Podcasts about Sammy Cahn

We haven't reached into the great Franklin Mint section of my dad's collection for a while. Most of the episodes featuring the Greatest Jazz Recordings of All Time often get blocked by YouTube.  But I've really grown attached to this specific box set lately. It's filled with some great and legendary jazz singers. So get ready to hear a variety of voices with various styles in Volume 224: Big Band Bards Record 2. More information about this album, see the Discogs webpage for it.  Credits and copyrights Various – The Jazz Singers Label: The Franklin Mint Record Society – JAZZ2 Series: Institute Of Jazz Studies Official Archive Collection, The Greatest Jazz Recordings Of All Time Format: 4 x Vinyl, LP, Compilation, Red Vinyl Box Set Released: 1982 Genre: Jazz We will hear 7 of the 12 songs on this record. George Thomas With McKinney's Cotton Pickers - Baby, Won't You Please Come Home? Written by Charles Warfield, Clarence Williams Recorded July 28, 1930 Released on Victor Al Hibbler With Duke Ellington And His Orchestra - I'm Just A Lucky So And So  Written by Duke Ellington, Mack David Recorded November 26, 1945 Released on Victor Bing Crosby And The Mills Brothers - My Honey's Lovin' Arms Written by Joseph Meyer, Herman Ruby Recorded Januray 26, 1933 Released on Brunswick Records Johnny Hartman With The John Coltrane Quartet - Dedicated To You Written by Sammy Cahn, Hy Zaret, Saul Chaplin Recorded Maarch 7, 1963 Released on Impulse Records Ray Charles - It Had To Be You Written by Gus Kahn, Isham Jones Recorded June 23, 1959 Released on Atlantic Cab Calloway And His Orchestra - I Ain't Got Nobody Written by Spencer Williams, Roger Graham Recorded July 2, 1935 Released on Brunswick Records Metronome All Stars Featuring Billy Eckstine - How High The Moon  Written by Morgan Lewis, Nancy Hamilton Recorded July 9, 1953 Released on MGM Records I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #jazzmusic #earlyjazz #musicalmemories #musichistory #vinylcollecting #vinylrecords #fyp

If you’re a visual artist and you have an idea for something you want to create, there’s not much standing between you and making your vision a reality. Maybe just a piece of paper and a pencil. However, if your idea for a new creation is a business, well, things are a bit more complex. If you grew up in a community or a family who were not business-people, or you didn’t get a business education, you might have little idea of what is even required to launch a business. On top of that, if you’re a member of a minority community you may find there are other layers of difficulty that present even more obstacles. And this is where a New Orleans organization called Camelback Ventures comes in. Camelback Ventures describe themselves as “a rigorous venture accelerator, providing capital, coaching and community for innovative entrepreneurs.” Because, they say, genius is equally distributed, but opportunity is not, they’re here to right the balance. The CEO of Camelback Ventures is Shawna Young. Once you’ve got your business up and running, a big problem you come up against is growth. You need to hire people. You need to pay them. And you need to keep them happy, so they don’t leave. Each one of these steps is more challenging than you might think at the outset. Hiring requires finding the right people, and knowing how to interview them, so there are no surprises later. Paying employees requires complying with a maze of taxation and accounting procedures. And holding on to good employees requires knowing something about incentivizing a workforce. You probably didn’t get into business to do any of this. And if you don’t want to deal with it you can turn to a local payroll and HR company, called Crescent Payroll and HR. The founder and president of Crescent Payroll and HR is Sanders Offner. There’s a difference between a great idea and, well, everything that follows. Getting married is a great idea. Being married is a whole other thing. Similarly, starting a business, though far from simple, is largely exciting and fun – it’s a challenging process of discovery. Running a business, on the other hand, is an exercise in constant problem-solving that ranges from coping with the mundanity of office supplies to the grand vision of growth. Shawna is focused on starting businesses. Sanders is focused on running them. These two processes are inextricably interdependent in a manner that’s best expressed by Frank Sinatra and lyricist Sammy Cahn: “You can’t have one without the other.” Andrew Ward sits in for Peter Ricchiuti on this edition of Out to unch, recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Jill Lafleur at itsneworleans.com.See omnystudio.com/listener for privacy information.

A Funny MondayFirst a look at this day in History.Then My Favorite Husband starring Lucille Ball and Richard Denning, originally broadcast March 10, 1950, 75 years ago. The girls demand equal rights.  The men go along…sort of.Followed by The Adventures of Archie Andrews starring Bob Hastings, originally broadcast March 10, 1951, 74 years ago, Mailing the Income Tax.  Archie mails the family's income tax return. Now, how to get that letter back and save $50. Then You Bet Your Life starring Groucho Marx, originally broadcast March 10, 1958, 67 years ago, The Secret Word is Name.   The first contestant is song writer Sammy Cahn. Followed by Abbott and Costello, originally broadcast March 10, 1949, 76 years ago, Another Sam Shovel Mystery. Costello's been working for the Red Cross, then went to a Lana Turner movie. Costello tells an income tax joke. Sam Shovel solves, "The Case Of The Strip-Tease Dancer Who Was Arrested For Income Tax Fraud," or, "She Took Off Too Much For Entertainment." Finally Claudia, originally broadcast March 10, 1949, 76 years ago, City Versus Country.  It's bleak in Connecticut, but the birds are singing while waiting for Spring. 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

Merry Christmas, Honestly listeners! We hope you've been enjoying the parties, the spirit of charity, the lights, the tree at Rockefeller Center, the schmaltzy movies, and of course, the infectious Christmas music everywhere you turn. But did you know that the Americans who wrote nearly all of the Christmas classics were . . . Jewish? Indeed, many of the writers of your favorite Christmas jingles were the children of parents who had fled Russia and other parts of Eastern Europe during the great wave of immigration between 1880 and 1920. Sammy Cahn, the son of Galician Jewish immigrants, wrote the words to “Let it Snow!” and was known as Frank Sinatra's personal lyricist. There is also Mel Torme, the singer-songwriter responsible for composing the timeless “Chestnuts Roasting on an Open Fire.” His father fled Belarus for America in the early 20th century. Frank Loesser, a titan of Broadway and Hollywood musicals, wrote the slightly naughty “Baby, It's Cold Outside.” He was born into a middle-class Jewish family, his father having left Germany in the 1890s to avoid serving in the Kaiser's military. Johnny Marks, the man who gave us “Rudolph, the Red Nosed Reindeer,” “A Holly Jolly Christmas,” and “Rockin' Around the Christmas Tree”—yes, he was also one of the chosens. Then there's the greatest American composer of them all, Irving Berlin. His “White Christmas” is one of the biggest-selling singles in the history of American music. Berlin's earliest memory was of watching his family's home burn to the ground in a pogrom as his family fled Siberia for Belarus before emigrating to NYC in 1893. Today, Free Press columnist Eli Lake explores why and how it was that American Jews helped create the sound of American Christmas. We hope you enjoy this delightful and surprising jaunt through musical history. Happy holidays! *** This show is proudly sponsored by the Foundation for Individual Rights and Expression (FIRE). FIRE believes free speech makes free people. Make your tax-deductible donation today at www.thefire.org/honestly. Learn more about your ad choices. Visit megaphone.fm/adchoices

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, we explore the legacy of Dean Martin and his iconic rendition of "Let It Snow! Let It Snow! Let It Snow!" Artist Background:Dean Martin, born Dino Paul Crocetti on June 7, 1917, in Steubenville, Ohio, was not only a singer but also an actor, comedian, and a key member of the Rat Pack alongside Frank Sinatra and Sammy Davis Jr. Known for his smooth baritone voice and charismatic stage presence, Martin's work spanned across traditional pop, jazz, and country music, with his holiday albums becoming staples of festive celebrations.Song History:Penned by Sammy Cahn and Jule Styne during a Hollywood heatwave in 1945, "Let It Snow" was first recorded by Vaughn Monroe that same year, becoming an immediate Christmas hit. Dean Martin's versions, recorded in 1959 and 1966, are particularly celebrated for capturing his effortless, jovial style.Sales Milestones:Billboard Chart Success: The song saw a remarkable resurgence, entering the Hot 100 at No. 49 in December 2018 and peaking at No. 20 in January 2019, marking Martin's first Top 20 hit in nearly half a century.UK Chart Success: It has consistently appeared on the UK Singles Chart during the holiday season, underscoring its lasting appeal.Analytic Sales Facts:Physical vs. Digital Sales: While initially popular through physical sales, "Let It Snow" now enjoys significant digital sales and streaming boosts during the holiday period.Cover Versions Impact: Multiple covers by artists like Frank Sinatra and Rod Stewart have kept the song alive, with Stewart's version notably topping the Billboard Adult Contemporary chart in 2012.Media Exposure: The song's presence in films like "Die Hard 2" and "Lethal Weapon," as well as in TV shows like "The Simpsons," has perpetuated its cultural footprint.Christmas Album Sales: As a highlight of Dean Martin's holiday albums, it significantly drives album sales each Christmas season.Streaming Success: There's a notable increase in streams on platforms like Spotify and Apple Music during November and December.YouTube Impact: An official animated video released in 2019 has amassed millions of views, enhancing its digital presence.Cultural Staple: Played widely in public places like malls and on holiday radio, ensuring wide exposure.Licensing Revenue: Notable licensing events, such as Google's 2011 Easter Egg, contribute to its revenue stream.Chart Longevity: Its chart re-entries each year reflect a robust seasonal sales pattern.Global Appeal: Its international chart performance confirms its status as a global holiday anthem.Summary:Dean Martin's "Let It Snow" has seamlessly transitioned from a classic hit to a digital age favorite, maintaining relevance through chart success, media exposure, and streaming. Its enduring charm and commercial success illustrate its place as a holiday staple across generations. Join Analytic Dreamz in this segment to appreciate how this song has shaped holiday music traditions.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Of course big bands and cars go together. The first car radio was offered by Chevrolet in 1922. As the medium became more popular and more practical for use in a vehicle, it was more than likely large jazz orchestras filling those airwaves. This album is a really good collection of some great star band leaders along with some great versions of big hits. So get ready to hear music that was probably coming out of the dashboard for those early drivers in Volume 205: Big Band Chevy. More information about this album, see the Discogs webpage for it.  Credits and copyrights Various – Golden Anniversary Album (A Collector's Item Specially Produced For Chevrolet) RCA Victor – PR.111, RCA Victor Format: Vinyl, LP, Album, Compilation, Mono Released: 1961 Genre: Jazz, Pop Style: Big Band, Swing, Vocal Charlie Barnet – Cherokee Written by Ray Noble  Larry Clinton – My Reverie Vocals – Bea Wain Written by Larry Clinton  Duke Ellington – Solitude Vocals – Al Hibler, Joya Sherrill, Kay Davis, Marie Hibler  Written by Duke Ellington, Eddie DeLange, and Irving Mills Bunny Berigan – I Can't Get Started Vocals – Bunny Berigan Written by Ira Gershwin, Vernon Duke Guy Lombardo – Bei Mir Bist Du Schon Vocals – Male Trio Written by Jacob Jacobs, Sammy Cahn, Saul Chapin, Sholom Secunda Rosemary Clooney & Perez Prado – Bali Ha'i Written by Rodgers-Hammerstein  I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #jazzmusic #bigbandjazz #chevy

Jeff Harnar sings "Sammy Cahn: the Second Time Around"

This is the second of the three main Rat Pack members we will hear from here in season four of this show. This crooner is the one we DIDN'T get to see in concert with the other two back in March of 1988 at the Richfield Coliseum. He's a singer, actor, and comedian. One of the most popular entertainers of the mid-20th century, he was nicknamed "The King of Cool". And his music is still among the most streamed today. So, get ready to hear the voice that had just as many teenage girls swooning as Old Blue Eyes did in Volume 173: Dean's Swingin'. More information about this album, see the Discogs webpage for it.  Promised Links: Dean Martin's IMDB listing Dean Martin's official website About page.  Credits and copyrights Dean Martin Orchestra Conducted By Nelson Riddle – This Time I'm Swingin' Label: Capitol Records – T1442 Format: Vinyl, LP, Album, Mono, Los Angeles Pressing Released: Oct 3, 1960 Genre: Jazz Style: Easy Listening, Vocal, Swing It was recorded during three sessions in May of 1960. We will hear 7 of the 12 songs on the album. I Can't Believe That You're In Love With Me Written-By – Clarence Gaskill and Jimmy McHugh You're Nobody 'Til Somebody Loves You (the 1964 re-release reached number 25 on the US Billboard Hot 100 chart in 1964 and number 1 on the Billboard Easy Listening chart.) Written-By – James Cavanaugh, Larry Stock, and Russ Morgan Imagination Written-By – Jimmy Van Heusen and Johnny Burke Until The Real Thing Comes Along Written-By – Alberta Nichols, L.E. Freeman, Mann Holiner, Sammy Cahn and Saul Chaplin Please Don't Talk About Me When I'm Gone Written-By – Sam Stept and Sidney Clare Someday Written-By – Jimmie Hodges Just In Time Written-By – Adoph Green, Betty Comden and Jule Styne I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Con Billy Pierce, Andrew Baker, Carmen McRae y Rodrigo Parejo entre otros. Los segundos jueves de cada mes son para nuestros "Míticos y Referentes". Así, Carmen McRae protagoniza nuestro espacio en esta ocasión. Antes, en tiempo de estrenos de factura estatal, presentamos una de las últimas publicaciones del sello Underpool: "Warmi", que cuenta con el liderazgo del saxofonista británico Andrew Baker en compañía de jazzistas referentes de la Ciudad Condal. "All the way" de Jimmy Van Heusen y Sammy Cahn, en grabación del saxofonista tenor Billy Pierce es nuestro "Estándar de la semana" e "Imigrate Walt", de la holandesa "Royal Improvisers Orchestra" con el flautista donbenitenese Rodrigo Parejo, nuestro "Favorito". Ahora Jazz, Ed. 2257.  Con Javier del Barco.

