Podcasts about swing era

Episode 326, 1940-1941 My Way gives 21st century listeners Sam Waldron's unique musical and sociological window into the early years of World War II and the late years of the Swing Era. Performers include Tommy... Read More The post Episode 326, 1940-1941 My Way appeared first on Sam Waldron.

Step into the golden age of Hollywood with the newest episode of The Tales From Hollywoodland Podcast! This week, we take a fascinating journey through the life of Frank Sinatra. Explore the legendary singer and actor's rise to stardom, his timeless music, iconic film roles, and the influence he left on the entertainment industry. From his Rat Pack days to his unforgettable performances, discover the man behind the legend. Tune in for an engaging discussion celebrating the life and legacy of Ol' Blue Eyes! Tales From Hollywoodland on Facebook https://www.facebook.com/talesfromhollywoodland   Tales From Hollywoodland on Instagram https://www.instagram.com/talesfromhollywoodland/ We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, PlayerFM, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.  #FrankSinatra #OlBlueEyes #HollywoodLegend #TalesFromHollywoodland #RatPack #ClassicHollywood #FrankSinatraLife #GoldenAgeOfHollywood #SinatraLegacy #IconicEntertainer #MusicLegend #HollywoodHistory #SinatraFans #SwingEra #TimelessClassics #PodcastEpisode #HollywoodStories #BehindTheScenes #EntertainmentHistory #FrankSinatraPodcast

Hello everyone. I have to correct myself. There were four parts to this series. So, this week we are going to conclude the series from the Reader's Digest Set, Memories of the Swing Era. Back in the 1960's and 70's Reader's Digest used to put out vinyl album sets on different topics. My parents had a couple in their record collection and we have some at the radio staion where I work. I was lucky to come across this set as it has a wide variety of bands in it. I tried to put together a varied show full of your favorite bands. So join me as we bring back Memories of the Swing Era with this great multi-album set from Reader's Digest Records. Please visit this podcast at http://bigbandbashfm.blogspot.com

Hello everyone. This week we are going to conclude the series from the Reader's Digest Set, Memories of the Swing Era. Back in the 1960's and 70's Reader's Digest used to put out vinyl album sets on different topics. My parents had a couple in their record collection and we have some at the radio staion where I work. I was lucky to come across this set as it has a wide variety of bands in it. I tried to put together a varied show full of your favorite bands. So join me as we bring back Memories of the Swing Era with this great multi-album set from Reader's Digest Records. Please visit this podcast at http://bigbandbashfm.blogspot.com

Hello. This week we are going to continue with more selections from the Reader's Digest Set, Memories of the Swing Era. I tried to put together a varied show full of your favorite bands. So join me as we bring back Memories of the Swing Era with this great multi-album set from Reader's Digest Records. Please visit this podcast at http://bigbandbashfm.blogspot.com

I recently came across a set of records in a Box Set from Reader's Digest Records called Memories of the Swing Era. There were several compilation sets from Reader's Digest that were released and I am fortunate to have this one. So for the next few weeks, I have gone through and selected many of the recordings from this set to make three different shows. I tried to pick a wide enough variety of selections so that maybe you will hear your favorite bands. I hope you remember some of your favorite Memories of the Swing Era in this set from Reader's Digest Records. Please visit this podcast at http://bigbandbashfm.blogspot.com

Bob Crosby and His Orchestra carved a pretty unique career for itself in the Swing Era - specializing in tunes from the previous decade done up in swing clothes, the chief arrangers were clarinetist Matty Matlock and bassist Bob Haggart. Here is a selection of Haggart's arrangements featuring Yank Lawson, Sterling Bose and Billy Butterfield on trumpets, Warren Smith, Buddy Morrow and Floyd O'Brien on trombones, Irving Fazola and Matty Matlock on clarinets, Eddie Miller on tenor sax, Bob Zurke, Joe Sullivan and Jess Stacy on pianos, Nappy Lamare on guitar, Ray Bauduc on drums and himself on bass! 1936-42. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

In the 1930s, the Kim loo Sisters of Minneapolis was a harmony singing force. From May 4 through the 26th, St Paul's History Theater in co-production with Theater Mu present “Blended Harmony: The Kim Loo Sisters. The production tracks the career of the Kim Loo sisters, which included movies, USO appearances overseas, and other big stages. When for the show's director and Theater Mu artistic director Lily Tung Crystal talked to Phil Nusbaum, Blended Harmony: The Kim Loo Sisters was in the final stages of rehearsal. Phil asked Lily about her work as the show's director.

Sarah Smith is a musician based out of Indianapolis, IN. She joins Jimmy to talk about their shared experience as communication students at the University of Indianapolis. Sarah documents her experience as Music Director for WICR-FM including a Swing Era music show she hosted on The Diamond. She talks about learning to play the guitar, how music can change people, and the trauma she has healed from through songwriting. Finally, Jimmy opens up with appreciation toward Sarah for one of the best compliments he's ever received in his career, during their time working together in school. Rate, review, subscribe & donate! https://linktr.ee/jbkonair --- Support this podcast: https://podcasters.spotify.com/pod/show/jbkonair/support

Today on The Neil Haley Show, Neil "The Media Giant" Haley will interview Don Most.   "I'm back with my first love," says Don.  Before Most was an actor, he was a singer.  Fans may fondly recall episodes of "Happy Days" that featured the now iconic characters playing for patrons at the popular hang out called "Al's.”  Nowadays, Don's backed by a twelve-piece band on a national concert tours.  Although his red hair is silver now, he has clearly retained his appeal, appearing before packed houses of multiple generations, performing standards like "Lady Is A Tramp," "I Can't Give you Anything But Love" and "It Had To Be You." A scan of his audiences show fans in their late 20's to blue-haired music aficionados.  His enthusiasm and expertise is contagious, and it isn't long before everyone is either tapping their toes, bobbing their heads and visibly swaying in time to the tunes.  Most and his group salute standards and composers from almost every decade of the last century.  In addition, Most excites the audience by sharing his knowledge of music through warm stylish deliveries and selections of swing, jazz and rock-and-roll.   Most has acted on television and directed several movies, but clearly finds a special connection with music of the Swing Era.  Shifting easily between vocal styles, Most pays homage to The Chairman of the Board, Dean Martin, and his idol Bobby Darin, while paying tribute to the path that brought him back to his musical roots.  

Today on The Neil Haley Show, Neil "The Media Giant" Haley will interview Don Most. "I'm back with my first love," says Don.  Before Most was an actor, he was a singer.  Fans may fondly recall episodes of "Happy Days" that featured the now iconic characters playing for patrons at the popular hang out called "Al's.”  Nowadays, Don's backed by a twelve-piece band on a national concert tours.  Although his red hair is silver now, he has clearly retained his appeal, appearing before packed houses of multiple generations, performing standards like "Lady Is A Tramp," "I Can't Give you Anything But Love" and "It Had To Be You." A scan of his audiences show fans in their late 20's to blue-haired music aficionados.  His enthusiasm and expertise is contagious, and it isn't long before everyone is either tapping their toes, bobbing their heads and visibly swaying in time to the tunes.  Most and his group salute standards and composers from almost every decade of the last century.  In addition, Most excites the audience by sharing his knowledge of music through warm stylish deliveries and selections of swing, jazz and rock-and-roll.  Most has acted on television and directed several movies, but clearly finds a special connection with music of the Swing Era.  Shifting easily between vocal styles, Most pays homage to The Chairman of the Board, Dean Martin, and his idol Bobby Darin, while paying tribute to the path that brought him back to his musical roots.  

Grace and Shawna decided to choose Swing Music for their theme song as an homage to the iconic Moonlighting episode "The Dream Sequence Always Rings Twice" from Season Two.Even though this episode is set in the 40s era, they thought it was fitting to use this type of sound in their theme, as Swing Music was a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. Swing music had a danceable rhythm to it and the Big Bands of the time as well as the Bandleaders such as Benny Goodman were a dominant force in American popular music from 1935 to 1946. Swing bands usually featured soloists who would improvise on the melody over the arrangement.This was known as the Swing Era when people were dancing to tunes such as the Lindy Hop.The word "Swing" is used as a term of praise for playing that has a strong groove or drive.Some examples of Musicians from the Swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Artie Shaw, Woody Herman, and of course Glenn Miller.Swing has its roots in 1920s dance music. New styles of written arrangements, incorporating rhythmic innovations pioneered by the incomparable Louise Armstrong, Coleman Hawkins, and Benny Carter as well as many many others.Unfortunately, during the World War II era, Swing music began to decline in popularity, and after the war, "Bebop" and "Jump Blues" gained popularity.Please enjoy this full version of Moonlighting The Podcast's Theme Swing Music.MOONLIGHTING THE TV SHOWThe show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 starring Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastTo learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcastPersonal Instagram:https://instagram.com/grace_chivellhttps://instagram.com/saari_not.saari Hosted on Acast. See acast.com/privacy for more information.

