Podcast appearances and mentions of Ruth Etting

Historians won't acknowledge the future crash of America as a financial collapse but as a cultural failure. Daily mass killings, looting of businesses and carjackings, educational standards removing merit achievement for equality, and the rising of suicide rates. It will be politicians deceiving Americans that everything was all right while thousands lived on the streets homeless, that there will be children killing children in schools, all caused by a decaying society, leaving the rest of the world distrusting what we had become. No, the collapse won't be financial. It'll be cultural, and we're living it today. MUSIC Belle Baker, Ruth Etting, Jeanette Macdonald & Nelson Eddy

Los días y las noches de Mercer en Nueva York serían el callejón sin salida de su carrera. "Nadie sabía realmente cómo me sentía o qué tan bajo me sentía en ese momento. Fue el punto más infernal de mi vida profesional”.  Con José Manuel Corrales.

durée : 00:57:54 - "Love me or leave me" (Walter Donaldson / Gus Kahn) (1928) - par : Laurent Valero - "Aime moi ou quitte moi, laisse moi redevenir solitaire... je t'aime tellement que je préfère encore rester seule que d'être heureuse avec un autre... Des paroles extraites de la comédie musicale "Whoopie !" qui ont marqué à l'époque. La chanson fut créée par Ruth Etting." Laurent Valero

Woodrow Wilson. Wilson became the first southern President since the Civil War in 1912. He promised progressivism, but invaded Mexico, intervened in Cuba, Haiti, Dominican Republic, Honduras and militarily occupied Nicaragua during his entire presidency. He opposed women's rights to vote and advocated Jim Crow laws against blacks. In 1919 during his second term, he sufferred a paralyzing stroke and his wife secretly conducted the office of the presidency until 1921. Questioning: Who's running the office in the White House today. MUSIC Lloyd Glenn, Perez Prado, Ruth Etting, Jorge Negrete, Amos Mibum

515,000 mph. The Milky Way Galaxy which we're a part of, spins at 515,000 mph.....but we feel like we're standing still. And recently America didn't feel a thing when Russia, Saudi Arabia and several OPEC countries dropped the use of the Petro-Dollar as a means of purchasing crude oil world wide. The Petro-Dollar has lasted for 50 years and it nearly disappeared overnight without even being mentioned. The Chinese Yuan has taken it's place. You might ask yourself why our President spent his Easter weekend at Camp David and not the White House. Something unexpected is coming. MUSIC Ted Lewis, Al Jolson, Ruth Etting, Louis Armstrong, Jack Hylton

In commemoration of Women's History Month 2023 American Grooves presents three programs focusing on Women's contributions to pre-war pop, jazz country and blues. Episode one of this mini-series focuses on some of the great unsung pop vocalists of the mid-1920s-1930s Ruth Etting, Annette Hanshaw and a slew of surprises ! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Our Stupidity. If you get the feeling you're confused, don't worry, you're meant to be that way. AI wants to make you stupid so you don't believe in anything. That's why you'll see marshal law and our military patrolling the streets of every city when the economic crisis arrives. That's a real possibility when oil is in short supply and people can't fill up their cars at gas stations. Our President has been using our Strategic Oil Reserve for good reason. One thing is certain, when oil comes to an end it won't be voluntary and you won't just be confused and stupid. MUSIC Ben Silvin, Fred Astaire, Hoagy Carmichael, Six Jumping Jacks, Park Lane, Ruth Etting

Our Excesses. We won't escape the excesses the Consumerist Economy has brought. No matter how our government disguises our nation's debt, how violent our society has become, how questionable our moral norms; our faith in consumerism has led to an illness in this country. We consume 18 million barrels of oil every day and that's not sustainable. There's evidence to support it's becoming more difficult to find and extract. A dramatic drop in oil would create inflation then a collapse and no politician would ever tell us that. MUSIC: Glen Campbell, Jeanette MacDonald & Nelson Eddy, Lisa Gerrard, Ruth Etting, Ennio Morricone

Shellac Stack No. 279 lands on the old veranda with Harry Reser's Six Jumping Jacks! We jive with Victor Silvester, dream with Coleman Hawkins, and stomp with Isham Jones. More from Ruth Etting, Ben Light, Blossom Seeley, the Rhythm Rangers, Count Basie, Al Handler's Orchestra, the Firehouse Five Plus Two, and others! Thank you for … Continue reading »