Robert Cutarella spent most of his childhood evenings burrowed under his pillows, a transistor radio speaker in his ear listening to the Dick Clark Show and other famous deejays. A passion for rhythm emerged during drumming sessions with wooden spoons borrowed from his aunt. At nine years-old Robert's parents took him to see drum icon Gene Krupa at the Metropole Club in midtown Manhattan. Krupa's physicality and deep passion for his craft made a lasting impression on this soon to be music industry giant. Bob had visions of owning his own company and following a career in the music industry. Robert developed an ear for rhythm, melody, and song structure through growing up in the rhythm and blues era, he earned the opportunity to play with “Do Wop” greats the Shirelle's, Dion and the Belmont's, among others. Robert then took a side road, he fell in love eventually marrying his childhood sweetheart, became a teacher, owned an antique store, sold clothes on the weekend, and played music at night. Music was pulling him to go all in, he accepted an ultimatum from his wife to make it in the music business within a year. Ten months later, Robert recorded his first album. We learn of Robert's devastating losses, heartbreaks, and betrayals, and priceless wisdom gained. Robert recalls humble beginnings, meeting clients at his first office at St. Patrick's Cathedral, returning calls on the New York City Public Library's phone booth.   During the last 40 years, this music producing mastermind has produced over 3,000 songs, 160 plus platinum records, including two Grammy awards, for the Les Paul and Friends Tribute Album. Robert discovered and launched careers for some of the most prolific performers of all time including, legendary blues guitarist Stevie Ray Vaughn, and pop singing megastar Celine Dion. This behind-the-scenes hit making genius has guided current recording giants John Legend and Lady Gaga through his songwriting mentorship programs. We are anxiously awaiting Robert's new book Mentor, we hope you glean valuable insight, and enjoy meeting this music industry superstar on this episode of Intrinsic Drive™. Intrinsic Drive™ is produced by Ellen Strickler and Phil Wharton and Andrew Hollingworth  is sound editor and engineer.Created for human beings by human beings.  NO GENERATIVE AI USE ALLOWED.Robert Cutarella artist bio and timeline: Robert began his career in the music industry as a producer and performer. He was employed by many major labels and performed with a variety of recording artists ranging from Joe Williams to Bruce Springsteen.  Here's a list of some of those artists; Chaka Khan, Michael Jackson, Sheena Easton, Air Supply, Melissa Manchester, Whitney Houston, Michael Henderson, Diana Ross, Deborah Allen, Dolly Parton, The Police, Elton John, REM, Culture Club, The Human League, ABC, Linda Ronstadt, and Frank Sinatra, Hall & Oates,The Bee Gees to Sammy Cahn, Benny Benjamin, Jule Styne, Stevie Ray Vaughan, The Fabulous Thunderbirds, Metallica, Raven, Gino Vannelli, Vanessa Williams, Patrick Simmons, Basia and others.Host note--If you are still listening at the 1:13:06 mark. I say "centurions" while meaning to say "centenarians", a mistake that you may find hilarious. 

Book Vs. Movie: The Opposite SexThe 1936 Play V. the 1939 Film Vs. the 1956 Musical"The Opposite Sex" is a musical comedy film released in 1956. It is a remake of the 1939 film "The Women, " directed by David Miller, based on the play of the same name by Clare Boothe Luce. The story revolves around several women's romantic and social lives, with a particular focus on Kay Hilliard (played by June Allyson). Kay discovers her husband's infidelity and must deal with the consequences within her social circle. The film explores themes of love, friendship, and betrayal, all set against the backdrop of high society. Which did we (the Margos) prefer of all of the adaptations?In this ep, the Margos discuss:The original play and 1939 film The differences between the 1939 film and the musical adaptationThe cast of the 1956 film includes June Allyson (Kay Hilliard,) Joan Collins (Crystal Allen,) Dolores Gray (Sylvia Fowler,) Ann Sheridan (Amanda Penrose,) Ann Miller (Gloria Dell,) Leslie Neilsen (Steven Hilliard,) Jeff Richards (Buck Winston,)  Agnes Moorehead (Countess Lavaliere,) Charlotte Greenwood (Lucy,) Joan Blondell (Edith Potter,) Sam Levene (Mike Pearl,) and Dick Shawn as a singer. Clips used:Kitchen ChaosThe Opposite Sex (1956 trailer)“The Opposite Sex Slap”“A Perfect Love”Title SequenceMusic by Nicholas Brodsky, Sammy Cahn, Ralph Freed, George Stoll, and Robert Van Eps. Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: The Opposite SexThe 1936 Play V. the 1939 Film Vs. the 1956 Musical"The Opposite Sex" is a musical comedy film released in 1956. It is a remake of the 1939 film "The Women, " directed by David Miller, based on the play of the same name by Clare Boothe Luce. The story revolves around several women's romantic and social lives, with a particular focus on Kay Hilliard (played by June Allyson). Kay discovers her husband's infidelity and must deal with the consequences within her social circle. The film explores themes of love, friendship, and betrayal, all set against the backdrop of high society. Which did we (the Margos) prefer of all of the adaptations?In this ep, the Margos discuss:The original play and 1939 film The differences between the 1939 film and the musical adaptationThe cast of the 1956 film includes June Allyson (Kay Hilliard,) Joan Collins (Crystal Allen,) Dolores Gray (Sylvia Fowler,) Ann Sheridan (Amanda Penrose,) Ann Miller (Gloria Dell,) Leslie Neilsen (Steven Hilliard,) Jeff Richards (Buck Winston,)  Agnes Moorehead (Countess Lavaliere,) Charlotte Greenwood (Lucy,) Joan Blondell (Edith Potter,) Sam Levene (Mike Pearl,) and Dick Shawn as a singer. Clips used:Kitchen ChaosThe Opposite Sex (1956 trailer)“The Opposite Sex Slap”“A Perfect Love”Title SequenceMusic by Nicholas Brodsky, Sammy Cahn, Ralph Freed, George Stoll, and Robert Van Eps. Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

It's not often the Duffields coincide their "Couch to Kitchen" LIVE videos with the Suebiquitous Podcast, but today's one of those special days! This edition is from their most recent Facebook LIVE and YouTube LIVE broadcast, featuring a Great American Standard, an 80s Pop tune, and a few hymns and gospel songs. It's what they do! And for those who haven't had the chance to catch them LIVE online on Thursday nights, here's your chance to enjoy the audio version of serendipity in their unrehearsed, unedited way! And it's just in time for "Spring Forward" weekend! www.sueduffield.com www.facebook.com/sueduffieldministries www.youtube.com/sueduffield  

"I Should Care" es una canción popular con música de Axel Stordahl y Paul Weston y letra de Sammy Cahn, publicada en 1944. La canción se ha convertido en un estándar popular y un estándar del jazz, con grabaciones de muchos artistas de los cuales escuchamos vibrantes ejemplos en este episodio. Hosted on Acast. See acast.com/privacy for more information.

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Welcome to Jazz Piano Skills; it's time to discover, learn, and play Jazz Piano!Every Jazz Piano Skills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today, you will discover, learn, and play  "Let It Snow" by Jule Styne and Sammy Cahn. In this Jazz Piano Lesson, you will:DiscoverA Christmas Classic "Let It Snow"LearnChords Changes, Harmonic Function, Melody, and Fingerings for "Let It Snow"PlayMultiple patterns extracted from "Let It Snow" for developing classic jazz language to use when improvisingUse the Jazz Piano Podcast Packets for this Jazz Piano Lesson for maximum musical growth. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while you discover, learn, and play Let It Snow.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join Jazz Piano SkillsLesson RationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit Jazz Piano Skills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to donate to JazzPianoSkills, you can do so easily through the Jazz Piano Skills Paypal Account.Thank you for being a Jazz Piano Skills listener. I am pleased to help you discover, learn, and play jazz piano!Support the show

Perduts a la nostra ciutat. Crítica teatral de l'obra «A la ciutat (Our Town)», de Thorton Wilder. Traducció de l'anglès: Víctor Muñoz Calafell. Dramatúrgia de Llàtzer Garcia. Intèrprets: Guillem Balart, Jenny Beacraft, Rosa Boladeras, Tai Fati, Oriol Genís, Paula Malia, Carles Martínez, Biel Montoro, Lluís Oliver, Mercè Pons, Rosa Renom, Xavier Ripoll, Isabel Rocatti, Josep Sobrevals i Albert Triola. Espai escènic: Josep Iglesias. Vestuari: Berta Riera. Il·luminació: Guillem Gelabert. So: Guillem Rodríguez. Direcció musical: Carles Pedragosa. Moviment: Marta Gorchs. Ajudanta d'escenografia: Mercè Lucchetti. Ajudanta de vestuari: Raquel Bonillo. Producció: Teatre Lliure. Ajudanta de direcció: Mònica Molins. Direcció Ferran Utzet. Sala Fabià Puigserver, Teatre Lliure Montjuïc, Barcelona, 11 octubre 2023. Veu: Andreu Sotorra. Música: Our Town. Intèrpret: Frank Sinatra. Composició: Jimmy van Heusen i Sammy Cahn. Àlbum: Frank Sinatra Integral, 2023.

"Me enamoro demasiado fácilmente" es una canción de 1944 compuesta por Jule Styne con letra de Sammy Cahn. Fue introducida por Frank Sinatra en la película Anchors Aweigh de 1945. La película ganó un Premio de la Academia por su música; "I Fall in Love Too Easy" fue nominada a un Premio de la Academia a la Mejor Canción Original pero perdió ante "It Might As Well Be Spring" de Rodgers y Hammerstein. Las cantantes, piano, trompeta y alguna sorpresa están en el menú. Hosted on Acast. See acast.com/privacy for more information.

This is the third of eight records my dad had of this orchestra leader. He was an innovator who used the voice as an instrument, not as a vocalist. The previous episode we featured Ray on is my most viewed on YouTube…by a lot! Let's hope this one gets past the copyright police unlike the first time I featured this artist. So get ready to hear a multi-million selling recording musical style in Volume 141: Conniff Memories. Credits and copyrights Ray Conniff And His Orchestra & Chorus – Memories Are Made Of This Label: Columbia – CL 1574 Format: Vinyl, LP, Album, Mono Released: 1960 Genre: Jazz Style: Big Band, Easy Listening Memories Are Made Of This Written by Richard Dehr, Frank Miller, Terry Gilkyson Young Love written by Carole Joyner, Ric Cartey Love Letters In The Sand Music written by J. Fred Coots Three Coins In The Fountain written by Sammy Cahn, Jule Styne Unchained Melody written by Hy Zaret, Alex North Love Me Tender written by Elvis Presley, Ken Darby, George Poulton, W.W. Fosdick No Other Love written by Oscar Hammerstein II, Richard Rodgers Boy, we play a lot of their music on this show. I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Sammy Cahn quickly became the king of the movie songs, earning Oscar nominations 15 and 16 for two title songs that he wrote in 1959 for Frank Sinatra and Johnny Mathis. Sammy Cahn's nemesis, Dimitri Tiomkin, was back in the Oscar songwriting game with Ned Washington, both of whom had started the trend of giving dramatic films a rousing title song. Who's going to emerge victorious for songs written for 1959? You'll have to listen to this episode of The Best Song Podcast to find out!

Del nuevo disco de Pat Metheny, 'Dream Box', grabado solo con guitarras, las seis composiciones originales de Metheny ('The waves are not the ocean', 'From the mountains', 'Ole & Gard', 'Trust your angels', P.C. of Belgium' y 'Clouds can´t change the sky') y 'Never was love', de Russ Long, 'I fall in love too easily', de Jule Styne y Sammy Cahn, y 'Morning of carnival', de Luiz Bonfá y Antonio Maria. Escuchar audio

From the 1963 album Sinatra's Sinatra, here⁠ is Jimmy Van Heusen and Sammy Cahn's Call Me Irresponsible. Arranged and conducted by Nelson Riddle. Credits:Theme music by Erik Blicker and Glenn SchlossEdited by Katie CaliMixing and mastering by Amit Zangi Send comments to sinatramatters@gmail.com

The battle for the Academy award for Best Original Song became a little more intense in 1954, as the film composer competed with the professional songwriter for control over who writes songs for the movies. Dimitri Tiomkin began the war after winning the Oscar for "The Ballad of High Noon" in 1952, with Sammy Cahn serving as his rival. Will it be Tiomkin's soaring title song from The High and the Mighty that wins in 1954, or Cahn's lush title song from Three Coins in the Fountain? Host Jeff Commings will tell you the stories behind these and the other nominees, and reveal the winner at the end of this episode of The Best Song Podcast.

Sammy Cahn's fifth consecutive Oscar nomination for songwriting came for his second gig writing for opera star Mario Lanza. Cahn will have tough competition for the Academy Award for Original Song, as the new writing duo of Ned Washington and Dimitri Tiomkin came up with a new twist on the title song and Oscar winners Harry Warren and Leo Robin came up with a catchy tune for Bing Crosby and Joan Wyman. Find out who wins the award for 1952 on this episode of The Best Song Podcast!