Reed player Bingie Madison had a big band in 1930-31 in Harlem that never recorded under his name but which backed Oliver, Williams and Johnson on a series of sessions. Soloists include Madison on tenor sax, Buster Bailey on clarinet, Fred Skerritt on baritone sax, Henry "Moon" Jones on alto, Gene Rodgers on piano, Goldie Lucas on guitar and banjo, Richard Fullbright on bass and tuba, Bill Beason on drums, Jimmy Archey on trombone, Ward Pinkett and Bill Dillard on trumpets. Great transition between "Hot Dance" and the Swing Era! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

M1 Oh, Lady Be Good (George and Ira Gershwin, 1924), Django,  CBS Realm Jazz Series 1969/1934 (2:50)... M2 Dinah, (Akst, Lewis, Young, 1925) Django, CBS Realm Jazz Series 1969/1934 (2:30)... M3 I Saw Stars (Sigler, Goodhart, Hoffman, 1934), Django, CBS Realm Jazz Series 1969/1934 (2:20)....... M4 Confessin', (Daugherty, Reynolds, 1929), Django, CBS Realm Jazz Series 1969/1935 (2:40).... M5 The Sunshine of Your Smile, (Ray, Cooke, 1913) Django,  CBS Realm Jazz Series, 1969/1935 (2:50)..... M6 Swannee River (Old Folks at Home), (Foster, 1851), Django, CBS Realm Jazz Series, 1969/1935 (2:50)... M7 Lover Man (Oh, Where Can You Be?)(Davis, Ramirez, Sherman, 1941)  Best of Django Reinhardt, EMI / Columbia, 1970/1947 (3:10) M8 Golden Green (Ponty, 1972), Ponty/Grappelli, Inner City Records, 1976/1973 (4:42) Today's Vinyl Vibrations podcast features the artistry of French Violinist Stephane Grappelli. Stephane Grappelli is best known as the founder of the Quintette du Hot Club de France along with guitarist Django Reinhardt in 1934. This was a GYPSY jazz band. Grappelli is considered the grandfather of jazz violinists. He lived 90 years, from 1908 until 1997. He began playing violin at the age of 12, early on, preferring to learn in the streets by watching how other violinists played, such as at the Barbes (pron BAR-bez) metro station in Paris. Then he was enrolled by his father at the Conservatory of Paris to learn music theory, sight reading, and ear training. He graduated three years later. Starting at age 15, he worked in the pit orchestra at the Theatre Gaumont, accompanying silent films, then at the Ambassador Hotel orchestra, where jazz violinist Joe Venuti was playing. For a while, Grappelli abandoned violin --- in favor of playing piano in a big band, it was easier to get paid for big band work. Jazz violinists were a relatively unknown and rare breed. In this big band, Grappelli met gypsy jazz guitarist Django Reinhardt. It was 1931 and Grappelli was just 23, Django was 21. Three years later, Django and Grappelli formed the Quintette du Hot Club de France . This was an all-string jazz band, and they performed regularly at the Montmartre district, an artistic village on the hill in the northside of Paris. This continued until 1939 when the Quintette disbanded due to the outbreak of World War II. ‘' When the war was over, the original Quintette never did reform. Django and Grappelli did continue to perform together in Paris. In 1949, they briefly toured in Italy, where some 50 tunes were recorded. That would turn out to be the last time the two would record together, 1949, due to Django's untimely death at the age of 43. Many of those recorded songs were released as an album titled Djangology in 2005 on Bluebird Records. Most of the recordings featured in today's podcast were recorded between 1934 and 1947 and were recorded in Paris, as performed by the Quintette du Hot Club de France. Stephane Grappelli is a master of improvisation. He had said that he was not a fan of BEBOP jazz, which was then very fashionable in the jazz world.   Instead, he was a strong proponent of SWING music, another popular jazz style. Swing developed in the US in 1935-1945  ….. This was the SWING ERA in America.

This episode is also available as a blog post: https://thecitylife.org/2023/02/01/flushing-town-halls-black-history-trilogy-returns-with-a-celebration-of-rock-soul-and-swing-era-icons/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Morgan White Jr. filled in on NightSide:For Bill and Bo Winiker, music was a family affair. The Winiker Family Band consisted of themselves and their parents, Ed and Annette. There were speakers in every room of their house, playing jazz 24/7. By the mid-'70s, the band had turned to classics of the Swing Era and grew from just 4 members to fifty! Once that era ended in 1991, Bill and Bo returned to jazz and have been playing at weddings, corporate events, parties, and celebrations ever since. They joined Morgan to chat about their stunning career.

Morgan White Jr. filled in on NightSide:For Bill and Bo Winiker, music was a family affair. The Winiker Family Band consisted of themselves and their parents, Ed and Annette. There were speakers in every room of their house, playing jazz 24/7. By the mid-'70s, the band had turned to classics of the Swing Era and grew from just 4 members to fifty! Once that era ended in 1991, Bill and Bo returned to jazz and have been playing at weddings, corporate events, parties, and celebrations ever since. They joined Morgan to chat about their stunning career.

