum curators, they offer an amazing opportunity to help understand this event in history as they bring in  a first person point of view. Today, we’re joined by Dr. Ian Isherwood, Visiting Assistant Professor at Gettysburg College in Gettysburg, Pennsylvania who is doing exactly that. Welcome, Dr. Isherwood! [greetings/welcome] [Dr. Isherwood-- you’ve been using Wartime letters from Lieutenant Colonel Jack Peirs, a British Soldier as the foundation for teaching history to your students. For context, can you tell us briefly about the soldier, and how you came across his letters?] [Did you build up a following? ] [At the commission we are really interested in the techniques for teaching this subject - What advice do you have for others who may want to undertake an educational programme like this?] [Would this work for younger student educators?] [we've found that the first person POV gives you insight you cant get from just plain facts... do you find that to be true?] [You’re also personally working on a new, upcoming book -- can you tell us a little about it?] [goodbyes/thank you] Dr. Ian Isherwood is a Visiting Assistant Professor and the Chairperson of Civil War Era Studies at Gettysburg College in Gettysburg, Pennsylvania. We put links for his Jack Peirs website and twitter accounts in the podcast notes. links:http://www.gettysburg.edu/academics/history/research/jackpiers.dot https://twitter.com/jackpeirs http://cupola.gettysburg.edu/cgi/viewcontent.cgi?article=1116&context=ghj http://jackpeirs.org/ https://www.instagram.com/jackpeirs/?hl=en Speaking WW1 Now let’s head into our weekly feature “Speaking World War 1” -- Where we explore the words & phrases that are rooted in the war  --- It’s a health fad with real benefits, a gym class pretty much anyone can benefit from -- It’s very popular -- It’s very Hep -- and I’ll bet you had no idea it was from WWI - No.. not Zoomba   Nope… Not kickboxing... Uh uh definitely NOT P90X… It’s our Speaking WWI word this week - Pilates! Pilates is named for its inventor, Joseph Hubertus Pilates, who created it in Great Britain during WW1. Pilates, Interestingly was born a German citizen. He was a frail and sickly child who took to exercise for both his health and self-defense against bullies. He eventually grew into an accomplished boxer and martial artist, and traveled to England in 1912 to find work, picking up a job as a circus performer. When the war broke out, he was arrested as an enemy alien and interned on the Isle of Man. It was there that he came up with his method of mental and physical exertion, which he called “Contrology”, as a way to encourage his fellow inmates to stay healthy. Many prisoners were bedridden, and so Pilates invented a makeshift resistance-training machine out of springs and straps taken from the beds and attached to the foot and headboards. This use of resistance loads would later become a staple of the Pilates method. After the end of the war, Pilates emigrated to the US and settled in New York, where he and his wife, Clara, founded the first Body Contrology Studio in 1925. And of course that was the foundation for the trendy “new” exercise method -- known far and wide as Pilates. Pilates -- created by a German citizen prisoner in wartime -- and this week’s word for speaking WW1. Links:http://online.wsj.com/ww1/pilates [SOUND EFFECT] 100 Cities 100 Memorials World War I Memorial Fountain - Jackson, TN This week for our 100 Cities / 100 Memorials segment ---  the $200,000 matching grant challenge to rescue and focus on our local WWI memorials --- It looks like this is Tennessee week - because We  are going to profile the World War I Memorial Fountain project from Madison County in Jackson, Tennessee. With us tell us about the project is Dr. Alice-Catherine Carls, the Tom Elam Distinguished Professor of History at the University of Tennessee at Martin, and member of the Tennessee Great War Commission.   Welcome Dr. Carls! [greetings] [Dr. Carls - your WWI Memorial honors both the women on the homefront in Tennessee and the men on the fighting front in France. That’s a really interesting approach… could you tell us more about that?] [It is very unique for a WWI memorial to honor both the homefront and the warefront. [Your project has a large research and community historical society component to it could you tell us about that?] [Have you been promoting the project locally? What has the community response been?] [MAYBE QUESTION: The memorial was designed as a fountain - but has been dry for a long time - I know in your grant application you hadn’t yet decided if you were going to get the fountain replumed - I have worked with water features before - It’s very tricky. Where is that idea at now?] [Are you planning a rededication this year?] Dr. Carls - thank you for leading this project on behalf of your community and on behalf of the men and women of your county who served both here and