Podcasts about Robert Cummings

This week we take a look into Hitchcock's popular chamber room mystery, Dial M for Murder. Set in a luxurious London flat, a marital drama unfolds that leads into blackmail and murder. ***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A Warner Bros. Picture. Released May 29, 1954. Produced and directed by Alfred Hitchcock. Screenplay by Frederick know, based on his 1952 play. Starring Ray Milland, Grace Kelly, Robert Cummings, John Williams, Anthony Dawson. Cinematography by Robert Burks. Edited by Rudi Fehr. Music by Dimitri Tiomkin.Ranking: 11 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Dial M for Murder got 2,510 ranking points.

We've got a big one for you this week: four main movies plus four Fear and Moviegoing viewings. Our main feature is Stanning for Sten: Anna Sten's three movies for Samuel Goldwyn, Nana (1934), based on (more like inspired by) the Zola novel, We Live Again (1934), with a Tolstoy source, and The Wedding Night (1935), plus a glimpse at one of her later supporting roles in Let's Live a Little (1948), a Robert Cummings comedy vehicle. Goldwyn infamously brought Sten to Hollywood with the intention of creating his own Dietrich-Garbo hybrid and lavished the most prestigious Hollywood talent (Arzner, Mamoulian, Vidor, Gregg Toland, and co-stars like Frederic March and Gary Cooper) and literary source material on her, only to have the public reject her; but we argue that Goldwyn's care didn't go to waste. And in Fear and Moviegoing, we look at the career of actress/director Mai Zetterling, discussing two movies directed by her, and two early films in which she appears (one directed by Ingmar Bergman, the other written by him).      Time Codes: 0h 00m 25s:    A Few Words About Sten and Goldwyn 0h 08m 02s:    NANA (1934) [dir. Dorothy Arzner] 0h 28m 11s:    WE LIVE AGAIN (1934) [dir. Rouben Mamoulian] 0h 58m 08s:    THE WEDDING NIGHT (1935) [dir. King Vidor] 1h 27m 28s:    LET'S LIVE A LITTLE (1948) [dir. Richard Wallace] 1h 39m 20s:    FEAR & MOVIEGOING IN TORONTO: Mai Zetterling's Loving Couples (1964) & Scrubbers (1982); Ingmar Bergman's Music in Darkness (1948); Alf Sjoberg's Torment (1944) +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

A Criminal SaturdayFirst a look at this day in History.Then Big Town starring Edward Pawley, originally broadcast January 25, 1949, 76 years ago, The Fatal Fix.  Willy The Weep sees a young girl attacked on a Big Town dock. She's been slashed by Shiv The Knife to keep a basketball fix racket under wraps. Followed by Suspense, originally broadcast January 25, 1954, 71 years ago, Want Ad starring Robert Cummings. A story about a small time crook who answers want ads offering merchandise for sale and then robs the advertiser. Then Dragnet starring Jack Webb, originally broadcast January 25, 1953, 72 years ago, The Big Layout.  Gary Field, a model student who is the son of a cop, has become a dope addict. Followed by Escape, originally broadcast January 25, 1953, 72 years ago, Diary of a Madman starring Ben Wright. A story about a band of Nazi deserters in the Sahara Desert, determined to become kings of The Empire Of The Niger.Finally Claudia, originally broadcast January 25, 1949, 76 years ago, Four for Lunch. In a restaurant with Mama, David and Roger. Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

ELLEN DREW: CLASSIC CINEMA STAR OF THE MONTH (069) Whether playing the sweet girl next door or the world-weary casino boss's moll, ELLEN DREW was an incredibly versatile leading lady who was a major star in the 1940s and 50s. She made a career of playing a wide range of roles in various genres — from Westerns to comedies to dramas to horror movies. She was nicknamed “The Candy Store Cinderella” because she was discovered scooping ice cream in a candy store on Hollywood Boulevard. And who do you think discovered her? You'll be quite surprised to find out. In this week's episode, we discuss our Star of the Month, ELLEN DREW.  SHOW NOTES:  Sources: Character Actors in Horror and Science Fiction Films, 1930-1960, (2014), by Laurence Raw; "Ellen Drew — The Private Life of Ellen Drew,” glamourgirlsofthesilverscreen.com; “Hollywood's Forgotten Daughters,” January 1986, by Anthony Cassa, Hollywood Studio Magazine; “Ellen Drew - Cinderellen,” January 2002, by Jeff Gordon, Classic Images magazine; “Ellen Drew, 89, Film and TV Actress Rose Through Ranks in Hollywood,” December 6, 2003, Los Angeles Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; RogerEbert.com; Movies Mentioned:  Christmas in July  (1940), starring Dick Powell & Ellen Drew; Johnny O'Clock (1947), starring Dick Powell, Evelyn Keyes, Thomas Gomez, & Ellen Drew; Hollywood Boulevard (1936), starring Marsha Hunt & Robert Cummings; The Big Broadcast of 1937 (1936), starring Jack Benny, George Burns, & Gracie Allen; Make Way For Tomorrow (1937), staring Victor Moore & Beulah Bondi; Gone With The Wind (1939), starring Vivien Leigh & Clark Gable; Sing, You Sinners (1938), starring Bing Crosby, Fred MacMurray, & Ellen Drew; If I Were King (1938), starring Ronald Colman, Basil Rathbone, Frances Dee, & Ellen Drew; The Lady's From Kentucky (1939), staring George Raft & Ellen Drew; Geronimo (1939), starring Preston Foster; The Gracie Allen Murder Case (1939), starring Gracie Allen; French Without Tears (1940), starring Ray Milland & Ellen Drew; Buck Benny Rides Again (1940), starring Jack Benny; The Mad Doctor (1941), starring Basil Rathbone; The Monster and the Girl (1941), starring Paul Lukas & Philip Terry; Isle of the Dead (1945), starring Boris Karloff; Our Wife (1941), starring Melvyn Douglas, Ruth Hussey, & Ellen Drew; The Night of January 16th (1941), starring Preston Foster; Reaching For The Sun (1941), starring Joel McCrea & Ellen Drew; The Remarkable Andrew (1942), starring William Holden, Brian Donlevy, & Ellen Drew; My Favorite Spy (1942), starring Kay Kyser & Jane Wyman; Night Plane to Chungking (1942), starring Preston Foster & Ellen Drew; And The Angels Sing (1944), starring Dorothy Lamour, Fred MacMurray, & Betty Hutton; Strange Confession (1944), starring Jean Gabin; That's My Baby (1944), starring Richard Arlen & Ellen Drew; Dark Mountain (1944), starring Robert Lowery & Ellen Drew; China Sky (1945), starring Randolph Scott; The Swordsmen (1948), starring Larry Parks & Ellen Drew; The Man from Colorado (1949), starring William Holden & Glenn Ford; The Crocked Way (1949), starring John Payne, Sonny Tufts, & Ellen Drew; Stars In My Crown (1950), staring Joel McCrea & Ellen Drew; Cargo to Capetown (1950), starring Broderick Crawford & John Ireland; The Great Missouri Raid (1950), starring Wendell Corey; Man In The Saddle (1951), staring Randolph Scott & Joan Leslie; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