Many of the problems modern teachers are facing aren't new, so we're going back in time to find out how our education system became a system that teachers are currently fleeing. Come to find out, modern teachers inherited low pay, limited respect, and a system that strips communities of their cultural traditions. In this episode, hear how Indian Boarding Schools and the American Industrial Revolution have left traces on modern education, and how these traces are contributing to teachers' decisions to leave education.   Music:  Theme Song By Julian Saporiti “Sonata No.13 in E Flat Major, Op. 24 No. 1-II. Allegro, Molto, e Vivace” by Daniel Veesey is in the Public Domain. “Railroad's Whisky Co” by Jahzzar is Licensed under a CC BY-SA license. “Ugly Truth” by HoliznaCC0 is in the Public Domain. “Upsurge” by Jonah Dempcy is  a  CC BY-NC license. “Green Lights”  by Jahzzar is licensed under a CC BY-SA license. “Pizz” by Andrew Christopher Smith is licensed under a CC BY-NC-SA Transcript: I had a band teacher once hold me after class and force me eat a beef and bean burrito. He sat in front of me on the piano bench to make sure that I ate it. I was a freshman, in the middle of the high school wrestling season, and I was cutting weight for my first varsity tournament – where I'd end up getting my lips knocked off. My teacher, Mr. Duran, was short, wiry, wore jeans with a braided leather belt and a button-down shirt. He had round-framed glasses, combed his hair to the side, and more than once told me to listen to the greats like Chick Webb and not just the white guys that made it on the radio.  He was in his 30th year of teaching, and he was not shy about giving advice. While I ate the burrito, Duran talked about playing baseball in college and how abruptly a life of sports could come to an end but how long a life of music could last. This was mature guidance, albeit, guidance that I see more value in now than I did then. Duran would garnish each class with stories that worked to guide us towards being kind human beings. There were days in Jazz band where he would sit in the center of the tiered room, legs crossed, saxophone neck strap still on, and tell us about his past. When Mr. Duran was in college at the University of Northern Colorado in the 1960s, the Count Basie Orchestra went through town and stopped at the university. UNC was known for its jazz programs and one of Basie's saxophone players dropped out and they needed a replacement. Count Basie was one of the most influential musicians from the Swing Era – he was like a swing minimalist. Duran jumped at the opportunity. He got to travel and play with the band and experience life as a musician – more specifically as a musician of color. One time he and a buddy from the orchestra went into a diner and were refused anything more than water. Duran was Mexican and his friend was Black, and it was the middle of the 1960s. In protest, they sat in the big window of the diner for 3 hours, sipping their water, putting themselves on display for anyone who walked by. I love that story – this man, my teacher, saw inequity and faced it with defiance. Duran's lessons were eye-opening. I didn't realize that those stories served as parables on ethics and kindness until I became a teacher and started telling stories of my own to serve the same ends. Duran used his history to help us become better humans. And isn't that why we turn to history? Well, today, we're going to take a lesson from Duran and examine the history of education in the U.S. And because the history of education is tremendous, we have to narrow it down. So we'll focus on two aspects of history that set precedents for modern education, for the current system from which modern teachers are exiting.. We are going to start with Indian Boarding Schools, and then we'll take a look at the American Industrial Revolution. This is Those Who Can't Teach Anymore, a 7-part podcast series exploring why teachers are leaving education and what can be done to stop the exodus. I'm Charles Fournier. Here is part 2: “Inheritance” Caskey Russell:  I'm going crabbing this weekend. I own a boat with my brothers. And yeah, we go out and catch crab. And there'll be salmon season soon. So I kind of got back into the ocean style lifestyle. This is Caskey Russel. I got to catch up with him over a zoom call this summer. He is the Dean of Fairhaven College at Western Washington University. He grew up in Washington and is from the Tlingit tribe. I know Caskey because he taught for 17 years at the University of Wyoming, he was a dean of American Indian Studies, and he was my thesis chair and educational guide when I was at the university. Some of Caskey's research for his PhD program dug into the history of Indian Education, specifically Indian boarding schools. Caskey Russell: My grandmother and her brothers, aunts and uncles, all went to Chemawa Indian School, in Salem. And it was a mixed bag. If you are asking yourself, wait, who's this Caskey guy and what do Indian Boarding Schools have to do with teachers quitting? Here's how. We know that historical atrocities leave a trace on modern institutions, so we need to recognize that Indian boarding schools have left their mark on modern education. They are a  part of the system of inequity modern teachers have inherited. Indian Boarding Schools are an example of the deculturalization that has occurred in education. One of many. Attempts to strip communities of their cultures happened with just about everyone in this country at some point that didn't fit into the male, able-bodied, straight, white, Anglo Saxon Protestant category. Traces of these inequities remain in education, deculturalization still happens, and teachers working towards inclusion in a system that was based on exclusion often run into roadblocks – think book bans or accusations that teachers are trying to indoctrinate kids - and these roadblocks are pushing teachers out of education. So to better understand the inequities in modern education, this thing that is frustrating teachers to the point of quitting, we need to look at where some of those attempts at deculturalization originated. We need to look at Indian Boarding Schools. And we need to listen to someone like Caskey.  Caskey Russell: They liked the sports. They like some of the music, but my uncle Stanley Pradovic, I remember he said, “I used to dream of feasts, seafood feasts that they had in Alaska.” And  my grandmother was able to keep the Tlingit  language because she didn't go to boarding school, but her brothers did not.  You step back and look at the whole system and how destructive and just kind of the cultural genocide aspect. My grandmother would say she didn't know her brothers because when she was born, her brothers were gone away from her earliest memories. And so she didn't get to know her brothers right away. It did break families up. And I was just chatting with my mom last night. My mom said the other family had no control over what it was determined for them. And again, not having control over that seems to be the key to it, nor having input in the education nor valuing…and then having a different model, different cultural notion of success. And then the military and the Christianization, all that together, just adds problem on top of problem, instead of being empowering and enlightening, that really becomes conforming, sort of thing. What happened to Caskey's family was a result of centuries of efforts to deculturalize tribes. Early European colonizers of the US  set a precedent of trying to assimilate tribes into a single monolithic culture. Colonizers disregarded tribal traditions and languages and failed to see that tribes already valued education for their youth. So the assumption that public education started with Horace Mann in 1837 is an assumption that values eurocentric education over the public education that was already in the Americas.  Part of this is because the purposes of education differed. Many Native communities saw educating children as a means to pass on generational knowledge and teach children how to be a successful part of the community. 17th-century Plymouth settlers specifically saw education and literacy as a method to keep Satan away. Children needed to be able to read so they could read the Bible. A pilgrim minister explained: “[There] is in all children, though no alike, a stubbornness, and stoutness of mind arising from natural pride, which must, in the first place, be broken and beaten down; that so the foundation of their education being laid in humility and tractableness, other virtues may, in their time, be built thereon” (42). But tribes did not beat down their children, did not read the Bible, and were able to survive and thrive in what Pilgrims saw as wilderness. So Pilgrims worked to impose their educational priorities onto tribes as a way to cast out Satan, and ultimately gain control of Indigenous people. This effort to assimilate and control only compounded over the next few centuries By the 19th century, congress was also making efforts to deculturalize and assimilate tribes. Thomas Jefferson who had a big role in the removal of Native Americans from their lands also had a One Nation idea when it came to Native Americans – an assumption that required assimilation through education. In 1816, Jefferson explained the value of education: “Enlighten the people generally and tyranny and oppressions of body and mind will vanish like evil spirits at the dawn of day. Although I do not, with some enthusiasts, believe that the human condition will ever advance to such a state of perfection as that there shall no longer be pain or vice in the world, yet I believe it susceptible of much improvement, and most of all in matters of government and religion; and that the diffusion of knowledge among the people is to be the instrument by which it is to be effected” (101)). Jefferson believed a democratic, not a moral education which was what kids were getting at the time, was essential to democracy and he's right, but his One Nation idea required a monolithic ideal that did not value other cultures. He wanted tribes to conform to his image of being American. This focus on conformity was baked into the American educational philosophy. The Civilization Act of 1819 saw Thomas McKenney, the first head of the Office of Indian Affairs begin a process of Native American deculturization  – they created a tribal school system run by white missionary teachers hoping to gain control of tribes through the power of education and assimilation. When Andrew Jackson became president in 1829, he saw some of the educational progress made by tribes as dangerous to America's goals of gaining control of lands.   So, in 1830, America passed the Indian Removal Act, which brutally uprooted tribes and relocated them. Thirty years later, the Indian Peace Commission began reservation schools or day schools. But again, the cultural genocide that all of these acts and efforts had hoped for weren't as effective as the government Wanted. This is when the government stepped in again. Paired with the Dawes Act of 1877 that worked to split reservation lands into private property began the start of the boarding school movement in 1879. Each step was a process working towards killing cultures in an attempt to control land, people, and ideas – all largely through some form of education. The start of the boarding school experiment can  be attributed to Captain Richard Henry Pratt. Caskey Russell: Pratt actually had a number of prisoners of war under his charge at St. Augustine, Florida. Besides being given military uniforms, they would teach them. And so the way he sold the first  boarding schools was that instead of being at war with natives, you can educate them. The US could educate them, and kind of eradicate native culture through educating towards whiteness. Caskey explained that the thought was that education would help the government avoid the expenses of war. Caskey Russell: So there are a group of Plains Natives that were transported to St. Augustine, that was his kind of first experiment. And then he was able to go to Congress and get some money. And he took them to The Hampton Institute and eventually to the Carlisle Indian Industrial School So Pratt's experiment led to the establishment of the Carlisle Indian Industrial School in Pennsylvania in 1879. This was around the same time that Pratt made a famous statement to congress: Caskey Russell: He says to Congress, “You have heard Sherman say the only good Indian's a Dead Indian. I would agree with this one kind of difference that you can kill the Indian save the man.” That's what education can do. That's the motto. And so, there was based on military kind of military boarding school style, and they opened up across the country. And they were often religiously affiliated, and religious institutions given  them control of them. Which, you know, was another part of the boarding schools was the religious education, the eradication of tribal cultures, tribal religions, and the inculcation of Christianity, the various sects of Christianity across the country. Each step taken by congress, in the name of education, was an effort to prioritize one culture over others, one idea of success over others - often through religious means, because again, early education was morality based. And they did this through legislation and through educational policy. Even though many of these efforts are pretty old, we still feel the educational effects of prioritizing a single culture or single idea of success.. Elizabeth Smith, a veteran teacher of 20 years who teaches on a reservation still sees this today.  Elizabeth Smith: Even though I can count on my hand, the number of students that I've taught that have graduated and have a white culture, sort of experience with what would be known as success, quote, unquote   Caskey sees this idea in what is tested or valued as a bottom line in public education. These are things that dismiss differentiated cultural values. Caskey Russell: Did the schools reward students let's say for instance, this the schools Wind River  reward students for knowing the traditional clan system,  speaking Arapaho or Shoshone for knowing traditional ways, whether it's kind hunting, traditional use of land, traditional plants respond medicine, knowing being prepare, or being an apprentice for ceremony, none of that none of that culturally important stuff that was really important to Native people, especially young people they could dream of, you know, I'm going to fulfill these goals, these roles, these social roles one day, none of that's important, it seems like an American school system, right? When you're going to take the SAT or the ACT, are they going to value the hours you spent with your grandparents trying to learn the language or learning stories or learning traditional ways? Of course not. This is a part of the inheritance of modern education, something teachers have to grapple with consistently. How can we educate students to be a part of a community that through legislation or policy doesn't seem to value all traditions and cultures within that community? Or how to reach a measure of success that isn't culturally misaligned or based on morality? Caskey Russell:A handful of them might be successful in kind of the white American ideal. But that's not the only measure of success, nor is it maybe a healthy measure of success, right, for Native people. It would be wonderful to let other ideas of success, community success, success as a human being within a community flourish in the school setting. This question of how to honor a diverse spectrum of students lands on teachers in the classroom. Though legislators and school boards may make efforts to dictate what can and can't be taught in the classroom, the reality is it's teachers and administrators who are working with kids – and kids from a wide spectrum of communities who have often been forced into a specific, standardized idea of success, which might not be culturally conscious. This is exactly how Indian boarding schools started, they forced kids from diverse tribes into a standardized idea of success initially using arguments for morality to do so. We recognize this as bad now, so why are forms of it still happening?   A big concern of some of the teachers who have decided to leave teaching was the start of limits and  restrictions about what can and can't be taught in the classroom. Many of these limits originate from argument about morality that are backed by religious groups that want to dictate what is happening in the classroom. Think of Mr. Wacker from last episode who is still frustrated with the banning of Toni Morrison's The Bluest Eye for moral arguments or Mr. Atkinson who felt his curriculum being squeezed by people who didn't appreciate class conversations about varying cultural perspectives on current events.  And, as we saw with the history of Native American education, this is not new – even though many founding fathers, who were deists themselves, advocated for the separation of church and state and were adamant that education focus on democratic values rather than religious values. John Adams wrote to his wife Abigail:  “I must study Politicks and War that my sons may have liberty to study Mathematicks and Philosophy. My sons ought to study Mathematicks and Philosophy, Geography, natural History, Naval Architecture, navigation, Commerce and Agriculture, in order to give their Children a right to study Painting, Poetry, Musick, Architecture, Statuary, Tapestry and Porcelaine.” John Adams does not reference education and say study the Bible. And fellow former president James Madison did not mince words in a letter that pushed against church use of government land, which would later include schools: “The purpose of separation of church and state is to keep forever from these shores the ceaseless strife that has soaked the soil of Europe with blood for centuries.” And these beliefs worked their way into legislation with the inclusion of the Establishment Clause in the First Amendment, which Thomas Jefferson said was “A wall of separation between the church and state.” And though we know Jefferson's view of education wasn't very inclusive, if we combine this idea of the separation of church and state with a modern inclusive reading of Jefferson's thoughts that education is to “Educate and inform the whole mass of the people. They are the only sure reliance for the preservation of our liberty,” We get a pretty good idea that education is a means to inform a free-thinking, diverse population that has different belief systems.  The founders knew the danger of letting religion seep its way into government - they just broke free of a country that allowed that to happen. So to have a system of education that would inform the whole mass of people without perpetuating the deculturalization we saw with the Indian Boarding schools, which have their origins in religious schooling, that system would need to accommodate the diversity of that mass of people.  