From 1908-1931 THE ZIEGFELD FOLLIES were perhaps the most well known and beloved of the Broadway reviews. In this episode of American Grooves we will play original cast recordings from some of Ziegfeld's most known performers ( Eddie Cantor, Fanny Brice, Burt Williams, Ruth Etting) and a supersizing assortment of recordings by his most unlikely performers! --- Support this podcast: https://anchor.fm/american-grooves-hour/support

Riding High 37-04-08 (02) Guest - Ruth Etting

Episode 13 aired September 19, 1956 on NBC Radio. Ruth Etting sings, A King Abdicates, Frank Black's Revilers Julia Sanderson, Eddie Cantor.

Shellac Stack No. 255 wipes the pan with the High Hatters and dreams with Elliot Lawrence's Orchestra. Along the way, we hear from Morton Harvey, Fats Waller, the Dorsey Brothers, Duke Ellington, Jack Denny, the Ritz Quartet, Buddy Clark, Ruth Etting, and many more. Join us! (Support the Shellac Stack on Patreon: patreon.com/shellacstack — thank … Continue reading »

Tunes Published On Or Before 1930 featuring: Vera Lynn, The Ragtime Rollers, Frank Crumit, Mel Torme, Guy Lombardo, Ruth Etting, Russ Morgan with Eddie Wilser, Teddy Wilson, and Rebecca Collins (aged 8 in 2008!)

Shellac Stack No. 232 tucks in Kentucky with Edwin J. McEnelly's Orchestra and takes a ride with Supersonic Sonia. Along the way, we hear from Ruth Etting, Ted Lewis, George Morrison's Jazz Orchestra, Percival Mackey, Raymond Scott, Nat Jaffe, Margaret Whiting, and many others. Thank you for supporting the Shellac Stack on Patreon: patreon.com/shellacstack

From Sara Carter to Ruth Etting, some of the great female voices of the mid 20's to early 30's era will be played and discussed in this episode.

Two men on a mission to find a plane, in an industrial valley south of Pittsburgh.Published on the Dead Man's Hollow feed first, crossposted here.Expedition Day 3Major Jack, US Air ForceSelsky, GuestTimecodes0m Aetheric Weather Report4m Dramatis Persona8m 3E (The Jayless One)14m 3F (The Hive)17m River Travel20m 3G (The Fires of Renewal)36m River Travel37m 3H (Maze of Capitalism)43m Aetheric Weather Report (reprise)MusicDead Mans Hollow atmospherics created by Connor Sites-Bowen for the show. The Fires of Creation are the sounds of a Ladle Metallurgy Furnace, or LMF, commonly referred to within the steel industry as a ‘Loud Motherfucker'.Shine on Harvest Moon (1931) recorded by Ruth Etting, used under Fair Use as Public Domain material.

Shellac Stack No. 215 wears a rainbow 'round its shoulder with Bob Haring and begs for just one more chance with Ruth Etting. We hear from Japanese crooner Dick Mine, the Mills Brothers, organist Milt Herth, pianist Charlie Kunz, Jean Goldkette, Arnold Johnson, Boyd Senter, and many more this hour. Join us! And if you … Continue reading »

This coming Saturday, December 19, is an important day for my family: it’s my mother Jane’s 85th birthday. To pay tribute to this event, and to this very special woman, I’m presenting a program focusing on the year 1935, and important milestones in film, musicals, and the hit parade. There was such a dizzying variety of musical material in this year that it was challenging to organize, but I focus on young artists who were just entering the scene (Judy Garland, Carmen Miranda, and Édith Piaf) to émigrés to and from America (including Marlene Dietrich, Paul Robeson, Joséphine Baker, Kurt Weill, Elisabeth Welch, and Erich Korngold), to Broadway shows that debuted in that year (in performances by, among others, Ethel Merman, Libby Holman, and Nat King Cole). Along the way I pay particular focus to what was, in retrospect, the most important Broadway event of the year, the premiere of Porgy and Bess. From that show, I present performances by Todd Duncan, Anne Brown, and Ruby Elzy, all of whom created their roles. I also examine the “Latin” influence on US culture from artists like Xavier Cugat, Carlos Gardel, and Miranda, and of the enormous cultural impact (in spite of repression and discrimination) that African American artists were making (Bessie Smith, Billie Holiday, Ella Fitzgerald, Alberta Hunter, Fats Wallter, and Adelaide Hall.) Finally I look at musicians who were also born in 1935 who made their mark in subsequent decades in a wide variety of styles (including Johnny Mathis, Julie Andrews, Diahann Carroll, Elvis Presley, Nancy Ford and Gretchen Cryer, and Jerry Orbach). This is not to forget figures ranging from Ruth Etting to Grace Moore to Fred Astaire to Patsy Montana to Allan Jones to Noël Coward to Benny Goodman to Lucienne Boyer to the Comedian Harmonists to Bette Davis. Please join me in celebrating all these artists, and in wishing my mother a very Happy Birthday! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

