Podcasts about Ten Little Indians

The Fellowship is pleased to present our discussion of the Star Wars novel (and graphic novel) Splinter of the Mind's Eye (1978) to wrap up our month of Star Wars. Wasn't this supposed to be the sequel? Plus our usual crazy talk, geek news, and tangents

Original Release Date: Monday 22 July 2024    Description:   Dean and Phil have thoughts about the recent assassination attempt on former President Trump and these thoughts bring back memories of John Lennon's murder and of vigilante films of the 1970s, especially Taxi Driver as well as the American classic on which it was based, The Searchers. On this week's show, you will hear all that before your friends in podcasting get down to remembering the great Bob Newhart and the singular Shelly Duvall, as well as Oscar-winning producer Jon Landau in "Celebrity Deaths". The "Live Event of the Week" involves Disneyland on its 69th birthday, the invention of audio-animatronics and how Disney was denied toys as a kid. Two movies have Phil's attention, one of whose story (Widow Clicqout) was written by a future guest of YOUR Chillpak Hollywood Hour and the other (Bodies Bodies Bodies) an A24 satire on both WiFi culture and Agatha Christie's Ten Little Indians. Watching it was part of Phil's efforts to see everything in which actress Rachel Sennott has appeared. Finally, the Emmy Awards nominations get discussed and Dean's viewing habits get put to the test!

Author Troy Howarth returns to the show to talk about the second feature film of Agatha Christie's TEN LITTLE INDIANS (1965). We compare it to the superior 1945 version and a couple of later attempts to bring this sturdy tale to the big screen. Both of us try to not spoil the story for those who have yet to experience the fun, but a few of the surprises do slip into the conversation.  We discuss the novel and its original title as well as the changes Christie made to her bestselling story when she adapted it for the stage. This beautifully photographed black and white movie is a stylish and well-cast progenitor of the slasher horror genre in which the mysterious killer murders his victims in darkly humorous ways, whittling the cast down for our entertainment. The cast is fascinating and we dig into the careers of several of them touching on their high and low points. Troy's appreciation of Dennis Price surfaces with me teasing him about a possible future writing project. Fingers crossed! I point to a couple of small things that stand out as ill-fitting or overlong but we both think highly of this strong revisioning of this always intriguing tale. I'm just not sure I'm ready for the Frank Stallone version.   If you have a favorite screen adaptation of this story let us know at thebloodypit@gmail.com – we'll be glad to hear from you. Thank you for listening and we'll be back soon. 

Welcome to the Instant Trivia podcast episode 983, where we ask the best trivia on the Internet. Round 1. Category: Killer Musicals 1: As act one of this musical draws to a close, the lookout says, "Dear mother of God -- iceberg right ahead!". Titanic. 2: "The Capeman", this songwriter's musical about a killer, opened to protests, not to "Sounds of Silence". Paul Simon. 3: The Richard Rodgers musical "Rex" starred Nicol Williamson as this king who made some women lose their heads. Henry VIII. 4: In a 1966 musical, Beauregard Jackson Pickett Burnside, husband of this title "Auntie", falls off an Alp. Auntie Mame. 5: The murder mystery musical "Something's Afoot" parodies the plot of this author's "Ten Little Indians". Agatha Christie. Round 2. Category: The White Stuff 1: Peregrine White was born aboard this ship in November 1620, Pilgrim. the Mayflower. 2: For 21 minutes on June 3, 1965 astronaut Ed White achieved this American first as part of the Gemini 4 mission. space walk. 3: In the Grimm Brothers' version of the story. the evil queen uses a tight-fitting bodice to try and kill this woman. Snow White. 4: Get some color in your cheeks and ride a brown cow through the city of Whitehorse, the capital of this Canadian territory. the Yukon. 5: The glistening dunes of this New Mexico National Monument are actually miles and miles of gypsum. White Sands. Round 3. Category: 20Th Century America 1: In July 1976 this mystery ailment killed 29 people at a Philadelphia convention. Legionnaires' disease. 2: The Wrigleys of chewing gum fame were stuck on this baseball team for over 60 years until selling it in 1981. Chicago Cubs. 3: On September 8, 1935 this Louisiana senator was shot by Dr. Carl Weiss in Baton Rouge. Huey Long. 4: Norman Bel Geddes, father of actress Barbara, created the Futurama exhibit for this event that began in 1939. the New York World's Fair. 5: Section 1 of the 18th amendment, the only one ever repealed, ends, "is hereby" this verb. prohibited. Round 4. Category: Play Adjectives 1: Neil Simon's "blank in Yonkers". Lost. 2: Noel Coward's "blank Lives". Private. 3: Eugene O'Neill's "The blank Ape". Hairy. 4: Leonard Gershe's "Butterflies are blank". Free. 5: Edward Albee's "A blank Balance". Delicate. Round 5. Category: Non-Traditional Actors 1: In 2016 Todd Bridges said the late Nancy Reagan's part on this show helped him through his own drug problems. Diff'rent Strokes. 2: This 2nd man on the Moon, after Homer Simpson caused a potato chip mess in space: "Careful! They're ruffled!". Buzz Aldrin. 3: We respect that in "Back to School", this comic didn't understand Vonnegut's books, so he had Kurt stop by in a cameo. Rodney Dangerfield. 4: Offscreen on "Futurama", this theoretical physicist says, "There he is. Seize him". (Stephen) Hawking. 5: (Hi, I'm Breaking Bad creator Vince Gilligan.) I made my acting debut in 2014, ordering Annie and Abed around as the host of a VCR game called "Pile of Bullets" on this NBC sitcom that also starred my old pal Jonathan Banks. Community. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

