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3 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
2 episodes with Teen Angel
Joe Gash (Rock of Ages / Grease) co-hosts The West End Frame Show!Andrew and Joe discuss Midnight Cowboy (Southwark Playhouse Elephant) as well as the latest news about Six breaking cinema records, Alexia McIntosh reprising her performance as Anna Of Cleves, Pop Off, Michelangelo! casting and lots more.Joe recently played Teen Angel and Vince Fontaine in the UK tour of Grease, having previously played Kenickie for Royal Caribbean. His other credits include playing Lonny in Rock Of Ages (UK Tour) and Galileo in We Will Rock You (Royal Caribbean).Joe also works extensively as a rock singer. He appeared as Freddie Mercury on Starstruck (ITV) and tours with The Darkniss (the no.1 Darkness Tribute Show) and The Glam Rock Show.Follow Joe on Instagram: @joegashhThis podcast is hosted by Andrew Tomlins. @AndrewTomlins32 Thanks for listening!Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.
Hey everyone! It’s Teen Angel! The Angel that was a Teen! He’s dead now! They made sure of that! For this hilarious (debatable) comedy! Wow! He’s solving his friends problems? Or making new ones? He’s only going to be doing it for 17 episodes though, so you better figure out your life by then! He… Read more S9:E3 – Teen Angel – Family Channel Promo
In the next clip of our exclusive sit-down interview with Los Angeles graffiti legend TOOMER TKO, he takes us back to the gritty streets of downtown LA, where gangs ruled the blocks and danger was around every corner. As he rose to fame, Toomer navigated this intense landscape with caution, sharing how he skillfully avoided conflicts with gang members while painting his name across the city. He also opens up about a pivotal moment in his journey—the first time he picked up a copy of the iconic Teen Angel magazine. This magazine, filled with prison art and stories from LA's street gangs, became an early source of inspiration that fueled his drive to become a Los Angeles legend. --- Support this podcast: https://podcasters.spotify.com/pod/show/richard-castro63/support
Un nuevo spin-off exclusivo para repasar la serie completa. Cer0 revisitará a Glee de canción en canción para recordar los momentos en los que las voces de New direction hicieron historia. Y por supuesto, los dramos detrás de cámara. Cada jueves un nuevo episodio, como en los viejos tiempos. Redes y cositas: linktr.ee/obsecine
Clairsy & Lisa opened the phones to ask, How did they wreck the house after a man in London discovered a cannabis farm inside his rental property. Hayden Young from the Freo Dockers spoke to Clairsy & Lisa ahead of their Hawthorn clash in Tassie this weekend. Adam Simpson got the sack from The Eagles so Clairsy & Lisa went straight to Adrian Barich to get the lowdown on how it all happened and what happens next. Clairsy & Lisa spoke to Hoppo from Bondi Rescue as the show launches it's 18th season. Grease The Musical is in town and so is Marcia Hines taking on the role of Teen Angel, she told Clairsy & Lisa all about it. In The Shaw Report, some big news on two new movie sequels that are on the way, The Devil Wears Prada and another Shrek movie plus is Eminem going to be headlining Glastonbury next year? Lisa has all the details.See omnystudio.com/listener for privacy information.
She's an icon of Australian music, Marcia Hines is now playing Teen Angel in Grease The Musical and she's coming to town for some solo shows as well, she spoke to Clairsy & Lisa about playing Teen Angel and also what we can expect from her shows.See omnystudio.com/listener for privacy information.
Australian music legend Marcia Hines stops by Ramble City. We cover starting her career in Boston USA, moving to Australia, Gospel music, Woodstock, performing in Hair music at 16(!), what she would do starting out in the business today and lots more!RAMBLE CITY is hosted by award wining Singer/songwriter Bradley McCaw, musing on art & life with artists & sportspeople from around the people. Welcome to RAMBLE CITY.This interview was originally recorded in late 2021. Follow Brad everywhere @bradleymccawofficialBrought to by True Arts Podcast NetworkCreated, produced, hosted & engineered by Bradley McCaw.Original sound design by Matt Erskine at Crosspoint SolutionsOriginal Video designed by Adam Shaw at Axis Productions Theme composed by James RyanWatch video of this episodeListen to Marcia Hines'Once We Get Started'Listen to Bradley McCawFollow Brad everywhere @bradleymccawofficialBrought to by True Arts Podcast NetworkThis interview was originally recorded in late 2021. Created, produced, hosted & engineered by Bradley McCaw.Original sound design by Matt Erskine at Crosspoint SolutionsOriginal Video designed by Adam Shaw at Axis Productions Theme composed by James RyanAbout Marica Hines: Australia's beloved musical treasure Marcia Hines, with a career spanning five decades, has released 22 albums, selling 2.6 million copies, and has garnered countless chart-topping singles and multiplatinum records globally.Marcia is an inspiration to women and Australians everywhere, constantly reinventing herself and setting industry benchmarks. She moved from Boston Massachusetts to Sydney in 1970, at just 16, to star in the Australian production of Hair and then became the first black woman to star in Jesus Christ Superstar. She is an inspiration to women and Australians everywhere, constantly reinventing herself and setting industry benchmarks.Marcia was Australian Idol's favourite judge for the original show's seven consecutive years and returns to the judging panel for the Seven Network's reboot in 2024. She was inducted into the ARIA Hall of Fame in 2007 and in 2023 she received the Support Act Music in the House Award for Excellence in the Community. This award and the Order of Australia (AM) received in 2009 acknowledged her services to the Australian entertainment industry as a performer, judge, mentor and the extraordinary contribution she has made to the community through a range of charitable organisations.Since 2015 Marcia has starred in the circus/burlesque/discotheque spectacular Velvet, directed by Craig Ilott and now a global success story with shows running in Europe and North America. Velvet morphed into Velvet Rewired in 2023 and Marcia reprised her role in a sell-out Australian tour that included eight weeks at the Sydney Opera House. There have been other productions including Pigalle for the Sydney Festival, Saturday Night Fever at Sydney's Lyric Theatre, and in 2020 she became ‘The Dragon' in the Australian season of Shrek The Musical. In January 2024 Marcia will return to the theatre stage in the role of Teen Angel in the new John Frost/Crossroads Live production of Grease.It has now been over 50 years since Marcia first arrived for Hair and to celebrate this extraordinary career, ABC Records has released ‘Still Shining', a 22-song celebration of her amazing journey. From ‘Fire and Rain' to ‘What I Did For Love' to ‘From The Inside' to elegant, up tempo discotheque standards like ‘You' and ‘Your Love Still Brings Me To My Knees', ‘Still Shining' is a fitting tribute to a great Australian. There are also two new songs produced by the LA-based Australian producer/composer, Michael Fatkin.A new album ‘The Gospel According to Marcia', celebrating Marcia's musical roots and memories from her childhood in Boston and her early experiences with gospel music is released on Friday 3 November through ABC Records.It is a story of strength, commitment and relationship to an audience that has loved and admired her from the day she first arrived and became part of Australian culture. Marcia Hines is a wonder to behold and remains at the very forefront of modern musical endeavour.
Australian music legend, Marcia Hines joins Ray to talk about her new role as Teen Angel in Grease The Musical.See omnystudio.com/listener for privacy information.
Writer From The Simpsons, F Is For Family, And Lego Star Wars Talks Tv And Movies#writer #TheSimpsons #FisforFamily #lego #StarWars #television #nostalgia #cartoons #MichaelPrice(Wikipedia)Michael Price (born October 22, 1958) is an American writer and producer, best known for his Emmy and Writers Guild award-winning work on The Simpsons. Price is a writer and co-executive producer of the ABC series Teacher's Pet. He served as a script consultant on The Simpsons Movie and wrote the Lego Star Wars special, Lego Star Wars: The Padawan Menace. He works at Lucasfilm writing and producing Lego Star Wars Franchise.Other television shows he has written for include What About Joan?, The PJs, Teen Angel, Homeboys in Outer Space, The Newz and One Minute to Air.Price co-wrote and co-produced the Bill Burr series F Is for Family in 2015 on Netflix. The show is an Animated sitcom, and draws from Burr's standup.He grew up in South Plainfield, New Jersey, and attended Montclair State University, where he earned a B.A. degree in Theatre Arts, and Tulane University, where he earned a Master of Fine Arts degree in directing for the theatre.Instagram: https://www.instagram.com/mikepriceinla/The Vibes Broadcast Network - Podcasting for the fun of it! Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/For all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!
Are you ready to have all of your beliefs challenged? This week, Erin and Cameron paid obeisance to the forgotten 90s sitcom -- TEEN ANGEL.
Harvey Brownstone conducts an in-depth Interview with Taylor Hicks, Winner, “American Idol”, Singer/Songwriter About Harvey's guests: Today's guest, Taylor Hicks, is an immensely popular singer who became a global sensation in 2006 when he won Season 5 of “American Idol”, beating out Katharine McPhee, Chris Daughtry, and Kellie Pickler. Since then, he's gone on to make history. His first album with Arista Records went platinum, he's the first male American Idol winner to be featured on a Grammy-winning record, and he's the first American Idol winner to land a prestigious Las Vegas residency. And get this: he made the cover of People Magazine when they named him the Hottest Bachelor of 2006. His energetic stage performances and unique blend of classic rock, soul, blues, country and R&B, have earned him a HUGE and very enthusiastic following of devoted fans known as the "Soul Patrol". His versatility as an entertainer has given him a multi-faceted career, not only in music, but in theatre, television and movies. He starred on Broadway as the “Teen Angel” in “Grease. He appeared as himself and performed his hit song “Porch Swing” in the 2021 movie “Stars Fell on Alabama.” On television, he appeared on “Law & Order: SVU”, and he hosted the popular show, “State Plate” for 3 seasons, which won the Synopsis TV Award for Best Reality Series in the Travel category. He's currently on a North American tour called “Night Moves”, playing to sell-out audiences, performing his hits, as well as many Bob Seger classics. And if all of that weren't enough, he's also a co-owner of Saw's Juke Joint, in his hometown of Birmingham, Alabama. His restaurant was named one of the “25 Best Barbecue Spots in America” by Men's Journal. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Taylor Hicks, go to:http://www.taylorhicks.com/https://www.facebook.com/TaylorRHicks/https://www.instagram.com/taylorhicksofficialhttps://twitter.com/TaylorHickshttps://www.youtube.com/user/TaylorHicksTV/videoshttps://open.spotify.com/artist/3E3tW69eMfAffLGgsmP3GG?si=33EIXILpShSd6sZWsn6oTghttps://itunes.apple.com/us/artist/taylor-hicks/154185360 #TaylorHicks #harveybrownstoneinterviews
Memo Chop is an all around car and bike builder. Believe it or not, he's been cruising lowriders and chopper motorcycles since the 50's and 60's. His famous 37' Chevy became an icon when good friend Teen Angel recreated it on a cover with La Vírgen de Guadalupe. Memo becomes emotional reminiscing of his good friends' honorable mention. He might be best known for his custom car building but make no mistake, Memo has made his mark on lowriders and custom choppers world. Here's to Memo and all the other OG Chicano builders.
Perth music lovers will need to be fast as tickets to Grease the musical are on sale! The revamped production will be featuring Maria Hines who will star as “Teen Angel”, the international star Hines told Julie-Anne Sprague on 6PR Afternoons she may not be the lead but is thrilled to be a part of a famous production. See omnystudio.com/listener for privacy information.
October 18-24, 1997 This week Ken welcomes author Mark Guyer. Mark and Ken discuss living in upstate/Central New York, how New York State isn't New York City, Halloween viewing, Nostalgiamares Series, Phantom Delivery, classic youth horror books, Fear Street, having your own TV, being a tween, not remembering your childhood Halloween costumes, how dressing as Darth Vader can help with bullying, Due South, Burgess Meredith, Nothing Sacred, Hot Priests, Gene Siskel so Horny, what Siskel did to Betsey Palmer, how awful Saturday Night Fever is, Guides to Halloween episodes, Blackula, Gregory Hines Show, The Night Stalker, Nosferatu, ABC Sitcoms, anti-Trick or Treating, how 21st Century Kids don't get to truly enjoy Halloween, how the world is NOT more dangerous for kids now, the purity of Halloween, how working in retail makes you hate Christmas, Team Knightrider, The Real World Boston, The Tonight Show, bringing Kenan and Kel together again, SNICK, failing the All That! challenge, Are You Afraid of the Dark?, why some 80s actors don't work much these days, Deadly Friend, Wes Craven, VHS rentals, when younger people are smarter and more insightful than you, how rare it is to have a young child as a protagonist, Stephen King, how Horror is inherently left wing, hopeful sadness, Hey Arnold!, Cybill, Alex Mac, how Tuesdays were all about Buffy and Angel, living Annie Potts and Tim Curry, Spin City, being replaced by Charlie Sheen, Baywatch, Meego vs. Boy Meets World, the end of TGIF, You Wish, Teen Angel, Sabrina The Teenage Witch, Dee Snider, Millennium, dying standing up, Nash Bridges, and a Cheer in a very negative week.
In this episode Steffan and Bobby chat to singing sensation Peter Cumins who is currently playing the Teen Angel in Grease for Royal Caribbean! His previous credits include Priscilla Queen of the Desert, The Boy from Oz, Legally Blonde, Mary Poppins and the Pirates of Penzance. They discuss his experiences of growing up gay in Perth, his switch from Perth to London and his journey with therapy. Enjoy the episode! Our brand new online coaching service Fit2 Perform has launched!! Check it out at www.fit-2.co.uk Join Fit2 Perform today and start your journey towards a stronger, healthier, and more confident you!! Don't forget to leave us a rating and a review (preferably 5 stars!) and if you've got any questions you want answered, head to Instagram @fit2_talk and slide into those DM's!
On this episode of Our American Stories, not many teen idols are able to carve a successful career for themselves as they mature, but Frankie Avalon is one of these exceptions. Avalon had 31 Billboard singles, including number one hits, "Venus" and "Why" in 1959. Avalon is also well-known for his role in the musical film Grease as Teen Angel, in which he sings "Beauty School Dropout." He appeared on American Idol to sing for Simon Cowell on his birthday. Here's Frankie Avalon to tell his story! Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.