This means that teachers would need the trust of the public and  freedom to use their expertise to do their jobs, which would likely include selecting a wide range of materials to accommodate a diverse student population. This freedom and trust is not something being granted to modern teachers. There is currently a trend of parents, legislators, and school board members criticizing teacher efforts to support diverse student needs, often through moral critiques. Which stems from a lack of trust and the same morality based fear that sparked early deculturalization efforts in the United States. So, this isn't new. This is another part of what teachers have inherited from previous generations of educators, a lack of professional respect that translates to a lack of autonomy in the classroom, low pay, and a smattering of other things that are driving teachers from their jobs. Here's Elizabeth again: Elizabeth Smith: And let me clarify, you know, when I say I love teaching, I do love teaching. To say that I love where I'm at right now, no, I do not. I am not satisfied with the way my job is going. I'm not satisfied with the way I feel inside every single day coming home from work. It's like a battlefield. It is intense. It is stressful. My family has noticed it and made comments on it, you know, and I don't have the patience to deal with my own children. And what am I going to do if I don't do this? I've got 20 years of expertise invested in this. And I've spent a lot of time learning how to do the things that I do and I enjoy improving it. As of now, she is planning on staying in education. And all of those 20 years have been spent teaching on reservations. She attributes this in part to why she loves her work so much, why she's planning on staying. There is a different level of respect that she sees in these schools and a higher level of appreciation, which goes a long way. But this doesn't mean that there still isn't a lack of professional trust or respect that she feels from being a teacher.  Elizabeth Smith: There's so much micromanaging and so many expectations that are put on us that are really insulting, actually, to our intelligence and to our professionalism. And I understand that there are teachers who are unaware of the ways that they're doing things are unprofessional and unintelligent. So I get the admin has to make some allowances and come up with some plans for how to deal with teachers that are not as aware of themselves and their skills as they should be, you know, so I understand that but the blanket statements.. To address where these blanket solutions may originate from, we are going to take another look at history through a little different lens than what we've been using so far.  When I asked teachers about what pushed them out of education, they echoed Elizabeth's frustrations. Lack of respect was a major reason people left. But this is not new, like the history of inequity in education, the lack of professional respect has been a thread through public education's history. So we are going to pull on that thread and look at the tradition of not valuing or respecting teachers.   Stephanie Reese: As a teacher, you're going to be marginalized, and you're not going to be taken seriously. Ron Ruckman: I think a lot of administrators, They just don't have any idea there, and they don't really think of us as professionals, you know, they don't really think of us as being able to do our job. Christie Chadwick: As a teacher, we're managing all these expectations. And I think that that's not acknowledged by the general population. Teachers want to be seen as professionals. This came up in interviews in reference to being trusted to make decisions about curriculum, in being more autonomous, and in getting paid better. When thinking about why teachers have inherited a lack of professional respect in the present, it might have to do with the American Industrial Revolution: Colby Gull: We were built on an industrial model. Get them in, stick the widget on him and get him out the other side of the door. Right. And that's just not how humans work. This is Colby Gull, he is the managing director for the Trustees education Initiative in the College of Education at the University of Wyoming. Colby has been a teacher, a coach, a principal, and a superintendent. He's run the educational gamut. And he points out that the structure of education does not necessarily promote the growing and sharing of ideas. Colby Gull: And we live in now the idea economy. And we're still not teaching in the idea economy. We're teaching in the industrial economy where you buying and selling goods. But our economy now is based on ideas and sharing of ideas and debating and discussing, and I don't know, people make a lot of money with their ideas.  And this structure of education, this factory style model, which looks similar to the military approach seen with Indian Boarding Schools, started and gained popularity during the American Industrial Revolution at the end of the 19th century. Along with this more industrial model the precedent for the amount of respect teachers received was set. I see several ways in which history has handed down a dismissive attitude toward teachers.  As Common Schools gained popularity in the mid-19th century, young women were also moving to cities for better economic opportunities. And these women were hired as teachers in droves because they could be paid substantially less than men. This compounded since teaching was seen as respectable employment for women - it matched the stereotype that women were naturally nurturing. Both the image of teachers as nurturers and the trouble with pay is consistent with what we see today.  Here's Stephanie Reese, a former PE teacher who left education and became the general manager of Blacktooth Brewing Company. Stephanie Reese: Absolutely money matters. I was in so much debt. You know, with loans, whether they're student loans, or just credit card, or whatever it is, I had a lot in college, had a lot while I was teaching. and teaching just doesn't give you that opportunity.. And  level increases are a fucking joke. Unless you've been in, you've been in I call it like, like you've been in the pen. You've been in for 34 years, you've given one kidney, you have four degrees, master's degrees, preferably doctorate even better, and you've given up your will to live, and those those things will give you more money. Part of the consistently poor pay has to do with the hierarchical structure in education. After the Civil War, the first iteration of the department of education was created, in order to track what the nation's schools were doing. So there was an expectation for the availability of public schooling. Once the American Industrial Revolution hit towards the end of the 19th century, factory jobs boomed. More people flocked to cities meaning there were more kids and more of a need for teachers. With more men transitioning to better paying factory jobs, even more women were moving to the classroom. The large number of women serving as teachers was accepted at a time when women weren't given many professional opportunities. Administrative roles – principals, superintendents, and the like – were held by men. And many high school positions were still held by men. So a hierarchy that prioritized male control and male decision making was very clearly in place. Mark Perkins, a former teacher and administrator and current parent and professor of Educational Research methods at the University of Wyoming, points out that this hierarchy has remained even if the original gendered reasons for its creation haven't. Mark Perkins:  I think there's a power hierarchy. And I don't think that teachers have been empowered enough to express their professional expertise. I think that teachers are approached as a service industry. And so, we want teachers to parrot curriculums. We want them to be experts in their content, as long as their expertise doesn't contradict with our preconceived notions of reality. So I think there's a sociological phenomenon that goes on in schools.  I think it's a common phenomenon. The system of becoming an administrator in some cases  was once based on seniority. So the most senior teacher would inherit the role of principal. This changed when a degree was required to become a principal or superintendent, which also prevented women from gaining access to these administrative positions by making them require a degree because women weren't often able to access such an education. So these days, some administrators are in the position without having had a tremendous amount of time in education, which can make administrator impact or insight into the classroom difficult. Ron Ruckman, who just left teaching after 23 years, explains that the lack of experience can be glaringly obvious for some administrators who are disconnected from the teachers. Ron Ruckman:  You know, and then there's other administrators that just don't want to have anything to do with your classroom, you know, and they want to make decisions, but they don't want to, they don't communicate with you or ask you things. There's a lot of that especially in rural districts. We've spent so much time and money in this district doing initiatives and buying products. And, you know, I can't imagine how much money we've just wasted, you know, buying stuff that, you know, on, based on a good salesman that convinced somebody that they needed it. Whereas had they come and asked us would have been like, no, no, that that would be a really dumb thing to do. That's not going to work. You know, but there's just that kind of an apt idea that teachers really are, you know, don't really know what they're what, you know, they don't really know anything other than their subject. And we're, we're pretty smart. Most of us, you know. (Beeping) This was perfect timing. That beeping was for a fire. Ron is the Battalion Chief for the Pinedale fire department - he has a lot of roles in his community because he is intelligent and capable and because of not being respected for being intelligent and capable, he quit teaching to pursue the other things he's good at.  Some of the ways teachers are not seen as capable has to do with how education is standardized. In the late 19th century, as cities got larger and more and more kids were put into schools, urban schools started to split students into grade levels. Around this time and into the early 20th century, there was a development of what historian David Tyack (Tie-yak) described as the One Best System of education – this saw a focus on specific, easily assessed, and easily sequenced subjects of study. This also did more to highlight non-academic items like good attendance, behavior, and willingness to follow directions, which all aid in creating people who would fit into an industrial economy. This structure was useful when more and more students were placed into a class. And by the early 20th century, politicians and administrators were seeing schools as being a solution to the nation's woes. Traces of these industrialized values are very present in modern classrooms, and it makes Allison Lash, who taught art in New York City and Austin, Texas, sad at what she sees. Allison Lash: A friend of mine had said one thing about why he's doesn't like education is just that you go to school to learn how to work, basically, to get you ready to go out in the world and work. And that's sad. Like, I just want to live. I don't want to worry about working and how to make money and pay your school loans and your bills. It used to bother me that kids would get rewarded for being in school every day. And it's all about money. It's all about how many kids are in their seats every day for the school district to make money. And it was sad, it was sad that kids would win awards for like, being their everyday awards. Like who really cares? They're totally ignoring mental health and even if the kid is sick, you stay home. It's really sad when you go into elementary school and you see the kids quiet and lined up in a line and like “shhhhh,” and I remember teaching that and  I know that I guess order is not wanted, and I don't know if needed is even the right answer. Teach kids to be a good person. The rise of industry during the American industrial revolution also saw a rise in unions and strikes. Because teachers were mostly women, and many of the strikes of the time were more militant and potentially violent, women were less likely to take part in strikes and efforts to gain better pay. This was not helped by the fact that men held leadership positions in education, so they did not make efforts to better the work environments of teachers because these men just weren't affected. The  National Education Association, which was founded in 1857, wasn't just for teachers, so administrators, men, were also in charge of Union happenings. It wasn't until 1910 when Ella Flagg Young was elected as the NEA president that the union started taking more steps to help teachers. But the difficulty in changing and revising educational structures is still present. Chris Rothfuss, a parent and Wyoming State Senator and member of the Senate Education committee, knows this all too well. While we have a coffee in Laramie, Wyoming, Chris explains that change may require a cultural shift inspired by younger generations .  Chris Rothfuss:  I think a large part of the reason why we develop into what we are really is the way this country industrialized and grew and had a middle-class work ethic through the mid-20th century, that shaped a lot of the way things are done. And the philosophy about why things are done, the way they're done, where there is a common viewpoint that I think is handed down from generation to generation that if you just work hard, put your nose to the grindstone, that you will be successful, and things will go your way, and you'll have a good life. I think part of what's changing that, is that this emerging generation is realizing that while that may have been true, a lot of what allowed that to be true, was frankly, taking on debt that is generational debt and handing that debt down to the next generation. So effectively exploiting the future for the benefit of the present. This younger generation isn't enthused about that as they're learning more about it, and rightly so. And they don't see a path to a traditional life as being what they aspire to. A potential reason for major shifts not having occurred in the past might have to do with economic uncertainties. For every economic depression and war to occur in the 20th century, money was pulled from education to help the war or economic problems, but that money was not necessarily given back to education. Teacher pay was often cut when other unionized jobs like factory work was not cut because there was an assumption that teachers, being mostly women, would not need to support their families. During WWII, when more women went to work in factories, those women who were still teaching saw how much better the pay was for the women who went to work in factories. The impact of war and economic troubles also resulted in  a more factory-like structure in the classroom. This was often a result of trying to accommodate a larger student population with less resources, and it was also an easier way to measure student achievement. This created an educational structure that overwhelms teachers, which makes best practices more difficult and stretches teachers thin. Molly Waterworth, who just left teaching this year after 8 years in the classroom, explains the reality of being overwhelmed as a teacher.   Molly Waterworth:  The reality is that if you have 150 kids, there's no way that you're going to grade all of their work in seven and a half hours that you have with them during the day. There's no way. It's just a mathematical impossibility.  The truth is, teachers have inherited being paid poorly, being overworked, and not being treated with respect. Sadly, much of this is associated with the trend of women in the profession within a patriarchal society. And the teaching profession is still dominated by women. The NEA reports that about 3 quarters of teachers are women, and teachers still get payed about 74% of what equivalent degreed professions earn.  So, teachers are leaving education, but the reasons they are leaving are a result of problems that have been percolating since the start of public education in the United States. Efforts at deculturalization seen with the Indian Boarding Schools have left an impact and pattern on modern education, just like the treatment of women and industrialization of education has left an impact on how teachers are currently treated.  This does not mean that public education needs to end, but like any inheritance, we need to acknowledge and deal with the problems. We need to see that there have been attempts to address inequity in education with efforts like Brown v Board in 1954, Title IX in 1972,  and the disabilities act of 1975. But continuing to return to a standardized, one-size-fits-all approach that matches an industrial structure of education just does not work – it doesn't value teacher expertise, nor does it meet the students with unique cultural backgrounds or needs where they are. And because teachers have been tasked with addressing these inequities with limited freedom and trust and resources, many are calling it quits. This needs to change – teachers need to be able to disclaim this inheritance for their sake and for the sake of their students.  Next time, we will look at how the perception of teachers might be influenced by pop-culture.  TEASE: “Robin Williams isn't going to do that.” That will be next time on Those Who Can't Teach Anymore. Thank you for listening. Be sure to subscribe to our podcast, leave a review, and share episodes with everyone you can think of. This episode was produced by me, Charles Fournier. It was edited by Melodie Edwards. Other editing help came from Noa Greenspan, Sarah-Ann Leverette, and Tennesee Watson. Voice Acting by Rory Mack, David Whisker, Rick Simineo, and Markus Viney who also offered editing help. Our theme song is by Julian Saporiti. All other music can be found on our website. A special thanks to Elizabeth Smith, Caskey Russell, Stephanie Reese, Ron Ruckman, Molly Waterworth, Christy Chadwick, Colby Gull, Mark Perkins, and Allison Lash for taking time to sit down and chat with me. This dive into history was greatly aided by two books: American Education: A History by Wayne J. Urban and Jennings L. Wagoner, Jr. and Deculturalization and the Struggle for Equality: A Brief History of the Education of Dominated Cultures in the United States by Joel Spring……This podcast is funded in part by the Fund for Teachers Fellowship.