All Bones Considered: Laurel Hill Stories #054: "Hey, I Know That Song", Part 1 Septimus Winner composed several ear worms you sang as a child or with your children, including "Listen to the Mockingbird" and "Ten Little Indians".

Written & Starring Stephen WinchellAudio Production & Recording by Adam GoronDirected by Lara UnnerstallMusic by Takuya Yoshida & Stephen WinchellREFERENCES:1. For example, did you know Marty had a pet owl named Plato? (Cheers S4E18 The Peterson Principle)2. He would later look back at those four years as the best of his life. (Frasier S8E7 The New Friend)3. The young scholar truly jumped right in, pledging a fraternity right away. He went through a hazing process and although the details are vague, the rituals included handcuffs and/or a strapless brassiere. (Frasier S2E3 The Matchmaker)4. His passion for the subject was reignited after he attended an epidemiology seminar by one Dr. Bagely. (Frasier S7E16 Something About Dr. Mary)5. He played “Man #2” in a production of ‘Can Can,' and the experience made him seriously consider giving up psychology for the arts. (Cheers S8E9 Two Girls for Every Boyd”)6. He acted throughout his years as an undergraduate and later appeared as the Pirate King in the Pirates of Penzance' (Frasier S4E14 To Kill a Talking Bird), Col. Fairfax in Yeoman of the Guard (Frasier S5E9 Perspectives on Christmas) , Cyrano De Bergerac in Cyrano De Bergerac (Cheers S8E20 Fifty-Fifty Carla), and as Dr. Armstrong in Agatha Christie's Ten Little Indians. (Frasier S1E19 Give Him the Chair)  7. At Harvard, Frasier rowed crew (Frasier S8E7 The New Friend), played squash competitively (Frasier S5E17 Perfect Guy), and used fencing to relieve his stress. (Cheers S5E15 Spellbound)8. Unsurprisingly, Frasier began to dabble in activism - he started wearing crystals, he dissolved herbs under his tongue and listened to whale flute music while exploring alternative medications. (Cheers S10E10 A Fine French Whine)9. Frasier composed a poem called ‘Bangladesh, Dhaka Before the Dawn.' He performed it one night at a gathering called The Human Collective. (Frasier S9E2 Don Juan in Hell Part 2)10. Frasier got along wonderfully with her cat Bobo Black Paws (Cheers S10E16 One Hugs, the Other Doesn't)11. In 1974, still an undergrad and very much in love, Frasier Crane married Nanette Guzman. (Cheers S10E16 One Hugs, the Other Doesn't)12. It was a little, clandestine affair completely lacking in ceremony. They both dashed off to City Hall, and afterwards had a little celebration. Nanette invited 50 friends, but 70 showed up to enjoy the free food and drink. (Frasier S11E15 Caught in the Act)13. they would have incredibly intense fights about nothing at all. (Frasier S11E15 Caught in the Act)14. Frasier graduated in 1975 with a major in psychology and a minor in music (Frasier S3E1 She's The Boss)15. He studied with Dr. Bennet Ludlowe, an author, innovator and educator. Frasier saw the man as an idol and inspiration. (Cheers S3E13 Whodunnit)16. He also studied at the feet of Dr. William Tewksbury, a man Frasier considered as his mentor. (Frasier S8E9 Frasier's Edge)17. He began to manifest many symptoms he was studying about in his textbooks, leading to an unfortunate summer in 1975 when he became impotent. (Frasier S3E20 Police Story)18. He too joined a fraternity - Phi Beta Kappa (Frasier S1E15 You Can't Tell a Crook By His Cover)  19. and became something of a fixture on the Yale stage. He played Tartuffe in Molière's play of the same name, and Yale Daily News said he had ‘the magnetism of Marlon Brando, the charm of Danny Kaye, and the range of Laurence Olivier.' (Frasier S4E18 Ham Radio)20. [Niles] took impromptu trips to Vegas (Frasier S2E13 Retirement Is Murder), and even stole another man's fiance. (Frasier S11E21 Detour)21. During