2+ Hours of ComedyFirst a look at this day in History.Then Fibber McGee and Molly, originally broadcast July 26, 1937, 87 years ago, Grocery Store Manager. Fibber is managing the Wistful Vista grocery store. Followed by The Martin and Lewis Show, originally broadcast July 26, 1949, 75 years ago, guest Francis Langford.   Dean is going to make a record with guest Frances Langford, which makes Jerry think the partnership is going to break up. Then Screen Directors Playhouse, originally broadcast July 26, 1951, 73 years ago, Stairway to Heaven starring Robert Cummings and Julia Adams.  An adaptation of the 1946 British fantasy-romance film that starred David Niven and Kim Hunter that was released overseas as “A Matter of Life and Death”.  A pilot that was supposed to die in a plane crash survived, setting a unique chain of events into motion. Finally Claudia, originally broadcast July 26, 1948, 76 years ago.  David fixes this and that. Thanks to Richard for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mentioned on the show can be found here: http://www.civildefensemuseum.com/docs.html

EPISODE 45 - “Forgotten B-Leading Men of the Golden Age of Hollywood” - 07/22/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** Sometimes, there is nothing quite like a good old B-movie. Maybe the production values aren't the best, and maybe the story is grittier than most, but these little gems have provided hours of viewing pleasure to so many. These films also had great leading men in them. Studly, sturdy, reliable actors who might not be GARY COOPER or CARY GRANT or CLARK GABLE, but were handsome and talented and knew how to beat up the bad guys and win over the lovely leading lady. As an homage to the leading men of the B's, this week, we'll take a look at the lives an careers of five of our favorites. SHOW NOTES:  Sources: Screen World Presents the Encyclopedia of Film Actors (1965); “Successor To Gable,” by Robbin Coons, September 30, 1943, Big Spring Daily Herald;  "John Hodiak Dies Suddenly of Heart Attack,” October 20, 1955, Los Angeles Times; “The Story of Bob Cummings,” September 2, 1950, Voice; “Skip E. Lowe 1987 interview with Robert Cummings,” December 17, 2016, by Alan Eicler, Youtube.com; “Robert Cummings on Honesty,” May 1959, by Bob Cummings, Guideposts; “Robert Cummings Is Dead at 82; Debonair Actor in TV and Film,” December 4, 1990, by Peter B. Flint, The New York Times;  “Dennis O'Keefe, Son of Vaudeville Performers Knows The Theatre,” July 7, 1939, The Times (Muncie Indiana); "O'Keefe Achieves Stardom; Seeks Director's Post,” October 12, 1944, Los Angeles Times. “Dennis O'Keefe, Screen Veteran, Is Dead at 60,” September 2, 1968, The Marion (Ohio) Star; “Bill Lundigan's Success Recipe,” March 29, 1942, The Brooklyn Daily Eagle; “The Life Story of William Lundigan,” March 24, 1951, Picture Show; “Actor William Lundigan Dies; Began Career in 1937,” December 22, 1975m by Ted Thackery, Jr. Los Angeles Times; "The Life Story of Alan Marshal,” January 11, 1941, Picture Show;  “Alan Marshal, Actor, 52, Dead; Stage and Film Performers Appeared in ‘Wagon Train',” July 10, 1961, The New York Times; Alan.kitmarshal.site; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  JOHN HODIAK: Maisie Goes To Rio (1944); Marriage Is a Private Affair (1944); Life Boat (1944); Sunday Dinner For A Soldier (1944); A Bell For Adano (1945;) The Harvey Girls (1946); Somewhere In The Night (1946); Desert Fury (1947); ROBERT CUMMINGS: The Virginia Judge (1935); Hollywood Boulevard (1936); So Red The Rose (1935); King's Row (1941); Saboteur (1942); Dial M For Murder (1954); DENNIS O'KEEFE: T-Men (1947); Raw Deal (1948); Saratoga (1937); Topper Returns (1941); The Story of Dr. Wassel (1944); Up In Mabel's Room (1944); Doll Face (1945); Brewster's Millions (1945); Cover Up (1949); The Lady Wants Mink (1953); WILLIAM LUNDIGAN: The Lady Fights Back (1937); Three Smart Girls Grow Up (1939); The Old Maid (1939); Dodge City (1939); Santa Fe Trail (1940); A Shot In The Dark (1941); Apache Trail (1942); The Fabulous Dorseys (1947); The Inside Story (1947); Pinky (1949); Mother Didn't Tell Me (1950); I'll Get By (1950); Love Nest (1951); I'd Climb The Highest Mountain (1951); The House on Telegraph Hill (1951); ALAN MARSHAL: The Garden of Allah (1936);  After The Thin Man (1936); Night Must Fall (1937); Parnell (1937);  Conquest (1937);  Dramatic School (1939);  Four Girls in White (1939); The Hunchback of Notre Dame (1939);  Irene (1940);  He Stayed For Breakfast (1940);  Lydia (1941);  The White Cliff's of Dover (1944); Bride By Mistake (1944); The Opposite Sex (1956);  House On Haunted Hill (1959); Day of the Outlaw (1959); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

for the full episode join the Patreon [patreon.com/fashiongrunge]Man, I love a Hitchcock film. There are few directors that give me chills in the best way and he is one of them. As a master of suspense, tension building, and incredible casting there is nothing better in a classic murder mystery story. These are just some of the brilliant aspects of his filmmaking that we still study today. My first watch was when I was super young thanks to my mom. This is one of those stories  that has become a comfort film to me now in my adulthood. Adapted from a play, Dial M for Murder mainly takes place inside the apartment of Tony and Margot Wendice and as the story unfolds it's exciting from moment to moment. Me and Charles love the classics, including Ray Milland (woof) and the etherial and later royal Grace Kelly. We talk the behind the scenes. drama and other casting options, how the fashion came together, and questioned how this whole thing could have been solved by having a keychain on your latch key.Off-topic rants include: Oscars rage segment, the Back to the Future series, scandalous old Hollywood movie themes, and we have a grasshopper interruption about 33 mins in--- Get BONUS episodes on 90s/00s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanie  & Charles @charleshaslamFollow Fashion Grunge PodcastSubstack The Lo Down: a Fashion Grunge blog/newsletterInstagram @fashiongrungepodTwitter @fgrungepodLetterboxd Fashion Grunge PodcastTikTok @fashiongrungepod 

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Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

Let's Live A Little (Robert Cummings, Virginia Gregg, John Dehner)

To support our podcasts and Youtube presentstions go to https://www.patreon.com/user?u=4279967 The Big Show Podcast 1951-12-09 (038) Tallulah Bankhead, Eddy Arnold, Jean Carroll, Robert Cummings, Ed Gardner, Ann Sothern (Mindi)