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

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

Shellac Stack No. 205 yearns for love with Larry Lee's Orchestra and swings along with Joe Reichman We also hear from Ruth Etting, Nat Gonella, Claude Hopkins, Tex Beneke, Ben Pollack, Doc Evans' Band, Margaret Whiting — and even the Indianapolis Symphony Orchestra! Lots of tuneful delights this time around. Support the Shellac Stack on … Continue reading »

Shellac Stack No. 180 gets happy… and angry… with Isham Jones, Art Gillham, Ruth Etting, Gene Austin, Coon-Sanders, the California Ramblers, Margaret McKee, the ODJB, and more. NEW! Support the Shellac Stack on Patreon: patreon.com/shellacstack. Your contribution helps offset the cost of bringing these programs to you, and there are some nice little bonuses. Thank … Continue reading »

We open with the greatest love song ever written! Two oldies, Tom Foy, born 1879 and Stanley Kirkby, born 1878. Both men were from thr north of England and performed in Music Hall. Sadly Foy died in 1917. His, 'If we live to be ninety nine' is the oldest record I have played so far, 1911. I still find it hard to comprehend we can listen to a record that is 109 years old! Kirkby was the most prolific recording artist of his time and around 1918 he is estimated to have been earning over £26000 a week, in modern terms.  Also playing, close harmony group The Merry Macs, Vicky Young, the magnificent Hoagy Carmichael, Ray Martin Orchestra, Josh White,  Ruth Etting, from 1929 and child star, the boogie woogie piano playing, Sugar Chile Robinson. Johnny Dennis and his Ranchers, English cowboy music and whistling. Love it. Its the nearest thing we have to Western Swing. Couple of blues numbers- pared back, Gin MIll blues from Joe Sullivan and his piano and a little more modern with Vido Musso. My record of the day is Roberto Inglez with Los Celos Y El Viento. Latin American from the man born Robert Maxtone Ingles in Elgin in the North East of Scotland. His is an Intriguing story to say the least. 

Shellac Stack No. 177 dusts the keys with Frank Westphal, rumbas with Fred Waring's Pennsylvanians, dreams with Jack Shilkret's Orchestra, and stomps with the Basin Street Six. Along the way we hear from Ruth Etting, Chick Webb, the 5 Red Caps, and more.

Songs include: I Can't Believe That You're In Love With Me. Dancing In the Moonlight, Believe It Beloved, Body and Soul, I'm In the Mood For Love and Yours Is My Heart Alone. Performers include: Frank Sinatra, Bing Crosby, Billie Holiday, Ella Fitzgerald, Ruth Etting, Art Tatum and Louis Jordan.

Shellac Stack No. 134 sings in the bathtub and does “The Kinkajou”! We stay in the 1920s and '30s this time for some terrific pop and dance band records from the likes of Johnny Green, Ruth Etting, Henry Hall, Cass Hagan, Smith Ballew, Nat Shilkret, Johnny Hamp, and others.

Boogie on Reggae Woman... We have for your listening pleasure Episode 273 of "Troubadours and Raconteurs with E.W. Conundrum Demure." This week we feature a fabulous conversation with regular contributor, Brooklyn Based Comedic Writer and Comedian Nash Rose. Nash and I discuss Political Correctness and Its Impact on Comedy(and on society at large), Satire, How Perhaps There Are Too Many Socio- Political Movements, How the Internet Creates Perspective Bubbles, Kathy Griffin, Blue Humor, Kayne West ... We share an EW Essay titled "Jane, Nubian Princess." EW reads the story "A Day in the Life of Marlon Bundo" by Jill Twiss. We have a poem called " And You." Our music this go round is provided by these wonderful artists: Django Reinhardt, Stephan Grapelli, Stevie Wonder, Lauyrn Hill, the Hold Steady, the Velvet Underground, Ruth Etting, Branford Marsalis and Terrence Blanchard. Commercial Free, Small Batch Radio Crafted In the Moosic Mountains of Pennsylvania... Heard All Over The World. Tell your Friends and Neighbors...