The rescue efforts are continuing in Ukraine after Tuesday's breach of the Kakhovka dam. 30 communities along the Dnipro river have been flooded according to officials. Now the Red Cross has raised concerns that land-mines have been dislodged in the flooding. Kate Zhuzha is from Nova Kakhovka where the dam has collapsed and is the Founder of NGO Union of Help to Kherson in touch with people in the flooded areas. She talks to Krupa about the latest reports. Lindsey Burrow has been caring for her husband, the former rugby league star Rob Burrow, since he was diagnosed with Motor Neurone Disease in 2019. Last month, she took part in her first marathon, The Rob Burrow Leeds Marathon, and raised over £100,000 towards a new specialist Motor Neurone Disease Centre to be built in her husband's name. She talks to Krupa about fitting in her training with family and work life and exploring the wider impact of MND in a documentary she filmed for ITV, Lindsey and Rob: Living with MND. Louise Redknapp is celebrating 30 years in music. She had 18 top 20 hits with the R&B band Eternal and during her solo career she sold more than 15 million records overall. Louise has just released a Greatest Hits album with 30 tracks, and a new single High Hopes. Having reached the final of Strictly Come Dancing and performed in Cabaret and the musical 9 to 5, she has now returned to the West End stage in Grease as The Teen Angel, the first time the role has been played by a woman in the UK. She joins Krupa Padhy to discuss her career. Bregje Hofstede, a writer, could not sleep for a decade. Driven to desperation, she started with the obvious interventions, then tried every trick and remedy she came across until at last she managed to re-frame her problem and found a solution that worked for her. She joins Krupa to discuss her book, In Search of Sleep, where she documents her experiences and tries to understand the science, psychology and culture of sleeplessness. Presenter: Krupa Padhy Producer: Rebecca Myatt Studio manager: Michael Millham
Welcome to the Instant Trivia podcast episode 785, where we ask the best trivia on the Internet. Round 1. Category: "pepper" 1: Pizza lovers should know that this topping is actually a highly seasoned sausage made of pork and beef. pepperoni. 2: She first called Charlie Brown "Chuck" in a comic strip that appeared on August 24, 1966. Peppermint Patty. 3: In 1962 this baking company added Goldfish crackers to its product line. Pepperidge Farm. 4: In the 1967 hit "Jackson", Johnny Cash and June Carter sang, "We got married in a fever, hotter than" 1 of these. a pepper sprout. 5: On "Police Woman" Angie Dickinson played a cop with this name (which made her sound like a Beatles album). Sgt. Pepper. Round 2. Category: working without annette 1: Before teaming with Annette Funicello, Frankie Avalon appeared in this 1960 John Wayne western (not as Davy). The Alamo. 2: With no help from Annette, Frankie Avalon was born in this year in which Germany invaded Poland. 1939. 3: With Annette nowhere in sight, Frankie Avalon played a 39-year-old Teen Angel in this 1978 musical film. Grease. 4: Annette Funicello did not do backing vocals on this 1959 Frankie Avalon hit song about a Roman goddess. "Venus". 5: Annette Funicello was not on board when Frankie starred in this 1961 sci-fi "voyage" directed by Irwin Allen. Voyage to the Bottom of the Sea. Round 3. Category: 1999 films 1: In this film high school teacher Matthew Broderick gets involved with the campaign for student council. Election. 2: A jazz guitarist is the subject of this director's "Sweet and Lowdown". Woody Allen. 3: What part did this Irishman play in "End of Days"? Could it be...Satan?. Gabriel Byrne. 4: "Music of the Heart" was directed by this man, more known for his nightmares. Wes Craven. 5: Once Mighty Joe Young's girlfriend, she played the wife in "The Astronaut's Wife". Charlize Theron. Round 4. Category: a category full of holes 1: A par 3 golf course often has this many holes, half as many as a regular course. 9. 2: Beginning a series of strange adventures, a young girl follows a rabbit down a hole in this 1865 work. "Alice in Wonderland". 3: Known as "eyes", the holes in this "national" dairy product, such as Emmentaler, help determine its quality and taste. Swiss cheese. 4: It's where you would be if you dug a hole straight down 3,963 miles deep. center of the Earth. 5: The hole in this develops every spring over Antarctica and lasts for a few months. ozone layer. Round 5. Category: i played 'em on tv 1: Captian James T. Kirk, Boston lawyer Denny Crane. William Shatner. 2: Jeannie Bueller, Rachel Green. Jennifer Aniston. 3: Dr. John Becker,Sam Malone. Ted Danson. 4: Stacey Colbert,Dr. Sloan Parker,Grace Adler. Debra Messing. 5: Samantha Micelli, Jennifer Mancini,Phoebe Halliwell. Alyssa Milano. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
It's really Spring- everything is in bloom and allergies abound!! We love this time of year, nature is waking up and the sun is shining a bit more. A great time to go outside, take a deep breath, and listen to some inspiring stories. While you check out those new blooms, think about the honeybees, and how they need our help. Teresa will talk about a way to help the bees using some science and easier methods as well. Colleen talks about her teen idol, the amazing Olivia Newton John, who besides having such a huge impact on entertainment, also made an impact on the fight against cancer. And then Teresa will talk about the little-known, but absolutely fearless Kitty O'Neil, a deaf woman who broke the rules and the world records. Something for everybody in this episode!#WeStandWIthUkraineWe would love to hear from you. Send us your comments or even your own inspirational stories at tangentialinspiration@gmail.com or give us your comments on our website, TangentialInspiration.com.Follow us on our social media:Website: https://tangentialinspiration.com/ Instagram: tangentialinspirationpodcast Facebook: https://www.facebook.com/tangentialinspiration Twitter: https://twitter.com/TangentialInsp1Produced and Edited by Craig Wymetalek
This week Mikey & Jeremy commentate on a personally curated lineup of TGIF shows. They dicuss Urkele's aversion to bully's, Mr. Cooper's living arrangements, and the rules of being a Teen Angel.
Next Friday on Before the Downbeat it's the season finale episode of Season 4! So join Autumn and Mackenzie and our theme music composer Brody Weld as they head back into the 1950s and get ready to hand jive and discuss a musical all three of them have been apart of Grease! Hear them explore whether this musical has truly captured the teenage spirit. They debate which couple is better and more well develop Sandy and Danny or Rizzo and Kenickie. Plus hear their thoughts on if the iconic film adaptation has helped or hindered this musical. All of this and a visit from Teen Angel on next Friday's all new episode! Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. Facebook Instagram Twitter
On this episode of Our American Stories, not many teen idols are able to carve a successful career for themselves as they mature, but Frankie Avalon is one of these exceptions. Avalon had 31 charting U.S. Billboard singles from 1958 to late 1962, including number one hits, "Venus" and "Why" in 1959. Avalon is also well known for his role in the 1970s musical film Grease as Teen Angel, in which he sings "Beauty School Dropout" to Frenchy. He's recently appeared on American Idol to sing for Simon Cowell on his birthday. Here's Frankie Avalon to tell his story! Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.
Frankie Avalon was one of the original teenage heartthrob idols of the 1960's/70's. The star of many films of the 60's like Beach Blanket Bingo and Beach Party, he is forever identified with his co-star Annette Funicello. Avalon is perhaps best known to a later generation for his role in the 1970s musical film Grease as Teen Angel, in which he sings "Beauty School Dropout" to Frenchy. He had 31 charting U.S. Billboard singles from 1958 to late 1962, including number one hits, "Venus" and "Why" in 1959. Little known was his lucky break in December 1952, when Avalon made his American network television debut playing the trumpet in the Honeymooners "Christmas Party" sketch on The Jackie Gleason Show. In his 80's, and looking 30 years younger, Avalon still performs in Vegas and elsewhere and credits his youthful looks and energy to a line of Health Products he sells that you can learn more about on his website www.frankieavalon.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
This month, it's another game of "wrong answers only" as the boys try to guess how yet another Fantastic Four film adaptation can go badly. Also, Terminator 2 trivia and discussions on What We Do in the Shadows, Pinocchio (2022), Samaritan, Teen Angel, and An Evening with Beverly Luff Linn. Help us raise money for Children's Miracle Network Hospitals, and maybe win a prize in the process! https://www.extra-life.org/index.cfm?fuseaction=donorDrive.team&teamID=60649 Please rate and subscribe! And by all means, tell your friends about us! Also join the Discord and find all of our other content at GeekCavePodcast.com!
It's been 25 years since Simpsons legends Al Jean & Mike Reiss created Teen Angel, and we're breaking format to celebrate that with Drew Mackie and Glen Lakin from the great Gayest Episode Ever Podcast! We explore this TGIF original that's lost to time, digging deep into its creation, the entire magical sitcom genre, and any lingering gay subtext in the series' first ep. So grab an old burger and follow us back to 1997 in this heavenly podcast! Support this podcast and get dozens of bonus episodes by visiting Patreon.com/TalkingSimpsons and becoming a patron! And please follow the new official Twitter, @TalkSimpsonsPod!
“Cougars” (November 29, 2007) As comedically successful as it might be, 30 Rock is a very straight show. That's why our best pick for a queer episode is one where the sexually interesting narrative is the C plot and it ends with Judah Friedlander's Frank convincing himself he can't like guys because he doesn't fit prescribed definition of gay. This episode is ultimately harmless but indicative of some traps later Tina Fey efforts would fall into. But hey — it's got “Muffin Top.” Check out our sponsor, Spaces! And join our spaces for Gayest Episode Ever and Cartoons That Made Us Gay. Buy the new issue of Beyond Sunset here. Listen to Drew and Glen talk Teen Angel on Talking Simpsons. Go shop at our TeePublic store! Follow: GEE on Facebook • GEE's Facebook Group • GEE on Twitter • GEE on Instagram • Drew on Twitter • Glen on Twitter Listen: Apple Podcasts • Spotify • Stitcher • Google Podcasts • Himalaya • TuneIn And yes, we do have an official website! We even have episode transcripts courtesy of Sarah Neal. Our logo was designed by Rob Wilson. This episode's art was designed by Ian O'Phelan. This is a TableCakes podcast.
Welcome to the Instant Trivia podcast episode 582, where we ask the best trivia on the Internet. Round 1. Category: 1990s Business 1: In 1992 Hughes Aircraft Co., a division of this automaker, agreed to buy part of General Dynamics. General Motors. 2: This company's 1st restaurant in China served nearly 40,000 people the day it opened April 23, 1992. McDonald's. 3: In 1995 this apparel company reintroduced "The Fruits" who'd starred in its ads in the 1970s. Fruit of the Loom. 4: In 1995 NBC and this giant software company announced plans for an all-news television channel. Microsoft. 5: This Colorado-based brewer introduced Zima Clearmalt in 1992. Coors. Round 2. Category: They Were Expelled 1: This star of "Casablanca" was booted out of Phillips Academy for uncontrollably high spirits. Humphrey Bogart. 2: Perhaps responding "nevermore", this poet was expelled from West Point in 1831 for refusing to attend drills. Edgar Allan Poe. 3: Once publisher of the USA's largest newspaper chain, he was expelled from Harvard in 1885 for insulting his professors. William Randolph Hearst. 4: Assassinated in August 1940, this Russian Communist leader was expelled in his youth for howling at his teacher. Trotsky. 5: The leading actress of her time, in 1860 she was expelled from a Paris convent school for making fun of a bishop. (Sarah) Bernhardt. Round 3. Category: Working Without Annette 1: Before teaming with Annette Funicello, Frankie Avalon appeared in this 1960 John Wayne western (not as Davy). The Alamo. 2: With no help from Annette, Frankie Avalon was born in this year in which Germany invaded Poland. 1939. 3: With Annette nowhere in sight, Frankie Avalon played a 39-year-old Teen Angel in this 1978 musical film. Grease. 4: Annette Funicello did not do backing vocals on this 1959 Frankie Avalon hit song about a Roman goddess. "Venus". 5: Annette Funicello was not on board when Frankie starred in this 1961 sci-fi "voyage" directed by Irwin Allen. Voyage to the Bottom of the Sea. Round 4. Category: National Monuments 1: The USA's largest national monument, this state's Misty Fjords, consists of glaciers and long, deep fjords. Alaska. 2: This Wyoming formation has a base diameter of about 1,000 feet and a summit diameter of about 275 feet. Devils Tower. 3: This Wyoming monument contains an 865-foot-high fluted column of igneous rock. Devils Tower. 4: Castillo de San Marcos in this Florida city is the oldest masonry fort in the continental U.S.. St. Augustine. 5: Arizona's Tuzigoot National Monument is one of these villages defined as consisting of multilevel adobe dwellings. a pueblo. Round 5. Category: Boys In The Band 1: Mick Jagger,Keith Richards.Mick Taylor. The Rolling Stones. 2: Pete Townshend,Roger Daltrey,John Entwistle. The Who. 3: Roger Waters,David Gilmour,Nick Mason. Pink Floyd. 4: Michael McDonald,Patrick Simmons,Jeff "Skunk" Baxter. The Doobie Brothers. 5: Walter Becker,Donald Fagen,Jeff "Skunk" Baxter. Steely Dan. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
For Video Edition, Please Click and Subscribe Here: https://youtu.be/enRebjK97Uk ALAN PAUL is one of the founding members of internationally acclaimed, 10 x GRAMMY AWARD winning vocal group, THE MANHATTAN TRANSFER. This year, 2022, the group is celebrating their 50th Anniversary with a worldwide tour and a new album FIFTY, being released by Craft/Concord in October. Alan was born and raised in Newark, New Jersey and began his professional career on Broadway at the age of 12 in the original Broadway cast of OLIVER. As a child actor, he worked extensively in stage, film and TV and then took a hiatus from his career to further his music studies. He entered Kean University (Newark State College), as a Voice Major and earned a BA in Music Education. In 1992 Alan received an Honorary Doctorate degree in Human Letters from his alma mater, Kean University and another in Music from Berklee College of Music along with his Transfer partners. After graduation, Alan and was cast in the original Broadway production of GREASE, where he created the roles of Teen Angel and Johnny Casino. In 1972, while still performing in Grease, Alan met Janis Siegel, Tim Hauser and Laurel Massé and together formed The Manhattan Transfer. In 1975 they released their first album on Atlantic Records which propelled the group from playing clubs in New York City to international fame. In 1979, Cheryl Bentyne joined the group after a car accident forced Laurel Massé to stop. They have recorded over thirty albums, have been inducted into the Vocal Group Hall of Fame, The East Coast Music Hall of Fame, received Lifetime Achievement Awards from The Society of Singers, Barbershop Harmony Society and the National Music Council. https://www.facebook.com/alanpaulofficiall
Conheads, rise up—for it is finally your moment. Yes, we have possibly reached a point of no return for Team Angel... but we have also absolutely reached the peak for TEEN Angel. So join your hosts LaToya Ferguson and Morgan Lutich (AKA the Cordelia and Fred of the Bufferingverse, AKA the Gunn Squad, and so much more) this week as they discuss Angel Season 4's "The Magic Bullet," an episode that continues to give them everything they want, including sexpionage and even more character actors.LOCATE YOUR HOSTS ON THE INTERNETLaToya Ferguson: @lafergs Read An Encyclopedia of Women's WrestlingMorgan Lutich: @lorganmutichListen to LaToya, Morgan, and their pal Jill discuss The Vampire Diaries on The AMPire Diaries podcast!ANGEL ON TOPAngel On Top: @angelontopcast on twitter and instagramSupport Angel On Top on Patreon: angelontop.comLearn more about us and our team at bufferingthevampireslayer.com+++Producers: LaToya Ferguson, Morgan Lutich, and Kristin RussoEditor: John Mark NelsonMusic + Jingles: Jenny Owen YoungsLogo: Kristine Thune