✨ Subscribe and review at Apple Podcasts and/or Spotify. Unborn archaeologists thank you!Merry Christmas, Future Fossils!  This is Michael Garfield welcoming you to episode 214 of the podcast that explores our place in time — and as demonstrated in the Dr. Who and Aliens franchises, Blade Runner 2049, and Batman Returns, Christmas is a fruitful backdrop for the pondering of big ideas — a moment in which we can see with greater clarity than usual the unity of everyday mundane humanity and transcendental cosmic matters.  In other words, perfect timing for this episode's conversation about cybernetics and the philosophy of the weird with Megan Phipps, Phil Ford, and J.F. Martel.  Megan studies new media at the University of Amsterdam and writes immensely trippy and insightful papers on topics like Brian Eno, circuit bending, and surveillance capitalism.  Phil is an author and musician who teaches musicology at IU Bloomington and infuses his curricula with the profundity he has polished through years of committed Zen practice.  J.F. is an author, film-maker, and para-academic online course instructor in media studies and magick, who runs Dungeon and Dragons campaigns on the side.  Together, J.F. and Phil host the delicious Weird Studies Podcast, every episode of which triggers in me the Holy Grail of podcast affective listener programming: namely, that I wish I were in the room and part of these discussions.  Luckily, I've had that opportunity before, to talk about my writing on the material agency of glass in our scientific era…and both of them have been on Future Fossils also, both alone and together.  But getting all four of us on one call is a rare and precious thing — and now's the perfect moment to rap about the emergence of the cybernetic era as a kind of numinous event in human history, a divine invasion that transfigures us and forces us to think about which boundaries *should* melt away and which should stay where evolution learned to put them.  You see, we live in an age of multilayer networks — and when our view of humankind transmogrifies from the static image of divine forms to a fluid wash of interweaving processes, the self becomes a metamorphic fugitive and  a work of art. When everything's connected, politics is an aesthetic act and art acquires moral force. Advanced   technologies have granted us godlike powers to reshape the world in our image…but “life finds a way” and there are always gremlins, aliens, dinosaurs, and elves lurking latent in the tidy systems diagrams. The beauty of progress necessarily conceals the ugly externalities, the entropy exported in our efforts to arrange wild nature into an image of our lost garden. So what does cybernetics as a way of seeing change for us in terms of how we live?  What does it mean to be human in an age of very lively, seemingly intelligent machines?    But before we dive headlong into this recording of a conversation so good our first attempt was erased by trickster intervention, let me express my thanks to everyone who has helped me and Future Fossils through a year of (what I hope remains) extraordinary challenge. This show is weird and obstinate in its refusal of clear definition. I follow my muses where they lead me and leave these discussions and soliloquys as fossils of a process of discovery and creativity…and staying true to this defies the logic of the market, which would have us classify ourselves as tidily as possible so we are pre-chewed for the algorithms that determine whether what we make is ever noticed by those over the horizon of organic peer-to-peer suggestion networks. If you're listening, chances are a friend told you about this show — I'd be surprised if you just found it randomly, and definitely not because a sponsor amplified it. I started Future Fossils under pressure from my friends but keep it going as a kind of Benedictine prayer.  However it might seem, it's lonely work — but every now and then I find I've reached somebody where it counts, that I've inspired a major life change or just helped you orient yourselves amidst the wider movements of a transformation that once seemed chaotic and now seems symphonic.  That's why I keep this going.  Every single time I check my email to discover someone else finds value in my work and shows appreciation with a Patreon, Substack, or Bandcamp sub, it makes my day and takes a little of the sting away from my ongoing balancing of kids and unemployment.  I'd like to make this work sustainable in 2024 but I'm still very far from that…so thank you, each and all, for everything you do to help me run this ultramarathon.New patrons I would like to thank include Ian Benouis, EGH2128, Lynn Amores, Robert Cummings, Katie Teague, Slow Dancing Fool, and Brian Mapes.Thank you!  And thank you to EVERYONE who chips in every month, or who has left or will ever leave a good review on Spotify or Apple Podcasts, or who shares this show with your friends…and a special thanks to Suzy Lanza of Ahara Rasa Ghee for shipping me a sweet little care package with her delicious ghee as a gesture of appreciation for this show — she's not a sponsor but I do endorse her work and recommend you check out iloveghee.com. Lastly, thanks to Noonautics.org for inviting me to join their advisory board and for their continued support of efforts to explore and map and understand the realms beyond.And now onto the main course!  Let's start somewhere else: in the “trash stratum” of a dirty manger, in the mess of our kinship and identity with the nonhuman (animal, vegetable, AND mineral). In the revelation of our contiguous, nested, and modular interbeing — we begin our conversation…guided here by visitations from a higher realm in which communication and control are aspects of some secret third thing that transcends duality. The information age is one in which we cannot separate the bomb from the computer from the drug and in this way, in spite of all the grimy cyberpunk and body horror of our media environment, the trillion-eyed panopticon the Web became appears to us like the archangel Gabriel: “Be not afraid,” dear listeners. Enjoy this awesome conversation, and enjoy your holidays!✨ Support My Work:• Subscribe on Substack, Patreon, and/or Bandcamp for MANY extras, including a insiders-only discussion group and extra channels on our public Discord Server.• Browse my art and buy original paintings and prints (or commission new work).• Show music:  “Sonnet A” from my Double-Edged Sword EP (Bandcamp, Spotify).• Buy the books we mention on the show at the Future Fossils Bookshop.org page.• Make one-off donations directly at @futurefossils on Venmo, $manfredmacx on CashApp, or @michaelgarfield on PayPal.• Save up to $70 on an Apollo Neuro wearable from 12/1-12/31 with my affiliate code.✨ Related Weird Studies Episodes:26 - Living in a Glass Age, with Michael Garfield42 - On Pauline Oliveros, with Kerry O'Brien131 - Knocking on the Abyssal Door: Live at the Diverse Intelligences Summer Institute151 - The Real and the Possible: Live at the Diverse Intelligences Summer Institute, with Jacob G. Foster153 - Celestial Machine: On the Temperance Card in the Tarot157 - Long Live the New Flesh: On David Cronenberg's 'Videodrome'160 - The Way of All Flesh: On John Carpenter's 'The Thing'✨ Related Future Fossils Episodes:18 - JF Martel (Art, Magic, & The Terrifying Zone of Uncanny Awesomeness)65 - John David Ebert (Hypermodernity & Blade Runner 2049)71 - JF Martel (On Sequels & Simulacra, Blade Runner 2049 & Stranger Things 2)117 - Eric Wargo on Time Loops: Precognition, Retrocausation, and the Unconscious126 - Phil Ford & JF Martel on Weird Studies & Plural Realities157 - Phil Ford on Taboo: Time and Belief in Exotica171 - Eric Wargo on Precognitive Dreamwork and The Philosophy of Time Travel212 - Manfred Laubichler & Geoffrey West on Life In The Anthropocene & Living Inside The Technosphere✨ Additional Mentioned & Related Media:Zygmunt Bauman - Liquid ModernityMitch Waldrop - The Dream MachineMichel Houellebecq – The Elementary ParticlesWilliam Shakespeare – OthelloMark Fisher – Flatline Constructs: Gothic Materialism and Cybernetic Theory-FictionEzra Klein interviews Erik Davis — “The Culture Creating A.I. Is Weird. Here's Why That Matters.”Richard Brautigan – “All Watched Over By Machines of Loving Grace”Megan Phipps interviews Erik Davis — “New Cybernetic Psychedelia”Brian Eno – “The Studio As A Compositional Tool”Michael Garfield's “Reader's Rig” pedalboard teardown feature at Guitar ModerneMichael Garfield – “Advertisement is Psychedelic Art is Advertisement”Phil Ford waxes poetic about Wagner's Ring Cycle on the Brute Norse PodcastDror Poleg on the future of a highly automated economy on Infinite Loops PodcastErik Wargo – “The Passion of The Space Jockey”Diverse Intelligences Summer Institute (DISI)Man of Steel (2013)Digibarn.com Jeffrey KripalMichael LevinDadaSam Arbesman on Coding As Magic and The Magic of CodeThank you for listening and for your support! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit michaelgarfield.substack.com/subscribe