Powerleegirl hosts Miko Lee & Jalena Keane-Lee, a mother daughter duo Asian-American Native Hawaiian Pacific Islander heritage month with another special episode of APEX Express. To celebrate the month we're going to be hearing from some incredible activists that we featured in our, “We Are the Leaders” series. We are the leaders was inspired by the famous Grace Lee Boggs quote. “We are the leaders we've been looking for.” Today's show features the following artists, activists and thinkers including: Helen Zia, Anirvan Chatterjee, Sammie Ablaza Wills, Hawane Rios, Yuri Kochiyama, Julia Putnam, Gail Romasanta & Saru Jayaraman.   May 8th Show Transcripts [00:00:00] Opening: Asian Pacific expression. Unity and cultural coverage, music and calendar revisions influences Asian Pacific Islander. It's time to get on board. The Apex Express. Good evening. You're tuned in to Apex Express. [00:00:18] Jalena Keane-Lee: We're bringing you an Asian American Pacific Islander view from the Bay and around the world. We are your hosts, Miko Lee and Jalena Keane-lee the powerleegirls, a mother daughter team. Happy Asian-American Native Hawaiian Pacific Islander heritage month. And welcome to another special episode of apex express. This is the powerleegirls. I'm Jalena Keane-Lee, and I'm Miko Lee. We're a mother-daughter duo talking today about Asian American native Hawaiian Pacific Islander heritage month, To celebrate the month we're going to be hearing from some incredible activists that we featured in our, we are the leaders series. We are, the leaders was inspired by the famous Grace Lee Boggs quote. We are the leaders we've been looking for. First up we hear from a claimed activist and lawyer helen Zia. [00:01:12] Helen Zia: I call it M I H that we are at so often missing in history. And the only thing that's going to change, that is our voices. We have to restore that history. We have to reclaim that involvement and we have to know that we have nothing to be ashamed about We were not missing it You know we were there and It's just that other people don't know that And so that part we have to do We love this phrase missing in history from Helen Zia. And that's a big part of what we think this month is all about. It's rewriting us into the dominant narratives of history. And of course it's a big mission of our show to make sure that our voices and stories are heard. Not just things from the past from ancestors from movements in the past but also things that are happening in the present and the interconnectedness and connections between The two Next up Anirvan Chatterjee, storyteller, an activist and founder of the Berkeley south Asian radical history. Walking tour tells us about a little bit of history that has long been missing from history. As Helen Zia would say. He talks about interconnectedness between the south Asian and African-American communities. And the importance of knowing about this history and knowing about these solidarities and that this kind of solidarity has existed throughout Time [00:02:36] Anirvan: There's been a lot written about, Points of intersection between South Asian and African American movements for justice. I knew from my immigrant community, that Ghandi influenced Dr. King and through the ways that, Ghandi and nonviolence kind of spread. as part of the civil rights movement, but I think that was pretty much the end of it. those points of intersection kind of stopped and ended there. it wasn't until I started doing a lot more reading, that I realized how little I knew. one of my favorite stories of African American and South Asian solidarities is the story of Bayard Rustin, who a lot of us know as the black gay civil rights activist, who was the architect of the 1963 March on Washington. What I didn't know was, in the 1940's, he was a Quaker, he was a pacifist. He was actually in prison for awhile because he was a pacifist during world war two. while he was in prison, he was thinking and reading about, Solidarity with colonized India and the work of de-colonizing India. And he gets involved with a free India committee in the mid 1940s. he gets out of prison and, he gets involved with things like sit down, protest outside of the British embassy in Washington, D C. just the idea that this skinny black gay activist in the 1940s was part of the global movement for the liberation of my people. it's really different from the sense of what an Indian freedom fighter looks like. I love the idea of being able to claim Bayard Rustin as one of my Indian freedom fighters. On the flip side, in 1964 in, Jackson, Mississippi, Tougaloo college who a historically black college , there was a Pakistani professor named Hamid Kizilbashand an Indian professor Savitri Chattopadhyay. They're teaching on this black college during the height of the civil rights movement, they could use their kind of. Asian immigrant in between kind of a status really interesting ways. for example , they were able to, support their student's work to desegregate a movie theaters by going into the movie theater buying tickets. Cause they were allowed to buy movie tickets. And hand those tickets over to their black students. So when the black students show up, they're like, well, you know, we actually have these tickets and it's just like a small act of every day allyship or being co-conspirator, it's something that actually made a difference for the students. They're able to kind of use their position in ways that are, that are strategically helpful. Now, at one point in time, Hamid Kizilbashand actually gets physically attacked by white racists. he gets pulled out of his car. He's chased down. There was somebody with him who basically calls out to these white racists going, “hang on, hang on. He's international. He's, he's Brown. He's, he's not black.” And he's not beaten up nearly as badly as somebody who's black and his position might have been. for a lot of South Asians, we know we're racist. We know we have deep, complicated anti-blackness in our communities, but I don't think we necessarily know what it looks like to be anti-racist. the story of these two, faculty members at Tougaloo college in 1964, it's a really great story. of what it actually looks like to be anti-racist, we have these stories to also build on that. It's not enough to just critique, and call out, but to also do uplift, just to kind of celebrate more of what it is that we want to see. Jalena: Thanks for sharing that story. And, you know, there's so many Asian American stories, Asian American Pacific Islander stories that are left out of history and even more so queer Asian American Pacific Islander stories. And we really want to make sure that we're uplifting our queer stories and queer ancestors. Next up. We hear from Sammy Ablaza Wills who is a queer organizer and activists and death doula. They tell us about a local bay area story of queer activism that proceeded the Stonewall riots and is a lot less known. So we're so grateful that Sammy Cahn. Bring up this piece that is missing in history Sorry. [00:06:45] Sammie Ablaza Wills: One thing that I will talk about, cause there, there truly is so many examples. is the contents cafeteria rights in San Francisco? many people at least nowadays, familiar or have heard of the Stonewall riots in New York, which happened at the Stonewall Inn. And was a rebellion against police brutality led by Marsha P Johnson and Sylvia Rivera. A few years prior to the Stonewall riots was, the incident at the conference cafeteria in San Francisco's Tenderloin and conference was a place where many trans people drag Queens and sex workers hung out late night, got food and spent time with one another. And, all of the places where trans folks and drag Queens and sex workers hung out were places where police raids would regularly happen, arresting people for the crime of impersonating a woman or arresting people for the crime of prostitution or arresting people for whatever reason they could think of because they thought of all of these folks as sexual deviance, right. that history has almost been forgotten, but one day at Constance cafeteria, the police came to raid and the patrons of conference cafeteria got fed up and said, we're not going to allow for another raid to happen. And a rebellion broke out in the streets between the trans folks and the drag Queens and the sex workers and the police officers in the Tenderloin. it was from that day that trans folks, drag Queens and sex workers really started a movement for trans liberation and trans justice against police brutality in the city of San Francisco. one of the folks who was active in the Tenderloin at that time is Tamara Ching, a trans API elder who is still alive and living in San Francisco today. She's somewhat of a local legend in trans communities because of all of the work she did in the Tenderloin even though she wasn't immediately present at the moment of competence cafeteria, she continued the legacy of what was started that day for many, many decades for trans people and for sex workers, for people living in the Tenderloin for low income folks. But the work that she did is not seen in textbooks it's not seen in Asian American history courses. the thing that really feels important for me to just state out right, is that LGBTQ history is Asian American, Pacific Islander history and Asian American Pacific Islander history is LGBTQ history because there is no way that either of those movements would have happened without each other. And these movements have not even always agreed. But agreement is not the precipice of history. history shows. What agreements and disagreements have been made to create the present conditions that we're in. When I think the importance of understanding our history, this phrase always comes to my mind and, It's like a, I feel like pretty popular in ethnic studies, but it's, no history, no self. Right. And if we don't know where we were, it's really, really hard to determine where we're going to be going. When I think about all of the history that has existed, that allows me to be alive. I don't see one clear lineage. Right? I see many, many stories. People, people in the United States, people outside of the United States. I see trans people. I see CIS people. I see many people that have worked and had success and built relationships and also people that have made mistakes, like deep, deep mistakes that have set us back or put us in different directions. And. I'm thinking it is incredibly important to know all of that history so we can understand ourselves as part of a larger lineage and also so that we can make new mistakes. Our ancestors and our elders have made mistakes so that we don't have to anymore. We can make new ones. We can try new experiments. We contend continue the best things that worked out. And try new things that can fail in different ways. but we don't need to be recreating the same failures and same mistakes and same hurt every five years or so. I think it's incredibly important as people invested in justice to know our histories so that we can have a more clear idea of where we can go in the future. And then we can look back at our histories, right. Our present. And write our future into existence with all of that context in mind Jalena: Huge. Thank you to Sammy for sharing about tomorrow. Ching has such an incredible trans Asian American activists that we should really all know about and also pointing out the differences throughout history and queer history, Asian American, Pacific Islander history, and that. They are one in the same and both inform where we are today. And they're truly one thing. And I love what Sammy said about, you know, we look back at our histories, right? Our present. And that's what allows us to write our future into existence. And that's what the show, and I dare say this month is all about. Next up we hear from Havana Rios, who is a NATO, Hawaiian activist and protector of the sacred mountain Mona Kath. She talks about. Genealogy ancestral knowledge. And just really builds on this idea of deep sacred knowing and how important that is in our communities These. [00:12:31] Jalena Keane-Lee: do you have any advice for people that don't have you know that history recorded for them or have been cut off from in various ways from their own history and their own ancestral power [00:12:42] Hawane Rios: Somebody always remembered something. It's not that lost and you can remember inside of you. You in your DNA can unlock much wisdom from your own ancestors if you believe it. Call upon your own Kapuna. If you even know the names of your grandparents and your great-grandparents that's a start. Just know where you come from. Find that out. I ask the questions. As the eldest person in your ohana, “What do you remember?” Spend time, even if it's on zoom or facetime right now, because that's what it has to be. Use your time wisely. Talk to anyone in your family that remembers. And if they don't go to the lens you remember. You remember where you come from. Find out the name of your mountain, the mountain that raised you and your ancestors. If you were in living somewhere that is not your original homelands bind that mountain unless you were born on there It's because you were still a part of it that air has fed you that water has fed you know What to think of who the bank have gratitude every single day By learning something new everyday challenge yourself Learn the story of the land that you're on whether you're from there or not And then honor it because that's how we learn how to honor things It's a way bigger out for one second That we're not the center of everything That there's so much around us that gave us like every single day And so Know that your life force It's not for nothing I really hope that she find her way home So yourself it's your lens and see your people into your power You know someday we're going to be the ancestors people seven generations from now they're going to say look at what they did With what they had And then whatever they're going to have is going to probably be 10 times more efficient and amazing than what we had But hopefully we pass out enough For them to not Take advantage of the beauty and the sacredness of this clinic Hopefully we did enough to switch The tides And change the tie ins for the next seven generations to come because the way that we're going We're not going to have anything to leave behind And again we're not here just for ourselves Women especially we are the vessels of the next seven generations even if we don't Bring children into this world And even if we can't bring children into this world we still have the kuleana to do whatever we can to make sure that any person coming into this realm Have a safe place to land That's what we do Jalena: Thank you Havana. It's a great reminder. That history is something that is always in the making and also something that can always be reclaimed. If you have people that you can talk to that you can ask, do that. And if you don't, as Havana said, you can connect with the land. You can know about the waters and the mountains that raised you. And then from there, maybe you can trace back to your ancestral places as well, but there's always a place to start and it helps us think about what are we going to leave? For the next seven generations as she said too. In addition to being a water protector and protector of the sacred mountain Monica. Havana is also a recording artist and release the album together. We rise in 2019. Next up listen to one of her songs from her album together we rise called free the streams. Music Welcome back. You're tuned in to an apex express special for a N H P I heritage month on 94.1 KPFA and 89.3 KPF. Be in Berkeley 88.1. KFCF in Fresno and 97.5 K 2 4 8. BR in Santa Cruz. And online@kpfa.org. You just listened to free the streams by Havana Rios from her album. Together we rise Next up, we hear more from Helen Zia, legendary Asian American lawyer, and activists and women who coined the term missing in history. We hear from her about the importance of solidarity and intersectionality [00:18:50] Helen Zia: The Lowest part of the human experience can you know I get triggered by a crisis but actually crisis also brings people together and and history shows that people can overcome quite a lot when they are United When they see the importance of standing together and that you know we are all in this together There's no question We cannot overcome the covert crisis or the pandemic of racism unless we come together And so in the 1980s what happened was Vincent chin was killed We're looking Japanese He was a Chinese American And what made even that racist Attack and hate crime even worse was that his killers who were two white auto workers got off Scott free basically they got probation and fines And the judge said in a city of Detroit he said These are not the kind of men you sent to jail You fit the punishment to the criminal not to the crime In other words well these two white guys don't have to go to jail for beating somebody to death And then what does that mean about who should be punished in a in a city like Detroit which was even then you know about 70% African American So there was a large uproar throughout the city People were just just appalled you know all people of conscience you know said what do you mean You're going to let murderers killers off scott free you know And so so I think it's important to remember in these times when we are in a a very fractured time when you know it's almost like we get the message every day that people can't come together people are just to two divided Well in fact people do come together and we had had many historical periods where people of very different backgrounds came together and in the Vincent chin case you know it was not only Asian Americans and that came together and and remembering that time And then I actually knew the eighties Asian Americans were not together Vincent chin was a Chinese American Chinese community had to come together with the Japanese community which was being targeted and You know the the Southeast Asian and Filipino and South Asian communities I mean they were all separate So the Asian American community came together in a pan Asian movement And so did the allies all around us We knew that we were Too small a community to do this on our own And you know the the various African American civil rights organizations and churches know came out So all of that just like any organizing really took taking time To reach out to each other to sit down and talk and there would be leaders in different communities who would open that door for us And so it was a very very broad based multiracial multicultural United effort to try to do something that helped launch an Asian American civil rights movement And we need that today [00:22:13] Miko Lee: There have been times in our American history where we have fought back, the third world movement in this building of the ethnic studies programs at San Francisco state. And there's been so many others where people have come together. What do you think about like this time right now, of different people of color coming together and helping to reshape the American story, do you feel that's happening? Is that something you can kind of read in the, in the tea leaves based on your experience? [00:22:44] Helen Zia: I do. I believe not only can that happen, but it must happen everybody is under siege and it's very clear that , none of us can solve this alone, no group, whether that's political, racial, you know, sexual orientation. Gender, or political party, none of us can do it alone. It really is going to take everybody working together and to, to kind of, you know, tune out all of the noise, that are aimed to keep us divided. Looking at American society, people of color in California, for example, are already in the majority. if we could unite, we would be in the majority. And then you layer on that, that people of conscience from every color and walk of life are vastly and majority yet we haven't yet come together and this crisis has to be a wake up call for all of us. and you know, California is one of about a dozen States that have already crossed that milestone. within the next 10 years, the entire country is going to be majority people of color. And what does that mean? That means if we just. tune out the messages that keep saying, Oh, you're too divided. You know, the, anti-black views within the Asian community anti-Asian views within the black community, black and Brown versus yellow and white, and dividing, you know, having that narrative divide us continually is just. Serving that purpose to keep us divided. if we came together in what we have in common, we really are the majority and we could really make some change and we have to make change because people are getting sick and dying within our communities. That's the vision, we have to hold on to, I, I do think we'll get there. We have done it before many, many times in, in our history, so, that's, those are the lessons we need to draw from and seek out the unity that we really do have. I would love for the API younger activists today to know that we have such a rich history of activism that goes back to our first days on this continent. they should be proud of that. And to know that they're carrying on a very rich and strong legacy. Forward. when, Martin Luther King and the other civil rights activists were crossing the Pettus bridge, that famous March through Selma, Alabama, they were all wearing leis. I was very sad to see that the movie that just got made about that, show them without the leis. Where did the leis come from? They came from, activists in Hawaii who were supporting that March and many. People many Asian people were also there. That moment in all of our psyches is missing a historical piece, because any photograph of that time, you see , the involvement of Asian Americans and Pacific Islanders that were there. So we get erased. I want young activists today to know that yes, we have been marginalized erased. We've done a lot to, affect the lives of every American. That was true for the Vincent chin case. That was true after 9/11, the “me too” movement. Women who have survived, sexual harassment or sexual assault standing up at a trial, basing their accuser and saying, this is what that harm did, to me, part of that victim impact statement momentum for that also came from the Vincent Chin the fact that we can, be born in America and be citizens that's because. Of a Chinese American back in the 1800's who took that all the way to the Supreme court. Brown versus board of education, the legal justification for that came from, a Chinese American laundry who objected to be taxed as separate. so that was a Supreme court case to that then was the underpaid underpinnings for, Brown vs board of education. The great grape boycott that was initiated by Filipino American farm workers and then involved Cesar Chavez and the , Chicano farm workers that was initiated by Asian-Americans. We have so many things that we should, we can be proud of, but are MIH missing in history. The only people who are going to have to point that out is us because we've been systematically removed from, from this history. And that's part of the racism that we have to fight too. Asian American activists can be proud of the things that our forebears have done for us and for the whole country. I hope that all of our listeners out there can really take Helen Zia's. He has words to heart. Yes, we've been erased and yes, it's part of our job to write ourselves back into the history of this country and to take pride in the ancestral lineage that we come from and all that. Our ancestors have done to make this country a better place and to give us the freedoms and the protections that we do have today. And of course, there's so much more work to be done. And speaking of incredible ancestors and this lineage of activism that we inherit next up we hear from legendary activists URI coach Yama. [00:28:32] Yuri Kochiyama: That's the year that the us government launched a Chinese exclusion act this act or law rule that Chinese will not be allowed to come