abroad in WWI [goodbyes/thank you] Dr. Alice-Catherine Carls, Professor of History at the University of Tennessee, and a member of the Tennessee Great War Commission. Learn more about the 100 Cities/100 Memorials program and about West Tennessee in WW1 by following the links in the podcast notes or by going to ww1cc.org/100Memorials Link: www.ww1cc.org/100cities http://www.utm.edu/worldwars/ [SOUND EFFECT] WW1 War Tech Carrel-Dakin Method This week for WW1 War Tech -- another technology that saved lives instead of taking them. In the early months of the war, amputations for wounded soldiers were at the same high levels as those of the civil war. In other words - very high! But by late 1915 that rate dropped dramatically! So, what happened? Well… That year, a French physician, Théodore Tuffier, testified to the Academy of Medicine that 70% of amputations weren’t because of the initial injury, but because of a later infection. As we have mentioned on the podcast before the mud-filled and deeply unsanitary conditions of trench warfare were a happy home for the bacteria that cause Gangrene. The antiseptics of the 19th century were inadequate. But two men: French doctor Alexis Carrel and British biochemist Henry Dakin came together under the cloud of war to combine their two discoveries to create one very effective method of disinfecting wounds. Dakin created a solution of sodium hypochlorite that managed to kill any bacteria in a wound, but didn’t damage the flesh surrounding it. Meanwhile Dr. Carrel developed a strategy of opening and thoroughly draining wounds. Put together, the Carrel-Dakin method proved the most effective antiseptic treatment to that date, and the procedure quickly spread into use all across Europe, saving an untold number of limbs from amputation. The Carrel-Dakin method-- an incredible leap forward in the treatment of field wounds -- and the subject of this week’s WW1 War Tech. We have put links in the podcast notes to learn more including a link to the commission’s website on medicine in WWI at ww1cc.org/medicine Link:  https://www.theatlantic.com/health/archive/2017/02/world-war-i-medicine/517656/       https://www.rtbf.be/ww1/topics/detail_the-carrel-dakin-method?id=8356084 http://www.worldwar1centennial.org/index.php/injuries-in-world-war-i.html Articles and Posts For Articles and posts -- we are going to continue with the idea we launched last week of highlighting the features of the weekly dispatch newsletter.  So here we go. [DING] Final fifty “WWI Centennial Memorials” announced in wrap-up of competition phase of 100 Cities / 100 Memorials Also learn about -- the Memorial Hunters Club, a crowd-sourced effort to create a comprehensive national register of WWI memorials. [DING] "The film needed really really brilliant nuanced, convincing performances" The interview from this podcast with director Saul Dibb, about the motion picture a Journey’s End - now in wide release -  has been turned into a print article on the website. [DING] "It was a sad but poignant tale." Two lifelong friends, Now octogenarians , have produced a documentary film about one of their uncle’s service in WW. [DING] Pennsylvania oil and World War I Remember how important coal was during WW1? Supplement that knowledge by reading about the role of Pennsylvania Oil during the war. [DING] 'Over Here' in Michigan, High School Athletes Gave to World War I Effort Michigan’s high school athletes helped fill the labor shortage created as millions of men shipped overseas. [DING] Break of Day - Poet Isaac Rosenberg The WWrite blog  features the WWI poetry of British soldier, Isaac Rosenberg, who died on Easter Sunday, 1918 - and who was also mentioned by Mike Shuster in last week’s podcast. [DING] The story of Donald Chapman This week’s featured Story of Service submitted by his grand niece Tish Wells [DING] Official WWI Centennial Merchandise Finally, this week’s selection from our Official on line Centennial Merchandise store - an authentic classic green US Army woolen blanket from woolrich inc. the oldest continuously operating woolen mill in the US and suppliers of army blankets 100 years ago. Sign up for the Weekly Dispatch newsletter at ww1cc.org/subscribe check the archive at ww1cc.org/dispatch or follow the link in the podcast notes. Link: http://www.worldwar1centennial.org/index.php/communicate/2015-12-28-18-26-00/subscribe.html http://www.ww1cc.org/dispatch The Buzz And that brings us to the buzz - the centennial of WW1 this week in social media with Katherine Akey - Katherine, what did you pick? Tennessee Living History and WW1 Literature Hi Theo -- As we commemorate 101 years since joining the First World War -- incredible events are beginning to take place across the country to remember those who served. Over the last weekend, Tennessee held a massive living history event in Nashville -- the very event that the Maquette recently appeared at! The Tennessee