Welcome to this week's episode of “Friday Night Noir” on Vintage Classic Radio, where we continue our festive journey with a thrilling double bill from the renowned “Suspense” radio series, perfect for the holiday season. Our first feature is the gripping episode "Back for Christmas," starring the incomparable Peter Lorre. Originally broadcast on December 23rd, 1943, this suspenseful tale is a masterpiece of psychological tension. The story revolves around a professor, expertly portrayed by Lorre, who meticulously plans the murder of his domineering wife before leaving for a job in America. His careful plans begin to unravel when he receives a series of unexpected correspondences, leading to a chilling and ironic twist. The episode's screenplay was penned by the talented John Collier, known for his ability to blend wit with macabre themes. Joining Lorre in the cast are Alice Frost as the unsuspecting wife, and William Spier, the noted producer and director of many “Suspense” episodes, who also makes a brief voice appearance. Our second offering, enhanced by the addition of Larry Haines, is the heartwarming "Yuletide Miracle," originally aired on December 17th, 1961. This episode, contrasting our first story, offers an uplifting narrative befitting the season. Written by Michael Frost, it tells the story of a small-town community coming together to perform a Christmas miracle for a struggling family. Larry Haines shines in his role, contributing significantly to the episode's emotional depth. He is joined by Robert Cummings as the compassionate town doctor, Virginia Gregg as the resilient mother, Joseph Kearns, and Lurene Tuttle. Their combined performances weave a tapestry of community spirit and holiday warmth. Both episodes showcase the exceptional talent and range of “Suspense,” a series celebrated for its ability to delve into the darker aspects of the human psyche while also capturing the spirit of hope and kindness. “Back for Christmas” and “Yuletide Miracle” together create a perfect balance of thrill and heart, embodying the complex emotions that often accompany the holiday season. Join us as we travel back in time to experience these captivating stories, brought to life by some of the most talented actors and writers of the golden age of radio. This unique blend of suspense and sentiment is sure to provide a memorable addition to your Christmas celebrations.

Bill Stern Sports Newsreel 1946-12-27 Eddie CantorMelody And Madness 1939-01-22 Robert BenchleyThe Adventures Of Archie Andrews 1945-06-23 Nazi POW In Riverdale  Screen Director's Playhouse 1949-01-16 Lets Live A Little with Robert Cummings  The Private Files Of Rex Saunders 1951-06-06 Plan in Killer's Mind with Rex Harrison   Quiet Please 1948-02-23 Wear The Dead Man's Coat 

1954's Sleep, My Love was an early directorial effort from German born emigre Douglas Sirk.  Sirk would later become recognized as an auteur - by, of course, the French - for his work with melodramas (Magnificent Obsession, All That Heaven Allows).  Sleep, My Love, starring Claudette Colbert, Robert Cummings, Don Ameche and Hazel Brooks, was his attempt at a domestic thriller. Dan and Vicky discuss the gaslighting noir along with alot of recently seen including A Haunting in Venice,  Talk to Me, The Wrath of Becky, Mafia Mama, My Big Fat Greek Wedding 3, 1995's Castle Freak, and Psycho: The Lost Tapes of Ed Gein. Follow us here: hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Dan and Vicky discuss the randomly chosen 1950 melodrama Paid In Full starring Lizabeth Scott, Diana Lynn, Robert Cummings and Eve Arden.   Your hosts also discuss some recently seen including Cocaine Bear, All Quiet on the Western Front, Top Gun: Maverick, and the series Fleischman is in Trouble and History of the World Part II.   hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Since its release in November 2022, ChatGPT has been the focus of a great deal of discussion and concern in higher ed. In this episode, Robert Cummings and Marc Watkins join us to discuss how to prepare students for a future in which AI tools will become increasingly prevalent in their lives..  Robert is the Executive Director of Academic Innovation, an Associate Professor of Writing and Rhetoric, and the Director of the Interdisciplinary Minor in Digital Media Studies at the University of Mississippi. He is the author of Lazy Virtues: Teaching Writing in the Age of Wikipedia and is the co-editor of Wiki Writing: Collaborative Learning in the College Classroom. Marc Watkins is a Lecturer in the Department of Writing and Rhetoric at the University of Mississippi. He co-chairs an AI working group within his department and is a WOW Fellow, where he leads a faculty learning community about AI's impact on education. He's been awarded a Pushcart Prize for his writing and a Blackboard Catalyst Award for teaching and learning. A transcript of this episode and show notes may be found at http://teaforteaching.com.

Book Vs. Movie: 12 Angry MenThe 1954 Teleplay Vs. the 1957 Classic FilmThe Margos close out a month of theatre vs. films with 12 Angry Men, which began as a teleplay in 1954 and was adapted to film by Sidney Lumet, with Henry Fonda serving as the lead actor and producer of the 1957 movie. The story centers on a young man who is accused of stabbing his father to death, and a group of 12 jurors must decide if he is guilty of premeditated murder, which carries a death sentence. Writer Reginald Rose came up with the idea while serving jury duty in New York City and found the process “solemn” and “impressive.” The first airing on Studio One was September 20, 1954, with stars Robert Cummings, Franchot Tone, George Veskovec, Joseph Sweeney, and Norman Fell. Rose won an Emmy Award for his screenplay. Henry Fonda produced the wok in 1957 with Sidney Lumet, and the low-budget affair failed to make a profit. Until he died in 1982, Fonda never received any money for his work or performance. But he rightly considered it one of his best. The film stars some of the best character actors of the time and earned multiple Academy Award nominations (Best Picture, Best Director, and Best Adapted Screenplay) but competed in the same year as The Bridge on the River Kwai, which swept all of the major awards in 1957. In this episode, the Margos discuss the significant differences between the teleplay and the movie and try to decide which we like better. In this ep the Margos discuss:The backstory of the original TV productionThe strict demands of filming on one setThe case being tried and how it is picked apartThe cast: Martin Balsam (Juror 1,) John Fielder (Juror 2,) Lee J Cobb (Juror 3,) E.G. Marshall (Juror 4,) Jack Klugman (Juror 5,) Edward Binne (Juror 6,) Jack Warden (Juror 7,) Henry Fonda (Juror 8,) Joseph Sweeney (Juror 9,) Ed Begley (Juror 10,) George Voskovek, (Juror 11,) and Robert Webber as Juror 12.Clips used:The first count12 Angry Men 1957 trailer The knife sceneKids these daysThese daysMusic by Kenyon HopkinsBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: 12 Angry MenThe 1954 Teleplay Vs. the 1957 Classic FilmThe Margos close out a month of theatre vs. films with 12 Angry Men, which began as a teleplay in 1954 and was adapted to film by Sidney Lumet, with Henry Fonda serving as the lead actor and producer of the 1957 movie. The story centers on a young man who is accused of stabbing his father to death, and a group of 12 jurors must decide if he is guilty of premeditated murder, which carries a death sentence. Writer Reginald Rose came up with the idea while serving jury duty in New York City and found the process “solemn” and “impressive.” The first airing on Studio One was September 20, 1954, with stars Robert Cummings, Franchot Tone, George Veskovec, Joseph Sweeney, and Norman Fell. Rose won an Emmy Award for his screenplay. Henry Fonda produced the wok in 1957 with Sidney Lumet, and the low-budget affair failed to make a profit. Until he died in 1982, Fonda never received any money for his work or performance. But he rightly considered it one of his best. The film stars some of the best character actors of the time and earned multiple Academy Award nominations (Best Picture, Best Director, and Best Adapted Screenplay) but competed in the same year as The Bridge on the River Kwai, which swept all of the major awards in 1957. In this episode, the Margos discuss the significant differences between the teleplay and the movie and try to decide which we like better. In this ep the Margos discuss:The backstory of the original TV productionThe strict demands of filming on one setThe case being tried and how it is picked apartThe cast: Martin Balsam (Juror 1,) John Fielder (Juror 2,) Lee J Cobb (Juror 3,) E.G. Marshall (Juror 4,) Jack Klugman (Juror 5,) Edward Binne (Juror 6,) Jack Warden (Juror 7,) Henry Fonda (Juror 8,) Joseph Sweeney (Juror 9,) Ed Begley (Juror 10,) George Voskovek, (Juror 11,) and Robert Webber as Juror 12.Clips used:The first count12 Angry Men 1957 trailer The knife sceneKids these daysThese daysMusic by Kenyon HopkinsBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Suspense, originally broadcast January 25, 1954, 69 years ago, Want Ad starring Robert Cummings. "A story based on fact" about a small time crook who answers want ads offering merchandise for sale and then robs the advertiser.Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

The film debut for Abbott & Costello, but can even their timeless comedy routines save this film?  Features "Who's on First?" and stars Robert Cummings, William Frawley, Allan Jones, and Nancy Kelly.