California Hall of Fame 2022 class. Sac City Unified's fentanyl warning. New majority women Sacramento City Council. Peter Petty's “Hepcat's Holla'Daze Swingin' Yuletide Revue” returns to The Sofia, Home of B Street Theatre.    California Hall of Fame Amanda Meeker, Executive Director of the California Museum, joins us to discuss the latest class of California Hall of Fame. This year's inductees include actor and singer-songwriter Lynda Carter, ice skater Peggy Fleming, and soccer player Megan Rapinoe. Meeker also shares details of the museum's latest exhibits. SCUSD fentanyl warning Zach Didier was a 17-year-old senior at Rocklin's Whitney High School with dreams of attending UCLA. Although Zach was accepted, he would never step foot on campus. The teen's life was tragically cut short by Fentanyl poisoning just days after Christmas in 2020. Zach was just one of the more than 10,000 Californians who died from drug-related overdoses from October 2020 to September 2021, with Fentanyl accounting for more than half of those deaths, according to the state. Since then, the opioid crisis has only worsened. In Sacramento County alone, over 800 people were hospitalized for opioid overdoses in 2021 and claimed the lives of 174 others. In October, we spoke with the Sacramento City Unified School District about its plans to distribute a potentially life-saving drug to prevent poisoning and overdoses on all of its campuses. CapRadio Sacramento Education Reporter Srishti Prabha joined us to provide an update on that effort and how Zach Didier's family and others are sharing their stories.  Sacramento's majority women city council For the first time in 30 years, Sacramento has a women-majority city council. Three of whom are new faces and will be sworn in Tuesday night. CapRadio Sacramento Government Reporter Kristin Lam joins us with an introduction to the new face of the city council as well as a refresher on what these “hyper-local” elected officials do.   Hepcat's Holla'Daze Holiday music and gatherings are a highly anticipated tradition for some, while others may be done hearing the same songs and may dread the return of holiday parties. If the latter is you, there is a scintillating party in Sacramento to shake up the holiday season. Hepcat's Holla'Daze Swingin Yuletide Revue is making a roaring return this weekend at The Sofia, Home of B Street in Sacramento. It's a holiday tradition like no other, with music that promises to transport you back to the height of the "Swing Era." At the center of it all is Band leader and Master of Ceremonies Peter Petty, along with his Jazz orchestra the "Mercenaries of Merry." The ringleader of this swingin' Christmas celebration joined Insight to provide a preview of the celebration.