into this country again And yet this act went into effect just after the Chinese spent years building the railroad tracks from the police Pacific coast to the Midwest There was only one lone voice that oppose this order the Chinese Exclusion Act this courageous person was a black man The first black then became centered the Senator in Mississippi Senator blanche K Bruce Bruce felt an Exclusion act was an outright show racism There were no other exclusion acts before this was he felt there would surely be more people who would be excluded and send away from him I think the sensitivity to the Chinese was because he was himself black and had experienced many such situations He fought against the bill that himself of course the bill for years and years Chinese were not allowed to come in but we as Asians we must never forget those Trying to assist us in our journey as this lone black Senator did you will not find everything in school textbooks we must dig them and find them ourselves Asian Americans must be more vocal, visible, and take stands on crucial issues. Hopefully Asians will side with the most dispossessed, oppressed and marginalized, remembering our own history. We Asians need to reshape our image from the rather quiet, ambiguous, accommodating uncomplaining, palitable people to a more resolute, sensitive advocate for human worth, human rights and human dignity. Jalena: Thank you. Ancestor activist, Yuri Kochiyama. For those fiery words that are so important to really. Remember, especially this month, not only like we've been saying throughout this episode that we have these pieces of history that are so important that we need to dig up. And remember and talk about and bring to light, but also that we need to take a stand on these issues. We are faced with so many issues today and it's our responsibility to take a stand and to stand inside with those who are the most marginalized and oppressed. Yuri Kochiyama passed away June 1st, 2014, but she was such an incredible bay area. Figure that her whole life always showing up at events and being in community even well into her nineties. And of course she's famous for. Her political views and her close relationship With Malcolm. Some ex. Another incredibly fierce Asian American ancestor, activists who was showing up and extremely active in community well into her eighties. His Grace Lee Boggs. Grace Lee Boggs is a Chinese American activist, philosopher and author who among many other things believe fervently and the power of education and community Next up. We hear from Julia Putnam who studied under grace for a long time in Detroit. And currently runs the James and Grace Lee Boggs school. Where she puts many of james and Grace's activism principles into action in the classroom [00:32:34] Julia Putnam: I was 19 or so I was her intern for a summer. My role is I saw it was helping grace to organize her, study she would have these, cardboard folders that would contain articles that she read over the years or newspapers. And she would label topics and put these articles in newspapers, in those folders. And a lot of the newspapers were yellowing a lot. a lot of the papers were kind of just jammed in there. and I would say, you know, grace, you've written an article on this already, or the newspaper that exists here digitally, we should get rid of these or we can throw these away. And she was very resistant to that. and it was really frustrating because I thought, well, what am I supposed to be doing here? And I came to her one time, really troubled. And I said to her, you know, it feels like we're arguing a lot. And she grinned me and she said, “I know it's great, isn't it we're struggling.” And she said it was such joy. And it helped me understand that for her arguing conflict struggling was not a negative thing. she was saying, as we're learning from one another, we are frustrating one another, which is moving us toward forward. and it helped me to not be so afraid to be in conflict with people that I cared about to be in conflict with people that I trusted. I can have an opinion that is different from hers. And she sees that as okay. Because it means that we're struggling through something. that was really helpful and continues to help me in my work today. [00:34:13] Miko Lee: I love that story. Can you also talk about how she signed her letters? How she did her sign off? [00:34:20] Julia Putnam: She would sign off ” in love and struggle, grace,” that love doesn't come without struggle. and that when we communicate with one another, we are communicating out of love and we are also communicating out of the struggle we have with one another. What do I know There's so many things but what do you feel is the legacy that she leaves behind And obviously with her husband Jimmy too [00:34:42] Julia Putnam: I know that a legacy that she's left to our school Two very important things is when we asked for permission to name the school after her the James and Grace Lee Boggs school she said yes but with the challenge that we would have to as the school founders think beyond what we even believe is possible I am one of the cofounders along with Amanda Rossman and Marisol Teachworth and the three of us together As three women three women of different ethnicities very much love and struggle together and also take it very seriously This idea that we've been indoctrinated as to what school is and when things get hard we will deflect to what we know.as opposed to continue to imagine something different And so we often challenge ourselves with that and challenge our staff and we all challenge one another to are we thinking beyond what we believe it's possible What is the what is beyond the binary that we're being stuck in right now Wo that's the legacy that grace leaves to us that is very important And the other thing is that again the idea of her taking young people seriously and she saw young people as solutionaries she called them people who are able to problem solve to see a challenge and come up with solutions for it And she saw young people as especially creative in their ability to do that And so even on the school t-shirts that kids get there's the the Boggs school logo but on the back it says Solutionary and the kids really take on that identity They take it very seriously They take it very personally often when they come up with a solution to a problem they'll just kind of put their fingers up and just I'm a Solutionary you know I figured it out and and having that identity as young people is has been really important to our school for all of us And I'm wondering if there are thoughts that you feel grace would be teaching right now in this time [00:36:48] Julia Putnam: I think Grace would be highlighting that fact of the young people in the movement their leadership in this movement and their leadership in this time I think she would be encouraging us to listen to young people I think she would be listening to young people And I think that she would say I actually think she'd be very excited by this time heartbroken in the ways that we all are but also excited that we are being forced in this moment to realize that things need to be reimagined We are being forced to use our imaginations for how We stay connected in this time how we educate in this time how we organize in this time how we govern ourselves and how we think about governance in a completely different way than we've ever had to before And I think that's a lot of what she would be excited about that this is That this is the moment where not only do we have to reimagine but we also have to realize that we're the leaders that we're looking for She would often say when we were thinking about the school is that we don't have a lot of leadership around education and certainly not around the education We know that our communities need And so she would say Julia Amanda Mani you all have to imagine this differently yourself You are the leaders that you've been looking for No one's coming to figure this out for you And so we feel as the founders that we with our community of parents and students and community members are beginning to think about how to do this differently and to look to the leadership of young people Thank you so much, Julia, for sharing about how Grace Lee Boggs legacy lives on through the James and Grace Lee Boggs school. And also just about the importance of struggle about love and struggle being one in the same and how. Being able to struggle with love and, you know, to disagree and to have conflict without canceling someone or hating them, but still, you know, in a, in a relationship that is full of a lot of love and not being part of being in community. I think that's really beautiful and that's something that we can all learn from, from Grace Lee Boggs and from Julia and from how they implement that. At their school Jalena Next up, let's listen to another song from Havana. Rio says album together. We rise. This song is called USI and it's focused on the importance of healing. Next up you see by havana rios Song That was UC by native Hawaiian singer and songwriter Havana. Rios from her album together. We rise. Next up we speak with Gail Romasanta who is a Filipina organizer author and community activists This She wrote journey for justice the life of Larry which is a children's book that tells the story of labor activists, Larry Itliong. You could keep going. We have all this information. We have all this history and we need to learn from it. And this isn't the first time at the rodeo. This is not the first time that we've held a picket sign. This is not the first time that we fought for our lives, literally. And we can do it if undocumented. If all of these workers who are migrant workers that no one even thought of that farm workers were even supposed to create unions. And they were supposed to be absolutely expendable. When the Filipinos came here, they were told that the United States was absolutely modern, was the best country in the whole, in the world, just because they were at the time. During this time, the United States was the colony of the United States and when Larry was growing up and so all the instruction he got was English and all the teachers were saying that there's a wonderful country. He comes here. And he's living in these deplorable conditions when it's really hot. They're working outside from light to dark. When they're drinking water, they're all sharing a tin cup. Is that modern? Is that the best country in the world to them? They didn't see that. And for them to be. Seeing kind of the worst of the United States the worst of its conditions and for them to fight and say, I'm going to stay me United States because I love the United States. I love this country and there is hope within us as a community who have decided to stay here, that we can continue to fight and say that we met. That we that we need to our needs get to be met. We need to get, we need to have dignity. We need to have pride in our work. We need to be able to work without pesticides, killing us. We need to have bathroom breaks. We need to have medical insurance. And they asked for all of this and they asked for a raise on top of it. And. And, there's lots of photos. We actually have a photo in the second edition of a riot and you can see, Filipinos aren't getting hit. We don't show the whole picture, but there's some pictures of Filipinos getting hits, hit by the police by batons and things like that. So violence against us is. It's not, unfortunately not new policy is against us, unfortunately is not new. Us being seen as cheap labor and not treated as fully human is not new. And despite that these generations before us were able to find justice. Able to speak to the world. Now this was a global campaign. This was just not the United States. People from all over the world. For instance, during Christmas would give Christmas presents to the farm workers, children. If they were able to. To create this change on a global scale, which is what is happening now. And they can sign those documents for that level that living wage, they can sign those documents to get medical insurance they have, and they're able to. And negotiate for the pesticides that can be used, where they're working. If we can negotiate that if our history was able to negotiate in the face of all that violence and the policies and the judges and the police were on the side of the growers. In fact, when they went on strike, if you look at Marissa or Roy's. Documentary, you can see when the Filipinos went on strike, there's about 2000 Filipinos who went on strike. After they voted the following day, they went on strike. They walked off, they went to work and they walked out the fields. And guess who was waiting for them? Was the police. All the police and you can see the growers just waiting. And they S they try to do this peacefully at first. So they asked at meeting for the growers first, before, and they weren't doing it peaceably, when they were protesting to begin with. But of course the police were waiting for them when they protested. But before that, they invited the growers so that they could negotiate. Rationally and without having to protest and not having to pick it for so long. But the growers never showed up. And what we've been going through as a country has only lasted, we've been going through this a long time. Many people have been doing this have been activists for decades now, or for most of their lives. They know what we're seeing now is oh my God, this is to me. I want to cry. This is something that I could not have imagined. And But it's something that has years and years in history behind it. And for us not to just create from zero, but to continue the arc that has been laid before us of what, the, what the generations before did Specifically during these times. And if you look at all the different movements what can we, what look, what can we learn from them? And a lot of it is you've got to sustain, we've got to strategize and it can't be. It absolutely can be done. . Jalena: Thank you so much, Gail Romasanta for sharing all of that history and all of that knowledge with us. And as she says, we have the knowledge, we have the history, we can do this. It's not necessarily going to be easy, but it is something that we can do. And. It is really important for us to figure out ways to make activism sustainable for ourselves and for future generations to come.While we're on the topic of labor and labor activism. Next up we hear from Saru Jayaraman. Who is an attorney and author and an activist. And. The president of one fair wage and director of the food and labor research center at UC Berkeley. She speaks with us about the campaign she's working on to make sure that restaurant workers are paid a fair and living wage. And the things that keep her hopeful even in times of despair There. I have been organizing in the restaurants many years and prior to the pandemic we had been working for many years on the issue of the sub minimum wage for tipped workers which is a Legacy of slavery It is $2 and 13 cents at the federal level That is the wage for six or 7 million tipped workers in America 70% of whom are women 40% of whom are single mothers struggling to make ends meet to feed their children on mostly on tips Now Was there prior to the pandemic it was a real problem with the pandemic About 10 million restaurant workers have lost their jobs They are in large majority are unable to access unemployment insurance at 60% of them unable to access unemployment insurance because they're being told by state unemployment insurance offices that there are some minimum wage plus tips is too little to meet the minimum threshold to qualify For benefits which means they're being penalized for being paid too little and it's opening up both workers and consumers and even employers to the fact that if the state is telling you you earn too little to qualify for benefits that by the way you paid taxes to get Then probably they were paid too little prior to the pandemic period And so that is an example of how the moment has really revealed that these were untenable unsustainable systems of inequity structural systems of inequity that never should have existed And now are going to create a catastrophe in some ways I think greater than the scale of the great difference Workers are telling us I am terrified and I'm having to choose between my life and my livelihood because the way that unemployment insurance has set up if they have access to unemployment insurance is that you lose unemployment insurance If you don't Take the job You have to be willing to take whatever comes your way If you get offered a job you must take it Otherwise you lose your benefits And so workers are terrified because they're going back to situations where there is no protective equipment Obviously there's still no testing or there's there's no healthcare There's very little con there's no contract tracing I mean it's it's a mess and people are terrified Workers are saying even if my boss did provide me with PP the customers are not wearing it when they come in Certainly they're not wearing it when they're eating so workers are in a really tough situation right now having to choose between their life and their livelihood On the other hand I think it is becoming a lot more obvious to consumers that this is not a tenable situation It's not fair to the workers It's not safe It's not healthy for anybody And so there is a lot of opportunity for change because employers know how Precarious The situation is consumers are wary of employers who don't take care of their workers Suddenly all the things we'd been fighting for a fair livable wage being able to take care of yourself as a worker getting the time off If you need it if you get sick suddenly all of those things have come to the forefront and honestly changes that we never in a million years thought could happen or are happening in our industry because of the pandemic we can reimagine every aspect of our world from the restaurant industry and the way it pays and treats people to our planet and the way that we choose to travel or not travel and the amount of footprint that we each have on our planet. To took the criminal justice system and whether people ever really needed to be locked up in the first place to education. And now the various ways that education can happen. Everything is changing. And it must because both for those young people and for lots of other people, what was normal prior to the pandemic was never normal, never worked. And so rather than going back to normal, I think what I would say to young people right now is join us in. Re-imagining every aspect of our lives and how this pandemic could be the portal that our, that the Roy has said that it is this moment of opportunity to walk into an entirely new world, a re-imagined world in which everything that we've needed all along we can finally achieve. And what are the main things that you'd like to see come out of a new day? Yeah we definitely need our organization is called one fair wage for a reason. We need a livable minimum wage for everybody in the United States who works tipped workers. Who get us some minimum wage right now, incarcerated workers who don't have to be paid the minimum wage because of the exception to the 13th amendment that allows for slavery in the case of incarceration, youth who often don't get the full minimum wage people with disabilities, who often don't get the minimum wage. Fundamentally, no workers should be left behind. Everybody who works in this country deserves to be paid a full, livable, minimum wage by their employer with tips on top of that. Not instead of that that's one piece we obviously need universal health care. That is a given of the moment. We need benefits for workers like hazard pay and sick pay and paid time off. We need a society. Actually thinks of public safety, not in terms of locking people up, but in terms of providing good jobs and good schools for communities that have been long devastated by racial inequities. So those are just some of the things I can rattle off the top of my head that we need in a new deal, but really what we need is a new world. And I, what I really want, I, what I really hope young people can hear is that is totally possible right now. In this moment, there is that opportunity to make everything different and better. And re-imagined Jalena: Thank you so much Saru for sharing your brilliance and these words that are so powerful and impactful. And I hope we can all think about what we can do to make our world better for all of us. , we've had so much incredible activists, thought leaders, ancestors speaking on the show today. These are interviews taken from our series called we are the leaders from Grace Lee Boggs, famous quote. But let's end. Celebrating this month with a little bit of joy. Yes. We have a lot of important issues to tackle. Yes. There are a lot of big problems ahead of us. But we won't be able to do any of it unless we have fun and have some pleasure along the. the way. So lastly, let's talk about some of our, rapid-fire a NHPI question. Okay. What's your favorite food? I think today it is, , kimchi fried rice. Mine is chashu about and strawberry mochi. And favorite fruit. Mango mango. Yeah, no question mango. Whatever book. I, my favorite book of all time is actually not Asian American. , but it's a Mallory book and it's called the bone people. But then recently my favorite book that is by an Asian-American is crying and H Bart, what about you? Oh, crying and HR is really good. woman warrior is one of my favorites. Oh, gee book. Yeah, for sure. Musician. Mine is her or Ruby Abara. Ooh, I think those are mine too. I really love her and Ruby Obara and then also shout out to my friends, raise our Goza, who is a phenomenal musician who is native American and Japanese and Hollis long-wear who is Chinese American and white. Oh, And Rena Rena. Oh, Rena saw. Yama. Yes, Rena. So yeah, I really liked. She's amazing. Film or TV show minds, everything everywhere. All at once. I can't think of a TV show, but movie is definitely everything everywhere. All was. Mine changes day-to-day but I did really like Menotti and parasite. What about artist? , I recently went to now Shima island in Japan. So right now, favorite Asian artists I can think of is Yaya. Kusama. Oh, I do love her work. For me, my favorite, a N H P I artists changes every day and today it would be Ruth Asawa because I'm thinking a lot about weaving and how she weaved these beautiful baskets out of wire. And she really transformed how we think about sculpture. So I love her, the SOA. Who's your favorite ancestor activist. , this changes every day too, but I really feel like I always, always most often think of quotes from Grace Lee Boggs. I was thinking Gracely Boggs too, but I also one. But also Yuri Kochiyama, and just thinking about how radical she was up until the very end and how she would be in her nineties coming to all these community events and still being just as sharp and just as radical and refusing to take anything from anyone. And I really admire that. I feel like a gift that we have of doing this show is so many of the elder activists that we've been able to interview that are still out there making changes. , really utilizing their voice to invigorate the next generation. So I'm thankful that we get to talk to those people and learn from them constantly. Me too. And what a great time, what a great month to celebrate. So happy Asian American native Hawaiian, Pacific Islander month. And thank you so much for joining us. Please check out our website, kpfa.org to find out more about these events and our guests. We thank all you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. Apex expresses a proud member of acre Asian Americans for civil rights and equality. A network of progressive AAPI groups. Find out more@aker.org. APEX express is produced by Miko Lee that's me, Paige Chung, Swati Rayasam, Preeti Mangala Shakar, Nate Tan, Hien Nguyen and Jalena Keane-Lee. Have a great day The post APEX Express – AAPI Special Programming – We Are the Leaders 5.8.23 appeared first on KPFA.