Ever heard of surfing? We hope so, or this episode about Beach Party from 1963 will make less than zero sense! Featuring Dettifoss Bergmann, Shrishma Naik, Carolyn Naoroz, Bryndís Reynisdóttir, Katherine Sherlock, and Justin Zeppa. Beach Party was directed by William Asher and stars Robert Cummings and Dorothy Malone. Join us on Patreon at the Boom Room for exclusive, ad-free bonus content in the form of super-deluxe length episodes: patreon.com/oldmovietimemachine We appreciate your support, so please subscribe, rate, review, and follow the show: Instagram: @timemachinepodcasts Facebook: facebook.com/oldmovietimemachine Email: partyline@oldmovietimemachine.com Buy our luxurious merchandise: www.teepublic.com/user/old-movie-time-machine★ Support this podcast on Patreon ★

It takes a gifted actor to be able to pull off a single-actor episode.  When executed well - such as Agnes Moorehead's "The Invaders," the episode can become legendary.  Since we've already covered that episode, this month we look at two other single-actor episodes.  First up is Robert Cummings' season 2 premiere, "King Nine Will Not Return." Cummings portrays a US Air Force pilot who was unable to pilot what ended up being a fateful flight that took the lives of his entire crew.  Next up we look at Mickey Rooney's season 5 episode, "The Last Night of a Jockey." Rooney plays Grady, a jockey who wishes he were big after being suspended for fixing races and doping. The post Single Actor Episodes appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

It takes a gifted actor to be able to pull off a single-actor episode.  When executed well - such as Agnes Moorehead's "The Invaders," the episode can become legendary.  Since we've already covered that episode, this month we look at two other single-actor episodes.  First up is Robert Cummings' season 2 premiere, "King Nine Will Not Return." Cummings portrays a US Air Force pilot who was unable to pilot what ended up being a fateful flight that took the lives of his entire crew.  Next up we look at Mickey Rooney's season 5 episode, "The Last Night of a Jockey." Rooney plays Grady, a jockey who wishes he were big after being suspended for fixing races and doping. Each of these episodes was written for their respective leads by Rod Serling himself.  While they haven't risen to the top of the Zone echelon like Moorehead's "Invaders," they both showcase top-level performances and offer up lessons on issues that are still very relevant today: mental health.  Certainly the lessons Rod penned sixty years ago are ones we need to be reminded of and learn today. Connect with Entering the Fifth Dimension: Facebook community Follow us on Twitter Contribute Listener Feedback  

Screen Director's Playhouse helps us bring in the month of June with their drama titled, Let's Live A Little. A radio production of the comedy film of the same name (1948). This episode aired January 16, 1949. Plot: Bob Cummings reprises his original film role of a stressed out advertising executive, Duke Crawford, whose most important client has already changed her mind three times on their current ad campaign. Michelle Bennett was also Duke's former fiancée and still has eyes for him. Duke's boss tells him what he needs is a break and he gives him a book called Let's Live A Little that he hopes will reduce his stress. However, Duke gets an idea for an ad campaign for the author of the book who turns out to be a woman whom he has eyes of attraction. Cast: Tom Collins, Robert Cummings, John Dehner, Virginia Gregg : : : : : My other podcast channels include: MYSTERY x SUSPENSE -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot. Thank you for your support. https://otr.duane.media/ (https://otr.duane.media) | Instagram https://www.instagram.com/duane.otr/ (@duane.otr)

In this weeks episode we talk murderous intent, being a fugitive and the moral value lacking in the film noir genre!! Dial M for Murder is a 1954 American crime thriller film directed by Alfred Hitchcock,[4] starring Ray Milland, Grace Kelly, Robert Cummings, Anthony Dawson, and John Williams. Both the screenplay and the successful stage play on which it was based were written by English playwright Frederick Knott. The play premiered in 1952 on BBC Television,[5] before being performed on stage in the same year in London's West End in June, and then New York's Broadway in October. Originally intended to be shown in dual-strip polarized 3-D, the film played in most theatres in ordinary 2-D due to the loss of interest in the 3-D process (the projection of which was difficult and error-prone) by the time of its release.[6] The film earned an estimated $2.7 million in North American box office sales in 1954. Directed by Alfred Hitchcock Screenplay by Frederick Knott Based onDial M for Murder by Frederick Knott Produced by Alfred Hitchcock Starring Ray Milland Grace Kelly Robert Cummings John Williams Cinematography Robert Burks Edited by Rudi Fehr Music by Dimitri Tiomkin --- Send in a voice message: https://anchor.fm/speakeasy-noircast/message Support this podcast: https://anchor.fm/speakeasy-noircast/support

For this week's episode, I chose to review The film Dial M for Murder, a highly acclaimed classic crime thriller directed by Alfred Hitchcock based on the wildly successful Broadway play by Frederick Knott. The plot revolves around a retired English tennis player named Tony Wendice who discovers his wife Margot, a wealthy socialite, is having an affair with a crime fiction writer named Mark Halliday. Tony then plans the perfect murder to remove his wife from the picture and inherit her vast fortune. The film stars legendary actor Ray Milland as Tony Wendice, the highly talented Academy Award winner Grace Kelly as his wife Margot, successful actor Robert Cummings plays Margot's lover Mark Halliday, and British actor John Williams plays Chief Inspector Hubbard. Also, keep a lookout for Alfred Hitchcock's cameo early on. Feel free to let me know if you spotted him. --- Send in a voice message: https://anchor.fm/collin-sugg/message

This week is Let's Live A Little, a romantic comedy adapted for Screen Director's Playhouse. Starring Robert Cummings, Virginia Gregg, and John Dehner. This episode aired January 16, 1949. This radio production is from the film of the same name. The film was only a moderate success, and the first and last film produced by United California Productions. Let's Live A Little was later renamed to Hell Breaks Loose. : : : : : : website: https://otr.duane.media/ (https://otr.duane.media) | email: info@otr.duane.media social media: Instagram https://www.instagram.com/duane.otr/ (@duane.otr) | Twitter https://twitter.com/duane_otr (@duane_otr) Subscribe to receive new post notifications and if inclined -- leave a brief review or rating on your podcast provider. Thank you for your support.

Join us for this incredible black comedy that has one of Paul Newman's best comedic performances and co-stars Shirley MacLaine, Dean Martin, Dick Van Dyke, Robert Mitchum, Gene Kelly and Robert Cummings.