Songs include: After the Laughter Came Tears, Dancing With Tears In My Eyes, Yesterday's Tears, Guess I'll Hang My Tears Out to Dry and Time Out For Tears. Performers include: Kay Starr, Ella Fitzgerald, Ernest Tubb, Tex Ritter, Cliff Edwards, Ruth Etting, Nat King Cole and Harry James.

Hit songs from Broadway musicals from 1928. Songs include: I Can't Give You Anything But Love, Diga Diga Do, How Long Has This Been Going On, Love Me Or Leave Me, Makin Whoopee, Lover Come Back to Me and Let's Do It, Let's Fall In Love. Performers include: Adelaide Hall, Paul Whiteman. Ella Fitzgerald, Billie Holiday, Eddie Cantor, Ruth Etting, Frank Sinatra, Mildred Bailey and the Mills Brothers.

We continue our song-by-song exploration of our newly-released album, Laughing at Life, with this episode's chat about the title track made famous by Ruth Etting in 1930. Our producer/arranger, Oded Lev-Ari, talks about his concept for the arrangement and some of the tricks he used including inspiration from a thesaurus, Count Basie and Duchess’ own phrasing.

Rodgers and Hart songs from the years 1930- 1937.  Songs include: There's a Small Hotel, My Romance, My Funny Valentine, Mimi, Spring Is Here, I've Got Five Dollars and The Lady is a Tramp. Performers include: Ruth Etting, Hal Kemp, Sarah Vaughan, Buddy Clark, Janette McDonald and Ben Selvin.

Songs include: I Love You, I'm Gonna Sit Right Down and Write Myself a Letter, Somebody Loves Me, Watching the Clouds Roll By and My Fate Is In Your Hands. Performers include: Frank Sinatra, Josephine Baker, Cliff Edwards, The Boswell Sisters, Nat King Cole, Jo Stafford, Anita O'Day, Bing Crosby, Teddy Wilson and Ruth Etting.

Scratchy Grooves-Ruth Etting 11-10-85 http://oldtimeradiodvd.com

Scratchy Grooves-Ruth Etting 11-10-85 http://oldtimeradiodvd.com

Scratchy Grooves-Ruth Etting 11-10-85 http://oldtimeradiodvd.com

Scratchy Grooves-Ruth Etting 11-10-85 http://oldtimeradiodvd.com

Songs include: Pennies From Heaven, Dime a Dozen, Betcha Nickel, Penny Seranade and Brother, Can You Spae a Dime?  Performers include: Rudy Vallee, Ruth Etting, The Pied Pepers, Bing Crosby and Louis Prima.

It's quite possible that Philip French has seen more films than anyone else on the planet. Obsessed with cinema since the age of four, he has been reviewing films for the Observer for the past fifty years, as well as writing for many other papers and publishing several critically acclaimed books about cinema. He talks to Michael Berkeley about the role of the composer in the cinema, his late flowering love of Beethoven string quartets, his lifelong delight in the singing of Ruth Etting; and his greatest film music memories. His music choices are all associated with film ? from Disney's Fantasia; through The Ride of the Valkyries used so memorably in Apocalypse Now; to Miles Davis and avant garde composer Harry Partch. Philip French sees at least nine films a week ? that's getting on for 20,000 over his career. Michael Berkeley asks him, how important is music in making a film stick in the mind? Producer: Jane Greenwood. A Loftus production for BBC Radio 3.

Nov. 10, 1985 "Ruth Etting Part Two" features: A second installment of songs by Ruth Etting, beginning in 1928 with "I'm Keeping a Red, Red Rose" and "Glad Rag Doll," and including plenty of her radio hits and B-sides -- "Now I'm in Love," "Deed I Do," "The Right Kind of Man," "Holding My Honey's Hand," "What is Sweeter," "Why Dream" and many others.oldtimeradiodvd.com

The life and music of songwriter, Harry M. Woods.  Songs include: I'm Looking Over a Four Leaf Clover, Try a Little Tenderness, Side By Side, Just An Echo In the Valley and When the Moon Comes Over the Mountain.  Performers include: Al Jolson, Kate Smith, Bing Crosby, Ruth Etting, the Ames Brothers, Cliff Edwards and Billie Holiday.