durée : 00:58:36 - "All the Way" (Jimmy van Heusen / Sammy Cahn) (1957) - par : Laurent Valero - "Le célèbre parolier Sammy Cahn, connaitra des succès au cinéma avec 3 Oscars pour la meilleure chanson originale : "Call me Irresponsible" (1963) "High Hopes" (1959) & "All the Way" (1957) dans le film "The Joker Is Wild" interprétée par Frank Sinatra, qui y tient le rôle principal" Laurent Valero - réalisé par : Patrick Lérisset

Sammy Cahn earned the first of five consecutive Academy Award nominations in 1948, working with longtime collaborator Jule Styne for Doris Day's film debut Romance on the High Seas. Leo Robin, already an Academy Award winner, had two songs nominated that year, but the hot young songwriters Jay Livingston and Ray Evans were making a statement with a hit song for Bob Hope. Host Jeff Commings is ready to tell all the stories about these songwriters and the nominated songs they wrote on this episode of The Best Song Podcast.

CNN, HBO Max, Amazon Prime She's BACK!!  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. You can see it now on HBO Max, & Amazon Prime. She is making stops in Hawaii and Vancouver on her One Last Time tour — she won't say whether it's truly her last — tweeting (or “twoting,” as she calls it) to her more than half a million followers,On a Saturday Night LIVE's spoof "The Dionne Warwick Show", with  NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick  began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

From the 1958 album Frank Sinatra Sings for Only the Lonely, here is Jule Steyn and Sammy Cahn's magnificent torch song Guess I'll Hang My Tears Out to Dry. Arranged by Nelson Riddle.  Conducted by Felix Slatkin. Credits:Theme music by Erik Blicker and Glenn SchlossEdited by Katie CaliMixing and mastering by Amit ZangiSend comments to sinatramatters@gmail.com

The Gershwin brothers -- George and Ira -- were mentioned in one of the songs nominated for the Academy Award in 1942, but the brothers themselves did not earn a nomination. Respected songwriters such as Irving Berlin, Harry Warren, and Jerome Kern were on the docket, and a new talent named Sammy Cahn earned his first invitation to the Academy Awards ceremony. Lots of great music to hear in this episode with host Jeff Commings!

Dom L'Amour speaks with My Guy James Ferrero AKA (@thereeljferrero) about Los Angeles, Acting, Producing and ShakespeareOpening quote: William ShakespeareOpening and Closing Theme song: Produced by Dom L'AmourTransition Music from Mad Chops Vol. 2 by Mad Keysand from Piano Soul Vol.1(Loop Pack) by The Modern Producers TeamFeatured song: "Teach Me Tonight" Written by Gene De Paul & Sammy Cahn, Preformed by Dom L'Amour at Idle Hour in Los AngelesCover art by Studio Mania: Custom Art @studiomania99Please subscribe to the podcast, and give us a good rating. 5 stars please and thank you. Follow me on @doml_amour on Instagram. Or at domlamour.comSupport the show

Welcome to the Instant Trivia podcast episode 710, where we ask the best trivia on the Internet. Round 1. Category: Gravesites 1: This "Believe It or Not" creator is buried in an Odd Fellows cemetery in Santa Rosa, Calif.. (Robert) Ripley. 2: It's true; Sojourner Truth is buried in this Michigan cereal city. Battle Creek. 3: The grave of the creator of Poor RIchard's Almanack is at this city's Christ Church. Philadelphia. 4: This American Indian woman's gravesite is in Gravesend, England; she died there in 1617. Pocohontas. 5: This 1930s criminal pair is buried in Dallas, but he's in one cemetery, she's in another. Bonnie and Clyde. Round 2. Category: Warren G. Harding 1: Some claim that Harding coined this alliterative phrase for the leaders of the American Revolution. Founding Fathers. 2: Harding's veep, he succeeded Harding as president. Calvin Coolidge. 3: In 1903 Warren was elected lieutenant governor of this state; later he was one of its U.S. senators. Ohio. 4: It's what Warren Harding's middle initial G. stood for. Gamaliel. 5: Albert Fall, Harding's secretary of this cabinet dept., took the fall for the Teapot Dome scandal. Interior. Round 3. Category: Our Avian Friends 1: Only the extinct 10-foot-tall moas of New Zealand were taller than this 8-foot African bird. Ostrich. 2: The deepest diver among birds is the emperor species of this bird which may reach depths of 900 feet. Penguin. 3: This tiny bird drinks nectar at the rate of about 13 licks per second. Hummingbird. 4: The sapsucker, a group of birds in this family, drills holes in trees to stimulate the flow of sap. Woodpeckers. 5: The name of this black bird of Asia, a superb mimic of human speech, is from the Sanskrit for "passion". Mynah bird. Round 4. Category: The Dreaded Oprah Category 1: Saleswoman Oprah has tote bags specially for the items you saw on this popular segment of her show. Oprah's Book Club. 2: Healthy Oprah lost 33 lbs. in one of these military-sounding programs with Sgt.--er, trainer Bob Greene. a boot camp. 3: Career woman Oprah has said marriage wouldn't work with this beau she calls "a traditional black man". Stedman Graham. 4: Educator Oprah taught a graduate course on leadership at this university based in Evanston. Northwestern University. 5: Mogul Oprah co-founded this media company, a breath of fresh air with its women's cable network. Oxygen. Round 5. Category: "My" Songs 1: This theme from "Titanic" anchored itself to the top of the adult contemporary chart for 10 weeks. "My Heart Will Go On". 2: According to songwriters Sammy Cahn and James Van Heusen, it's what Chicago is. "My Kind Of Town". 3: (Weird Al delivers the clue.) This parody of a Knack song, which I recorded in a bathroom, was introduced on the Dr. Demento Radio Show. "My Bologna". 4: Mary Martin became closely identified with this tune after singing it in Cole Porter's "Leave it to Me". "My Heart Belongs To Daddy". 5: 1991 hit that contains the lines, "I thought that I heard you laughing, I thought that I heard you sing...". "Losing My Religion". Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Welcome to the Instant Trivia podcast episode 608, where we ask the best trivia on the Internet. Round 1. Category: State Dept. Travel Warnings 1: The U.S. uses the Swiss embassy in Iran to conduct business and the Polish embassy in this neighboring country. Iraq. 2: Say so long to Sarajevo; the U.S. has been warning people about visiting this country since 1992. Bosnia. 3: In June 1997 the U.S. closed its embassy in Brazzaville in this country and advises you not to visit. The Congo. 4: If you decide to go to this country (against U.S. wishes), really avoid the city of Cali. Colombia. 5: With tensions between Ethiopia and this country mounting, the State Dept. warned Americans to get out. Eritrea. Round 2. Category: Musical Memories 1: This bandleader said "No 1-nighter is complete without" the following. Benny Goodman. 2: According to the song, it's why "I'm In The Mood For Love". simply because you're near me. 3: According to Sammy Cahn, it's when "Love Is Lovelier". the second time around. 4: Of "Dancing In The Dark", "Apple Blossom Time" or "Amapola" the 1 that's a waltz. "Apple Blossom Time". 5: "That's An Irish Lullaby" is usually referred to by this title, the song's 1st line. "Too Ra Loo Ra Loo Ral". Round 3. Category: Ode To England 1: Edward IV called off this invasion after Louis XI tendered some financial persuasion. invading France. 2: Chiefs and rajahs were there to see, in 1897, her diamond jubilee. Queen Victoria. 3: These Londoners turned the simple word "wife" into the rhyming "trouble-and-strife". Cockneys. 4: Headquarters was needed for Peel's new police force and this place was chosen as a matter of course. Scotland Yard. 5: A Westminster court with the power to seize was in a chamber whose ceiling was covered in these. stars. Round 4. Category: Stop The Presses! 1: A kids magazine survey found out this fairy tends to leave girls about 25 cents more than boys. the tooth fairy. 2: A British paper claimed Prince Charles puts toothpaste in his nose to prevent this nocturnal noise. snoring. 3: People Magazine reported that Clint Black wears size 7 1/4 while Garth Brooks' is 7 5/8. a cowboy hat. 4: In 1992 she not only left her ministry but divorced her jailed husband. Tammy Faye Bakker. 5: The 4th annual International Leisure Suit Convention drew 1500 polyester lovers to this Iowa capital. Des Moines. Round 5. Category: Biblical Military Men 1: This Philistine had a "helmet of brass" and a coat of mail weighing 5,000 shekels. Goliath. 2: The Roman centurion Cornelius, possibly the first Gentile Christian, was converted by this fisherman. Peter. 3: Moses designated him to defend Israel against Amalek; he later brought down the walls of Jericho. Joshua. 4: Benaiah was commander of this wise king's army. Solomon. 5: This Hittite soldier was sent to the front lines of battle so that David could take his wife Bathsheba. Uriah. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Tigran Hamasyan – StandArt Nonesuch | April 29, 2022 1 De-Dah 4:15 2 I Didn't Know What Time It Was 7:13 3 All The Things You Are 5:44 4 Big Foot 7:30 5 When A Woman Loves A Man 4:40 6 Softly, As In A Morning Sunrise 5:45 7 I Should Care 3:49 8 Invasion During An Operetta 2:25 9 Laura 6:27 Bass – Matt Brewer Drums – Justin Brown Piano, Producer – Tigran Hamasyan Saxophone – Joshua Redman (pistas: 4), Mark Turner (2) (pistas: 3) Trumpet – Ambrose Akinmusire (pistas: 7, 8) Written By Ambrose Akinmusire (pistas: 8) Axel Stordahl (pistas: 7) Bernie Hanighen (pistas: 5) Charlie Parker (pistas: 4) David Raksin, Elmo Hope (pistas: 1) Gordon Jenkins (pistas: 5) Jerome Kern / Oscar Hammerstein II* (pistas: 3) Johnny Mercer (pistas: 5, 9) Justin Brown (4) (pistas: 8) Matt Brewer (pistas: 8) Oscar Hammerstein II (pistas: 6) Paul Weston (2) (pistas: 7) Richard Rogers / Lorenz Hart* (pistas: 2) Sammy Cahn (pistas: 7) Sigmund Romberg (pistas: 6) Tigran Hamasyan (pistas: 8) Engineer, Mixed By – Pete Min Mastered By – Nate Wood ////////////////////////////////////////// CORTINA FINAL Old Maps The Call Within Tigran Hamasyan Nonesuch Records | Agosto 28, 2020 ////////////////////////////////////////