his senior year he was rocked by a series of misfortunes. After contracting mono, he missed four weeks of classes. He studied round the clock to catch up on this missing work but right before final exams, his girlfriend broke up with him - to start dating his roommate. Niles had a nervous breakdown. He was found curled up in a freezer bin at a nearby grocery store. (Frasier S11E8 Murder Most Maris)22. Frasier meanwhile graduated with honors in 1979, specializing in Psychosocial Behaviorism. (Frasier S1E15 You Can't Tell a Crook By His Cover)23. During his time in England Frasier continued to row, even winning a championship with the Oxford team. (Frasier S6E7 The Seal who Came to Dinner)  24. He still found time to act, appearing in the Spring Musical as Yum Yum in Gilbert and Sullivan's The Mikado. One of his costars was Dr. Simon Finch-Royce (playing Miti-Sing), who would later become a leading expert and best selling author who specialized in marriage. (Cheers S5E21 Simon Says) (Frasier S3E4 Leapin Lizards)25. It didn't help that he had fallen face first into some poison ivy. He still attended - as a blotchy, itchy mess. He ended up sitting with the most pathetic people there: the Chess Club's Barbershop Quartet known as The Checkmates. (Frasier S6E2 Frasier's Curse)26. She learned to play pool (Frasier S1E15 You Can't Tell a Crook By His Cover), she discovered psychic abilities (Frasier S8E20 The Wizard And Roz), and even starred in a children's TV show called “Mind Your Knickers.” (Frasier S1E9 Selling Out)

PopaHALLics #104 "Good Books & Bad Guys"Still looking for a good summer read? We got you covered with a warm, spooky coming of age story, a murderous thriller, a memoir about family and addiction, and a collection of hopeful climate change-themed short stories. Or you can watch Bill Hader, Chris Hemsworth, and Emily Blunt kill people. Yes, even that nice Emily Blunt. Books:"The Last Catastrophe: Stories," by Allegra Hyde. This collection of stories speculates about how mankind might grapple with climate change, from a RV caravan crossing the country until the fuel runs out to, well, zombies. "The Saturday Night Ghost Club," by Craig Davidson. In this bittersweet coming-of-age novel, a group of misfit kids and an eccentric adult set out to investigate local ghost stories, and discover way more than they bargained for."Stray: A Memoir," by Stephanie Danter. The bestselling author of "Sweetbitter" writes about" growing up in a family shattered by lies and addiction, and (her) attempts to find a life beyond the limits of her past.""One by One," by Ruth Ware. In this  suspense thriller reminiscent of Agatha Christie's "Ten Little Indians," an avalanche traps a group of tech types in a Swiss chalet—with a killer among them.Streaming:"Barry," HBO Max.  A hit man (Barry Hader) wants to become an actor in this acclaimed dark comedy. Henry Winkler and Stephen Root also play memorable characters in the show, which wrapped up this year after four seasons."The English," Prime. In this revisionist Western, a limited series, a Pawnee ex-scout (Chaske Spencer) trying to make his way home teams up with an Englishwoman (Emily Blunt) bent on revenge. "Extraction," Netflix. A black market mercenary (Chris Hemsworth, a long way from Thor here) is enlisted to rescue the kidnapped son of an international drug lord in this action thriller.  If you like it, there's already "Extraction 2!""High Desert," Apple +. In this erratic comedy/mystery series, a woman (Patricia Arquette) grappling with her mother's death and her ongoing substance abuse talks her way into working for a struggling PI (Brad Garrett).Let's Dance!With tunes from Subwoolfer, Fatboy Slim, and more, PopaHALLics #Playlist 104 will make you move. And answer the question of why you should give that wolf a banana. 