We continue this week with the second part of the Time-Life Swing Era volume 1942-1944. I first discovered this series when I made a trip to the local library and found a couple volumes in the set. They were on vinyl lps and so I checked them out and transferred them to cassette (kudos to anyone who remembers cassette players and vinyl lps). After I started working at our radio station, someone donated the whole set in the series to us. It's a challenge thinking up topics for the show so I thought this would be an interesting way of remembering all those great hits from the big band era. I hope you enjoy the original recordings from "The Swing Era" 1942-1944 Part 2. Please visit this podcast at http://bigbandbashfm.blogspot.com

Happy Thanksgiving everyone! Welcome to this encore presentation from the Time-Life series, "The Swing Era". Today we return with the volume from the years of 1942-1944. These were the war years but there were still some great recordings made. As I have done in previous shows from the Time-Life series I am playing the original recordings. We'll be hearing from Harry James, Tommy Dorsey, Benny Goodman, Gene Krupa, Les Brown and more. This is a fantastic set with lots of great music. I hope you enjoy this volume in the series, "The Swing Era". Please visit this podcast at http://bigbandbashfm.blogspot.com

Claude Thornhill led several of the most innovative bands of the Swing Era. With french horns, tubas and a clarinet section he created arrangements like "Snowfall" that were almost impressionistic . . by 1947 he was using arrangers like Gil Evans, Gerry Mulligan and Rusty Dedrick who incorporated bebop and soon to be "Cool" influences into his style as well . . great soloists such as Lee Konitz, Danny Polo, Red Rodney, Barry Galbraith and Mickey Folus are also featured on these studio recordings for Columbia and electric radio transcriptions. --- Support this podcast: https://anchor.fm/john-clark49/support

This week wraps of the set from Time Life records set The Swing Era 1941-1942 Part 2. There is some fantastic music in this set and some of the songs we'll be hearing include Blue Flame, Benny Rides Again, Chattanooga Choo Choo, The Mole, Well Git It and many others. These were some of the most popular songs from those two years. As usual I tried to play the original version rather than the recreations. I you you enjoy these great songs from Time Life The Swing Era 1941-1942 Part 2. I hope you enjoy this program that I originally produced in 2015. Please visit this podcast at http://bigbandbashfm.blogspot.com

The months right before and after the beginning of World War 2 had some great music from the big bands. The Time-Life set we are playing from today features many of those songs. We'll be hearing from the bands of Jimmy Dorsey, Benny Goodman, Glenn Miller and many others. As usual I am following the playlist from this set but instead of playing the recreations I am presenting the original recordings if I have them. I hope you enjoy this program that I originally produced in 2015. Please visit this podcast at http://bigbandbashfm.blogspot.com

American Grooves focuses on the pre-1934, pre Swing Era recordings of five Jazz clarinetists - SIDNEY BECHET, OMAR SIMEON, BENNY GOODMAN, JIMMIE NOONE and JOHNNY DODDS

This is part 2 of our look at another volume in Time Life records ambitious project called "The Swing Era". It was a ten volume set with three records included in each volume. Today we turn to the years of 1940-1941. The songs were rerecorded by the bands of Billy May and Glen Gray. I have this set and thought instead of hearing the recreations that it would be interesting to hear the originals. So I'm borrowing the playlist and presenting the original recordings. There are about 30 songs so I'm going to break it up into two parts. I hope you enjoy the music as I present part 2 of the years 1940-1941. Please visit this podcast at http://bigbandbashfm.blogspot.com

1940 - 1941 were good years for the big bands as they were full of great music. For the next two weeks I am going to be playing another program from the Time-Life series, "The Swing Era". This was a really good series presented in two year segments. Each set came with three records and a nice book telling about the music in the set. This is a rerun of a show I produced back in 2015. Due to some family health issues time was short this week. Please visit this podcast at http://bigbandbashfm.blogspot.com

Hello everyone. Today's show is part two of the Time-Life Swing Era set that we started last week. This show featured music from the years of 1939 and 1940. The book that was included in the set was called 1939: A Real Dream Of A Year.  These are recreations of all famous swing songs with the assistance of Billy May Orchestra and Glenn Gray's Casa Loma Orchestra. Vocals by Helen Forrest and Trummy Young except on this show I am playing the oringinal recordings if possible. Please visit this podcast at http://bigbandbashfm.blogspot.com

Hello everyone.  This week's show is a rebroadcast of a two part show I did way back in 2014. Back then I did a series on the Time-Life Swing Era project which was an ambitious undertaking trying to recreate the recording of the swing era but in better sound quality. It was presented in years so today's show is on the recordings spanning 1939-1940. In my show I tried to present the original recordings instead of the rerecordings in the set. It is a great playlist full of your favorite recordings. I hope you enjoy these songs from 1939 and 1940. Please visit this podcast at http://bigbandbashfm.blogspot.com

The Big Band era is generally regarded as having occurred between 1935 and 1945. It was the only time in American musical history that the popularity of jazz eclipsed all other forms of music. To many, the appearance of Benny Goodman and his Big Band at the Palomar in Los Angeles in August of 1935 was the start of the Swing Era. Here in our jukebox are several selections by some of these early bands and a few more contemporary ones.