Next Friday on Before the Downbeat it's the season finale episode of Season 4! So join Autumn and Mackenzie and our theme music composer Brody Weld as they head back into the 1950s and get ready to hand jive and discuss a musical all three of them have been apart of Grease! Hear them explore whether this musical has truly captured the teenage spirit. They debate which couple is better and more well develop Sandy and Danny or Rizzo and Kenickie. Plus hear their thoughts on if the iconic film adaptation has helped or hindered this musical. All of this and a visit from Teen Angel on next Friday's all new episode! Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. Facebook Instagram Twitter
It's our big bad season four finale, babes, and we're joined by actor and singer, Alanna Ubach. You Might Know Her From Euphoria, The Flight Attendant, Coco, Clockwatchers, Waiting, Meet the Fockers, Sister Act 2, Beakman's World, Bombshell, Girlfriends' Guide to Divorce, The Brady Bunch Movie, and the Legally Blonde films. Alanna gave us all the goods on joining season two of The Flight Attendant, showing up to her Euphoria audition with a glass of wine, and her big musical number “La Llorona” in Coco. We also got to talk about two personal favorites: her portrayal of Doreen, Marcia's lesbian BFF, in The Brady Bunch Movie (and the similarities between Doreen and Tai in Clueless), plus the indie classic, Clockwatchers, opposite an incredible ensemble of newly minted movie stars who may or may not have been a bit…cliquey. This episode was a total barn burner. Get into it now. Follow us on social media @damianbellino || @rodemanne Discussed this week Harvey Fierstein's autobiography I Was Better Last Night Fierstein dated Bruce Bibbie aka Ted Casablanca (of The Awful Truth) for 5 years Julia Sweeney's Pat, Bob Vila, Urkel, and Ted Casablanca Neither one of us cares about Newsies but I'd see it since Harvey wrote the book Harvey in Mrs. Doubtfire montage scene Two youngest Bradys are most disgusting Susan Olsen is a homophobe Ghost town episode of Brady Bunch is Anne's favorite Joining Season 2 of The Flight Attendant Plays Lexi and Cassie's mom on Euphoria (created by Sam Levinson) Christiane F, Foxes, Over the Edge, Sid and Nancy, Plays Imelda in Coco and gets to sing “La Llorona” Loves character actors: Quinn Cummings, Dana Hill, Richard E Grant Clockwaters (Jill Sprecher) is the end of the indie era Ensemble was insane: Lisa Kudrow, Parker Posey, Toni Collette, Alanna Ubach The Brady Bunch Movie is outrageously good go watch it! Almost had scenes with Christopher Knight and Davy Jones Auditioned for Tai in Clueless Reese Witherspoon kicks her ass in Freeway (1966) then they play bffs in Legally Blonde six years later Lesbian ending to Legally Blonde? Played Ben Stiller's Cuban babysitter in Meet the Fockers Barbra Streisand is a cozy bubby Penny Marshall directed her in Renaissance Man See Dad Run sitcom with Scott Baio Beakman's World vs Girlfriends' Guide to Divorce Jeanine Pirro in Bombshell Naomi in Waiting ICONIC We love Adrian Zmed (played Danny on tour in 90s and Teen Angel in the 200s) Grease 2 > Grease “'We're Gonna Score Tonight” Previous guest Marissa Jaret Winokur (Ep #123) bff with Adrian Zmed Sondra Lee told Damian he was “persistent” (YMKHF ep #38) and Denny Dillon (YMKHF ep #68) appreciated his “tenacity” “Tiger” is a cheap Brady Bunch joke
It's Never Too Late to Pursue Your Dreams Our guest for this Living to 100 Club Podcast is Louis Atlas. Louis is an attorney and musician who has written what we might call “parallel chapters.” We hear Louis' story about his need to pursue his dreams, while having dual careers. Learn about his search to discover how his “real self” differs from who he appears to be to others. This is a fascinating story about how our guest proceeded to re-define himself over the years, break patterns, and take big leaps. Louis now performs his music regularly in clubs in New York City. He has a new release with 11 songs coming out this month, April 2022. Importantly, his Coconut Dream album received recognition from the Grammy nominating team for “Best Reggae Album.” Tune in to hear how our guest dismisses the importance of age as he winds down his legal career and concentrates on music full time. Mini Bio Louis was born in Rochester, New York, but has spent most of his life in New York City. Almost from the moment Louis was born, he was singing everything he heard including music on TV programs and commercials. He performed at a cousin's wedding at age 7 and was invited by the band to more wedding gigs. However, his parents had other ideas for him. Growing up he played in rock bands and acted in some local productions. He studied at the Boston Conservatory and then went to New York to audition. His first job was as the character Teen Angel in the national tour of Grease. Louis says he was brought up on and loves musical theater. He pursued acting professionally for about 5 years and always had a musical project in the works. Then he decided he needed more independence in his life. So, he went to law school in order to be able to chart his own course. He describes his musical epiphany occurring after hearing a song by Bob Marley's ‘Kaya.' From then on, he knew that Reggae was the music he wanted to pursue. He continued practicing law and raising his family. But he never stopped writing songs, and has since released four records. One album received recognition from the Grammy nominating team in the categories of “Best New Artist”, “Record of the Year,” “Best Reggae Album” and “Best Engineering.” Now at age 71, he is propelled on with new hope, optimism and confidence in his musical pursuits while winding down his law practice. Items Mentioned for Our Listeners Louis' website: LouisAtlas.com Our guest's Spotify Channel
It's Never Too Late to Pursue Your Dreams Our guest for this Living to 100 Club Podcast is Louis Atlas. Louis is an attorney and musician who has written what we might call “parallel chapters.” We hear Louis' story about his need to pursue his dreams, while having dual careers. Learn about his search to discover how his “real self” differs from who he appears to be to others. This is a fascinating story about how our guest proceeded to re-define himself over the years, break patterns, and take big leaps. Louis now performs his music regularly in clubs in New York City. He has a new release with 11 songs coming out this month, April 2022. Importantly, his Coconut Dream album received recognition from the Grammy nominating team for “Best Reggae Album.” Tune in to hear how our guest dismisses the importance of age as he winds down his legal career and concentrates on music full time. Mini Bio Louis was born in Rochester, New York, but has spent most of his life in New York City. Almost from the moment Louis was born, he was singing everything he heard including music on TV programs and commercials. He performed at a cousin's wedding at age 7 and was invited by the band to more wedding gigs. However, his parents had other ideas for him. Growing up he played in rock bands and acted in some local productions. He studied at the Boston Conservatory and then went to New York to audition. His first job was as the character Teen Angel in the national tour of Grease. Louis says he was brought up on and loves musical theater. He pursued acting professionally for about 5 years and always had a musical project in the works. Then he decided he needed more independence in his life. So, he went to law school in order to be able to chart his own course. He describes his musical epiphany occurring after hearing a song by Bob Marley's ‘Kaya.' From then on, he knew that Reggae was the music he wanted to pursue. He continued practicing law and raising his family. But he never stopped writing songs, and has since released four records. One album received recognition from the Grammy nominating team in the categories of “Best New Artist”, “Record of the Year,” “Best Reggae Album” and “Best Engineering.” Now at age 71, he is propelled on with new hope, optimism and confidence in his musical pursuits while winding down his law practice. Items Mentioned for Our Listeners Louis' website: LouisAtlas.com Our guest's Spotify Channel
The Simpsons, F is for Family, and Lego Star Wars - Writer Michael Price#writer #TheSimpsons #FisforFamily #lego #StarWars #television #nostalgia #cartoons #MichaelPrice(Wikipedia)Michael Price (born October 22, 1958) is an American writer and producer, best known for his Emmy and Writers Guild award-winning work on The Simpsons. Price is a writer and co-executive producer of the ABC series Teacher's Pet. He served as a script consultant on The Simpsons Movie and wrote the Lego Star Wars special, Lego Star Wars: The Padawan Menace. He works at Lucasfilm writing and producing Lego Star Wars Franchise.Other television shows he has written for include What About Joan?, The PJs, Teen Angel, Homeboys in Outer Space, The Newz and One Minute to Air.Price co-wrote and co-produced the Bill Burr series F Is for Family in 2015 on Netflix. The show is an Animated sitcom, and draws from Burr's standup.He grew up in South Plainfield, New Jersey, and attended Montclair State University, where he earned a B.A. degree in Theatre Arts, and Tulane University, where he earned a Master of Fine Arts degree in directing for the theatre.Instagram: https://www.instagram.com/mikepriceinla/The Vibes Broadcast Network - Podcasting for the fun of it! Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/And Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehab
“Teen Angel” by Mark Dinning plays as Steve finds out Laurie is driving around with Bob Falfa and takes his car back from Terry to go after her. Terry gives up and finally tells Debbie the truth. Bryon Lockhart of The Marine Corps Movie Minute joins Rachel to talk about depressing teen tragedy songs, symbolic salt, these two original mean girls, Terry's order, and Bob Falfa's family. Come hang out at Mel's Listeners' Drive In on Facebook and @vcrprivileges on Twitter and InstagramArtwork by Alex RobinsonMusic by Chris Frain
Today in the building we got Mr. David De Baca. David is known was the historian of the iconic Teen Angels Magazine. David discusses his experiences with the Artist Teen Angel, the history of the magazine and other art ventures by Mr. Teen Angel. He also describes how he has been preserving and showing the legendary art that depicts the culture of the Southern California Chicano. A great story that spans decades. We are honored to hear these stories at the Lower Left Podcast.
This is is the second episode in our TGIF universe. We discuss the short lived television series Teen Angel and why you should never eat any sus food that you find under your bed. Ever. As well as this piece of shit, serial killer Joseph Roy Metheny and he's very specific roadside burger recipes. Hosted on Acast. See acast.com/privacy for more information.
Euan Doidge took centre stage in 2019 playing Tony Manero in GFO's Saturday Night Fever. This role followed his reprisal as Felicia in the 2018 Australian tour of Priscilla Queen of the Desert. Musical Theatre has been an intrinsic part of Euan's background starting as a graduate of Patrick Studios Australia under the direction of Andrew Hallsworth. During this year of study, he was cast in his first musical Anything Goes (The Production Company). In 2012 Euan appeared in The Producers (The Production Company), then went on to play Paul San Marco in the Australian cast of A Chorus Line (TML Enterprises) for which he was the youngest ever nominee for the Helpmann Award for Best Actor in a Supporting Role in a Musical. From 2012 – 2014 Euan appeared as Nikos/Padamadan in the Australian tour of Legally Blonde (ATG/GFO/Farrelly Prods) and Grease (GFO) in which he understudied the roles of Kenickie and Vince Fontaine, as well as understudying and performing the role of Teen Angel. He was then cast in the dream role of Marius in the Australian tour of Les Miserables (Cameron Mackintosh/Michael Cassel) 2014 – 2016. During that time he also released his debut Album ‘Let It Sing' and in 2016 Euan had the great pleasure of playing the role of Felicia/Adam in Priscilla Queen of the Desert and was Lead Singer in Burn The Floor (Norwegian Cruise Lines). On returning to Australia he starred in the Australian tour of Kinky Boots (Michael Cassel) as one of the Angels and covered the role of Lola which he performed many times to great acclaim. In early 2021 Euan wrapped up his role as Lewis in the production of ‘Pippen' The Musical, the first musical theatre production to bring back our industry after the global pandemic.
What's so subversive about the so-called Uncola, huh? This week, Courtney takes Al for a drive down memory lane and thankfully they both make it out unscathed, which is more than we can say for the oft-recycled “Teen Angel” archetype. Though, admit it… you'd eat the cheeseburger, right?? Content Warning: mention of teen tragedy, teen death. Main Ad: https://www.youtube.com/watch?v=lVG-rmDvtNk Local Ad: https://www.youtube.com/watch?v=yYEoOscUTNo Sources: https://www.adcreeps.gay/sources-1/015-7ups-teen-angel
In this episode Kerry is chatting with television presenter and Strictly Come Dancing winner, Ore Oduba. Ore has had an incredible career spanning both stage and screen. Starting as a children's presenter on Newsround and a radio staple, before later becoming a household name as the winner of Strictly Come Dancing in 2016. This re-ignited his love for theatre and is now racking up some incredible theatre credits including; Teen Angel in Grease and Aaron Fox in the UK and west end productions of Curtains the Musical. He is showing no signs of stopping now as he shares his excitement to play his latest role as Brad in The Rocky Horror Picture Show. You can find Ore on instagram at @oreodubaofficalIf you have enjoyed this podcast please rate, Review and Subscribe... feel free to tell a friend too!Follow Kerry on Twitter and Instagram. Find out more information and upcoming dates from Kerry Ellis at kerryellis.comProduced by Martin Joseph at Peroxide Media. This episode is sponsored by Akt London: the premium, natural deodorant balm for all genders. Created, tested and approved by London's West End performers this plastic free, aluminium free and cruelty free deodorant truly is, born to perform. See more about their amazing story and why they’re Vogue’s number 1 deodorant at aktlondon.com get 20% off at checkout with the code KEEPCALM20. See acast.com/privacy for privacy and opt-out information.
1) 9th Wonder x Ian Kelly – EBONY! 2) Nappy Roots – Footie Socks & Ice Cream 3) Kutt Calhoun – OTW 4) Sach and KDT Produced It – Hey Love 5) Ronnie Alpha – Masterpiece of Mastered Peace 6) Ray west – Love is an Empire ft. Sadat X 7) Bobby Sessions x Zyah – Black Bonnett 8) Dell-P – Just Right ft. Wil Guice 9) Choosey & Exile – Teen Angel ft. Ishe 10) Stylz & Wells – Moonlight ft. Benjalino 11) MC2 – That Thing 12) Thought Provokah – Miss Nubia 13) Apollo Bebop – You Ain’t Gotta Worry 14) Chika – On My Way 15) Busta Rhymes – Right Where I Belong ft. Mariah Carey 16) Deante Hitchcock – Never (Let You Go) (part 1) 17) Mehkai Orion – Slum Beautiful 18) Jelani Jeffries – Ice Cream Double Scoop (feat. Alë Jay) 19) King Micah the Infamous – The Feels 20) Passport Rav – Black Love Twitter: @robhiphopcorner IG: @robhiphopcorner Facebook : https://www.facebook.com/boombostic313 Mixcloud : http://www.mixcloud.com/boombostic/
Words cannot describe the love I have for my brother Corbin Allred. We've known each other for half of our lives now. Most people know Corbin from the many movies and TV shows he's been a part of: Teen Angel, Robin Hood: Men in Tights, Saints and Soldiers, etc, but what many people may not know is that Corbin and I served LDS missions together and were able to have incredibly fun, memorable, and deeply significant experiences together. We took a stroll down memory lane for a bit and then started discussing some of the current adventures Corbin has had being a physician's assistant. But now, Corbin Allred, myself, and our other good friend and partner in crime, Jasen Wade, have created an online acting course called Acting Out. We are super excited to bring this to the forefront of people's eyeballs. Corbin and I chatted about the fun times we had creating it and what are hopes are with the course. Enjoy!