Warning: Spoiler-heavy review! This week, we're talking about creepy flashbacks, rock climbing, old-fashioned tugboats, and the workings of fate. Teresa and Bill Peschel from Peschel Press discuss Desyat Negrityat, the 1987 Soviet version of “Ten Little Indians.” Sponsored by Peschel Press, the publisher of annotated Agatha Christie novels by Bill Peschel. Support Peschel Press! Visit our website to learn about our Complete, Annotated Line of Agatha Christie novels: https://peschelpress.com/the-peschel-press-complete-annotated-series/ Look for “Agatha Christie, She Watched,” our a coffee-table sized book and ebook (not coffee-table sized) collection of Teresa's reviews of 201 Agatha adaptations. Learn more at https://peschelpress.com/teresa-peschels-agatha-christie-movie-reviews/ Chapters 0:00 Introduction 2:03 A brief history of the movie versions 6:04 Teresa's opinion of the movie 7:07 Taking it from the top 13:17 How to tell Blore and Lombard apart 18:43 How the judge mislead everyone away from the truth 22:11 Ghostly hauntings make this a psychological thriller 33:10 Is it worthwhile watching 10 adaptations? 36:34 Bill gets an idea for a nonfiction book 40:53 Which is the best version? 45:17 Next time: “Why Didn't They Ask Evans?” with Hugh Laurie!

On our latest episode, Jamie has no time for these Ten Little Dummies, Doug trots out his Donald Pleasence accent (slightly less drunk than Peter O'Toole) and we both wonder if we'd fall for the old 'fake safari so you can be murdered' gag. Strap on your pith helmet, try and forget about that murder you committed years back, and join us as we cover one of the many iterations of Agatha Christie's Ten Little Indians.Merch on TeePublic Follow us on TwitterFollow on InstagramFind us on FacebookVisit our WebsiteVisit our YouTube Channel

國泰人壽今年歡慶60歲生日，這些年來有好多的職場故事想要跟大家分享！ 到底星座真的會影響職場表現嗎？ 什麼樣的主管那麼會踩雷！ 還有最資深和最年輕員工，進行世代思想大PK！ 點擊收聽「國泰樹輪說」！ https://reurl.cc/MX9Xzk －－－－以上訊息由 SoundOn 動態廣告贊助商提供－－－－ Count to Ten

On the 256th episode of Piecing It Together, Erin and Kevin from The Podcast That Wouldn't Die join me to talk about A24's latest, Bodies Bodies Bodies about a group of Gen Zers who hunker down in a mansion during a storm to play a party game that goes very, very bad. Puzzle pieces include Game Night, The Thing, Ten Little Indians and Jennifer's Body.

Episode 4 - The Thing is a 1982 suspense movie masterpiece directed by John Carpenter and starring a BTW favourite Kurt Russell. 12 men are trapped in an Antarctic station with an alien with evil intentions. Loosely based on the Agatha Christie story - Ten Little Indians, The Thing is suspense movie making at its finest. The team at BTW couldn't wait to sink their teeth into this one, enjoy the show.We mentioned in the episode a great making of doco and I have attached the link to it below, enjoy. https://youtu.be/jURaHXAPbPQ