State Park System hosted the event, which included reproduction trenches, encampments and field kitchens, WW1 era aircraft and many reenactors -- including Suffragettes and Salvation Army doughnut lassies handing out freshly made treats. There was also a large group of reenactors representing the African American troops of Tennessee -- wearing the iconic French Adrian Helmet that was distributed to the troops amalgamated with French units -- and the whole weekend event was capped off with a period baseball game. We shared an article as well as an album of photos from the event on Facebook this week -- you can find links to those in the podcast notes. Lastly for the week -- we shared an article that instigated some spirited debate on our facebook page: a list of what the author considers 13 essential books on the American Expeditionary Forces. The list is a great starting place for anyone wanting to delve deeper into this chapter in American history -- but be sure to check the link to the facebook post to see all the recommendations made by our community -- there were many! That’s it for this week in the Buzz. Link:https://ebonydoughboys.org/ https://www.facebook.com/pg/tennesseephotographs/photos/?tab=album&album_id=2123040067916331 https://www.newschannel5.com/news/wwi-soldiers-honored-in-100th-anniversary-event https://taskandpurpose.com/american-expeditionary-force-books/ https://www.facebook.com/ww1centennial/posts/956863547822277   Outro And that is the second week of April for WW1 Centennial News. Thank you for listening. We also want to thank our guests... Mike Shuster, Curator for the great war project blog Dr. Edward Lengel, Military historian and author Ken Clarke -- and Michael Robbins creative director and writer for the new souvenir of the Centennial book - Lest we Forget Dr. Ian Isherwood, historian and WWI educator Dr. Alice-Catherine Carls, WWI Researcher and member of the Tennessee Great War Commission Katherine Akey, WWI Photography specialist and the line producer for the podcast Many thanks to the newest member of our team - Mac Nelsen our intrepid sound editor--- a shout out to our intern John Morreale for his  great research assistance... And I am Theo Mayer - your host. The US World War One Centennial Commission was created by Congress to honor, commemorate and educate about WW1. Our programs are to-- inspire a national conversation and awareness about WW1; Including this podcast! We are bringing the lessons of the 100 years ago into today's classrooms; We are helping to restore WW1 memorials in communities of all sizes across our country; and of course we are building America’s National WW1 Memorial in Washington DC. We want to thank commission’s founding sponsor the Pritzker Military Museum and Library as well as the Starr foundation for their support. The podcast can be found on our website at ww1cc.org/cn   Or search WW1 Centennial News on  iTunes, Google Play, TuneIn, Podbean, Stitcher - Radio on Demand, Spotify or using your smart speaker.. Just say “Play W W One Centennial News Podcast”. Our twitter and instagram handles are both @ww1cc and we are on facebook @ww1centennial. Thank you for joining us. And don’t forget to share the stories you are hearing here today about the war that changed the world! [music] Welcome to Beverly Hills Pilates - The newest trend in sophisticated exercise! NO it’s not --- It’s from WW1 So long!

Your host for this edition is Madalyn Murray O'Hair It is entitled Hard-Pressed Economic Persons The Content First Sequence: Homer Banks - 60 Minutes of Your Love Jackie DeShannon - When You Walk in the Room Marvin & Johnny - Baby, You're the One The Reflections - Adam and Eve Willie Gauff & The Love Brothers - Everybody Needs Love Second Sequence: David Boeddinghaus - A Real Slow Drag Scott Joplin - Original Rags (piano roll) The New England Conservatory Ragtime Ensemble - The Rag Time Dance Richard Zimmerman - Sunflower Slow Drag Joshua Rifkin - Solace: A Mexican Serenade Third Sequence: Luis Enríquez Bacalov - Can Be Done Gianni Ferrio - Let it Pour, Let it Rain Augusto Martelli - King for a Day Gene Roman - Don't Lose Control Bruno Nicolai - Ringo Come to Fight Fourth Sequence: Lord Executor - Seven Skeletons Found in the Yard The Carnival's Vagabonds - We Want Sa Gomes The Caresser - Clementina The Harmony Kings' Orchestra - Li'l, Li'l Gal The Lion & Atilla the Hun - Guests of Rudy Valee Summation: Noble Sissle & Eubie Blake - 'Shuffle Along' Medley (live)

Toren, Joe and Kevin discuss Leopard Boy, "Baby Hospital", Peter The Wild Boy, the Wild Child of Champagne, Tarzan and more children raised by animals -- or raised as animals by people we're declaring worse than animals. Music: "Ain't A Fit Night Out For Man Nor Beast" by Noble Sissle and His Orchestra Images Videos http://www.youtube.com/watch?v=ntwSGBWCRIw http://www.youtube.com/watch?v=Rcozzl9wAOI http://www.youtube.com/watch?v=9ogQ0uge06o