Join host, Carl Amari, for a star studded radio re-broadcast of Four Star Playhouse, featuring vocal talent from Fred MacMurray, Loretta Young, Rosalind Russell, and Robert Cummings.First broadcast over the airwaves in 1949, Four Star Playhouse served as NBC's development to counteract CBS's emerging talent rate in the late 1940s, as television was starting to become the premiere entertainment medium. Initially, the series had a runtime of only three months but was later adapted for a Emmy nominated television series that lasted from 1952 up until 1956. Originally airing on 08/14/1949, be sure to gather around for this week's nail-biting episode of, "The Hunted," on Four Star Playhouse.Enjoying The Film Detective?You can watch this episode here.Or connect with us here:FacebookInstagramTwitterYouTubeWant even more? Subscribe to our Newsletter here. See acast.com/privacy for privacy and opt-out information.

Eight notes over and over again. Beautiful and familiar that you often hear in movies and in real life at weddings, when the bridesmaids are walking down the aisle. Floating-on-clouds music! Let's give this a try as a new song to learn before the ball drops on New Year's Eve in Time Square in NYC 2022. Who is Pachelbel? Johann Pachelbel, (baptized September 1, 1653, Nürnberg [Germany]—died March 3, 1706, Nürnberg), German comser known for his works for organ and one of the great organ masters of the generation before Johann Sebastian Bach. Johann Pachelbel is unfairly viewed as a one-work composer, that work being the popular, Canon in D major, for three violins and continuo. He was an important figure from the Baroque period who is now seen as central in the development of both keyboard music and Protestant church music. Some have summarized his primary contribution as the uniting of Catholic Gregorian chant elements with the Northern German organ style, a style that reflected the influence of the Protestant chorale. A Lutheran, he spent several years in Vienna, where he was exposed to music by Froberger and Frescobaldi, which influenced his work with the chorale-prelude. His music in this genre would, in turn, influence the compositions of Johann Sebastian Bach, among others. It should be noted that many of Pachelbel's works are difficult to date, thus rendering judgments about his stylistic evolution questionable in many cases. Pachelbel was also a gifted organist and harpsichordist. Artist Biography by Robert Cummings.

Top 5: Rob Zombie Movies - Ray Taylor Show Subscribe: InspiredDisorder.com/rts Binge Ad Free: InspiredDisorder.com/Patreon Show topic: Robert Bartleh Cummings, more famously known as Rob Zombie, was born in Haverhill, Massachusetts on January 12, 1965. He is the oldest son of Louise and Robert Cummings, and has a younger brother, Michael David (aka Spider One; b. 1968), who is the lead singer of Powerman 5000. Growing up, Zombie loved horror movies, which have greatly influenced his music and filmmaking career; in 1983, he graduated from Haverhill High School. After graduating, he moved to New York City to attend Parsons School of Design, also briefly working as a production assistant on Pee-wee's Playhouse (1986).Sponsored By:Patreon.com/InspiredDisorder $3 membership.*Binge full week of Ray Taylor Show (audio+Video)*Massive discount code for The Many Faces*Download raw photoshop filesInspiredDisorder.com/tmf The Many Faces - Original abstract ink portraits by Ray Taylor. Code: RTS for 25% OFF. StationHouseCoffee.com and @StationHouseCoffee on Instagram for premium small batch, single source coffee.InspiredDisorder.com/Ting $25 CREDIT! The best carrier. The best coverage.Same low rates, now with three coast-to-coast networks.Daily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf SUPPORT ON PATREON: Patreon.com/InspiredDisorder More links: InspiredDisorder.com/links

Dana and Tom visit one of Alfred Hitchcock's most beloved movies for week two of Hitchcock month with Dial M for Murder starring Ray Milland, Grace Kelly, Robert Cummings, and John Williams. Plot Summary: Tony Wendice (Ray Milland), an English retired tennis player, is married to wealthy socialite Margot (Grace Kelly), who is having a long term affair with American crime fiction writer Mark Halliday (Robert Cummings). Unbeknownst to them, Tony knows about the affair, and is planning to have Margot killed so he can inherit her fortune. Tony hires an old acquaintance Charles Swann (Anthony Dawson), and sets in motion a murder that is to happen while Tony and Mark are out giving Tony an alibi. However, the plan goes terribly wrong, and Tony returns before the police to rearrange the crime scene to frame Margot. With Chief Inspector Hubbard (John Williams) investigating, Margot is convicted and sentenced to death. Did Tony really plan the perfect crime? Please follow, rate, and review the show wherever you get your podcasts. You can now follow us on Instagram and Twitter (@gmoatpodcast). For more on the episode, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/dial-m-for-murder-1954 (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/dial-m-for-murder-1954) For the entire list so far, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/greatest-movie-of-all-time-list (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/greatest-movie-of-all-time-list) Support this podcast

Episode 118 aired on CBS Radio November 16, 1944 and starred Robert Cummings. Jimmy and his sister Helen were never apart after their parents died. Jimmy took a job a few miles from Los Angeles up in the mountains at Lake Arrowhead. Helen was to go with him to take a job as a waitress. However she decided to stay in LA because her boyfriend Steve would be returning from a furlough. Jimmy allowed his sister, who was just a kid, to stay there alone. Then something happened we want to hear about. https://en.wikipedia.org/wiki/Robert_Cummings

You Can't Take it with You was adapted as a radio play on the October 2, 1939 broadcast of Lux Radio Theater with Edward Arnold, Robert Cummings, and Fay Wray. --- Send in a voice message: https://anchor.fm/waldina/message

Melanie and Ed discuss THE CARPETBAGGERS (1964) starring George Peppard, Alan Ladd, Carroll Baker, Robert Cummings, and Elizabeth Ashley...then make book recommendations with similar themes.  Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

In this episode we will be drinking a spiced cherry spritz and talking about giant foam fingers and a murder plot gone awry in the 2D-but-make-it-3D classic, Dial M for Murder. Starring Grace Kelly, Ray Milland, and Robert Cummings. Cheers!

Coach Mauricio and Art talk with Coach Robert Cummings from Missouri S&T, and Coach Jaime Ramirez out of Fresno State. We talk about different experiences in the hiring process and what they expect out of the assistants they would potentially hire. Education was mentioned as the most important piece of the puzzle, with regards to landing a college coaching job. Don't forget our MNL on our Facebook and Youtube channels! Follow us on: twitter.com/latinocoaches?s=20 www.facebook.com/groups/latinocoaches/about www.youtube.com/channel/UC4-TLsBtpl6sWwuj6LgY9Mw www.instagram.com/latinocoaches/?hl=en Contact us: Julio Serrano(Chairperson):latinocoaches@unitedsoccercoaches.org Mauricio (Host):https://www.linkedin.com/in/mauricio-lozada-239009bb/ Arturo (Host): coachart11@outlook.com

Hitchcock leading man, sitcom star, wartime flight instructor, and godson of a Wright Brother - Robert Cummings wore many hats during his life and career. The Emmy-winning actor made a pair of visits to Suspense ten years apart playing both an innocent man caught up in a crime and its cover-up and a seasoned criminal trying to stay out of the clutches of the police. We'll hear him in "The Dead of the Night" (originally aired on CBS on November 16, 1944) and "Want Ad" (originally aired on CBS on January 25, 1954).