Songs about lighting up, including: Smoke, Smoke Smoke, Smoke Rings, If I Only Had a Match, Two Cigarettes In The Dark and Smoke Gets In Your Eyes. Performers include: Bing Crosby, Ruth Etting, Al Jolson, Jo Stafford, the Mills Brothers and Phil Harris.

More songs from the first year of the Great Depression.  Songs include: Cotton Club Stomp, Let Me Sing, Price of Cotton Blues and Beyond the Blue Horizon. Performers include: Bessie Smith, the Allen Brothers, Ruth Etting. Al Jolson, Louis Armstrong and Thomas Waller.

The songs of Thomas Waller, including: Ain't Misbehavin, The Joint is Jumpin, Honysuckle Rose and A Handfull of Keys. Performers include: James P Johnson, Benny Goodman, Ruth Etting and Fats Waller.

Songs include: Ain't Misbehavin, Ain't She Sweet, I Ain't Got Nobody and You Ain't Heard Nothin Yet. Performers include: Fats Waller, Ruth Etting, Mississippi John Hurt, Louis Jordan , The Skillet Lickers and Cab Calloway.

Songs by lyricist, Gus Kahn, including: Carolina in the Morning, Toot Toot Tootsie, Love me or Leave Me and It Had to be You.  Singers include: Al Jolson, Ruth Etting, Cliff Edwards and Manuel Romain.

Love songs for Valentine's Day, including: How My Sweetie Loves Me, Love Walked In, We're Back Togetheer and Will You Love Me in December.  Artists include: Helen Kane, Louis Armstrong, Cliff Edwards and Ruth Etting.

Music by songwriter, Walter Donaldson.  Songs include: Carolina in the Morning, My Blue Heaven, Love Me or Leave Me and You're Driving Me Crazy. Performers include: Eddie Cantor, Ruth Etting, Josephine Baker and Nora Bayes.

Songs include: Tears, Ain't It a Crying Shame, Why Should I Cry Over You and Dancing With Tears in My Eyes. Performers include: The Tuxedo Dance Orchestra, Ruth Etting, Blind Boy Fuller, Bix Biederbeck and Bing Crosby. 

This week David and Milt presents "I Must Have That Man" by Adelade Hall, "Easter Parade" by Clifton Webb, "Shakin' The Blues Away" by Ruth Etting, "Fifty Million Frenchman Can't Be Wrong" by Sophie Tucker, and "This is The Missus" by Rudy Valley. The Music Museum hosted by Milt Larsen and David Berger  is another one of the great Yesterday USA Old Time Radio Show Programs.After being broadcast on YUSA, this famous program is now available thanks to a special arrangement between Radio Nostalgia  Network and Yesterday USA. Listen Live to YESTEDAY USA,  http://yesterdayusa.com

More songs from 1929, including: Sweet Fern, Mean to Me, Feeling the Spirit and How Can a Poor Man Stand Such Times.Artists include: Rudy Vallee, The Carter Family, Blind Alfred Reed, Ruth Etting and Al Jolson.

This week David and Milt presents "Oh Johnny, Oh Johnny" by Wee Bonnie Baker, "If I Give Up The Saxaphone" by Pierce Brothers, "With My Eyes Wide Open, Im Dreaming"by Ruth Etting, and "They Call Me Sister Honky Tonk" by Mae West. The Music Museum hosted by Milt Larsen and David Berger  is another one of the great Yesterday USA Old Time Radio Show Programs.After being broadcast on YUSA, this famous program is now available thanks to a special arrangement between Radio Nostalgia  Network and Yesterday USA. Listen Live to YESTEDAY USA,  http://yesterdayusa.com

Big Band Serenade presents Ruth Etting 1928-1935  The music in this program is listed in order of play;1) "Love Me Or Leave Me" 19282) "Now That You're Gone" 19313) "Mean To Me" 19294) "Ten Cents A Dance" 19305) "Button Up Your Overcoat" 19296) "Holding My Honey's hand" 19327) "Happy Days and Lonely Nights" 19288) "When We're Alone" 19329) "Now I'm In Love" 192910) "Life Is A Song" 193511) "Nevertheless"12) "Back In Your Own Back Yard" 1928