Denis' career encompasses almost every aspect of show business from singing and performing to recording and composing. His musical career began at the age of six as a banjolele-playing singer at children's matinees. By the 1950s and early 60s, he was a member of Britain's first ever boy band The King Brothers, one of the most successful pop groups of that era and the youngest Variety act to play the London Palladium. From pop star to award-winning TV composer (including the Black Beauty theme and Lovejoy), to award-winning theatre composer (Privates On Parade) and songwriter, and collaborating along the way with such legends as Alan Ayckbourn, Sammy Cahn and Don Black, the artists with whom Denis has worked (and played) read like a who's who of British and American stage and screen--Tony Bennett, Nina Simone, Peter Sellers, Howard Keel, Sophie Tucker, Lena Horne, Alma Cogan, Albert Finney, Dame Edna Everage, Maureen Lipman, Elaine Stritch, Dudley Moore, Bruce Forsyth, Ronnie Corbett, Judy Garland, Frank Sinatra and even Jimi Hendrix. His highly acclaimed and entertaining memoir KEY CHANGES revised and updated 2020 edition can be purchased from our SHOP.​For more career information and a full archive see deniskingmusiclibrary.com See acast.com/privacy for privacy and opt-out information.

durée : 00:58:07 - « Bei mir bist du schön » (Sholom Secunda / Jacob Jacobs) (1932) - par : Laurent Valero - "Cette chanson, sera entendue quelques mois après la création, par le compositeur et parolier Sammy Cahn dans sa version initiale en yiddish. Séduit par la mélodie, il va avoir l'idée de la traduire en anglais, et la faire chanter par un jeune groupe de 3 sœurs, Les Andrews Sisters !" Laurent Valero - réalisé par : Antoine Courtin

durée : 00:58:07 - « Bei mir bist du schön » (Sholom Secunda / Jacob Jacobs) (1932) - par : Laurent Valero - "Cette chanson, sera entendue quelques mois après la création, par le compositeur et parolier Sammy Cahn dans sa version initiale en yiddish. Séduit par la mélodie, il va avoir l'idée de la traduire en anglais, et la faire chanter par un jeune groupe de 3 sœurs, Les Andrews Sisters !" Laurent Valero - réalisé par : Antoine Courtin

#736 - David Martin The David Martin Interview is featured on The Paul Leslie Hour. Are you here? Okay! Everyone's here. It's The Paul Leslie Hour and you're welcome here. This is an interview from the archives with songwriter David Martin, known for being a part of the songwriting group of Arnold, Martin & Morrow. Now… David Martin lives and breathes the songs.  Chances are, you've heard something David Martin wrote.  His songs have sold over 26 million records around the world, but all stories have a beginning.  For the British singer-songwriter, he began his career as a member of the group Butterscotch on RCA Records.   Soon after, he formed a songwriting partnership with Chris Arnold and Geoff Morrow.  The partnership resulted in many the composition of many songs recorded by the true legends of recorded music, including Cliff Richard, Wayne Newton, Dusty Springfield, Cilla Black, and Mama Cass. The legendary Elvis Presley recorded four of their songs: “Let's Be Friends,” “A Little Bit of Green,” “Sweet Angeline” and “This is the Story.” Quick side note, how many of you are planning on seeing the new movie simply entitled “ELVIS” releasing on June 24th? We can't wait… Now, one of the songs David Martin wrote has brought many smiles to the world.  David Martin's song “Can't Smile Without You” would become a pop standard and worldwide hit after being recorded by Barry Manilow.  Manilow was not the first, nor the last artist to record the song.  The Carpenters, Engelbert Humperdinck, Vic Damone, Andy Williams, Gino Cunico and others would perform and record their own versions.  The song has been performed countless times in concert, been featured in motion pictures. The song earned Martin three BMI awards for over 3 million airplays. Although HE continues to write songs, he is still very much a singer. He has a great admiration for the great songwriters of the American Songbook, those lyricists and composers who wrote the standards: Cole Porter, Irving Berlin, Harold Arlen, Johnny Mercer and Sammy Cahn.  It is his love for these American classics that resulted in his album “Silky Smooth Moments.”  Accompanied by the Terry Coffey Trio, David Martin sings standards like “I'll Be Seeing You” and “In the Wee Small Hours of the Morning,” and one written by David Martin himself. It's a beautiful gesture from David Martin.  Although he has accomplished so much with his own songs, he pays tribute to the great songwriters who came before him.  We invite you into the world and passion of David Martin, where songs with great messages never die.  They endure. If you get a moment, perhaps you'll help us out. Just go to thepaulleslie.com/support And we thank you! Now we present our interview with a lovely man, music's own David Martin. The Paul Leslie Hour - Helping People Tell Their Stories is a talk show with new episodes every Monday, Wednesday and Friday. Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture. This podcast is powered by Pinecast.

She's BACK!!  On Saturday Night LIVE's spoof "The Dionne Warwick Show", with  NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick  began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBAS

Welcome back! It's Day 19 of our 25 Songs of Christmas where we'll be spotlighting our ARTIST OF THE DAY- JUDY PANCOAST who will be singing the Jule Styne/Sammy Cahn Holiday classic The Christmas Waltz (1954). This was a big hit for Frank Sinatra as well as The Carpenters. In fact, Judy's favorite artists were The Carpenters. When she was a teenager, she went backstage and had a private audience with Richard and Karen. DISCLAIMER: I hereby declare that I do not own the rights to this video/music/song. All rights belong to the owner. No Copyright Infringement Intended. It has been uploaded for the simple reason that I have a deep appreciation of this work of art and used it for entertainment purposes only. Listen to the Frank Sinatra Christmas Playlist: https://youtube.com/watch?v=hLf0-lro8... Follow Frank Sinatra: http://facebook.com/sinatra http://twitter.com/franksinatra http://instagram.com/sinatra http://sinatra.com/ Watch more Frank Sinatra Videos: Listen to Frank Sinatra's Greatest Hits: https://youtube.com/watch?v=w019MzRos... Concert Collection: https://youtube.com/watch?v=NldPFVKYm... Official Music Videos: https://youtube.com/watch?v=G_SixH-y8... Stream Frank Sinatra: Amazon: https://amazon.com/Best-of-Frank-Sina... Apple: https://music.apple.com/us/playlist/f... Pandora: https://pandora.com/playlist/PL:84442... Spotify: https://open.spotify.com/playlist/3oC... Tidal: https://tidal.com/browse/playlist/385... #FrankSinatra #TheChristmasWaltz Music in this video Learn more Listen ad-free with YouTube Premium Song The Christmas Waltz Artist Frank Sinatra Album The Christmas Waltz Writers Jule Styne, Sammy Cahn Licensed to YouTube by WMG, UMG (on behalf of EMI); UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutor - Warner Chappell, IMPEL, ASCAP, LatinAutor - PeerMusic, LatinAutorPerf, Forward Music Publishing Co., Ltd., Adorando Brazil, Concord Music Publishing, UMPI, LatinAutor - SonyATV, Warner Chappell, CMRRA, and 19 Music Rights Societies --- Send in a voice message: https://podcasters.spotify.com/pod/show/eric-jones6/message

He's only gone and done another one! Our Keith's on a roll! Halloween/horror themed goodness for you this week, from Master System and NES old skool classics to CD-quality (yes, I used that term) PS2 and PS3 modern-day classics. Listen and enjoy the surprises or scroll below to see the credits. Happy Halloween! Or whatever folk usually say this time of year, I dunno. Master of Darkness – 1993 – Yoko Wada, Takashi Horiguchi Clock Tower – 1996 – Kouji Niikura Castlevania: Rondo of Blood – 1993 – Akira Souji, Keizo Nakamura, Tomoko Sano, Mikio Saito Sweet Home – 1989 – Junko Tamiya Splatterhouse 2 – 1992 – Eiko Kaneda Resident Evil – 1996 – Makoto Tomozawa, Koichi Hiroki, Masami Ueda Silent Hill – 1999 – Akira Yamaoka Silent Hill 2 – 2001 – Akira Yamaoka The Last of Us – 2013 – Gustavo Santaolalla Bioshock – 2007 – Garry Schyman Bei Mir Bist Du Schön – 1937 – performed by The Andrews Sisters. English Music and Lyrics by Sammy Cahn and Saul Chaplin (original Yiddish version by Jacob Jacobs and Sholom Secunda) System Shock 2 – 1999 – Josh Randall, Ramin Djawadi, Eric Brosius  Like what we do? Please consider supporting us on Patreon: www.patreon.com/arcadeattack Fancy discussing this podcast? Fancy suggesting a topic of conversation? Please tweet us @arcadeattackUK or catch us on facebook.com/arcadeattackUK All copyrighted material contained within this podcast is the property of their respective rights owners and their use here is protected under ‘fair use' for the purposes of comment or critique.

O jogo de tiro em primeira pessoa, com elementos de immersive sim, ambientado na cidade subaquática chamada de Rapture. O título despontou discussões a respeito do peso das escolhas do jogador, tal como o alinhamento de narrativa e elementos de gameplay. Ele explora uma sociedade construída sobre os ideais do objetivismo e suas contradições. Músicas: Welcome To Rapture, Step Into My Gardens, Empty Houses e Dancers On A String por Garry Schyman; Stompin' at the Savoy por Benny Goodman and his Orchestra, Begin the Beguine por Artie Shaw and his Orchestra e Please Be Kind por Saul Chaplin e Sammy Cahn. Twitter: @erickludico Instagram: @levelsecreto

Excerpts from an interview with Jule Styne, famed composer of FUNNY GIRL, BELLS ARE RINGING, GENTLEMEN PREFER BLONDES, PETER PAN and Broadway classic GYPSY. Styne discusses his life and career and performs one of the first songs he ever wrote. The interview took place in 1979 on the occasion of the release of Styne's biography simply entitled, Jule. The legendary composer recalls his early days in London as a Harry Lauder imitator, and growing up in Chicago, playing in jazz bands with Benny Goodman, Glenn Miller and Jack Teagarden, meeting Al Capone, his Hollywood career with Frank Loesser and Sammy Cahn, evenings in Los Angeles with Frank Sinatra and Jerome Kern, and of course, his Broadway shows with Busby Berkeley, Jerome Robbins, George Abbott, Comden & Green, Bob Merrill, Arthur Laurents and Stephen Sondheim. Featured songs performed by Styne at the piano: “The Guy With The Polka-Dotted Tie,” and “Never Never Land.“ Originally produced and broadcast in 1986. For more information go to AnythingGoesPL.com or BPN.FM/AnythingGoes. Theme music arranged by Bruce Coughlin. Sound mixing by David Rapkin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're going to do something a little different in this episode I'm not only interested in the music itself, but I've always loved the more technical side of recordings as well. What equipment was used to record and play back music has always fascinated me. And I really dig the history of recording that is included inside the gatefold of this album that RCA Victor put out. Yes...we will learn a little about the dog that stares into the old phonograph that you see on RCA Victor records. So get ready to hear some great music while we learn about the technology that recorded it and played it back in Volume 24: Music America Loves Part 1 My experience and research only goes so far. See corrections to recording dates below provided by collector @eblackadder3: Various ‎– 60 Years Of "Music America Loves Best" Label: RCA Victor Red Seal ‎– LM-6074 Format: 2 × Vinyl, LP, Compilation, Gatefold Released:1959 Genre: Jazz, Pop, Classical, Folk, World, & Country Style: Vocal, Opera, Romantic, Swing, Instrumental Enrico Caruso Vesti La Giubba (From "Pagliacci") Composed by Ruggero Leoncavallo Recorded February 1, 1904 117 years ago (The Caruso recording of "Vesti la Giubba"  heard here was his second version for Victor, recorded on March 17, 1907. And the version on this album is the "re-recorded" version , with an electrically recorded orchestral accompaniment overdubbed onto the original orchestra in 1932.) Paul Whiteman  and his Ambassador Orchestra  Whispering Written by Vincent Rose Recorded on August 23, 1920 Sergei Rachmaninoff Prelude In C-Sharp Minor Sergei Rakhmaninov Recorded April 23, 1919 (The Rachmaninoff prelude is the electrical version recorded April 4, 1928; the acoustical recording was  made October 14, 1921 (not in 1919).) Mario Lanza  Be My Love lyrics by Sammy Cahn and music by Nicholas Brodszky Recorded in 1950 Arturo Toscanini, NBC Symphony Orchestra  "Lohengrin" Prelude, Act III Composed by Richard Wagner Recorded in 1954 (1951) The Ames Brothers  The Naughty Lady Of Shady Lane written by Sid Tepper and Roy C. Bennett Recorded on September 8, 1954 Perez Prado  Cherry Pink And Apple Blossom White Composed by Louis Guglielmi Recorded in 1950 (1955) ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain

durée : 00:57:36 - Le jazz sur France Musique - par : Laurent Valero - "Ils régnèrent en maîtres sur Broadway, au cinéma comme à la télévision pendant des années. Jules Styne d’origine anglaise, installé aux États-Unis en est le compositeur. Sammy Cahn, musicien aussi, mais ici parolier, ont à eux deux collectionné les succès parmi lesquels : Time After Time" L. Valero

durée : 00:57:36 - Repassez-moi l'standard - par : Laurent Valero - "Ils régnèrent en maîtres sur Broadway, au cinéma comme à la télévision pendant des années. Jules Styne d’origine anglaise, installé aux États-Unis en est le compositeur. Sammy Cahn, musicien aussi, mais ici parolier, ont à eux deux collectionné les succès parmi lesquels : Time After Time" L. Valero