October 18-24, 1997 This week Ken welcomes comedian, writer, actor, podcaster and all around entertainer Sofiya Alexandra. Ken and Sofiya discuss the horrors of 2020, happy sad birthdays, growing up in Ukraine, moving to Hollywood, America's ego, being amazed by Santa Monica, Supermarkets, fine Russian Chocolates, Odessa, old dirty Hollywood Blvd, Halloween, the sick joke of candy corn, Wonder bread, a love of horror, Buffy the Vampire Slayer, how horror is female, Frankenstein, understanding fear, mindfucking, teenage girls, The Net, The Lawnmower Man, Baby's Day Out, Bad to the Bone, murder and adultery, Dangerous Minds, teenage hormones, forgettable movies that were HUGE, Ally McBeal, Beverly Hills 90210, private schools, Sabrina the Teenage Witch, The Birdcage, representation, Over the Top with Annie Potts and Tim Curry, problematic pasts, drag, how quickly we become an outdated model, Party of Five as a show full of snacks, the sad cruel trick played on Jennifer Love Hewitt's music career, Living Single: The greatest show of the 90s, Martin, Goldeneye, Wonder Years, Teen Angel, TGIF, The National Treasure Movies, and visual comfort food.
The time machine is still set for Halloween 1997, but did people living in that era even remember to watch Teen Angel and You Wish? Follow us on Twitter: @dailychitchat_ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/richard-and-gretchen/support
Hi, I’m Teen Angel, Bruce Hilliard here and this is a throwback episode taking you back to the fifties and into the sixties. Here’s what happened in 1955. (http://bettereachday.me/wp-content/uploads/2020/08/download-5.jpg) *Rock and Roll gets its name. Disneyland and McDonald’s open. *Steve Jobs and Bill Gates were born. Albert Einstein died. *Tetracycline and polio vaccine invented. *Rosa Parks was arrested for riding on a bus. All of that in 1955. And onto the the rest of that decade: *Elvis appeared on Ed Sullivan with his first hit Heartbreak Hotel. *USSR launches Sputnik. Frisbees and Hula Hoops. *Newly formed NASA launches the first American satellite. *First TransAtlantic jetliner service takes flight. Microchip invented. *Alaska and Hawaii become states. Barbie dolls. (http://bettereachday.me/wp-content/uploads/2020/08/images-1.jpg) There was no JFK in the White House yet and Ringo had not yet joined John, Paul and George. I was born in 1955 and by the time I was in high school American Graffiti, Happy Days and Sha Na Na were on the list of retros bringing back the colorful years of jukeboxes and saddle shoes. One of my first garage bands was one of those nostalgia 50s groups. It was my high school years and we were Denny and the Chadwicks. We played the songs that were being played on the radio while we were in diapers up through kindergarten. This is another one of those lost recordings from decades ago that just recently resurfaced via the recording engineer and backing vocalist, brother Gary Hilliard. I hope you enjoy this. The song: A 1960 hit by Mark Dinning called Teen Angel. Thank you so much for listening and remembering a time equally fraught with perils. Somehow we made it though. And for you that weren’t around for it? Enjoy 2020. This will be a year, and the start of a decade for the books. Take care of yourself, take care of others and make it a good day. Support this podcast
Hi, I’m Teen Angel, Bruce Hilliard here and this is a throwback episode taking you back to the fifties and into the sixties. Here’s what happened in 1955. (http://bettereachday.me/wp-content/uploads/2020/08/download-5.jpg) *Rock and Roll gets its name. Disneyland and McDonald’s open. *Steve Jobs and Bill Gates were born. Albert Einstein died. *Tetracycline and polio vaccine invented. *Rosa Parks was arrested for riding on a bus. All of that in 1955. And onto the the rest of that decade: *Elvis appeared on Ed Sullivan with his first hit Heartbreak Hotel. *USSR launches Sputnik. Frisbees and Hula Hoops. *Newly formed NASA launches the first American satellite. *First TransAtlantic jetliner service takes flight. Microchip invented. *Alaska and Hawaii become states. Barbie dolls. (http://bettereachday.me/wp-content/uploads/2020/08/images-1.jpg) There was no JFK in the White House yet and Ringo had not yet joined John, Paul and George. I was born in 1955 and by the time I was in high school American Graffiti, Happy Days and Sha Na Na were on the list of retros bringing back the colorful years of jukeboxes and saddle shoes. One of my first garage bands was one of those nostalgia 50s groups. It was my high school years and we were Denny and the Chadwicks. We played the songs that were being played on the radio while we were in diapers up through kindergarten. This is another one of those lost recordings from decades ago that just recently resurfaced via the recording engineer and backing vocalist, brother Gary Hilliard. I hope you enjoy this. The song: A 1960 hit by Mark Dinning called Teen Angel. Thank you so much for listening and remembering a time equally fraught with perils. Somehow we made it though. And for you that weren’t around for it? Enjoy 2020. This will be a year, and the start of a decade for the books. Take care of yourself, take care of others and make it a good day. Support this podcast
Teen Angel WAS a show. Apparently there needed to be a boy’s equivalent of Sabrina the Teenage Witch, so they kill a teen by having him eat a six month old hamburger. The boy becomes his best friend’s guardian angel, and Marcia Brady’s there too. Confused? So were we. Follow us on Instagram @thatwasashow Hosted by: Brynn Byrne @brynnabyrne Aaron Yeger @aaronyeger Andrew "Barry" Helmer @andrewhelmer Podcast logo and artwork by Brian Walker @briguywalker That Was a Show? is a Radio Gizmo Production
Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at “Only the Lonely” by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts — part one of a two-part Q&A and a ten-minute bonus on “Walk Don’t Run” by the Ventures. 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/ —-more—- Resources Apologies for the delay this week — I’m still trying to catch up after last week. As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. I have relied for biographical information mostly on two books — The Authorised Roy Orbison written by Jeff Slate and three of Orbison’s children, and Rhapsody in Black by John Kruth. For the musicological analysis, I referred a lot to the essay “Only the Lonely: Roy Orbison’s Sweet West Texas Style,” by Albin Zak, in Sounding Out Pop: Analytical Essays in Popular Music. There are many Orbison collections available, but many have rerecordings rather than the original versions of his hits. The Monument Singles Collection is the originals. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript It’s been nearly a year since we last looked at Roy Orbison, so it’s probably a good idea to quickly catch up with where we were up to. Roy Orbison had started out as a rockabilly singer, with a group called the Wink Westerners who changed their name to the Teen Kings and were signed to Sun Records. Orbison had thought that he would like to be a ballad singer, but everyone at Sun was convinced that he would never make it as anything other than a rocker. He had one minor hit on Sun, “Ooby Dooby”, but eventually got dissatisfied with the label and asked to be allowed to go to another label — Sam Phillips agreed to free him from his contract, in return for all the songwriting royalties and credits for everything he’d recorded for Sun. Newly free, Orbison signed to a major publisher and a major record label, recording for RCA with the same Nashville A-Team that were recording with Elvis and Brenda Lee. He had some success as a songwriter, writing “Claudette”, which became a hit for the Everly Brothers, but he did no better recording for RCA than he had recording for Sun, and soon he was dropped by his new label, and the money from “Claudette” ran out. By the middle of 1959, Roy Orbison was an absolute failure. But this episode, we’re going to talk about what happened next, and the startling way in which someone who had been a failure when produced by both Sam Phillips and Chet Atkins managed to become one of the most important artists in the world on a tiny label with no track record. Today, we’re going to look at “Only the Lonely”, and the records that turned Roy Orbison into a star: [Excerpt: Roy Orbison, “Only the Lonely”] It seems odd that Roy Orbison could thank Wesley Rose for introducing him to Monument Records. Rose was the co-owner of Acuff-Rose publishing, the biggest country music publishing company in the world, and the company to which Orbison had signed as a songwriter. Fred Foster, the owner of Monument, describes being called to a meeting of various Nashville music industry professionals, at which Rose asked him in front of everyone “Why are you trying to destroy Nashville by making these…” and then used an expletive I can’t use here and a racial slur I *won’t* use here, to describe the slightly R&B-infused music Foster was making. Foster was part of the new wave of Nashville record makers that also included Owen Bradley and Chet Atkins, though at this time he was far less successful than either of them. Foster had started out as a songwriter, writing the words for the McGuire Sisters’ hit “Picking Sweethearts”: [Excerpt: The McGuire Sisters, “Picking Sweethearts”] He had moved from there into record production, despite having little musical or technical ability. He did, though, have a good ear for artists, and he made his career in the business by picking good people and letting them do the music they wanted. He started out at 4 Star Records, a small country label. From there he moved to Mercury Records, but he only spent a brief time there — he was in favour of moving into the rockabilly market, while his superiors in the company weren’t. He quickly found another role at ABC/Paramount, where he produced hits for a number of people, including one track we’ve already covered in this podcast, Lloyd Price’s version of “Stagger Lee”. He then put his entire life savings into starting up his own company, Monument, which he initially co-owned with a DJ named Buddy Deane. As Foster and Deane were based in Washington at this time, they used an image of the Washington Monument as the label’s logo, and that also inspired the name. The first single they put out on the label caused them some problems. Billy Grammer, their first signing, recorded a song that they believed to be in the public domain, “Done Laid Around”, which had recently been recorded by the Weavers under the name “Gotta Travel On”: [Excerpt: The Weavers, “Gotta Travel On”] However, after putting out Grammer’s version, Foster discovered that the song was actually in copyright, with a credit to the folk singer and folklorist Paul Clayton. I don’t know if Clayton actually wrote the song or not — it was common practice at that time for folk songs to be copyrighted in the name of an artist. But whether Clayton wrote the song or not, “Done Laid Around” had to be withdrawn from sale, and reissued under the name “Gotta Travel On”, with Clayton credited as the composer — something which cost the new label a substantial amount of money. But it worked out well for everyone, with Grammer’s record eventually reaching number four on the pop charts: [Excerpt: Billy Grammer, “Gotta Travel On”] After that success, Foster bought out Buddy Deane and moved the label down to Nashville. They put out a few more singles over the next year, mostly by Grammer, but nothing recaptured that initial success. But it did mean that Foster started working with the Nashville A-Team of session musicians — people like Bob Moore, the bass player who played on almost every important record to come out of Nashville at that time, including the Elvis records we looked at last week. Moore had also played on Roy Orbison’s last sessions for RCA, where he’d seen how downcast Orbison was. Orbison had explained to Moore about how this was going to be his last session for RCA — his contract was about to expire, and it was clear that Chet Atkins had no more idea than Sam Phillips how to make a successful Roy Orbison record. Moore told him not to worry — he very obviously had talent, and Moore would speak to Wesley Rose about him. As well as being Orbison’s music publisher, Rose was also Orbison’s manager, something that would nowadays be considered a conflict of interest, but was par for the course at the time — he was also the Everly Brothers’ manager and publisher, which is how Orbison had managed to place “Claudette” with them. There were a lot of such backroom deals in the industry at the time, and few people knew about them — for example, none of Bob Moore’s fellow session players on the A-Team knew that he secretly owned thirty-seven percent of Monument Records. While Fred Foster is credited as the producer on most of Orbison’s sessions from this point on, it’s probably reasonable to think of Bob Moore as at the very least an uncredited co-producer — he was the arranger on all of the records, and he was also the person who booked the other musicians on the sessions. Orbison was by this point so depressed about his own chances in the music industry that he couldn’t believe that anyone wanted to sign him at all — he was convinced even after signing that Fred Foster was confusing his own “Ooby Dooby” with another Sun single, Warren Smith’s similar sounding “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Wesley Rose had very clear ideas as to what Orbison’s first single for Monument should be — that last session at RCA had included two songs, “Paper Boy”, and “With the Bug”, that RCA had not bothered to release, and so Orbison went into the studio with much the same set of musicians he’d been working with at RCA, and cut the same songs he’d recorded there. The single was released, and made absolutely no impact — unsurprising for a record that was really the end of Orbison’s period as a failure, rather than the beginning of his golden period. That golden period came when he started collaborating with Joe Melson. The two men had known each other for a while, but the legend has it that they started writing songs together after Melson was walking along and saw Orbison sat in his car playing the guitar — Orbison and his wife Claudette had recently had a son, Roy DeWayne Orbison (his middle name was after Orbison’s friend Duane Eddy, though spelled differently), and the flat they were living in was so small that the only way Orbison could write any songs without disturbing the baby was to go and write them in the car. Melson apparently tapped on the car window, and asked what Roy was doing, and when Roy explained, he suggested that the two of them start working together. Both men were more than capable songwriters on their own, but they brought out the best in one another, and soon they were writing material that was unlike anything else in popular music at the time. Their first collaboration to be released was Orbison’s second Monument single, “Uptown”, a bluesy rock and roll track which saw the first big change in Orbison’s style — the introduction of a string section along with the Nashville A-Team. This was something that was only just starting to be done in Nashville, and it made little sense to most people involved that Orbison would want strings on what would otherwise be a rockabilly track, but they went ahead: [Excerpt: Roy Orbison, “Uptown”] The string arrangement was written by Anita Kerr, of the Anita Kerr Singers, the female vocal group that would be called into any Nashville session that required women’s voices (the male equivalent was the Jordanaires). Kerr would write a lot of the string arrangements for Orbison’s records, and her vocal group — with Joe Melson adding a single male voice — would provide the backing vocals on them for the next few years. Wesley Rose was still unsure that Orbison could ever be a star, mostly because he thought he was so odd-looking, but “Uptown” started to prove him wrong. It made number seventy-two on the pop charts — still not a massive hit, but the best he’d done since “Ooby Dooby” three years and two record labels earlier. But it was the next single, another Orbison/Melson collaboration, that would make him into one of the biggest stars in music. “Only the Lonely” had its roots in two other songs. Melson had written a song called “Cry” before ever meeting Orbison, and the two of them had reworked it into one called “Only the Lonely”, but they were also working on