This week David and Milt presents "Oh Johnny, Oh Johnny" by Wee Bonnie Baker, "If I Give Up The Saxaphone" by Pierce Brother, "With My Eyes Wide Open, I'm Dreaming"by Ruth Etting, and "They Call Me Sister Honky Tonk" by Mae WestThe Music Museum is another one of the great Yesterday USA Old Time Radio Show Programs.After being broadcast on YUSA, this famous program is now available thanks to a special arrangement between Radio Nostalgia  Network and Yesterday USA. Listen Live to YESTEDAY USA,  http://yesterdayusa.comOnline Meetings Made Easy with GoToMeeting Try it Free for 45 days use Promo Code Podcast Go To GoDaddy & SAVE 10% Use Promo Code blu19   

Bogie is an actor who continues to rank near the top on everybody's list. What is not generally known is that he made many appearances on radio after he moved his act from Broadway to Hollywood. In 1930 he got a contract with Fox and his feature film debut was in a 1930 short "Broadway's Like That", co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After another five years of stage and minor film roles, he broke through with "The Petrified Forest" in 1936. Leslie Howard was starring in the movie, and threatened to quit unless Bogie, his fellow actor from the Broadway production, played Duke Mantee in the film version with him. Bogie named one of his sons Leslie in gratitude for this big break.In fact, many of Bogart's radio appearances were versions of the great films he did, but often he did guest spots or played characters that weren't from films. These performances are not known to the millions of younger fans that weren't lucky enough to hear radio as it happened. Go To GoDaddy, use the promo code blu19 and save 10%

I would like to take this time to thank every one for listening to Radio America We have been on podomatic now for 1 year and a few weeks. We have just surpassed 210,000 downloads. And we truly want to thank everyone , to celebrate our 1 year anniversary and download. We are offering a special if you buy 3 cds you get the 4th free, that a total of 200 shows for $15.00 which includes shipping clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 please include on the special msg on order that you are coming from podomatic. Again Thanks for making Radio America # 1 in Comedy for this long Thanks Bogie is an actor who continues to rank near the top on everybody's list. What is not generally known is that he made many appearances on radio after he moved his act from Broadway to Hollywood. In 1930 he got a contract with Fox and his feature film debut was in a 1930 short "Broadway's Like That", co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After another five years of stage and minor film roles, he broke through with "The Petrified Forest" in 1936. Leslie Howard was starring in the movie, and threatened to quit unless Bogie, his fellow actor from the Broadway production, played Duke Mantee in the film version with him. Bogie named one of his sons Leslie in gratitude for this big break.In fact, many of Bogart's radio appearances were versions of the great films he did, but often he did guest spots or played characters that weren't from films. These performances are not known to the millions of younger fans that weren't lucky enough to hear radio as it happened. This collection give everybody the chance to hear that great Bogart voice again, and enjoy just how special his acting was. Incidentally, while serving in the U.S. Navy after getting kicked out of Andover Academy, he was wounded in the shelling of the USS. Leviathan. The resulting partial facial paralysis caused by his wounds gave him that signature vocal and facial style he is known for. Bogart on the radio, circa 1940Lux Radio Theater was the premier Hollywood radio show, and featured themajor stars in their film roles. We have several of Bogie's greatest roles here, including a rehearsal for Bullets or Ballots. (That's the 1936 crime film classic with Edward G. Robinson and Joan Blondell). Screen Guild Players did

The Music Museum is another one of the great Yesterday USA Old Time Radio Show Programs.After being broadcast on YUSA, this famous program is now available thanks to a special arrangement between Radio Nostalgia  Network and Yesterday USA. This week David and Milt present music from the 1930's along with a tribute to Shirley Horn.  "Oh,Johnny,Oh,Johnny" by Bonnie Baker with the Orrin Tucker Band, "If I Give Up The Saxaphone" by Pearce Brothers, Al&Cal,"With My Eyes Wide Open,I'm Dreaming" by Ruth Etting(5/10/34),"Thank's For The Buggy Ride by Frank Crummit(4/13/36), and "They Call Me Sister Honky Tonk" by Mae West & Duke Ellington(10/7/33)