Spring has sprung, Easter has eclipsed us, May is moving in, and now that 2021 has been discarded like an empty paper plate that once had a large piece of cake but is now empty because Dave and Mikey were at that birthday party eating that cake while #TwitterlessDrEarl stood by with a diabetes monitor and... what. Time for ReFlicktions.  Among the discussion... why Morbius is like an Autism breakfast... Jason Segal needs more laughs... Ben Affleck and his affairs... The one little problem with Ten Little Indians... Mikey's kids fangirling over the YouTube stars... revisiting Easter movies... Life in a Bubble...  And do animals have pancreases?  Pancreaseses? Pancreaii? Here are the movies discusses on this episode and where they are streaming at the time of recording.  Deep Water (Hulu) The Eyes of Tammy Faye (2021) (HBO Max) I Hate Christian Laettner (2015) (Disney+) Windfall (2022) (Netflix) The Worst Person in the World (2021) for rental MASS (2021) (AppleTV+) The Lost City (2022) (In Theaters) Morbius (2022) (in theaters) Crystal Lake Memories: The Complete History of Friday the 13th (2013) (Shudder) Death on the Nile (2022) (Hulu) (HBO Max) Everything, Everywhere All At Once (2022) in theaters Multiverse (2021) (Hulu) The Contractor (2022) (in rental) The Passion of the Christ (2004) Rewatch (Amazon Prime; TubiTV; EPIX) All the Old Knives (2022) (Amazon Prime) The Bubble (2022) (Netflix) The Unbearable Weight of Massive Talent (2022) (in theaters) The Jesus Music (2021) (Hulu) The Tinder Swindler (2022) (Netflix) Sonic the Hedgehog 2 (2022) in theaters The Northman (2022) In theaters Spencer (2021) (Hulu) White Hot: The Rise and Fall of Ambercrombie & Fitch (2022) (Netflix) Duel (2022) in theaters Fantastic Beasts: The Secrets of Dumbledore (2022) in theaters AmbuLAnce (2022) in theaters The Bad Guys (2022) in theaters

Dans cet épisode 92, nous allons parler de Gumnaam, sorti en 1965, et qui est une adaptation de "Ils étaient dix" ou "ten little indians" d'Agatha Christie.Alors, adaptation libre ou fidèle ? Ça donne quoi les années 60 à Bollywood ? Suivez-nous sur insta : bollywood_versus et Twitter : BV_podcast

An episode we started talking about an eternity ago: 1989's Cannon Films version of Agatha Christie's And Then There Were None! Why doesn't Tripp know what a tiger is? Can we do our Donald Pleasance impression for a full episode or will our throats give out? What on earth is Frank Stallone doing here? Why does the Dandy die so fast?! All this and more! Looking for episode #203? It's Footloose, and it's at Patreon.com/DissectingThe80s, along with nearly 20 hours of bonus content at the $5 tier! “NewsSting, Ouroboros” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Keywords: Agatha Christie, Donald Pleasance, Frank Stallone, And Then There Were None, Movie, Retro, 80s, Podcast, Eighties

Scott sits down with Erica, Gil, and Sen to discuss the design and making of his newest game, Alien: Fate of the Nostromo. We also discuss designing to an IP, and how to make a horror game. SHOW NOTES 0m58s: The original Alien film 1m31s: The other board game based on the film Alien. Scott is not counting board games influenced by the film without the official license, like Nemesis or The Awful Green Things From Outer Space. He's also only counting games based specifically on the original film, so board games based on any of the sequels, like Aliens, or Alien vs. Predator, do not count. 1m38s: The “Optimus Prime Conundrum” is a term coined by the legendary and wonderful podcast Flip the Table. It describes a situation where a game breaks the IP it's based on by allowing multiple copies of one character. This was coined in their very first episode, in which they reviewed the Transformers Adventure Game, where each player gets to play a separate version of Optimus Prime.  2m00s: The publisher Ravensburger. Note that Scott pronounces it “Ray-vensburger”, while the other hosts pronounce it “Rah-vensburger”. 3m34s: The films Elf, Home Alone, and Gremlins, and the animated series Gargoyles. 8h25m: The Topps Alien trading card set. 11m15s: The Betrayal games. 14m11s: Back to the Future: Dice through Time. 16m06s: The film Ten Little Indians, also known as And Then There Were None. There have been several versions of this film, all based on an Agatha Christie novel. 28m59s: Scott is correct in that Alien is the first film to provide a genuine “cat scare” - that is, a jump scare that turns out to just be a harmless cat. The so-called “cat scare,” in which the source of a jump scare turns out to be something ordinary, appeared 35 years before Alien. TV Tropes credits it to producer Val Lewton, in his 1942 film Cat People.  However, despite the film's name, the source of the scare was a bus, not a cat. Note that one month after Alien's wide release in the US, The Amityville Horror came out; it also featured a cat-powered “cat scare.” Perhaps between these two films, the cliche was solidified.  34m15s: The Horrified games: Horrified and Horrified: American Monsters. A short checklists of cryptids: Bigfoot, Mothman, Windigo, and the Jersey Devil.  36m39s: Camp Grizzly 37m17s: Clue/Cluedo, 1313 Dead End Drive 39m19s: Dread 39m51s: Kingdom: Death Monster 41m03s: Peter Jackson's "splatstick" film Braindead (released in North America as Dead Alive) 42m49s: Dixit, Weird Stories, Unspeakable Words 44m03s: Final Girl 45m05s: Mansions of Madness 47m47s: Geoff's book Achievement Relocked, Ico, Death Stranding, Brothers: A Tale of Two Sons, Aerith from Final Fantasy VII 49m15s: Nyctophobia, Ten Candles, Vampire Hunter, Waldschattenspiel/Shadows in the Forest 51m39s: Apocrypha, the World of Darkness series of games (including Vampire: The Masquerade) 53m33s: Erica's news: Disney Sidekicks, Rat Queens: To the Slaughter 54m29s: Sen's news: Avatar Legends RPG 55m16s: Gil's news: GameTek on the global shipping snarl, Weird Stories