Análisis de "Crimen perfecto" de Alfred Hitchcock. Con Ray Milland, Grace Kelly y Robert Cummings. Entramos de lleno en el universo del maestro del suspense. Con la participación de: Cristian Martínez - @crmahe Francisco G. Rodriguez - @FranesfranCine Invitado especial: Master Wayne - @masterwayne85 Canal: https://www.youtube.com/channel/UC41QeDPzxTC3Gz9ZKah73IQ Nos puedes ver en YouTube https://youtube.com/mascine?sub_confirmation=1 Nos puedes escuchar en iVoox https://www.ivoox.com/podcast-cine-mas-cine_sq_f1770779_1.html Spotify https://open.spotify.com/show/2ApuRUPSB8eavyQ7CBuXQN Google Podcasts https://podcasts.google.com/?feed=aHR0cHM6Ly93d3cuaXZvb3guY29tL3BvZGNhc3QtY2luZS1tYXMtY2luZV9mZ19mMTc3MDc3OV9maWx0cm9fMS54bWw y Apple Podcasts https://podcasts.apple.com/es/podcast/cine-más-cine/id1481721006 y nos puedes seguir en Twitter @mascine_podcast y en nuestra web diletantes.es

Análisis de "Crimen perfecto" de Alfred Hitchcock. Con Ray Milland, Grace Kelly y Robert Cummings. Entramos de lleno en el universo del maestro del suspense. Con la participación de: Cristian Martínez - @crmahe Francisco G. Rodriguez - @FranesfranCine Invitado especial: Master Wayne - @masterwayne85 Canal: https://www.youtube.com/channel/UC41QeDPzxTC3Gz9ZKah73IQ Nos puedes ver en YouTube https://youtube.com/mascine?sub_confirmation=1 Nos puedes escuchar en iVoox https://www.ivoox.com/podcast-cine-mas-cine_sq_f1770779_1.html Spotify https://open.spotify.com/show/2ApuRUPSB8eavyQ7CBuXQN Google Podcasts https://podcasts.google.com/?feed=aHR0cHM6Ly93d3cuaXZvb3guY29tL3BvZGNhc3QtY2luZS1tYXMtY2luZV9mZ19mMTc3MDc3OV9maWx0cm9fMS54bWw y Apple Podcasts https://podcasts.apple.com/es/podcast/cine-más-cine/id1481721006 y nos puedes seguir en Twitter @mascine_podcast y en nuestra web diletantes.es

Robert Cummings el actual entrenador de Missouri S&T, nos dice del proceso para jugar en un Colegio o Universidad en los Estados Unidos. Robert nos platica de su experiencia como jugador de un Junior College y como ese uno de muchos caminos para jugar fútbol a nivel colegial.

A man tries to help his sister out of a possible murder rap by moving the dead body of her abusive husband to place where no one would find it. Commentary on the weak script which sounded more like a comedy.  Plus the unusual life of actor Robert Cummings-health nut and meth addict.

Track has background information on the "Four Star Playhouse" series which ran from July to September in 1949. Featured four stars in rotating lead roles, one each week. Left to Right in Photo... Robert Cummings, Fred MacMurray, Rosalind Russell, and Loretta Young. This show is a psychological drama with a unique ending and stars Robert Cummings as Fred Woodard in "The Hunted" Check out my "Drama-Adventure" Playlist and thank you for listening.

Episode # 8 Moon Over Miami / Saboteur Hello movie lovers! - the latest episode of the States & Kingdoms Podcast! Home of the classic-est movies ever !!! This week we are reviewing a Robert Cummings double feature – the delightful musical Moon Over Miami and the non-stop thriller Saboteur… Enjoy :) Moon Over Miami (1941) Directed by Walter LangStarring Betty Grable, Don Ameche, Robert Cummings, Carole Landis, Jack Haley, and Charlotte GreenwoodMusic by Leo Robin and Ralph RaingerStudio: 20th Century Fox Saboteur (1942) Directed by Alfred HitchcockStarring Priscilla Lane, Robert Cummings, Otto Kruger Written by Peter Viertel, Joan HarrisonStudio: Universal Pictures Thanks for listening! Keep it classic movie people- Be sure to check out our nascent Instagram presence and follow us there- @statesandkingdoms Please subscribe! Then leave us a 5 star review if you liked what you heard & share with your film-loving friends! xxSean & Jenna

United Artists released The Chase on November 25, 1947. Arthur Ripley directed the film which starred Robert Cummings, Michèle Morgan, and Steve Cochran. The post The Chase (1946) appeared first on Movie House Memories.

Warner Bros released Dial M for Murder to theaters on June 19, 1987. Alfred Hitchcock directed the film which starred Ray Milland, Grace Kelly, and Robert Cummings. The post Dial M for Murder (1954) appeared first on Movie House Memories.

In this episode of Adapt or Perish, we discuss Dial M for Murder and A Perfect Murder! For this episode, we watched and discussed: Dial M for Murder, 1954, directed by Alfred Hitchcock, and starring Grace Kelly, Ray Milland, and Robert Cummings. Watch on iTunes or Amazon. A Perfect Murder, 1998, directed by Andrew Davis, and starring Michael Douglas, Gwyneth Paltrow, Viggo Mortensen, and David Suchet. Watch on iTunes or Amazon. Footnotes: Alfred Hitchcock Presents A Rube Goldberg machine Noises Off Wall Street vs. The American President Prenuptial Agreements and Death of a Spouse Andrew Davis, The Fugitive, and Under Siege You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.

This week we introduce California Tiki, a new podcast on America’s fascination with Tiki, that odd culture that made everyone suddenly put on Hawaiian shirts and start downing rum drinks. Tiki Culture was everywhere from the 40s to the 70s, and the reasons why are surprising, often involving exorcising America’s wartime demons. We start out with a look at Beach Party, the 1963 film that kicked off the beach movie trend and also introduced the pairing of Frankie Avalon and Annette Funicello.  But at the center of the film is Robert Cummings, who plays a scientist yearning for a simpler life– a key element of Tiki.

Episode 22! The freshman film of oft-lauded maestro Robert Cummings, 2003's House of 1000 Corpses is up for discussion this time around. Nelson explores the divide between suspense and horror while Longino advocates for this episode's film as a prelude to collegiate ménage à trois . Plus, what's the recipe behind the cinema of cruelty?

A decade ago professors complained of a growing “epidemic” in education: Wikipedia. Students were citing it in papers, while educators largely laughed it off as inaccurate and saw their students as lazy, or worse. As one writing instructor posted to an e-mail list in 2005: “Am I being a stick-in-the-mud for for being horrified by students’ use of this source?” How things have changed. Today, a growing number of professors have embraced Wikipedia as a teaching tool. They’re still not asking students to cite it as a source. Instead, they task students with writing Wikipedia entries for homework, exposing the classwork to a global audience (and giving students an outside edit by an army of Wikipedia volunteers). There’s even a new peer-reviewed academic journal about using Wikipedia in higher education. One of the biggest proponents of the power of Wikipedia in the classroom is Robert Cummings, associate professor of Writing and Rhetoric at the University of Mississippi. He even wrote a book about the topic, called “Lazy Virtues: Teaching Writing in the Age of Wikipedia.” EdSurge talked with Cummings about how Wikipedia has changed his teaching and why he thinks professors are changing their attitude about the anyone-can-edit resources.