another song at the same time. They had still not had a hit, and were trying to write something in the style of a current popular record. At the time, Mark Dinning was having huge success with a ballad called “Teen Angel”, about a girl who gets run over by a train: [Excerpt: Mark Dinning, “Teen Angel”] Orbison and Melson were writing their own knock-off of that, called “Come Back to Me My Love”. But when they played it for Fred Foster, he told them it was awful, and they should scrap the whole thing — apart from the backing vocal hook Joe was singing. That was worth doing something with: [Excerpt: Roy Orbison, “Only the Lonely”, vocal intro] They took that vocal part and put it together with “Only the Lonely” to make a finished song. According to most reports, rather than have Orbison record it, they initially tried to get Elvis to do it — if they did, they must have known that they had no chance of it getting recorded, because Elvis was only recording songs published by Hill and Range, and Orbison and Melson were Acuff-Rose songwriters. They also, though, tried to get it recorded by the Everly Brothers, who were friends of Orbison, were also signed with Acuff-Rose, and were also managed by Wesley Rose, and even they turned it down. This is understandable, because the finished “Only the Lonely” is one of the most bizarrely structured songs ever to be a hit. Now, I’ve known this song for more than thirty years, I have a fair understanding of music, *and* I am explaining this with the help of a musicological essay on the song I’ve read, analysing it bar by bar. I am *still* not sure that my explanation of what’s going on with this song is right. *That’s* how oddly structured this song is. The intro is straightforward enough, the kind of thing that every song has. But then the lead vocal comes in, and rather than continue under the lead, like you would normally expect, the lead and backing vocals alternate, and push each other out of phase as a result. Where in the intro, the first “dum dum dum” starts on the first bar of the phrase, here it starts on the *second* bar of the phrase and extends past the end of Orbison’s line, meaning the first line of the verse is actually five bars (from where the instruments come in after the a capella “Only the”), and not only that, the backing vocals are stressing different beats to the ones the lead vocal is stressing: [Excerpt: Roy Orbison, “Only the Lonely”, first line of verse] This is quite astonishingly jarring. Pop songs, of whatever genre — country, or blues, or rock and roll, or doo-wop, or whatever — almost all work in fours. You have four-bar phrases that build up into eight- or twelve-bar verses, choruses, and bridges. Here, by overlaying two four-bar phrases out of synch with each other, Orbison and Melson have created a five-bar phrase — although please note if you try to count bars along with these excerpts, you may come out with a different number, because phrases cross bar lines and I’m splitting these excerpts up by the vocal phrase rather than by the bar line. The lead vocal then comes back, on a different beat than expected — the stresses in the melody have moved all over the place. Because the lead vocal starts on a different beat for the second phrase, even though it’s the same length as the first phrase, it crosses more bar lines, meaning two five-bar phrases total eleven bars. Not only that, but the bass doesn’t move to a new chord where you expect, but it stays on its original chord for an extra two beats, giving the impression of a six-beat bar, even though the drums are staying in four-four. So the first half of the verse is eleven bars long, if you don’t get thrown by thinking one of the bars is six beats rather than four. Structurally, harmonically, and rhythmically, it feels like someone has tried to compromise between a twelve-bar blues and an eight-bar doo-wop song: [Excerpt: Roy Orbison, “Only the Lonely”, second line] There’s then another section, which in itself is perfectly straightforward — an eight-bar stop-time section, whose lyric is possibly inspired by the Drifters song that had used strings and rhythmic disorientation in a similar way a few months earlier: [Excerpt: Roy Orbison, “Only the Lonely”, “There goes my baby…”] The only incongruity there is a very minor one — a brief move to the fifth-of-fifth chord, which is the kind of extremely minor deviation from the key that’s par for the course in pop music. That section by itself is nothing unusual. But then after that straightforward eight-bar section, which seems like a return to normality, we then get a five-bar section which takes us to the end of the verse: [Excerpt: Roy Orbison, “Only the Lonely”, “But only the lonely know why…”] The song then basically repeats all its musical material from the start, with a few changes – the second time, the verse starts on the third of the scale rather than the first, and the melody goes up more, but it’s structured similarly, and finishes in under two and a half minutes. So the musical material of the song covers twenty-four bars, not counting the intro. Twenty-four bars is actually a perfectly normal number of bars for a song to cover, but it would normally be broken down into three lots of eight or two lots of twelve — instead it’s a five, a six, an eight, and a five. I think. Honestly, I’ve gone back and forth several times about how best to break this up. The song is so familiar to most of us now that this doesn’t sound strange any more, but I distinctly remember my own first time listening to it, when I was about eight, and wondering if the backing vocalists just hadn’t known when to come in, if the people making the record just hadn’t known how to make one properly, because this just sounded *wrong* to me. But it’s that wrongness, that strangeness, of course — along with Orbison’s magnificent voice — that made the record a hit, expressing perfectly the confusion and disorientation felt by the song’s protagonist. It went to number two in the US, and number one in the UK, and instantly made Roy Orbison a star. A couple of slightly more conventional singles followed — “Blue Angel” and “I’m Hurtin'” — and they were both hits, but nowhere near as big as “Only the Lonely”, and this seems to have convinced Orbison and Melson that they needed to follow their instincts and go for different structures than the norm. They started to make their songs, as far as possible, through-composed pieces. While most songs of the time break down into neat little sections — verse, chorus, verse, chorus, middle eight, instrumental solo, chorus to fade, or a similar structure, Orbison and Melson’s songs rarely have sections that repeat without any changes. Instead a single melody develops and takes twists and turns over the course of a couple of minutes, with Orbison usually singing throughout. This also had another advantage, as far as Orbison was concerned — their songs hardly ever had space for an instrumental break, and so he never had to do the rock and roll star thing of moving around the stage and dancing while the instrumentalists soloed, which was something he felt uncomfortable doing. Instead he could just stand perfectly still at the microphone and sing. The first single they released that fit this new style was inspired by a piece of music Fred Foster introduced Orbison to — Ravel’s “Bolero”: [Excerpt: Ravel, “Bolero” (West-Eastern Divan Orchestra)] Orbison and Melson took that basic feel and changed it into what would become Orbison’s first number one in the US, “Running Scared”: [Excerpt: Roy Orbison, “Running Scared”] That song was apparently one that met some resistance from the Nashville A-Team. A chunk of the song is in rubato, or “free time”, where the musicians speed up or slow down slightly to make the music more expressive. This was not something that Bob Moore, in particular, was comfortable with — they were making pop music, weren’t they? Pop music was for kids to dance to, and if kids were going to dance to it, it had to have a steady beat. Orbison wasn’t very good at all at dealing with conflict, and wherever possible he would try to take the most positive attitude possible, and in this case he just went into the control room and waited, while the musicians tried to figure out a way of playing the song in strict tempo, and found it just didn’t work. After a while, Orbison walked back into the studio and said “I think we should play it the way it was written”, and the musicians finally went along with him. It may also have been on “Running Scared” that they pioneered a new recording technique, or at least new for Nashville, which was surprisingly conservative about recording technology for a town so rooted in the music industry. I’ve seen this story written about three different early Orbison songs, and it could have been any of them, but the descriptions of the “Running Scared” session are the most detailed. While Orbison had a great voice, at this point it wasn’t especially powerful, and with the addition of strings, the band were overpowering his voice. At this time, it was customary for singers to record with the band, all performing together in one room, but the sound of the instruments was getting into Orbison’s mic louder than his voice, making it impossible to get a good mix. Eventually, they brought a coatrack covered with coats into the studio, and used it to partition the space — Orbison would stand on one side of it with his mic, and the band and their mics would be on the other side. The coats would deaden the sound of the musicians enough that Orbison’s voice would be the main sound on his vocal mic. In this case, the reason his voice was being overpowered was that right at the end of the song he had to hit a high A in full voice — something that’s very difficult for a baritone like Orbison to do without going into falsetto. It may also be that he was nervous about trying this when the musicians could see him, and the coats in the way helped him feel more secure. Either way, he does a magnificent job on that note: [Excerpt: Roy Orbison, “Running Scared”, tag] Apparently when Chet Atkins popped into the studio for a visit, he was utterly bemused by what he saw — but then he was impressed enough by the idea that he got RCA to build a proper vocal isolation booth at their studios to get the same effect. “Running Scared” also came along just after Orbison made one big change to his image. He’d been on tour with Patsy Cline, promoting “Blue Angel”, and had left his glasses on the plane. As he couldn’t see well without them, he had to resort to using his prescription sunglasses on stage, and was astonished to find that instead of looking gawky and rather odd-looking, the audience now seemed to think he looked cool and brooding. From that point on, he wore them constantly. For the next three years, Orbison and Melson continued working together and producing hits — although Orbison also wrote several hits solo during this time, including “In Dreams”, which many consider his greatest record. But Melson was becoming increasingly convinced that he was the real talent in the partnership. Melson was also putting out singles on his own at this time, and you can judge for yourself whether his most successful solo track, “Hey Mr. Cupid” is better or worse than the tracks Orbison did without him. [Excerpt: Joe Melson, “Hey Mr. Cupid”] Eventually Melson stopped working with Orbison altogether, after their last major collaboration, “Blue Bayou”. This turned out to be the beginning of the collapse of Orbison’s entire life, though it didn’t seem like it at the time. It was the first crack in the team that produced his biggest hits, but for now he was on a roll. He started collaborating with another writer, Bill Dees, and even though Beatlemania was raging in the UK, and later in the US, he was one of a tiny number of American artists who continued to have hits. Indeed, two of the early collaborations by Orbison and Dees were the *only* two records by an American artist to go to number one in the UK between August 1963 and February 1965. The second of those, “Oh, Pretty Woman”, also went to number one in the US, and became one of his most well-known songs: [Excerpt: Roy Orbison, “Oh, Pretty Woman”] That song again caused problems with his new collaborator, as Bill Dees sang the harmony vocals on it, and felt he wasn’t getting enough credit for that. But that was the high point for Orbison. Wesley Rose and Fred Foster had never got on, and Rose decided that he was going to move Orbison over to MGM Records, who gave him an advance of a million dollars, but immediately the hits dried up. And the events of the next few years were the kind of thing that would would break almost anyone. He had divorced his wife Claudette, who had inspired “Oh, Pretty Woman”, in November 1964, just before signing to MGM, because he’d discovered she was cheating on him. But the two of them had been so in love they’d ended up reconciling and remarrying in December 1965. But then six months later, they were out riding motorbikes together, Claudette crashed hers, and she died. And then a little over two years later, while he was on tour in the UK, his house burned down, killing two of his three children. Orbison continued to work, putting out records that no-one was buying, and playing the chicken-in-a-basket circuit in the UK. He even remarried in 1969, and found happiness and a new family with his second wife. But for about twenty years, from 1965 through to 1985, he was in a wilderness period. Between personal tragedy, changing fashions in music, and the heart condition he developed in the 70s, he was no longer capable of making records that resonated with the public, even though his voice was as strong as ever, and he could still get an audience when singing those old hits. And even the old hits were hard to get hold of — Monument Records went bankrupt in the seventies, and reissues of his old songs were tied up in legal battles over their ownership. But then things started to change for him in the mid-eighties. A few modern artists had had hits with cover versions of his hits, but the big change came in 1985, when he collaborated with his fellow ex-Sun performers Johnny Cash, Carl Perkins, and Jerry Lee Lewis, on an album called Class of 55: [Excerpt: Roy Orbison and the Class of 55, “Coming Home”] That came out in 1986, and made the top twenty on the country charts — the first time he’d had an album make any chart at all since 1966. Also in 1986, David Lynch used Orbison’s “In Dreams” in his film Blue Velvet, which brought the record to a very different audience. He collaborated with k.d. lang, who was then one of the hottest new singers in country music, on a new version of his hit “Crying”: [Excerpt: Roy Orbison and k.d. lang, “Crying”] That later won a Grammy. He recorded a new album of rerecordings of his greatest hits, which made the lower reaches of the charts. He got inducted into the rock and roll hall of fame, and recorded a live TV special, A Black and White Night, where he was joined by Elvis’ seventies backing band, Bruce Springsteen, Elvis Costello, k.d. lang, Bonnie Raitt, Jackson Browne and Tom Waits, among others, all just acting as backing singers and musicians for a man they admired. He also joined with George Harrison, Jeff Lynne, Tom Petty and Bob Dylan in a supergroup called The Travelling Wilburys, whose first album made the top five: [Excerpt: The Travelling Wilburys, “Handle With Care”] And he recorded an album of new material, his best in decades, Mystery Girl, produced by Lynne and with songs written by Orbison, Lynne, and Petty — along with a couple of songs contributed by famous admirers like Bono and the Edge of U2. But by the time that came out, Orbison was dead — after a day flying model aeroplanes with his sons, he had a heart attack and died, aged only fifty-two. When Mystery Girl came out a couple of months later, it rose to the top five or better almost everywhere — and in the UK and US, he had two albums in the top five at the same time, as in the UK a hits compilation was also up there, while in the US the Wilburys album was still near the top of the charts. Orbison’s is one of the saddest stories in rock music, with one of the greatest talents in history getting derailed for decades by heartbreaking tragedies unimaginable to most of us, and then dying right at the point he was finally starting to get the recognition he deserved. But the work he did, both as a songwriter and as a singer, would inspire people long after his death.
Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at "Only the Lonely" by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts -- part one of a two-part Q&A and a ten-minute bonus on "Walk Don't Run" by the Ventures. 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/ ----more---- Resources Apologies for the delay this week -- I'm still trying to catch up after last week. As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. I have relied for biographical information mostly on two books -- The Authorised Roy Orbison written by Jeff Slate and three of Orbison's children, and Rhapsody in Black by John Kruth. For the musicological analysis, I referred a lot to the essay “Only the Lonely: Roy Orbison’s Sweet West Texas Style,” by Albin Zak, in Sounding Out Pop: Analytical Essays in Popular Music. There are many Orbison collections available, but many have rerecordings rather than the original versions of his hits. The Monument Singles Collection is the originals. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript It's been nearly a year since we last looked at Roy Orbison, so it's probably a good idea to quickly catch up with where we were up to. Roy Orbison had started out as a rockabilly singer, with a group called the Wink Westerners who changed their name to the Teen Kings and were signed to Sun Records. Orbison had thought that he would like to be a ballad singer, but everyone at Sun was convinced that he would never make it as anything other than a rocker. He had one minor hit on Sun, "Ooby Dooby", but eventually got dissatisfied with the label and asked to be allowed to go to another label -- Sam Phillips agreed to free him from his contract, in return for all the songwriting royalties and credits for everything he'd recorded for Sun. Newly free, Orbison signed to a major publisher and a major record label, recording for RCA with the same Nashville A-Team that were recording with Elvis and Brenda Lee. He had some success as a songwriter, writing "Claudette", which became a hit for the Everly Brothers, but he did no better recording for RCA than he had recording for Sun, and soon he was dropped by his new label, and the money from "Claudette" ran out. By the middle of 1959, Roy Orbison was an absolute failure. But this episode, we're going to talk about what happened next, and the startling way in which someone who had been a failure when produced by both Sam Phillips and Chet Atkins managed to become one of the most important artists in the world on a tiny label with no track record. Today, we're going to look at "Only the Lonely", and the records that turned Roy Orbison into a star: [Excerpt: Roy Orbison, "Only the Lonely"] It seems odd that Roy Orbison could thank Wesley Rose for introducing him to Monument Records. Rose was the co-owner of Acuff-Rose publishing, the biggest country music publishing company in the world, and the company to which Orbison had signed as a songwriter. Fred Foster, the owner of Monument, describes being called to a meeting of various Nashville music industry professionals, at which Rose asked him in front of everyone "Why are you trying to destroy Nashville by making these..." and then used an expletive I can't use here and a racial slur I *won't* use here, to describe the slightly R&B-infused music Foster was making. Foster was part of the new wave of Nashville record makers that also included Owen Bradley and Chet Atkins, though at this time he was far less successful than either of them. Foster had started out as a songwriter, writing the words for the McGuire Sisters' hit "Picking Sweethearts": [Excerpt: The McGuire Sisters, "Picking Sweethearts"] He had moved from there into record production, despite having little musical or technical ability. He did, though, have a good ear for artists, and he made his career in the business by picking good people and letting them do the music they wanted. He started out at 4 Star Records, a small country label. From there he moved to Mercury Records, but he only spent a brief time there -- he was in favour of moving into the rockabilly market, while his superiors in the company weren't. He quickly found another role at ABC/Paramount, where he produced hits for a number of people, including one track we've already covered in this podcast, Lloyd Price's version of "Stagger Lee". He then put his entire life savings into starting up his own company, Monument, which he initially co-owned with a DJ named Buddy Deane. As Foster and Deane were based in Washington at this time, they used an image of the Washington Monument as the label's logo, and that also inspired the name. The first single they put out on the label caused them some problems. Billy Grammer, their first signing, recorded a song that they believed to be in the public domain, "Done Laid Around", which had recently been recorded by the Weavers under the name "Gotta Travel On": [Excerpt: The Weavers, "Gotta Travel On"] However, after putting out Grammer's version, Foster discovered that the song was actually in copyright, with a credit to the folk singer and folklorist Paul Clayton. I don't know if Clayton actually wrote the song or not -- it was common practice at that time for folk songs to be copyrighted in the name of an artist. But whether Clayton wrote the song or not, "Done Laid Around" had to be withdrawn from sale, and reissued under the name "Gotta Travel On", with Clayton credited as the composer -- something which cost the new label a substantial amount of money. But it worked out well for everyone, with Grammer's record eventually reaching number four on the pop charts: [Excerpt: Billy Grammer, "Gotta Travel On"] After that success, Foster bought out Buddy Deane and moved the label down to Nashville. They put out a few more singles over the next year, mostly by Grammer, but nothing recaptured that initial success. But it did mean that Foster started working with the Nashville A-Team of session musicians -- people like Bob Moore, the bass player who played on almost every important record to come out of Nashville at that time, including the Elvis records we looked at last week. Moore had also played on Roy Orbison's last sessions for RCA, where he'd seen how downcast Orbison was. Orbison had explained to Moore about how this was going to be his last session for RCA -- his contract was about to expire, and it was clear that Chet Atkins had no more idea than Sam Phillips how to make a successful Roy Orbison record. Moore told him not to worry -- he very obviously had talent, and Moore would speak to Wesley Rose about him. As well as being Orbison's music publisher, Rose was also Orbison's manager, something that would nowadays be considered a conflict of interest, but was par for the course at the time -- he was also the Everly Brothers' manager and publisher, which is how Orbison had managed to place "Claudette" with them. There were a lot of such backroom deals in the industry at the time, and few people knew about them -- for example, none of Bob Moore's fellow session players on the A-Team knew that he secretly owned thirty-seven percent of Monument Records. While Fred Foster is credited as the producer on most of Orbison's sessions from this point on, it's probably reasonable to think of Bob Moore as at the very least an uncredited co-producer -- he was the arranger on all of the records, and he was also the person who booked the other musicians on the sessions. Orbison was by this point so depressed about his own chances in the music industry that he couldn't believe that anyone wanted to sign him at all -- he was convinced even after signing that Fred Foster was confusing his own "Ooby Dooby" with another Sun single, Warren Smith's similar sounding "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Wesley Rose had very clear ideas as to what Orbison's first single for Monument should be -- that last session at RCA had included two songs, "Paper Boy", and "With the Bug", that RCA had not bothered to release, and so Orbison went into the studio with much the same set of musicians he'd been working with at RCA, and cut the same songs he'd recorded there. The single was released, and made absolutely no impact -- unsurprising for a record that was really the end of Orbison's period as a failure, rather than the beginning of his golden period. That golden period came when he started collaborating with Joe Melson. The two men had known each other for a while, but the legend has it that they started writing songs together after Melson was walking along and saw Orbison sat in his car playing the guitar -- Orbison and his wife Claudette had recently had a son, Roy DeWayne Orbison (his middle name was after Orbison's friend Duane Eddy, though spelled differently), and the flat they were living in was so small that the only way Orbison could write any songs without disturbing the baby was to go and write them in the car. Melson apparently tapped on the car window, and asked what Roy was doing, and when Roy explained, he suggested that the two of them start working together. Both men were more than capable songwriters on their own, but they brought out the best in one another, and soon they were writing material that was unlike anything else in popular music at the time. Their first collaboration to be released was Orbison's second Monument single, "Uptown", a bluesy rock and roll track which saw the first big change in Orbison's style -- the introduction of a string section along with the Nashville A-Team. This was something that was only just starting to be done in Nashville, and it made little sense to most people involved that Orbison would want strings on what would otherwise be a rockabilly track, but they went ahead: [Excerpt: Roy Orbison, "Uptown"] The string arrangement was written by Anita Kerr, of the Anita Kerr Singers, the female vocal group that would be called into any Nashville session that required women's voices (the male equivalent was the Jordanaires). Kerr would write a lot of the string arrangements for Orbison's records, and her vocal group -- with Joe Melson adding a single male voice -- would provide the backing vocals on them for the next few years. Wesley Rose was still unsure that Orbison could ever be a star, mostly because he thought he was so odd-looking, but "Uptown" started to prove him wrong. It made number seventy-two on the pop charts -- still not a massive hit, but the best he'd done since "Ooby Dooby" three years and two record labels earlier. But it was the next single, another Orbison/Melson collaboration, that would make him into one of the biggest stars in music. "Only the Lonely" had its roots in two other songs. Melson had written a song called "Cry" before ever meeting Orbison, and the two of them had reworked it into one called "Only the Lonely", but they were also working on another song at the same time. They had still not had a hit, and were trying to write something in the style of a current popular record. At the time, Mark Dinning was having huge success with a ballad called "Teen Angel", about a girl who gets run over by a train: [Excerpt: Mark Dinning, "Teen Angel"] Orbison and Melson were writing their own knock-off of that, called "Come Back to Me My Love". But when they played it for Fred Foster, he told them it was awful, and they should scrap the whole thing -- apart from the backing vocal hook Joe was singing. That was worth doing something with: [Excerpt: Roy Orbison, "Only the Lonely", vocal intro] They took that vocal part and put it together with "Only the Lonely" to make a finished song. According to most reports, rather than have Orbison record it, they initially tried to get Elvis to do it -- if they did, they must have known that they had no chance of it getting recorded, because Elvis was only recording songs published by Hill and Range, and Orbison and Melson were Acuff-Rose songwriters. They also, though, tried to get it recorded by the Everly Brothers, who were friends of Orbison, were also signed with Acuff-Rose, and were also managed by Wesley Rose, and even they turned it down. This is understandable, because the finished "Only the Lonely" is one of the most bizarrely structured songs ever to be a hit. Now, I've known this song for more than thirty years, I have a fair understanding of music, *and* I am explaining this with the help of a musicological essay on the song I've read, analysing it bar by bar. I am *still* not sure that my explanation of what's going on with this song is right. *That's* how oddly structured this song is. The intro is straightforward enough, the kind of thing that every song has. But then the lead vocal comes in, and rather than continue under the lead, like you would normally expect, the lead and backing vocals alternate, and push each other out of phase as a result. Where in the intro, the first "dum dum dum" starts on the first bar of the phrase, here it starts on the *second* bar of the phrase and extends past the end of Orbison's line, meaning the first line of the verse is actually five bars (from where the instruments come in after the a capella "Only the"), and not only that, the backing vocals are stressing different beats to the ones the lead vocal is stressing: [Excerpt: Roy Orbison, "Only the Lonely", first line of verse] This is quite astonishingly jarring. Pop songs, of whatever genre -- country, or blues, or rock and roll, or doo-wop, or whatever -- almost all work in fours. You have four-bar phrases that build up into eight- or twelve-bar verses, choruses, and bridges. Here, by overlaying two four-bar phrases out of synch with each other, Orbison and Melson have created a five-bar phrase -- although please note if you try to count bars along with these excerpts, you may come out with a different number, because phrases cross bar lines and I'm splitting these excerpts up by the vocal phrase rather than by the bar line. The lead vocal then comes back, on a different beat than expected -- the stresses in the melody have moved all over the place. Because the lead vocal starts on a different beat for the second phrase, even though it's the same length as the first phrase, it crosses more bar lines, meaning two five-bar phrases total eleven bars. Not only that, but the bass doesn't move to a new chord where you expect, but it stays on its original chord for an extra two beats, giving the impression of a six-beat bar, even though the drums are staying in four-four. So the first half of the verse is eleven bars long, if you don't get thrown by thinking one of the bars is six beats rather than four. Structurally, harmonically, and rhythmically, it feels like someone has tried to compromise between a twelve-bar blues and an eight-bar doo-wop song: [Excerpt: Roy Orbison, "Only the Lonely", second line] There's then another section, which in itself is perfectly straightforward -- an eight-bar stop-time section, whose lyric is possibly inspired by the Drifters song that had used strings and rhythmic disorientation in a similar way a few months earlier: [Excerpt: Roy Orbison, "Only the Lonely", "There goes my baby..."] The only incongruity there is a very minor one -- a brief move to the fifth-of-fifth chord, which is the kind of extremely minor deviation from the key that's par for the course in pop music. That section by itself is nothing unusual. But then after that straightforward eight-bar section, which seems like a return to normality, we then get a five-bar section which takes us to the end of the verse: [Excerpt: Roy Orbison, "Only the Lonely", "But only the lonely know why..."] The song then basically repeats all its musical material from the start, with a few changes – the second time, the verse starts on the third of the scale rather than the first, and the melody goes up more, but it's structured similarly, and finishes in under two and a half minutes. So the musical material of the song covers twenty-four bars, not counting the intro. Twenty-four bars is actually a perfectly normal number of bars for a song to cover, but it would normally be broken down into three lots of eight or two lots of twelve -- instead it's a five, a six, an eight, and a five. I think. Honestly, I've gone back and forth several times about how best to break this up. The song is so familiar to most of us now that this doesn't sound strange any more, but I distinctly remember my own first time listening to it, when I was about eight, and wondering if the backing vocalists just hadn't known when to come in, if the people making the record just hadn't known how to make one properly, because this just sounded *wrong* to me. But it's that wrongness, that strangeness, of course -- along with Orbison's magnificent voice -- that made the record a hit, expressing perfectly the confusion and disorientation felt by the song's protagonist. It went to number two in the US, and number one in the UK, and instantly made Roy Orbison a star. A couple of slightly more conventional singles followed -- "Blue Angel" and "I'm Hurtin'" -- and they were both hits, but nowhere near as big as "Only the Lonely", and this seems to have convinced Orbison and Melson that they needed to follow their instincts and go for different structures than the norm. They started to make their songs, as far as possible, through-composed pieces. While most songs of the time break down into neat little sections -- verse, chorus, verse, chorus, middle eight, instrumental solo, chorus to fade, or a similar structure, Orbison and Melson's songs rarely have sections that repeat without any changes. Instead a single melody develops and takes twists and turns over the course of a couple of minutes, with Orbison usually singing throughout. This also had another advantage, as far as Orbison was concerned -- their songs hardly ever had space for an instrumental break, and so he never had to do the rock and roll star thing of moving around the stage and dancing while the instrumentalists soloed, which was something he felt uncomfortable doing. Instead he could just stand perfectly still at the microphone and sing. The first single they released that fit this new style was inspired by a piece of music Fred Foster introduced Orbison to -- Ravel's "Bolero": [Excerpt: Ravel, "Bolero" (West-Eastern Divan Orchestra)] Orbison and Melson took that basic feel and changed it into what would become Orbison's first number one in the US, "Running Scared": [Excerpt: Roy Orbison, "Running Scared"] That song was apparently one that met some resistance from the Nashville A-Team. A chunk of the song is in rubato, or "free time", where the musicians speed up or slow down slightly to make the music more expressive. This was not something that Bob Moore, in particular, was comfortable with -- they were making pop music, weren't they? Pop music was for kids to dance to, and if kids were going to dance to it, it had to have a steady beat. Orbison wasn't very good at all at dealing with conflict, and wherever possible he would try to take the most positive attitude possible, and in this case he just went into the control room and waited, while the musicians tried to figure out a way of playing the song in strict tempo, and found it just didn't work. After a while, Orbison walked back into the studio and said "I think we should play it the way it was written", and the musicians finally went along with him. It may also have been on "Running Scared" that they pioneered a new recording technique, or at least new for Nashville, which was surprisingly conservative about recording technology for a town so rooted in the music industry. I've seen this story written about three different early Orbison songs, and it could have been any of them, but the descriptions of the "Running Scared" session are the most detailed. While Orbison had a great voice, at this point it wasn't especially powerful, and with the addition of strings, the band were overpowering his voice. At this time, it was customary for singers to record with the band, all performing together in one room, but the sound of the instruments was getting into Orbison's mic louder than his voice, making it impossible to get a good mix. Eventually, they brought a coatrack covered with coats into the studio, and used it to partition the space -- Orbison would stand on one side of it with his mic, and the band and their mics would be on the other side. The coats would deaden the sound of the musicians enough that Orbison's voice would be the main sound on his vocal mic. In this case, the reason his voice was being overpowered was that right at the end of the song he had to hit a high A in full voice -- something that's very difficult for a baritone like Orbison to do without going into falsetto. It may also be that he was nervous about trying this when the musicians could see him, and the coats in the way helped him feel more secure. Either way, he does a magnificent job on that note: [Excerpt: Roy Orbison, "Running Scared", tag] Apparently when Chet Atkins popped into the studio for a visit, he was utterly bemused by what he saw -- but then he was impressed enough by the idea that he got RCA to build a proper vocal isolation booth at their studios to get the same effect. "Running Scared" also came along just after Orbison made one big change to his image. He'd been on tour with Patsy Cline, promoting "Blue Angel", and had left his glasses on the plane. As he couldn't see well without them, he had to resort to using his prescription sunglasses on stage, and was astonished to find that instead of looking gawky and rather odd-looking, the audience now seemed to think he looked cool and brooding. From that point on, he wore them constantly. For the next three years, Orbison and Melson continued working together and producing hits -- although Orbison also wrote several hits solo during this time, including "In Dreams", which many consider his greatest record. But Melson was becoming increasingly convinced that he was the real talent in the partnership. Melson was also putting out singles on his own at this time, and you can judge for yourself whether his most successful solo track, "Hey Mr. Cupid" is better or worse than the tracks Orbison did without him. [Excerpt: Joe Melson, "Hey Mr. Cupid"] Eventually Melson stopped working with Orbison altogether, after their last major collaboration, "Blue Bayou". This turned out to be the beginning of the collapse of Orbison's entire life, though it didn't seem like it at the time. It was the first crack in the team that produced his biggest hits, but for now he was on a roll. He started collaborating with another writer, Bill Dees, and even though Beatlemania was raging in the UK, and later in the US, he was one of a tiny number of American artists who continued to have hits. Indeed, two of the early collaborations by Orbison and Dees were the *only* two records by an American artist to go to number one in the UK between August 1963 and February 1965. The second of those, "Oh, Pretty Woman", also went to number one in the US, and became one of his most well-known songs: [Excerpt: Roy Orbison, "Oh, Pretty Woman"] That song again caused problems with his new collaborator, as Bill Dees sang the harmony vocals on it, and felt he wasn't getting enough credit for that. But that was the high point for Orbison. Wesley Rose and Fred Foster had never got on, and Rose decided that he was going to move Orbison over to MGM Records, who gave him an advance of a million dollars, but immediately the hits dried up. And the events of the next few years were the kind of thing that would would break almost anyone. He had divorced his wife Claudette, who had inspired "Oh, Pretty Woman", in November 1964, just before signing to MGM, because he'd discovered she was cheating on him. But the two of them had been so in love they'd ended up reconciling and remarrying in December 1965. But then six months later, they were out riding motorbikes together, Claudette crashed hers, and she died. And then a little over two years later, while he was on tour in the UK, his house burned down, killing two of his three children. Orbison continued to work, putting out records that no-one was buying, and playing the chicken-in-a-basket circuit in the UK. He even remarried in 1969, and found happiness and a new family with his second wife. But for about twenty years, from 1965 through to 1985, he was in a wilderness period. Between personal tragedy, changing fashions in music, and the heart condition he developed in the 70s, he was no longer capable of making records that resonated with the public, even though his voice was as strong as ever, and he could still get an audience when singing those old hits. And even the old hits were hard to get hold of -- Monument Records went bankrupt in the seventies, and reissues of his old songs were tied up in legal battles over their ownership. But then things started to change for him in the mid-eighties. A few modern artists had had hits with cover versions of his hits, but the big change came in 1985, when he collaborated with his fellow ex-Sun performers Johnny Cash, Carl Perkins, and Jerry Lee Lewis, on an album called Class of 55: [Excerpt: Roy Orbison and the Class of 55, "Coming Home"] That came out in 1986, and made the top twenty on the country charts -- the first time he'd had an album make any chart at all since 1966. Also in 1986, David Lynch used Orbison's "In Dreams" in his film Blue Velvet, which brought the record to a very different audience. He collaborated with k.d. lang, who was then one of the hottest new singers in country music, on a new version of his hit "Crying": [Excerpt: Roy Orbison and k.d. lang, "Crying"] That later won a Grammy. He recorded a new album of rerecordings of his greatest hits, which made the lower reaches of the charts. He got inducted into the rock and roll hall of fame, and recorded a live TV special, A Black and White Night, where he was joined by Elvis' seventies backing band, Bruce Springsteen, Elvis Costello, k.d. lang, Bonnie Raitt, Jackson Browne and Tom Waits, among others, all just acting as backing singers and musicians for a man they admired. He also joined with George Harrison, Jeff Lynne, Tom Petty and Bob Dylan in a supergroup called The Travelling Wilburys, whose first album made the top five: [Excerpt: The Travelling Wilburys, "Handle With Care"] And he recorded an album of new material, his best in decades, Mystery Girl, produced by Lynne and with songs written by Orbison, Lynne, and Petty -- along with a couple of songs contributed by famous admirers like Bono and the Edge of U2. But by the time that came out, Orbison was dead -- after a day flying model aeroplanes with his sons, he had a heart attack and died, aged only fifty-two. When Mystery Girl came out a couple of months later, it rose to the top five or better almost everywhere -- and in the UK and US, he had two albums in the top five at the same time, as in the UK a hits compilation was also up there, while in the US the Wilburys album was still near the top of the charts. Orbison's is one of the saddest stories in rock music, with one of the greatest talents in history getting derailed for decades by heartbreaking tragedies unimaginable to most of us, and then dying right at the point he was finally starting to get the recognition he deserved. But the work he did, both as a songwriter and as a singer, would inspire people long after his death.