We've lost our minds. Where? Somewhere over the rainbow, I think. We were gone for months, but never mind that, it's us again on this April Foolsy day to bring you an episode that no one asked for, but everyone will enjoy (hopefully anyway)! Today, we're joined by fellow friend and cat-enthusiast, Andrew Roebuck, to talk about an obscure Filmation animated feature film sequel to The Wizard of Oz starring Liza Minnelli as Dorothy. Why? Because Don Bluth was, in fact, a layout artist on this movie back in 1972. Yup, that's it! That's all the justification we need to make an entire Oz-themed episode for our unsuspecting listeners. So grab your favorite Cairn Terrier, click your heels together, and watch out for that Tornado, because we're all on a wonderfully unexpected “Journey Back to Oz!” Links: Watch Journey Back to Oz on YouTube: https://bit.ly/2QYWs5p Check out Andrew's podcast, Milkshakes and Mimosas! https://podcasts.apple.com/us/podcast/milkshakes-and-mimosas/id1457861122 Listen to the Milkshakes and Mimosas episode we guested on about Don Bluth's Filmation Years. https://apple.co/3mbhmcY We're not about to put a link to every Oz-related production we mention, but here's a fun list for you to Google in your spare time: The Wonderful Wizard of Oz by L. Frank Baum (the original book from 1900) The Wizard of Oz (1939 MGM classic film) Return to Oz (1985 Disney sequel film) The Wiz (1978 musical film by Motown Productions) Oz the Great and Powerful (2013 Disney prequel film) The Muppets' Wizard of Oz (2005 film starring Ashanti) Tom and Jerry and the Wizard of Oz (2011 animated film) Tom and Jerry: Back to Oz (2016 animated sequel film) “Wizzin'” (from the Futurama episode: "Anthology of Interest II," aired January 6, 2002) The Wizard of Oz | オズの魔法使い (1982 anime film) The Wonderful Wizard of Oz | オズの魔法使い (1986 anime series) “My Way Home” (the Wizard of Oz themed 100th episode of Scrubs, aired January 24, 2006) Andrew Lloyd Webber's New Production of The Wizard Of Oz (2011, yup, this exists) Wicked (the 2003 musical… it's also a book or something) “Under the Rainbow” (song by the Jane Austen Argument) “Tin man” (song by America) “Goodbye Yellow Brick Road” (song by Elton John) “Existential Blues” (song by Tom "T-Bone" Stankus) Tik-Tok of Oz (1914, 8th book in the original Oz series) Follow Andrew on IG & Twitter @WineMovieNerd Follow Dax on IG & Twitter @DaxSchaffer Follow Sara on IG @SaraIyer Follow the Podcast on IG @nothingbutthebluth Like the Podcast on Facebook https://www.facebook.com/TheBluthTheWholeBluthAndNothingButTheBluth Check out Dax's other pod, Cineppraisal @Cineppraisal on FB/Twitter/IG https://anchor.fm/cineppraisal Music from Journey Back to Oz by Walter Scharf (score and song arrangements), Jimmy Van Heusen (songs), and Sammy Cahn (lyrics), with some library music by Johnny Pearson and possibly other authors that we have no way of looking up, lol. Audio clips are (almost mostly) from Journey Back to Oz by Filmation. Most of the rest are from many, many, MANY different Oz-related productions.

The Frank Stallone Documentary - 'Stallone: Frank, That Is' Available in Canada on Youtube & Google Play https://www.youtube.com/watch?v=_UPTzODh-6k&has_verified=1 Grammy and Golden Globe nominated artist Frank Stallone is one of the most versatile actors, singers and musicians in the business. His explosive voice and his range from comedy to drama and rock to blues to big band, leaves audiences entertained and captivated. Frank has garnered three Platinum Albums, ten Gold Albums and five Gold Singles and has acted in over 60 films and TV shows including Walker Texas Ranger, multiple sitcoms and variety shows, Hudson Hawk, Staying Alive, Fred Claus, and Tombstone, in which he made a big impact as “Ed Bailey,” a dangerous gunslinger. One of his most memorable film roles was as “Eddie,” the bartender in Barfly, which was touted by critic Roger Ebert: “Barfly is a terrific film that features an outstanding performance by Frank Stallone…he's both captivating and terrifying at the same time.” Frank has written and published over 200 songs and, with his newest single in The Expendables 2 (Don't Want to Fight With Me), has written and recorded compositions for nine films, including Rocky I, II and III, Rambo II, Paradise Alley and Over the Top. But, it was Frank's nine songs that he wrote and recorded for the Saturday Night Fever Sequel Staying Alive that earned him a Golden Globe nomination for Best Sound Track and a Grammy nomination for Best Original Song with his single, Far From Over. That song became a massive number#1 hit around the world and stayed on the top charts for more than four months. At a young age, the Maryland-born, Philadelphia-raised native pursued his musical ambitions, forming a series of bands, and finally turned professional at the tender age of 15 (“I had to lie about my age,” admits Frank). His group, Valentine, included lead guitarist John Oates (Hall and Oates) and was signed to RCA Records in 1975, when they recorded their first album. Frank made his on-screen singing debut, performing the self-penned acapella song, Take You Back in the opening scene of the film Rocky. “The only reason I got the part was that I was the only musician my brother, Sylvester, knew…and I worked cheap.” Frank has recorded nine solo albums receiving praise from legends Frank Sinatra, Tony Bennett and Sammy Cahn. His rock-influenced Full Circle, “which I feel is my best” was followed by his American songbook albums, In Love in Vain, with Sammy Nestico, Stallone on Stallone by Request, a compilation of Frank's film soundtrack tunes, and Songs from the Saddle, showing Frank's more acoustic side. He's a big fan favorite in Australia and he performs in concert halls, theaters and clubs all around the world, gaining critical acclaim wherever he goes “he has the crowd enthralled.” (New York Daily News) Frank is a guitar, music, mafia and art aficionado, is one of the best boxing historians and collectors in the world and is an avid collector of guitars, guns and memorabilia. When he's not writing songs or filming a project, he can be found on a shooting range or at the gym but he's happiest with a guitar, beautiful women and good glass of vino. If you ask why he's never been married, he'll tell you “I guess I just forgot.”

The introduction to the track of 4 songs sung by Rosemary Clooney on her radio program on November 4, 1954 gives an overall view of her career... background. On this show she sings Ira and George Gershwin, Irving Berlin and Sammy Cahn songs from musical films dating back to 1930, 1937, 1946, and 1954. This track will live in the Playlist..."Variety - Comedy - Musical"

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. Comments to: dannymemorylane@gmail.com In this episode, you’ll hear: 1) Between The Devil And The Deep Blue Sea [Excerpt] by Benny Goodman / Harold Arlen (music) [1932] 2) This Could Be The Start Of Something Big by Steve Lawrence & Eydie Gormé / Steve Allen (music & lyrics) [1956] 3) Once In Love With Amy by Sammy Davis Jr. / Frank Loesser (music & lyrics) [1948] 4) Keepin' Out of Mischief Now by Dinah Washington (w/ Ernie Wilkins and His Orch.) / Fats Waller & Andy Razaf [1932] 5) Come Fly With Me by Frank Sinatra & Luis Miguel / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1957] 6) Out of This World by Freda Payne / Harold Arlen (music) & Johnny Mercer (lyrics) [1944] 7) A Kiss To Build A Dream On by Louis Armstrong / Composed by Burt Kalmer/Harry Ruby/Oscar Hammerstein II [1935] 8) Between The Devil And The Deep Blue Sea by Mel Tormé / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 9) I Remember You by Ella Fitzgerald (w/ Nelson Riddle's Orch) / Victor Schertzinger (music) & Johnny Mercer (lyrics) [1941] 10) The Way You Look Tonight by Michael Bublé / Dorothy Fields (lyrics) & Jerome Kern (music) [1936] 11) True Love by Patsy Cline / Cole Porter [1956] 12) Begin The Beguine by Andy Williams / Cole Porter [1935] 13) Maybe This Time by Liza Minnelli / John Kander (music) & Fred Ebb (lyrics) [1964] 14) It's Only A Paper Moon by Bobby Darin / Harold Arlen (music) & Yip Harburg and Billy Rose (lyrics) [1933] 15) It Had To Be You by Harry Connick, Jr. / Isham Jones (music) & Gus Kahn (lyrics) [1924] 16) The Night We Called It a Day by Doris Day / Matt Dennis (music) & Tom Adair (lyrics) [1941] 17) On The Sunny Side Of The Street by Tony Bennett & Willie Nelson / Dorothy Fields (lyrics) & Jimmy McHugh (music) [1930] 18) Evergreen by Barbra Streisand / Barbra Streisand (music) & Paul Williams (lyrics) [1976] 19) Tonight by Johnny Mathis / Stephen Sondheim (lyrics) & Leonard Bernstein (music) [1956] 20) Blue Eyes by The American Patrol Orchestra / Jerome Kern (music) [1928]

Holiday Special Part 1. This episode is NSFW & contains some colorful language.  Please listen at your own risk. ;) The Humor Activist Susanna Spies joins our Bollotta-FIDE hosts Anthony Bollotta and Alex Apostolidis to talk about a ton of funny Sh*t! Susanna talks about her upcoming book, pushing through emotional adversity and teaching comedy and public speaking to kids and CEO's alike.  Also, Anthony and Alex gear up to take Susanna's FINDING YOUR FUNNY class series starting in January. Find Susanna and her classes: www.susannaspies.com www.bollotta.com Send your event & entertainment questions to info@bollotta.com subject: BOLLOTTA-FIDE The Bollotta Edition of the Christmas Waltz: “The Christmas Waltz” was written by Jule Styne and Sammy Cahn for Frank Sinatra, who recorded it in 1954. Vocals: Anthony Bollotta, Marti Amado, Emma Gunn, Conner Smith, Alex Apostolidis, Wayne Barker, Dangilo Brian Bonilla, Daniel Wentworth, Wissam Sabbagha Produced by: Amado Music Engineered by: Mike Harris Recorded, Engineered, Mixed & Mastered at: Studio West Arranged by: Wayne Barker Piano: Wayne Barker Upright Bass: Justin Grinnell Drums: Duncan Moore Jazz Guitar: Bob Boss Trumpet: Karl Soukop

This week, the Bad Piano Player features the prolific partnership of composer Jule Styne and lyricist Sammy Cahn.

Forty odd years ago, Robert Cutarella made the decision to pursue his childhood dream of a career in the music industry. His decision has paid off handsomely, with two Grammys as a producer, more than 3,000 songs recorded as a publisher, and over 160 platinum records awarded. Robert began his career in the music industry as a producer and performer. He was employed by many major labels, and performed with a variety of recording artists ranging from Joe Williams to Bruce Springsteen. He secured cover recordings, signed and developed writers, and garnered hits with Chaka Khan, Michael Jackson, Sheena Easton, Air Supply, Melissa Manchester, Whitney Houston, Michael Henderson, Diana Ross, Deborah Allen, Dolly Parton, The Police, Elton John, REM, Culture Club, The Human League, ABC, Linda Ronstadt and Frank Sinatra among countless others.Robert has also worked Chappell’s premiere roster, ranging from Hall & Oates and The Bee Gees to Sammy Cahn, Benny Benjamin and Jule Styne. Robert then transitioned from Chappell to become Vice President of industry legend John Hammond's new label with CBS/Sony Records. There he furthered his success by either signing or developing Stevie Ray Vaughan, The Fabulous Thunderbirds, Metallica, Raven, Gino Vannelli, Vanessa Williams, Patrick Simmons, Basia and others. Robert continues to enjoy chart success with the new artists he has signed and has produced four Top 20 singles on Billboard’s Dance Chart in recent years. He remains ever-enthusiastic about writing, producing and developing artists and their songwriting in this new world of music, leveraging his years of experience, vast network of entertainment industry VIPs, and the boundless energy which comes from his dedication and life-long passion for music.

Today WPMT Presents: "High Button Shoes," with music by Jule Styne, lyrics by Sammy Cahn, and book by Stephen Longstreet. Starring Margaret Whiting as "Sara Longstreet," Jim Backus as "Harrison Floy" and Gordon MacRae as "Henry Longstreet." Listen to an unforgettable hour of Classic Musicals from the Golden Age of Radio.

Diane and Sean fly off to Neverland to discuss Disney's 1953 animated "classic", Peter Pan. Episode music is "The Second Star to the Right"; music by Sammy Fain, lyrics by Sammy Cahn, and performed by the Jud Conlon Chorus and The Mellowmen Quartet from the OST, and the 1980's era Peter Pan Peanut Butter commercial jingle.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=FDAK8MLABD6SG&source=url)

Chad, Ben and Mike conclude their conversation with a run-through of what else was playing around NYC the week Groove Tube opened in theaters. Highlights include a Brando double-bill, Don Imus, Sammy Cahn, and Conrack.