Greetings astro creeps and electro heads, and welcome back to Horror Business, the only podcast that will both dig through the ditches AND burn through the witches. Thank you as always for checking us out and we have got one heck of an episode for you guys. First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks! This episode we are taking a look at the films of one Robert Cummings, known better to you as Rob Zombie. And thank the Lord because Bobby Cummings isn’t a name conducive to horror filmmaking! We were lucky enough to be joined by two beloved members of the Cinepunx community and fellow horror hounds, noted edgeman John Wren and noted herbal enthusiast Jon Martello. We experience some technical difficulties at various points so please forgive us in advance. We begin by giving a shout out to Chris and LVAC, and then talking about what we’ve seen recently. We talk about the recent Jordan Peele film Get Out as well as the recent X-Men film Logan. The topic for this episode is Rob Zombie somewhat divisive position in the horror community. Justin opens the discussion by postulating that by all rights Rob Zombie should make nothing but outstanding horror films. His background in the horror genre, his knowledge of the genre, and his background in filmmaking should make every single one of his films incredible. And we do believe he is absolutely capable of making great horror films. However, we here at Horror Business are not one hundred percent sold on the works of Rob Zombie as a whole. We dig quite deep in this episode, we get quite heated with one another and tempers flare, but in the end we agree that Zombie’s major strengths are his knowledge of horror films and his ability to capture and create creepy and evocative imagery,  while his weaknesses are his inability to capture how people actually talk to one another, the bullshit and forced folksy way of talking in many of his films (what Jon Martello refers to “Rob Zombie similes), the weak dialogue in his films, his at times excessive and inappropriate violence, and his allowing of sub par performances from actors in his films. Of particular note in this episode is John’s impressive knowledge of Zombie’s work, both musically and cinematically. Gigantic thanks to John and Jon for being gracious enough to come up to the Valley and sit with us for a few hours while we carry on about nonsense. You guys are awesome and forever welcome to come back. As always thanks to everyone and anyone who checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. Thanks always to Justin Miller and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the awesome fliers, and also thanks to Josh “The Final Countdown” Alvarez for the theme song, Chris and LVAC for the support and buttons (check them out at www.xlvacx.com), and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers! Until next time…thanks!   The post

A cantankerous department store owner goes undercover as a shoe salesman to hunt of unionizers at his store, but gets involved in their lives instead. This classic screwball comedy stars Jean Arthur, Robert Cummings, and Charles Coburn. (unrated, 1941, 92 min. Director: Sam Wood)

Tonight we’re going to have a fun panel discussion about Nancy Reagan and her interest in astrology, featuring an exclusive interview with Nancy Reagan and our friend Richard Lertzman. The paranormal has always been present in the White House. In addition, the wonderful Joel Martin joins us tonight to explain why. Rick Lertzman Rick Lertzman’s latest books are Dr. Feelgood (Skyhorse, 2013), the biography of Dr. Max Jacobson and his influence on President and Jackie Kennedy and Richard Nixon and the War on Drugs, and The Life and Times of Mickey Rooney (Gallery, 2014), both of which were cowritten with Bill Birnes. He and Bill are currently developing a list of titles about classic television and film stars and how their careers have influenced our culture today. Among the first titles out are the Life and Times of Peter Falk and the story of Robert Cummings, one of the most popular movie stars of the 1930s and ’40s and how his addiction to methamphetamine destroyed his life. Please enjoy our past visits with Rick: (11.6.10) ? (5.26.12) ? (11.17.12) ? (11.30.13) ? (1.26.15) ? (8.3.15) Joel Martin Joel is the national bestselling author of We Don’t Die, and coauthor with Bill Birnes of Haunting of the Presidents, and Haunting of America. Their forthcoming title is Edison’s Last Invention: The Spirit Phone, out later this year from Skyhorse. Joel is one of our country’s foremost experts on the paranormal and the influence of the paranormal on American history. His story of Abraham Lincoln’s seances at the White House and how they helped shape both the Ronald Reagan and Bill Clinton presidencies have become popular memes about our popular presidents. Ironically, Joel’s story of how former first lady and now Democratic presidential candidate Hillary Clinton invoked the spirit of first lady Eleanor Roosevelt is one of the most revealing aspects of her character.

Título original Dial M for Murder Año 1954 Duración 105 min. País Estados Unidos Estados Unidos Director Alfred Hitchcock Guión Frederick Knott Música Dimitri Tiomkin Fotografía Robert Burks Reparto Grace Kelly, Ray Milland, Robert Cummings, John Williams, Anthony Dawson, Leo Britt, Patrick Allen, George Leigh Productora Warner Bros Género Intriga | Crimen. 3-D. Película de culto Sinopsis Tony Wendice (Ray Milland), un frío y calculador tenista retirado, planea asesinar a su bella y rica esposa (Grace Kelly) porque sospecha que le es infiel, pero sobre todo porque desea heredar su gran fortuna. Para llevar a cabo su plan, chantajea a un antiguo camarada del ejército y lo convence para que, en su ausencia, entre en la casa y mate a su mujer.

“Where’s the REST of me?!?!" “Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood’s 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today’s eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe’s great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we’d seen of his without realizing they were his films. It’s a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in! Film Sundries Original theatrical trailer Original poster artwork King’s Row — Henry Bellamann Flickchart Star Wars & Kings Row Score Thematic Comparison Trailers of the Week Andy’s Trailer: Everest — “Not an IMAX documentary but it sure feels like one. I’m quite impressed by everything about this trailer — the cast in particular." Pete’s Trailer: American Ultra — “This may not be the follow up to the Bourne films that we wanted, but it’s the follow up to the Bourne films that we needed… that we deserve." Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd

“Where's the REST of me?!?!" “Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood's 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today's eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe's great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we'd seen of his without realizing they were his films. It's a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in! Film Sundries Original theatrical trailer Original poster artwork King's Row — Henry Bellamann Flickchart Star Wars & Kings Row Score Thematic Comparison Trailers of the Week Andy's Trailer: Everest — “Not an IMAX documentary but it sure feels like one. I'm quite impressed by everything about this trailer — the cast in particular." Pete's Trailer: American Ultra — “This may not be the follow up to the Bourne films that we wanted, but it's the follow up to the Bourne films that we needed… that we deserve." Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd

“Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood's 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today's eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe's great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we'd seen of his without realizing they were his films. It's a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in!

“Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood's 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today's eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe's great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we'd seen of his without realizing they were his films. It's a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in!

This week we discuss the perfect murder, 3D technology, and whether Alfred Hitchcock would shoot on digital, as Zach takes a look at Dial M for Murder. DIAL M FOR MURDER Dial M for Murder is a 1954 American crime thriller film directed by Alfred Hitchcock, starring Ray Milland, Grace Kelly, and Robert Cummings. The movie was adapted from a successful stage play by Frederick Knott, and was released by the Warner Bros. studio. The screenplay and the stage play on which it was based were both written by English playwright Frederick Knott, whose work often focused on women who innocently become the potential victims of sinister plots. The play premiered in 1952 on BBC television, before being performed on the stage in the same year in London's West End in June, and then New York's Broadway in October. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week we discuss the perfect murder, 3D technology, and whether Alfred Hitchcock would shoot on digital, as Zach takes a look at Dial M for Murder. DIAL M FOR MURDER Dial M for Murder is a 1954 American crime thriller film directed by Alfred Hitchcock, starring Ray Milland, Grace Kelly, and Robert Cummings. The movie was adapted from a successful stage play by Frederick Knott, and was released by the Warner Bros. studio. The screenplay and the stage play on which it was based were both written by English playwright Frederick Knott, whose work often focused on women who innocently become the potential victims of sinister plots. The play premiered in 1952 on BBC television, before being performed on the stage in the same year in London's West End in June, and then New York's Broadway in October. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

Tell It to the Judge from Screen Guild Theater aired on November 2, 1950 starring Rosalind Russell and Robert Cummings.This story is hysterical and lovable at the same time. Bob plays Pete Webb, a lawyer who is newly divorced from sassy Marsha Meredith, played by Rosalind Russell, who is determined to win him back. This becomes a little difficult for Marsha when Pete is a little bit fascinated with curvaceous Ginger. But never under estimate the contriving of a woman when she sets her mind to it. A screwball romantic marital comedy full of laughs. Enjoy this one.