This week Sabrina's legs melt and she smells of putrefying meat and pig faeces ... allegedly anyway, all because she gets her first credit card and becomes literally spoiled! Also Salem has the worst sub plot yet, it's so bad we were actually fondly recalling an episode of Teen Angel, gross! WARNING: EPISODE CONTAINS GRAPHIC RECOLLECTIONS OF TEEN ANGEL.
Mike Reiss joins us on the latest episode of Round Springfield! He talks about his first big Hollywood gig working on "Airplane II: The Sequel." We also chat about punching up animated kids films like "The Lorax," "Ice Age," and "Despicable Me." Plus, he'll talk about the show he's most proud of you might not have seen – "Queer Duck." And what was the deal with "Teen Angel" on ABC's TGIF? This episode was recorded remotely during quarantine. You might notice differing audio quality from previous episodes – but we're trying to make it work for you! Hope everyone is staying safe and healthy.
The elegant, hard working, ultra talented Michael De Rose is our special guest this week on Tits and Teeth, and let’s just say, there are no thorns on this rose! Michael was recently recognized by NOW! Magazine as one of the ‘Top Ten Toronto performers in theatre and comedy of 2019' and we couldn't agree more! You may also recognize him from his starring role in Ross Petty Panto's Lil’ Red Robin Hood and The Wizard of Oz, or even in the Toronto production of Grease, where he appeared as Teen Angel. We chat with Mr. De Rose about these recent acknowledgements he’s received, his reoccurring role as SugarBum in the Ross Petty Panto, and his tenacious work ethic!The already successful DeRose has an exciting future in this business and we can’t wait to see where this ‘Top Ten’ man is headed! Micheal's epic vocals have had him touring across North America in Godspell and Saturday Night Fever, and he also received a Betty Mitchell Nomination for his role as Lonny in Rock Of Ages (Stage West). Other credits include Reprint (Musical Stage Co.) Freaky Friday (Theatre Aquarius), Juke Box Hero (Annerin Theatricals), and Return To Grace (RGA Productions), just to name a few! Come hang with us, grab a drink (if you’re not driving) and get your weekly fix of musical theatre banter, with beverages.
September 20-26, 1997 Today Ken welcomes old friend, frame-maker and comedian Ryan Douglass to the show. Ken and Ryan discuss bible eating, book stores, the last time Ken saw Ryan, Princess Di, all the places Ryan has lived, Home Improvement, The New People, Baywatch, Elton John, TV Movies, Unicorn Sculptures, Lance Burton, COPS, the Walsh Brothers, Early Edition, Chicago, Short Circuit, Bullit, Superbowl, Sister Wendy, Catholic Television, bad Notre Dame tattoos, Dave Thomas, Grace Under Fire, confusing Suddenly Susan, Veronica's Closet and Just Shoot Me, Cybill, Billy Corgan, Ryan meeting Smashing Pumpkins, Ghoulardi, Svengoulie, CHUD, Newradio, Lovitz replacing Phil Hartman, Spin City, The Tony Danza Show, High School football, Ellen, The Drew Carey Show, Party of Five, Empire Records, Hi-Fidelity, Riders of the Purple Sage, TNN, The Country Music Awards, Ryan's 7th Grade Reading Teacher's band, Sabrina, Salem the Cat, The Newbury St. Newbury Comics, Condom World, trying to figure out George Clooney's break out movie role, Meego, Teen Angel, Manhunter, Millennium, switching Networks, priests, Cracker, southern accents, Football injuries, Kathy Lee's unseemly promotion, people named Wes, and a glowing tribute to Brendan Tartikof.
Troo and her brother Kaiser Permanente must battle a team of freshly baked Dunkin’ Donuts in order to stop their father from choking them. MapQuest, morgue door height, Marcus Smart, Teen Angel, moon boots, and Popup Jensen are also discussed.
Guest - Alex Benson - Recruiter at Square - punk rock grrrls - BabyfaceCast, Matthew LibatiqueCast - Hey, Venom was fun - getting your fish-eye on - Rachel Leigh Cook smashing out hearts with a frying pan - Shannon SossamynCast - Princess Diaries episode correction, talking Teen Angel - Tara Reid, future guest for sure - Du Jour need their own spinoff - Alan Cummings appeciation - Rotten Tomatoes guessing game - Archie Comic expanded universe - Rachel Leigh CookCast - Richard VoiceOver corner - shopping spree montage songs - Free Harry Elfont and Deborah Kaplan from movie jail! - Will’s Anti-Establishment Podcast - the product placement in this movie is out of control - dark ages of the Ford Mustang, haircutcast - Nicole Kidman, big beautiful alien - Victoria Beckham, tiny beautiful alien - David BeckhamCast, Watch watch - high concept evil plots, CastingCast - Will blows the lid off another conspiracy - Bono, big Josie-head - James Spader - time traveler - Exclusive Will Celeb Encounters - Aries Spears, Dane Cook - Dane CookCast, recording studio movie BS - Tara Reid dialogue conspiracy theory - Daft Punk - Discovery talk - Daft Punk replica helmets cost about as much as a new Honda Accord - CreedCast (the band, not the Office character) - when you get a cannoli you gotta eat it - Disco talk, Easycore talk - Ultimate Fake Concert lineup - Smallville started in 2001, can you believe it?
Ed Bachta is the host of Unaired! a podcast where Ed guest watch shows that were cancelled with episodes left unaired and pitch their ideas of how the show would have proceeded if it hadn’t been cancelled. On this episode we chat about what else TV. We nerd out about shows we love, discuss the shows we can't remember if were real (My Alien Family, Teen Angel?) and give hot takes on issues from six months ago.
On this episode, we talk about HEREDITARY, the best ROSEMARY'S BABY fanfic ever written! We also rank JASON GOES TO HELL: THE FINAL FRIDAY and talk about Booberry, Big Mama's Pickled Sausage, Teen Angel, and the discomfort of seeing Jason Voorhees any time after the Reagan administration.
Steve Cooper talks with actor Mark Metcalf. Mark is best known for playing ROTC officer Douglas C. Neidermeyer in the movie classic Animal House, a character he later emulated in the popular Twisted Sister videos We're Not Gonna Take It and I Wanna Rock, portraying The Maestro in Seinfeld and his recurring role as The Master in Buffy the Vampire Slayer. He has also been seen in TV shows such as Miami Vice, Angel, Party of Five, Walker Texas Ranger, Hill Street Blues, Teen Angel, Ally McBeal, Melrose Place, JAG and Mad Men.
Welcome to Extra Credit, the spin off podcast where we steer away from the usual magical curriculum and instead talk about something a little bit different! Episode 4 - TGIF '97 feature the awesome Boy Meets World, the cringe worthy Teen Angel and the abomination that is You Wish. Why is Steve being haunted by the ghost of the mate he killed? What would it be like if Sabrina was a boy and really shit? How have we never watched a single episode of Boy Meets World until now!? All this & more on our longest episode yet!!
It's a brand new year, which means it's time to look ahead at what 2018 has to offer. After laying out their New Year's Resolutions, Matt and Ed sift through the release schedule to highlight some of their most anticipated movies coming out between now and August (with one October release that they forgot to remove from the episode plan), as well as some which they don't have high hopes for but which could still be interesting. They also talk about German New Year's traditions, become possibly the first podcast in history to joke about the long-forgotten ABC sitcom Teen Angel, and accidentally come up with a title for the next great Sundance sensation. You can see the sketch Dinner for One, which Matt talks about in the intro, on YouTube. 00:00:00 - 00:12:42 - Intro 00:12:43 - 00:20:42 - News 00:20:43 - 02:04:29 - Matt & Ed Preview the Year's Movies 02:04:30 - 02:09:59 - SRS Recommends & Outro
The Total Tutor Neil Haley will interview AL JEAN, Executive Producer of FOX TV's THE SIMPSONS. Emmy Award-winning producer/writer Al Jean has worked on THE SIMPSONS since it became a series in 1989. He has a credit on more than 500 episodes and has been showrunner for more than 300. In addition to eight Emmy Awards, he has won the coveted Peabody Award and was nominated for two Golden Globes. Currently, he serves as executive producer and showrunner. He also served as writer and producer on “The Simpsons Movie” (which took in more than $525 million worldwide), working heavily on the film throughout its entire four-year production, and was producer and writer on the Academy Award-nominated short film “The Longest Daycare.” Jean co-created “The Critic” and “Teen Angel” and served as producer of “It's Garry Shandling's Show,” for which he won three CableACE Awards. Other television credits include “The PJ's,” “Alf” and “The Tonight Show Starring Johnny Carson.” Episodes of THE SIMPSONS that Jean has written or co-written include “Moaning Lisa,” “The Way We Was,” “Treehouse of Horror II & III,” “Stark Raving Dad,” “Simpsoncalifragilisticexpiala (annoyed grunt) cious,” “Hello Gutter, Hello Fadder,” “Day of the Jackanapes” and the Emmy Award-winning “HOMR.”
In which puffy-sleeved boy declares his love to his Teen Angel. It’s just one song, no plurals allowed. Watch/Listen to the song before you listen: Youtube: https://www.youtube.com/watch?v=54QeNL5ih6A Spotify: https://open.spotify.com/track/0UwQOcaLUIenpbQX3RpBfK
Today our guest on the Following Films is Michael Price. He is a writer and producer, best known for his Emmy and Writers Guild award-winning work on The Simpsons. Price is a writer and co-executive producer of the ABC series Teacher's Pet. He served as a script consultant on The Simpsons Movie and wrote the acclaimed Lego Star Wars special, Lego Star Wars: The Padawan Menace. He works at Lucasfilm writing and producing Lego Star Wars Franchise. Other television shows he has written for include What About Joan?, The PJs, Teen Angel, Homeboys in Outer Space, The Newz and One Minute to Air. Price co-wrote and co-produced the Bill Burr Netflix series F Is for Family in 2015 on. The show is an Animated sitcom that draws from Burr's standup and the absurdness of political correctness and is currently running its second season. He grew up in South Plainfield, New Jersey, and attended Montclair State University, where he earned a B.A. degree in Theatre Arts, and Tulane University, where he earned a Master of Fine Arts degree in directing for the theater. Big thanks to David over at The Unwriteable Rant for setting me up with this interview.