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

PROG.Nº 662.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “The Nearness Of You”( GLENN MILLER-SARAH VAUGHAN-MEL TORMÉ) JAZZ RECUERDO ANIVERSARIO.- Gerry Mulligan-The Paris Concert [feat. Bob Brookmeyer]1954 Paris Concert (también lanzado en Francia como 3e Salon du Jazz, París, 1954, À Pleyel ) es un álbum en vivo del saxofonista y director de orquesta Gerry Mulligan con actuaciones grabadas en la Salle Pleyel en París en 1954 y lanzado en elsello Pacific Jazz . [1] [2] En 1966, Pacific Jazz lanzó un álbum con el mismo título pero con una lista de canciones ligeramente diferente y versiones editadas de canciones lanzadas anteriormente. [3] All compositions by Gerry Mulligan except as indicated 1. "Come Out, Come Out, Wherever You Are" (Jule Styne, Sammy Cahn) - 3:54 2. "Five Brothers" - 4:40 3. "Laura" (David Raksin, Johnny Mercer) - 4:10 4. "Love Me or Leave Me" (Walter Donaldson, Gus Kahn) - 5:10 5. "Utter Chaos" - 0:43 6. "Bernie's Tune" (Bernie Miller, Jerry Leiber, Mike Stoller) - 4:23 7. "Walkin' Shoes" - 5:05 8. "Moonlight in Vermont" (Karl Suessdorf, John Blackburn) - 3:11 9. "The Lady Is a Tramp" (Richard Rodgers, Lorenz Hart) - 3:36 10. "Utter Chaos" - 0:49 • Recorded at the Salle Pleyel in Paris, France on June 1, 1954 (tracks 6 & 7), June 3, 1954 (tracks 2, 9 & 10) and June 7, 1954 (tracks 1, 3, 4, 5 & 8). 1966 Release • Gerry Mulligan - baritone saxophone • Bob Brookmeyer - valve trombone • Red Mitchell - bass • Frank Isola - drums JAZZ ACTUALIDAD .- Esta semana tendremos nuestra celebración por el Día Internacional del Jazz con músicos de SEDAJAZZ. Día Internacional del Jazz, el Ayuntamiento de Alfafar (Valencia) junto al colectivo de músicos Sedajazz lo festejan con un gran concierto on -line y en abierto. Con grandes nombres panorama internacional como el neoyorquino Chris Cheeck, el maestro Perico Sambeat, las imprescindibles Kontxi Lorente y la cantante lituana Viktorija Pilatovic se celebrará un maratoniano concierto que abrirá el gran trompetista David Pastor. Y para disfrutar y gozar con nuestro querido flamenco contaremos con la participación de uno de los guitarristas más relevantes y queridos por los amantes de esta música, el gran José Quevedo “Bolita”. El saxofonista cubano-ruso Alexey León nos deleitará con su música de influencia latina y como valor emergente de la escena actual tendremos a la pianista y cantante Marina Alcantud. El dúo Veronautas, compuesto por Ana Sanahuja y Roqui Albero, ofrecerán su fusión música + poesía y desde Brasil llegará la voz de la cantante y compositora Thaïs Morell. El público más joven tendrá su representación con la actuación de Aurora & Latino Blanco. Todos los conciertos serán en directo y emitidos en abierto por la plataforma Instagram dada la situación de emergencia provocada por la crisis del Coronavirus. Con esta propuesta queremos revindicar las manifestaciones creativas, en este caso los conciertos, que pueden y deben mantener viva y cercana a su público la oferta cultural. Agradecemos profundamente el apoyo y la sensibilidad hacia este tipo de iniciativas por parte de las entidades que las han mantenido y han apostado por ellas en estos momentos tan críticos. Acerca del Día Internacional del Jazz En noviembre de 2011, durante la Conferencia General de la UNESCO, la comunidad internacional proclamó el 30 de abril como el Día Internacional del Jazz. Esta jornada tiene como objetivo sensibilizar al público general sobre las virtudes de la música jazz como herramienta educativa y como motor para la paz, la unidad, el diálogo y el refuerzo de la cooperación entre pueblos. Gobiernos, organizaciones de la sociedad civil, instituciones educativas y ciudadanos particulares ya implicados en la promoción de la música jazz aprovecharán esta oportunidad para fomentar la idea de que no se trata tan sólo de un estilo de música, sino de que el jazz contribuye también a la construcción de sociedades más inclusivas. ¿Por qué un Día Internacional del Jazz? • El jazz rompe barreras y crea oportunidades para la comprensión mutua y la tolerancia • El jazz eje de la libertad de expresión • El jazz es un símbolo de unidad y paz • El jazz reduce tensiones entre individuos, grupos y comunidades • El jazz fomenta la igualdad de género • El jazz refuerza el papel que juega la juventud en el cambio social • El jazz promueve la innovación artística, la improvisación, nuevas formas de expresión y la integración de músicas tradicionales en las formas musicales modernas • El jazz estimula el diálogo intercultural y facilita la integración de jóvenes provenientes de medios marginados. Historia y repercusión El jazz es un estilo musical único que se originó en el sur de los Estados Unidos de América pero que tiene a la vez sus raíces en África y mezcla tradiciones musicales tanto africanas como europeas. Antes de la aparición de estructuras sociales de integración tales como el lugar de trabajo, el sistema educativo o los equipos de deporte profesionales, los grupos de jazz era un ejemplo de tolerancia, cooperación, improvisación y entendimiento mutuo. Además, el jazz era un espacio de libertad de expresión y emancipación de la mujer, es un ejemplo del poder de transformación de este derecho humano fundamental. A lo largo del siglo XX, el jazz ha resultado ser un lenguaje universal escuchado en todos los continentes, siendo influenciado e influenciando al mismo tiempo otros tipos de música, hasta convertirse en elemento cultural de mestizaje universal y abierto a todo el mundo, sin distinción de raza, religión o nacionalidad. La música jazz ha dado la oportunidad y la motivación a muchas mujeres para ir más allá del papel tradicional asignado a cada género por la sociedad. El jazz fue una fuerza propulsora del Movimiento de Liberación de la Mujer en Estados Unidos. Así mismo, el jazz también ayudó a conseguir trabajos para las mujeres dentro de la industria musical, especialmente como cantantes. Antes de 1920, la práctica totalidad de música popular era interpretada exclusivamente por músicos varones.

Who doesn't love a good old fashioned heist movie? Featuring part 1 of Movie Magic's Heist Movies. Break out the popcorn!  Credits: 1. Movie Magic Opening Theme Produced, Composed & Performed by Corey Gomez 2. Come Fly With Me. Performed by Frank Sinatra. Written by Jimmy Van Heusen and Sammy Cahn. Label: Capitol 3. Easy. Performed by Sky Ferreira. Written by Lionel Richie. Label: 30th Century

Nuevo programa montado en forma de suite cinematográfica (con una breve presentación) y dedicado, en esta ocasión, a uno de los más importantes melodistas de Hollywood: Victor Young. Sin embargo, los temas seleccionados no corresponden necesariamente a sus scores más representativos, sino que se centran en melodías románticas. Pertenecen a las siguientes películas: Scaramouche, Johnny Guitar, Creemos en el amor, El hombre tranquilo, Idilio en septiembre, La mano izquierda de Dios, El rey del tabaco, Los implacables, Mi loco corazón, Cartas a mi amada, Omar Khayyam, Por quién doblan las campanas. Nota: el tema central de 'Creemos en el amor' fue escrito por Jule Styne y Sammy Cahn.

Nuevo programa montado en forma de suite cinematográfica (con una breve presentación) y dedicado, en esta ocasión, a uno de los más importantes melodistas de Hollywood: Victor Young. Sin embargo, los temas seleccionados no corresponden necesariamente a sus scores más representativos, sino que se centran en melodías románticas. Pertenecen a las siguientes películas: Scaramouche, Johnny Guitar, Creemos en el amor, El hombre tranquilo, Idilio en septiembre, La mano izquierda de Dios, El rey del tabaco, Los implacables, Mi loco corazón, Cartas a mi amada, Omar Khayyam, Por quién doblan las campanas. Nota: el tema central de 'Creemos en el amor' fue escrito por Jule Styne y Sammy Cahn.

REMEMBERING HOLIDAY SONGWRITERS from the middle of the Twentieth Century as we enjoy a musical snapshot of some of the best-loved Christmastime songs written between 1940-1955. Such tunesmiths as Irving Berlin, Sammy Cahn, Meredith Willson, and more.

In 1990, at the age of 20, I moved to New York City and got a job as the tape room guy for Warner/Chappell Music Publishing. It was a small office, about 12 people, but the door to one room was always closed. I assumed it was unused. One day, after a few months, I hear an old man yelling, “Goddamn it! What’s wrong with this typewriter? Can’t someone make a simple goddamn typewriter work?! What the hell?” He was in the previously-closed room, door open, fighting with the typewriter. I went in to help, and as I was fixing it, I noticed some press clippings on the wall about Sammy Cahn, then looked at the man and realized it was Sammy Cahn! Legendary songwriter Sammy Cahn who wrote most of those huge Frank Sinatra hits! “Love and Marriage”, “Let It Snow, Let It Snow, Let It Snow”, “All the Way”, “High Hopes”, “Call Me Irresponsible” and many more. He lived in Los Angeles, but they kept a New York office for him, which he’d visit every few months. I fixed his typewriter, then said, “Sammy — my name’s Derek. If you ever need anything, just buzz number 12 on your phone and I’ll be glad to help.” He scowled at me, then waved me out of his room. But from them on, every time he’d come into town, I’d be the first to know, because his voice would bark over my intercom, “[beeeep] Derek, goddamn it, get in here!” Everyone else at the office avoided him. One day, he had me go to the Time/Warner Cafeteria to get him his favorite bowl of soup. When I gave it to him, he yelled at me for not filling the cup all the way to the top. One day, he had me get some Ben Gay from the drug store. When I gave it to him, he asked me to rub it on his neck, which I did, but I used too much, and he yelled at me for making his neck all goopy. But I liked him. His cranky personality was like a running joke, and didn’t bother me a bit. He was still writing songs every day. Usually custom lyrics for existing songs, tailored for friends’ birthdays or special events. But he was still writing new songs, too. I spent hours with him helping him autograph his songbooks. He patiently answered all of my eager questions about songwriting. (“As soon as I hear a melody, I can tell you what that song will be called. The piece of paper goes in the typewriter, I start typing, and when it comes out, it’s done! No edits!”) I’d find an excuse to be in the room when he was writing new songs with composers like Walter Afanasieff. I played him some of my songs, and he gave me advice. I was thrilled. 20 years old, living in New York City, and working with Sammy Cahn. One day as I was doing something in the kitchen, he was yelling at the coffee machine. (“What’s wrong with the goddamn coffee? Can’t I get a simple goddamn cup of coffee anymore? What are all these buttons?”) I laughed and said, “Sammy, you know what? I like you.” He looked at me, and his usually-scowling face went blank. Like the mask he always wears had dropped. Like he hadn’t heard “I like you” in a long long time. He paused for a while, then said, in an unusually nice voice, “Thank you. You’re a very nice man.” Then he went back to yelling at the coffee machine. A few months later, in November 1992, I quit my job to be a full time musician, and went out to an isolated part of the Oregon coast to record. No TV, no newspaper, no internet, no radio. Just me, all alone, just recording. Warner/Chappell Music was long behind me, and I didn’t keep in touch with anyone. Every morning I’d wake up with no alarm clock, and remember all of my dreams. I started writing them down. The more I wrote, the more I remembered. Sometimes it would take 45 minutes just to write down all the vivid details. One Friday in January, I had this vivid dream that I was outside a big military building in the 1950s. A mounted air force jet outside, and General MacArthur was at the door. We talked for a minute, then he let me in. I walked down a long empty hallway, then took a right, and walked down another long empty hallway. At the end of the hallway was a younger Sammy Cahn, in the 1950s, with a full head of brown hair, waving his arms, yelling at someone. (“Goddamn it! What the hell were you thinking?”) As I got closer, he stopped, turned to me, and said, “Who the hell are you?” I said, “Sammy, you don’t know me, but I came back from 40 years in the future to tell you that in 40 years, you’re still going to be alive and well and writing songs every day.” Just like that day in the kitchen, his face went blank. His mask dropped. He said, in that rare nice voice, “Thank you. I really appreciate it.” Then I woke up. I wrote it all down. The next day, a friend of mine called me at the beach and said, “Well... I guess you heard the news?” “Uh, no. I don’t get any news out here. What’s up?” “Your friend Sammy Cahn died last night.” The same night I had the dream. Whoa. I didn’t believe in any of that stuff before, but couldn’t help but wonder about that life-after-death stuff you hear about, or maybe ESP, or something. Who knows if I had the dream right before he died or right after, but I still think he came by to say thank you.

In 1990, at the age of 20, I moved to New York City and got a job as the tape room guy for Warner/Chappell Music Publishing. It was a small office, about 12 people, but the door to one room was always closed. I assumed it was unused. One day, after a few months, I hear an old man yelling, “Goddamn it! What’s wrong with this typewriter? Can’t someone make a simple goddamn typewriter work?! What the hell?” He was in the previously-closed room, door open, fighting with the typewriter. I went in to help, and as I was fixing it, I noticed some press clippings on the wall about Sammy Cahn, then looked at the man and realized it was Sammy Cahn! Legendary songwriter Sammy Cahn who wrote most of those huge Frank Sinatra hits! “Love and Marriage”, “Let It Snow, Let It Snow, Let It Snow”, “All the Way”, “High Hopes”, “Call Me Irresponsible” and many more. He lived in Los Angeles, but they kept a New York office for him, which he’d visit every few months. I fixed his typewriter, then said, “Sammy — my name’s Derek. If you ever need anything, just buzz number 12 on your phone and I’ll be glad to help.” He scowled at me, then waved me out of his room. But from them on, every time he’d come into town, I’d be the first to know, because his voice would bark over my intercom, “[beeeep] Derek, goddamn it, get in here!” Everyone else at the office avoided him. One day, he had me go to the Time/Warner Cafeteria to get him his favorite bowl of soup. When I gave it to him, he yelled at me for not filling the cup all the way to the top. One day, he had me get some Ben Gay from the drug store. When I gave it to him, he asked me to rub it on his neck, which I did, but I used too much, and he yelled at me for making his neck all goopy. But I liked him. His cranky personality was like a running joke, and didn’t bother me a bit. He was still writing songs every day. Usually custom lyrics for existing songs, tailored for friends’ birthdays or special events. But he was still writing new songs, too. I spent hours with him helping him autograph his songbooks. He patiently answered all of my eager questions about songwriting. (“As soon as I hear a melody, I can tell you what that song will be called. The piece of paper goes in the typewriter, I start typing, and when it comes out, it’s done! No edits!”) I’d find an excuse to be in the room when he was writing new songs with composers like Walter Afanasieff. I played him some of my songs, and he gave me advice. I was thrilled. 20 years old, living in New York City, and working with Sammy Cahn. One day as I was doing something in the kitchen, he was yelling at the coffee machine. (“What’s wrong with the goddamn coffee? Can’t I get a simple goddamn cup of coffee anymore? What are all these buttons?”) I laughed and said, “Sammy, you know what? I like you.” He looked at me, and his usually-scowling face went blank. Like the mask he always wears had dropped. Like he hadn’t heard “I like you” in a long long time. He paused for a while, then said, in an unusually nice voice, “Thank you. You’re a very nice man.” Then he went back to yelling at the coffee machine. A few months later, in November 1992, I quit my job to be a full time musician, and went out to an isolated part of the Oregon coast to record. No TV, no newspaper, no internet, no radio. Just me, all alone, just recording. Warner/Chappell Music was long behind me, and I didn’t keep in touch with anyone. Every morning I’d wake up with no alarm clock, and remember all of my dreams. I started writing them down. The more I wrote, the more I remembered. Sometimes it would take 45 minutes just to write down all the vivid details. One Friday in January, I had this vivid dream that I was outside a big military building in the 1950s. A mounted air force jet outside, and General MacArthur was at the door. We talked for a minute, then he let me in. I walked down a long empty hallway, then took a right, and walked down another long empty hallway. At the end of the hallway was a younger Sammy Cahn, in the 1950s, with a full head of brown hair, waving his arms, yelling at someone. (“Goddamn it! What the hell were you thinking?”) As I got closer, he stopped, turned to me, and said, “Who the hell are you?” I said, “Sammy, you don’t know me, but I came back from 40 years in the future to tell you that in 40 years, you’re still going to be alive and well and writing songs every day.” Just like that day in the kitchen, his face went blank. His mask dropped. He said, in that rare nice voice, “Thank you. I really appreciate it.” Then I woke up. I wrote it all down. The next day, a friend of mine called me at the beach and said, “Well... I guess you heard the news?” “Uh, no. I don’t get any news out here. What’s up?” “Your friend Sammy Cahn died last night.” The same night I had the dream. Whoa. I didn’t believe in any of that stuff before, but couldn’t help but wonder about that life-after-death stuff you hear about, or maybe ESP, or something. Who knows if I had the dream right before he died or right after, but I still think he came by to say thank you.