This is part two of the Time Life records set I started last week. These records were originally recorded in 1971 by Billy May and His Orchestra/Glen Gray's Casa Loma Orchestra. Those were recreations featuring many of the musicians who were on the original recordings. Today's program features the music from the set of 1938-1939. I have this box set and thought that instead of hearing the recreations that it would be interesting to listen to the originals. So I'm borrowing the playlist and presenting the original recordings. Included with the albums was a nice book which told about the swing era. The book from the 1938-1939 set featured an essay on Where Swing Came From. I hope you enjoy the music in part two of Time Life's the Swing Era. Please visit this podcast at http://bigbandbashfm.blogspot.com

This is another volume in Time Life records ambitious project called "The Swing Era". It was a ten volume set with three records included in each volume. Today we turn to the years of 1938-1939. The songs were rerecorded by the bands of Billy May and Glen Gray. I have this set and thought that instead of hearing the recreations that it would be interesting to listen to the originals. So I'm borrowing the playlist and presenting the original recordings. There are about 30 songs so I'm going to break it up into two parts. I hope you enjoy the music in this set. Please visit this podcast at http://bigbandbashfm.blogspot.com

durée : 00:54:55 - Les centenaires jazz de 2022 - par : Alex Dutilh - Ils ou elle sont nés en 1922, autrement dit quand le jazz avait déjà pris son envol. Une génération particulière, adolescente dans la Swing Era, arrivée aux affaires dans le bebop et qui eut à affirmer une voix différente. Dix témoins majeurs de leur époque, par ordre d'apparition. - réalisé par : Fabien Fleurat

durée : 00:54:55 - Les centenaires jazz de 2022 - par : Alex Dutilh - Ils ou elle sont nés en 1922, autrement dit quand le jazz avait déjà pris son envol. Une génération particulière, adolescente dans la Swing Era, arrivée aux affaires dans le bebop et qui eut à affirmer une voix différente. Dix témoins majeurs de leur époque, par ordre d'apparition. - réalisé par : Fabien Fleurat

In this episode, Sab da Sensei and K. Lindo discuss The Swing Era  and Steve Stout. Song featured this episode, D. Grand- Upside Down https://music.apple.com/us/album/upside-down-single/1485485154 Breathwrk App https://apps.apple.com/us/app/breathwrk-breathing-exercises/id1481804500 Follow us on IG @daconnections.pod Email us at daconnectionspod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/daconnectionspod/support

When it opened in 1919, the Hotel Pennsylvania was the largest hotel in the world. Over a hundred years later, its fate remains uncertain. Is it too big to save? After the Pennsylvania Railroad completed its colossal Pennsylvania Station in 1910, the railroad quickly realized it would need a companion hotel equal to the station's exquisite grandeur. And it would need an uncommonly ambitious hotelier to operate it. Enter E.M. Statler, the hotel king who made his name at American World's Fairs and brought sophisticated new ideas to this exceptional hotel geared towards middle-class and business travelers. But the Hotel Pennsylvania would have another claim to fame during the Swing Era. Its restaurants and ballrooms -- particularly the Café Rouge  -- would feature some of the greatest names of the Big Band Era. Glenn Miller played the Cafe Rouge many times at the height of his orchestra's fame. He was so associated with the hotel that one of his biggest hits is a tribute -- "Pennsylvania 6-5000." The hotel outlived the demolition of the original Penn Station, but it currently sits empty and faces imminent demolition thanks to an ambitious new plan to rehabilitate the neighborhood. What will be the fate of this landmark to music history? Is this truly the last dance for the Hotel Pennsylvania? boweryboyshistory.com Listen to the official Bowery Boys playlist inspired by this episode on Spotify. If you like the show, please subscribe and leave a rating on iTunes and other podcast services. Support the show: https://www.patreon.com/boweryboys See omnystudio.com/listener for privacy information.

WETF Show - Clarence Williams Jugs and Washboards - 1930's. Small Groups featuring Ed Allen, Eva Taylor, Cecil Scott, Willie "The Lion" Smith, Cyrus St. Clair and others. Great small group swing in the Depression, leading to the Swing Era. --- Support this podcast: https://anchor.fm/john-clark49/support

This time I have a sample flexi record from Time-Life records called the Swing Era. It was a sample sent in the mail back in the early 1980s, to get people to buy collections of music. This was long before computer downloads and streaming music. Enjoy --- Send in a voice message: https://anchor.fm/don-williams8/message

In this series of glimpses into the world of jazz guitar, Hot Box 68 finds perhaps the most important guitarist of them all – Charlie Christian. He was born in 1916 and sadly died of tuberculosis when just 25 years old, but he'd already established the amplified guitar as a permanent part of the instrumental repertoire of jazz, and gone part of the way in leading jazz out of the Swing Era and into Bebop and modern jazz. Other prominent players in the “C” file include Larry Coryell, Steve Cardenas and Philip Catherine. An hour of guitar with a wide range of styles.

In this series of glimpses into the world of jazz guitar, Hot Box 68 finds perhaps the most important guitarist of them all - Charlie Christian. He was born in 1916 and sadly died of tuberculosis when just 25 years old, but he'd already established the amplified guitar as a permanent part of the instrumental repertoire of jazz, and gone part of the way in leading jazz out of the Swing Era and into Bebop and modern jazz. Other prominent players in the “C” file include Larry Coryell, Steve Cardenas and Philip Catherine. An hour of guitar with a wide range of styles.

During the 1940s Swing Era, certain big bands began to popularize a saxophone style that would become known as the "Texas Tenor" sound. Nick Morrison’s going to take us back to the beginning of that sound and follow its evolution from the big-band era to 1960s soul music.

Paul Ricci - unheard clarinet of the Swing Era! Centered around six virtually unknown trio (clarinet and piano with Carl Kress on guitar) recordings from 1938, this salute to Ricci includes sides he did with Joe Haymes (featuring Joe Venuti), Dean Kincaide (with Yank Lawson, Cutty Cutshall and Peanuts Hucko), Brad Gowans (Billy Butterfield and Joe Dixon), Bob Howard (Bunny Berigan and Frank Signorelli), Miff Mole (Harry James) and two rare and very original recordings by the Carl Kress Quintet --- Support this podcast: https://anchor.fm/john-clark49/support

Brenda Dixon Gottschild is the author of Digging the Africanist Presence in American Performance: Dance and Other Contexts; Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era (winner of the 2001 Congress on Research in Dance Award for Outstanding Scholarly Dance Publication); The Black Dancing Body–A Geography from Coon to Cool (winner, 2004 de la Torre Bueno prize for scholarly excellence in dance publication); and Joan Myers Brown and The Audacious Hope of the Black Ballerina-A Biohistory of American Performance. Additional honors include the Congress on Research in Dance Award for Outstanding Leadership in Dance Research (2008); a Leeway Foundation Transformation Grant (2009); the International Association for Blacks in Dance Outstanding Scholar Award (2013); the Pennsylvania Legislative Black Caucus Civil Rights Award (2016); and a Pew Fellowship in the Arts (2017). A self-described anti-racist cultural worker utilizing dance as her medium, she is a freelance writer, consultant, performer, and lecturer; a former consultant and writer for Dance Magazine; and Professor Emerita of dance studies, Temple University. As an artist-scholar she coined the phrase, “choreography for the page,” to describe her embodied, subjunctive approach to research writing. Nationwide and abroad she curates post-performance reflexive dialogues, writes critical performance essays, performs self-created solos, and collaborates with her husband, choreographer/dancer Hellmut Gottschild, in a genre they developed and titled “movement theater discourse. Our guest's decades of experience are shared with Adenike and Natasha in an intimate conversation about the creative process, and the way racism pulls at the time and energy of Black people, particularly women/femmes. We also discuss embodiment, self-concept and more! Our collaboration culminates in a visceral vocal improvisation that we can't wait for y'all to hear! Check the BCH Study Room link in our bio for more on Brenda, with easy access to additional links from previous episodes! Link to transcript: https://share.descript.com/view/nAYy4p0MJOk Links to content discussed in this episode: Brenda's website (where you can find information to purchase her books, and more!): https://bdixongottschild.com Yvonne Daniels: Embodied Knowledge (Book): https://books.google.com/books/about/Dancing_Wisdom.html?id=nhCRJ4u_CYIC Frank Wilderson - Afropessimism (Book and Theoretical framework): https://wwnorton.com/books/9781631496141 Afro-futurism (Theoretical framework): https://newsroom.ucla.edu/magazine/afrofuturism Somatic Self-Portrait Exercise: TikTok created by Natasha to demonstrate: https://www.tiktok.com/@blackcreativehealing/video/6937759473989717253 --- Support this podcast: https://anchor.fm/black-creative-healing/support