Episode 17 of the International Women in Film Podcast stars, Reneé O’Connor, a successful actress and filmmaker, best known for her role on Xena: Warrior Princess, brings her unparalleled passion to each and every project. Reneé made a name for herself when she resided in Auckland, New Zealand, playing the role of Gabrielle, Xena’s trusted sidekick on the popular series from 1996-2001. The scene stealing role created a huge worldwide fan base, one still active in countless websites dedicated to the actress and this signature series. She then moved on to launch her own film production company – ROC Productions. Her first independent production under the company is the romantic comedy, Diamonds and Guns which was released on DVD in January 2008. She also starred in several independent films, including Boogeyman 2 opposite Tobin Bell; The Sci Fi Channel’s Monster Ark opposite Tim DeKay and Alien Apocalypse, opposite Bruce Campbell, one of the highest-rated original movies in the cable network’s history. She starred in the action webisode series ARK from Judah/Sacks (executive producers of 90210 and Diary of a Wimpy Kid) and the anticipated Faith Based feature film, Beyond The Farthest Star, due for release in 2016, from Pathlight Entertainment. Prior to her breakout role, Reneé lived in Texas and began her professional film career at the age of 17, starring in the serial Teen Angel, a regular feature on the Disney Channel’s The Mickey Mouse Club. Other credits include the Disney film, The Adventures of Huck Finn with Elijah Wood, and television movies such as Follow the River with Ellen Burstyn, Danielle Steele’s Changes with Cheryl Ladd, and James Garner’s second Rockford Files reunion movie. Reneé’s talent extends well beyond the big screen or the small screen. Also an acclaimed stuntwoman, Reneé is proficient in several forms of martial arts and the use of martial arts weapons, which includes, the Nunchaku, Bo-Staff, and the Sai. She is a certified teacher of Emotional Awareness for the gifted community by the Rocamora School, and Renee has been an annual nominee for the Women Making A Difference award by the Los Angeles Business Journal since 2010. Renee is involved as co-director for some Los Angeles Film Festivals and teaches the Youth Intensive film lab, an educational laboratory for showcasing local talents. Currently, Renee writes, directs, and produces award winning short films, bridging social awareness with the entertainment industry, and she is in post production on the feature film, Watch The Sky, a Science Fiction Family film, due for release in 2017. Diamonds and Guns http://internationalwomeninfilm.com/2016/07/25/infinity-by-randy-crowder-starring-renee-oconnor/ __ International Women in Film Podcast http://InternationalWomenInFilm.com/ To join the International Women in Film Podcast Community https://michelethetrainer.leadpages.co/podcast-iwif-1/
New podcasts are posted on a weekly basis and up to theminute show information is here http://citrusonic.libsyn.com/ andyou may also visit www.citrusonic.com for more. Thank you and makesure to tell all your friends to subscribe to ComputersLive. https://itunes.apple.com/us/app/computer-music-live/id390440928?mt=8 This is the most convenient way to access ComputerMusic Live on your iPhone, iPad or iPod Touch. You're alwaysconnected to the latest episode. Instant access, just touch andplay! Computers LIVE contains the following features: * Streaming access to play episode from anywhere * Always updated with the latest episodes- and an archived backcatalog * Download the episodes and play them when offline * Playback resume (when interrupted by a call or otherdistraction) * Favorites (mark the episodes you want to return back to over andover) * Quick access to all the contact methods for the show COMPUTERS LIVE features Underground Ape Music. The hottest BASSMUSIC on the planet. Drum and Bass Tunes / Jungle unlike anythingyou've heard. Amen Breaks Podcast created by the living idol JavierCasas : Strong, tall, Otaku Athlete. a.k.a The Reaktor & MaxMSPGosu & Three Time Golden Mouse Winner. And now there is aweekly podcast of these works. Exclusive Dubstep Trap from thecountry. Hidden away in a Los Angeles studio. It is offered onlythrough Podcast. All circuits will be bent once a week. Eight bitsthru eight terabytes. Do you like playing video games? Well we'vestolen the synthesizer so get ready! ACCESS VIRUS your way to atrance. DJs you like mixing, OK we've got you covered. This L.ABattle Artist has ties with AKB48! Thunderous the meanestscratching of fresh bassline and 303's on steroids. Up to theminute show information is posted here http://citrusonic.libsyn.comand you may visit www.fm48.org for my info. Thank you and make sureto tell all your friends to subscribe to Computer Music Live! OFFICIAL PODCAST LINK https://itunes.apple.com/us/podcast/drum-bass-electronic-trap/id286020710?mt=2 (Please note, not all features are available for all episodes.Call-in feature is only available on iPhone but not the iPad oriPod Touch) http://www.amazon.com/Wizzard-Media-Computer-Music-Live/dp/B0052UNHKS Strong, Tall, Otaku Athlete. Reaktor & Max/MSP Gosu.Three Time Golden Mouse Winner. Weekly podcast on iTunes called"Computer Music Live" along w Apps on iOS, Android &Amazon https://www.instagram.com/citrusonic Computer Music Live / Citrusonic is a weekly podcast dedicatedto Live Computer Music Performances. This show features LiveUnderground Jungle, Techno, DNB, Hip Hop, Dubstep, Future, Noise,Synth, Trance, Pop, DJ, Mixing, Battle, Records, Music, Altering,AM, FM, Modulations, Radio, Computer, Harmonies. ThunderousScratch-Tracks, Techno, Glitches, Old, Skool, Breaks, Ejects,iDose, Chaos and Bass. An hour long podcast of Fresh OriginalElectronic Dance Music. Menacing Cantus Firmus Basslines,Heavyweight Drums and Synthesizers all LIVE! Computer Music Live isposted every Saturday Night from California, only the hottestUnderground Jungle Music is chosen. New podcasts are posted on aweekly basis and up to the minute show information is herehttp://citrusonic.libsyn.com/ and you may also visitwww.citrusonic.com for more. Thank you and make sure to tell allyour friends to subscribe to Computer Music Live. Thisweek... www.javiercasas.com www.fm48.org http://citrusonic.com http://fm48.org http://facebook.com/computerslive Special
The Total Tutor Neil Haley will interview American Idol Taylor Hicks. Taylor Hicks launched his career as one of the most popular AMERICAN IDOL winners of all time, going on to prove himself a multi-faceted powerhouse, dominating in music, on Broadway, as an author, entrepreneur and actor. From the start, Hicks' material on the mega-hit show set him apart, with a unique take on Southern soul, R&B, country and blues. 64 million votes were cast when Hicks won. Over 37 million Americans- 200 million viewers worldwide, tuned in to crown Hicks the Season 5 winner of AMERICAN IDOL, making it one of the most-watched TV events of the last decade. Hicks' star continued to rise after he stepped off of the IDOL stage. Less than three weeks later, his debut single, “Do I Make You Proud,” entered at #1 on Billboard's Hot 100, Pop 100 and Single Sales Charts. People magazine named him “Hottest Bachelor of the Year”. His self-titled album (Arista) debuted at #2 on the Billboard 200 and was quickly certified RIAA Platinum. In 2007, Hicks penned a best-selling autobiography, “Heart Full of Soul” (Random House). He is the first male IDOL winner featured on a Grammy Award-winning album, Jimmy Fallon's “Blow Your Pants Off,”- 2013's Grammy for Best Comedy Album. On Broadway, Hicks starred in the hit musical, GREASE, as Teen Angel, subsequently joining the 18-month national tour. In 2012, he began his residency at Bally's Las Vegas. As a testament to his musical talent and showmanship, Hicks received a year-long extension through 2013 at a larger venue, Paris Las Vegas, making him the first Idol winner in history to secure a long-term residency in Vegas. He rapidly evolved into one of the most popular acts in the city.
Today's Guest: Bobby Rydell, singer, author, Teen Idol on the Rocks: A Tale of Second Chances Watch this exclusive Mr. Media interview with singer Bobby Rydell by clicking on the video player above! Mr. Media is recorded live before a studio audience full of men of a certain age who wish they had spent months of their formative years dancing with Ann-Margaret… in the NEW new media capital of the world… St. Petersburg, Florida! Teen Idol on the Rocks by Bobby Rydell. Order your copy today by clicking on the book cover above! It never registered with me. Rydell High, that is – the name of the school where Danny Zuko and Sandy reunite, where the T-Birds and the Pink Ladies rule the roost. As many times I have watched that movie over the years, it never clicked that calling the fictional institution “Rydell High School” was a tribute to America’s most famous Rydell – Bobby. BOBBY RYDELL podcast excerpt: "When I was with Mr. Sinatra at the Copacabana for the first time and he said, 'What do you drink, Robert?' I said, 'C-C-Coke.' I figured if I said, 'Scotch and water,' I'd get smacked in the face, y'know?" Pretty cool – even if it was his pal Frankie Avalon who played the film’s Teen Angel, not him. After all, South Philly’s gift to teen pop and adult cool, Bobby Rydell, has enjoyed more than his share of fame and fortune. There were the hits, none bigger than “Volare.” And, of course, co-starring in the film version of Bye Bye Birdie with Dick Van Dyke and Ann-Margaret. Bobby Rydell, Return Of The Original American Idol - All The Albums 1961-1962 [ORIGINAL RECORDINGS REMASTERED] 2CD SET Import. Order your copy today by clicking on the CD cover above! And it has all come together in his new autobiography, Teen Idol on the Rocks: A Tale of Second Chances, a mostly happy life’s story – until it’s not. BOBBY RYDELL podcast excerpt: "When the movie, 'Grease,' came out, I didn't know it was going to be Rydell High! When I saw the movie, there it was. I said, 'Wow, that's pretty cool. Pretty cool!" Bobby Rydell is kind of a stealth American cultural icon. Bye Bye Birdie starring Dick Van Dick, Ann-Margaret, Bobby Rydell. Download your copy today by clicking on the movie poster above! Thirty years ago, I reviewed his “Golden Boys of Bandstand” tour appearance with Fabian and Frankie Avalon at the old Bayfront Center Theater here in St. Petersburg, Florida. I remember going in and thinking Fabian and Frankie were likely the real stars. But then along came too-cool-for-school Bobby Rydell, who blew the audience away with his pipes. This is the rare case of the dropout who deserves his own high school. Key interview moments: • 3:30 Singer Bobby Rydell might have been the last man in America to find out that the school Danny and Sandy attend in the Broadway show and movie Grease is named after him -- Rydell High School; • 20:20 As a member of the movie cast of Bye, Bye Birdie, Rydell got to work with Dick Van Dyke, Ann-Margaret, Maureen Stapleton, Janet Leigh and -- "God rest his soul" -- Paul Lynde; • 39:13 Rydell explains why underage drinkers didn't order anything but Coca-Colas while sitting at the Copacabana with Frank Sinatra. Bobby Rydell Website • Facebook • Twitter • YouTube • Google+ • IMDB • Wikipedia Grease Live! DVD, Aaron Tveit, Vanessa Hudgens. Order your copy today by clicking on the DVD cover above! "Mean Business: How I Save Bad Companies and Make Good Companies Great" by Albert J. Dunlap with Bob Andelman, available in print, e-book or digital audio. Order your copy now by clicking on the book cover above! The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!
Michael Price is an Emmy and Writer’s Guild award-winning writer and producer on such shows as Ahh! Real Monsters, Teen Angel, Legos Star Wars, and The Simpsons. Michael is also the co-creator along with Bill Burr of the Netflix original F is for Family On this episode, Michael chats about previous writing jobs, The Simpsons writers room, celebrities he was able to get on the Simpsons, the origins of F is For Family, what we can expect from Season 2 and more. Mike online- @mikepriceinla, @FIFFNetflix Lets Chat online- Coretemparts.com, @Letschatpodcast, Facebook
Episode 3 and we're on a roll. Great recommendations from some listeners, interesting new sitcoms from the BBC and the first discussion of Teen Angel in maybe 15 years. Your regular host James Stewart has a lot to say but would love you to talk back. Contained within we have Correspondence:- An email sparks a discussion of days gone by and a call for information. Recommendations :- Humans What's On Now:- BBC2 Thursday night comedy gets dissected - Cradle to Grave and Boy Meets Girl. "On Demand"s My Attention:- Doctor Who Series 8 (in preparation obviously) Top of the Pile:- An Evening with Harry Enfield and Paul Whitehouse. You've Let Us Down:- Or have you? We need your input for next time! You've got a specific subject - children's TV. Anything from what your children watch now to what scarred you decades ago. Contact us on Twitter, online at The Televigion Blog or via televigionist@gmail.com.
Happy Holidays, WEE listeners! Let's ruin them by talking about this episode. Widely regarded as the worst Christmas episode, we're watching Season 18's "Kill Gil, Volumes 1 & 2," an episode that manages to include senseless violence, animal abuse, and tired gay jokes on top of its loose Christmas plot. But it's not all bad! This is also the debut episode of the Grumple. Ok, so it is all bad... We perform a deep psychoanalysis of said Grumple, dig into whether Gil works in large doses, and ponder why this episode was so intent on making jokes about Scottsdale, Arizona. Why does the show insist on beating gags to death, especially with Homer's aggressive whisper? Why can WEE not stop talking about Marge? And why aren't you spending your holiday watching "The Stand" miniseries from 1994? All that, plus, an extensive discussion about Jerry Van Dyke and the 1997 TGIF line-up, our hatred for leprechauns, and another of Dan's delightful and violent Simpsons stories from the late 90s. Enjoy our gift to you, our faithful listeners (and apologies to Al Jean, who apparently created "Teen Angel"...). For more show notes, links to watch the episodes on Simpsons World, and more, check us out at www.weepodcast.com
Struggling and barely able, nothing rhymes with Teen Angel. Whether you've powers beyond the living or not, follow us on the web! Twitter: https://twitter.com/1990sPodcast Facebook: https://www.facebook.com/1990sPodcast E-Mail:... See acast.com/privacy for privacy and opt-out information.
On this episode of Broad Topics Radio we learn "The Art of Negotiation" with a panel of women that negotiate for a living. Join host Laura Nickerson with Talent Agent Valerie Chiovetti (@valchi) and Real Estate Agent Colleen Martin (www.valleygirlhomes.com) as they give insider tips on how to get the most out of the negotiation process. "Grease" is the word at the Cabrillo Music Theatre (www.cabrillomusictheatre.com) and their "Teen Angel" (and ours) Adrian Zmed calls in to talk about the production opening on April 12th in Thousand Oaks. Also don't miss our interview with Karen Van Why and Linda Clark from the "Hair Queens" (www.hairqueens.com) to give the low down on one of children's ickiest maladies.
We encounter some technical difficulties this week on Hellovision! but soldier on. Casey, Sean and Chris talk about some of HBO's finest moments and how Casey's had to change his tune on 60 minute dramas. Later, friend of the show Russ Seyfert stops by and we dish on our most beloved cancelled shows. Russ describes his storied history with Canadian cop drama Due South while Shiggins somehow finds a way to mention Teen Angel and Wings again.
This week on Hellovision, Casey, Chris, and Sean discuss TV Reboots and why they suck, we go over some television related news, Chris gets a catchphrase (kinda), Casey theorizes why Conan lost the Tonight show to Jay, and we look over the late Aaron Spelling's résumé! Later, Sean tests Chris' knowledge of obscure TGIF shows, we talk about Teen Angel, and the many roles of Julie Benz!
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