WETF Show Here's Your Change - Toots Mondello! Hardly anyone knows his name anymore, but Toots was one of the great lead alto players of the Swing Era . . he was also an excellent soloist on alto and clarinet - hear his work with his own group (including two tunes of the Rudy Wiedoeft variety with a trio), Benny Goodman, Lionel Hampton (with Ziggy Elman, Ben Webster, Jerry Jerome, and Clyde Hart), Dick McDonough (with Bunny Berigan and Adrian Rollini), Bob Haggart (Chris Griffin, Peanuts Hucko and Paul Ricci), and Deane Kinkaide (Peanuts Hucko, Yank Lawson and Cutty Cutshall) --- Support this podcast: https://anchor.fm/john-clark49/support

Welcome to The R&B N' Chill Podcast. On this episode (23), DeVonta' and Bev talk about one of the greatest era's in music, The New Jack Swing Era. They talk to the 'Holy Trinty' of NJS: Teddy Riley, BabyFace, & LA Reid and how this era of music changed the music industry.Intro Song: #BevBivDeVoe| Poison1st Song:#Levert | Casanova2nd Song: #MichaelJackson | Remember The Time 3rd Song: #BobbyCruel | Don't be Cruel4th Song: #AlBSure | Nite N' Day Outro Song:#WhitneyHouston | I'm Your Baby Tonight Become a Patreon! Become apart of the T.H.C. Family: https://www.patreon.com/creator-homeFollow us on Social Media:Instagram:www.instagram.com/rbcpodcastFacebook:https://www.facebook.com/RBCPodcastIf you're interested in collaborating becoming an Advertising Partner with us and The THC Network, please click below for information. https://tyronzahicksco.wixsite.com/vontasworld/brandpartnersIf you would like to make a donation to our podcast & network, click the link below:https://tyronzahicksco.wixsite.com/vontasworld/donate

On this week's episode, we look back at the New Jack Swing era of R&B. Obviously when we think about NJS, we think of Teddy Riley, Keith Sweat and GUY, but there are so many other names that we had to talk about in this episode. Names that you'll see on this episode are Christopher Williams, Al B. Sure, Karyn White, Jade and Men At Large. We look at the beginnings of the sound as well as the evolution of it from the likes of Michael Jackson, TLC and Boyz II Men. We also talk about some of the biggest hits from that era including "Poison". Lastly we talk about the death of that sound as R&B transitioned to Hip Hop Soul thanks to Mary J. Blige and Jodeci. 0:04:30 - The NJS sound 0:07:45 - The impact of NJS on 80's R&B artists 0:12:31 - Looking back at Keith Sweat, Al B. Sure, GUY 0:19:36 - Michael Jackson experimenting with the sound on the "Dangerous" album  0:21:00 - Bobby Brown's "Don't Be Cruel" and New Edition's "Heart Break"  0:26:10 - LaFace's New Jack Swing/R&B sound with Toni Braxton and TLC  0:31:33 - Was Janet Jackson's "Control" album the start of New Jack Swing? 0:34:00 - The Fresh Prince of Bel Air's impact  0:36:00 - Looking back at Jodeci's and Mary J. Blige's albums 0:53:48 - Did Dr Dre kill New Jack Swing with the G-Funk era?  

Chick Webb and Ella Fitzgerald - Live in 1939 and 1940! One of the most exciting of the Swing Era bands - Chick Webb's group is captured in real life form on two broadcasts in 1939 and one (after Chick's death1940. Featuring Taft Jordan, Bobby Stark, Sandy Williams, Garvin Bushell, Eddie Barefield, Teddy McRae, Tommy Fulford, Ram Ramirez, John Truehart, Beverly Peer, Webb and Bill Beason with Ella singing. --- Support this podcast: https://anchor.fm/john-clark49/support

WETF show - Frankie Newton and Pete Brown - a great tandem of trumpet and alto sax who appeared together on numerous sessions in the 1930's . . Newton's Uptown Serenaders, Midge Williams, Willie "The Lion" Smith, Buster Bailey, Jimmy Noone and Jimmie Gordon. In addition to Newton, Brown, Noone, Bailey and Smith, hear Sammy Price, Edmund Hall, Cecil Scott, Don Frye, O'Neil Spencer and Teddy Bunn . ..some of my favorite small group sides of the Swing Era. --- Support this podcast: https://anchor.fm/john-clark49/support

These are the twelve sides recorded by, I would argue, the greatest edition of the Fletcher Henderson Orchestra. In effect a swan song, these were recorded in the fall of 1934 for the brand new Decca label just before the band broke up in November, with Henderson moving on to begin his association with Benny Goodman before reforming his band in 1936. This group features solos from just about everyone except lead trumpet Russell Smith . .Irving Randolph and Red Allen on trumpets, Keg Johnson and Claude Jones on trombone, Hilton Jefferson, Russell Procope and for one number Benny Carter on alto sax, Ben Webster on tenor sax, Buster Bailey on clarinet, Fletcher and Horace Henderson on piano, Lawrence Lucie on guitar, Elmer James on bass and Walter Johnson on drums, with arrangements by the Hendersons, Carter, Russ Morgan and Will Hudson. The first recordings of the Swing Era were these! --- Support this podcast: https://anchor.fm/john-clark49/support

From 1939 until his disappearance in 1942, Glenn Miller was the most successful of all the Big Bands of the Swing Era. See omnystudio.com/listener for privacy information.

From 1939 until his disappearance in 1942, Glenn Miller was the most successful of all the Big Bands of the Swing Era.         See omnystudio.com/listener for privacy information.

It is time for the first ever Sound of History Battle of the Bands! Mika hears the stories of Benny Goodman and Count Basie, two of the biggest bandleaders through the Swing Era, and then decides who should be the real King of Swing. Who do you think is the King of Swing?  Follow us on Social media!  Facebook: https://www.facebook.com/SoundofHistory/ Twitter: https://twitter.com/soundofhistory_ Videos in This Episode:  "He's Not Worth Your Tears" by Benny Goodman: https://www.youtube.com/watch?v=WNvbPeJ6bDw  "Moonglow" by Benny Goodman: https://www.youtube.com/watch?v=sHcneaZIvVM   Benny Goodman's iconic Carnegie Hall Performance: https://www.youtube.com/watch?v=tGP2SM4OTM4  "Rumba Negro" by the Kansas City Orchestra: https://www.youtube.com/watch?v=4MX01XJMjj8   "One O'Clock Jump" by Count Basie: https://www.youtube.com/watch?v=g3JyQnYPkZk   Count Basie and Band in Reveille with Beverly: https://www.youtube.com/watch?v=w_my8dhgHeM  Count Basie with Frank Sinatra: https://www.youtube.com/watch?v=_-_wI2fF58w  

Breaking down the origins of New Jack swing created by Teddy Riley from the group guy

There's a Swing Dance coming up this Friday, Feb 26th at 7pm at the Bainbridge High School Commons. And it's a fun way to provide a fundraising benefit for the BHS band program. In this podcast, BHS Radio Club member Finn Mander interviews Chris Thomas who is the Director of Bands at BHS. As further described in this BCB podcast, there will be refreshments, two live jazz band performances (composed entirely of BHS students), and dance lessons provided by a professional, namely, popular local dance instructor Sheila Phillips. Imagine going back to the 1920s to the “roaring twenties” and the “Swing Era.” They were jazz eras like no others. The Bainbridge High School band program is hosting this swing dance evening featuring music from those eras. Swing dancing is a popular dance form that developed along with the jazz musical style of the same name between the 1920s and 1940s. The swing style is based on the focus of the off-beat, meaning that if there were four beats (1,2,3,4), it would focus on every second beat (1, TWO, 3, FOUR) rather than the first and third (ONE, 2, THREE, 4). Instrumentally, the band is based on a strong low section including low brass such as Trombones, and rhythm sections such as Drums, Piano, and Auxiliary, and a featured melodic group made up of reed instruments such as Saxophones and Clarinets and high brass instruments such as Trumpets. Soloists almost always perform during these musical pieces and when they do, it is often improvised meaning that they are coming up with their solo as they are playing it, rather than reading off of music. Swing music and big band music are incredibly fun to dance to, and if you're not into dancing, it's also fun to sit and listen to. Tickets are available for $12.00 online at the BHS Band website, or at the door for $15.00. Students with ASB cards can purchase tickets for $8.00 online, or at the door for $10.00. Credits: BCB host and audio editor: Finn Mander; BCB social media publisher: Barry Peters.