Listen to our full chat with Dr. Catherine Noske for her novel 'The Salt Madonna'! We discuss why stories with such tight confines take so long to put together, why twisting well-worn narratives can be so important, and why horses are wiser than we can ever know.Get yourself a copy of The Salt Madonna: Pan Macmillan AU || Booktopia || Goodreads

We discuss chapters 14 to the end of Agatha Christie's 'And Then There Were None'. Sean Britten's valiant attempts to solve the novel have concluded, and it's time for the post-mortem. Soldier Island's unwitting residents grow increasingly distrusting, a bear manages to kill someone, and the final showdown creates only a temporary truth. Did you manage to solve it?We're also joined by Dr. Catherine Noske to talk about her novel 'The Salt Madonna', the experiences that inspired it and its' intelligent twists on classic tropes.

We discuss chapters 7-13 of Agatha Christie's 'And Then There Were None', with Sean Britten in the hotseat. As the deaths to the tune of the poem continue, the list of suspects shrinks, and so does the distrust of everyone on the island. With the only firearm missing, the death starting to abandon the poison-driven method that had everyone distrusting the doctor, and no help in sight, what happens next? It's all-out on Sean's solutions as Flex and Herds lay on every trick in the book.

We discuss chapters 1-6 of Agatha Christie's iconic 'And Then There Were None'. Ten people arrive on Soldier Island, invited at the behest of one U.N. Owen, only to find no host, no answers and only almost perfect strangers to keep them company. A record player recounts their sins, and then the death of Anthony Marston begins the recitation of a poem fixed to the walls, threatening that none shall be left alive. With Flex and Herds both familiar with this tale, it's our arch-nemesis Sean Britten, author of 'Kill Switch', in the hotseat. We also chat with Martin Edwards, current chair of The Detection Club. From 'Howdunit', the club's 90th anniversary book on all the secrets behind mystery fiction, to Christie's mastery of human nature, and his own latest mystery 'Mortmain Hall', Martin's mystery expertise has held us steady since the show began.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. 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—- ERRATA: I say that the Surfin’ USA album was released only four months after Surfin’ Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet’s name as if he were French here. I believe that’s incorrect and his name is actually pronounced “Vennit”, though I’m not 100% sure. More importantly, I say that “Sweet Little Sixteen” wasn’t a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks’ autobiography. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys’ music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we’re going to take our second look at the Beach Boys, and we’re going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We’re going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We’re going to look at “Don’t Worry Baby”: [Excerpt: The Beach Boys, “Don’t Worry Baby”] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, “Surfin’ Safari” backed with “409”. Since then we’ve also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After “Surfin’ Safari” was a hit, in one of the many incomprehensible decisions made in the Beach Boys’ career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, “Ten Little Indians”. That track, a surf-rock version of the nursery rhyme with the group chanting “Kemo sabe” in the backing vocals, made only number forty-nine on the charts, and frankly didn’t deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson’s father and the group’s manager, as a way of weakening Usher’s influence with the group, as Murry didn’t want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group’s next single followed the same pattern as their first hit. The B-side was “Shut Down”, a car song co-written by Brian and Roger Christian, who you may remember from the episode on “Surf City” as having been brought in to help Brian with car lyrics. “Shut Down” is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group’s lead singer. His two-note saxophone solo comes in for some mockery from the group’s fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, “Shut Down”]  “Shut Down” was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry’s “Sweet Little Sixteen”, and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] He might well also have been thinking of Chubby Checker’s minor hit, “Twistin’ USA”, which listed places in America where people might be twisting: [Excerpt: Chubby Checker, “Twistin’ USA”] Brian had taken Berry’s melody and the place-name recitation, and with the help of his girlfriend’s brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing — at least, they could “if everybody had an ocean”: [Excerpt: The Beach Boys, “Surfin’ USA”] “Surfin’ USA” became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn’t result in a financial windfall for him as the songwriter. As the song was so close to “Sweet Little Sixteen”, Chuck Berry got the sole songwriting credit — one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit — “Sweet Little Sixteen”, while a great record, had never been a particularly big hit, while “Surfin’ USA” is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. “Surfin’ USA” was the title song of the group’s second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year — Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product — though Little Deuce Coupe featured four songs recycled from their earlier albums — but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet’s production on the first album. Not only that, but as well as making the Beach Boys’ records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a “Loco-Motion” knock-off, “The Revolution”, released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, “The Revolution”] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer — some say it was Betty Everett, but given that that’s the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, “Act Naturally”] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, “The One You Can’t Have”] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of “Surfin’ USA”, he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group’s tour of the Midwest that Spring, and on many of the shows they performed over the summer — he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian’s parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group’s vocal harmonies. And this was a major change. Up to this point, the Beach Boys’ records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis’ voice was also a little thin at this point, and he was behind the drum kit, which meant he didn’t get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on “In My Room”. This is one of the first songs on which Jardine took part in the studio, though he’s actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. “In My Room” is a major, major, step forward in the group’s sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song’s lyrics, written by Gary Usher but inspired by Wilson’s experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, “In My Room”] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks’ fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David’s mother, which hadn’t worked out well for him.  But then on Marks’ fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out — as he had to, as he needed to pay their doctor’s bills — he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn’t need those Wilsons, and as a fifteen-year-old kid he didn’t have the understanding to realise that this might not be entirely true. He said “OK, I quit”. At first, the rest of the group thought that he was joking, and even he wasn’t at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they’d all heard him, and refused to speak directly to him — anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay — especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who’d lobbied to bring his friend into the group in the first place — David was still, as the youngest member, the only one who didn’t sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song “Kustom Kar Show”, Brian told David that he wasn’t ready to be writing songs for the group.  All this, plus pressure from David’s parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, “Kustom Kar Show”] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn’t co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it’s quite obvious why they weren’t played — they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time — some of Marks’ flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years — Murry Wilson didn’t want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn’t let up. Brian’s songwriting was progressing at a furious pace, and that can be seen nowhere better than on “The Warmth of the Sun”, a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination — the two men have differed over the years over whether it was written the night before or the night after the assassination. “The Warmth of the Sun” is quite staggeringly harmonically sophisticated. We’ve talked before in this podcast about the standard doo-wop progression — the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] “The Warmth of the Sun” starts out that way — its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You’d expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G — and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, “The Warmth of the Sun”] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time — it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian’s other big influences. “Fun Fun Fun” had lyrics by Mike Love — some of his wittiest — and starts out with an intro taken straight from “Johnny B. Goode”: [Excerpt: The Beach Boys, “Fun Fun Fun”] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to “Da Doo Ron Ron”. Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that “Da Doo Ron Ron”‘s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, “Fun Fun Fun”] That became the group’s fourth top ten hit, and made number five on the charts — but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band — Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards — but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn’t guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, “I Get Around (backing track)”] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father’s interference, and fired him as the band’s manager. Murry would continue to keep trying to interfere in his children’s career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, “I Get Around”] It’s fascinating to see that even this early in the group’s career, and on one of their biggest, summeriest hits, there’s already a tension in the lyrics, a sense of wanting to move on — “I’m getting bugged driving up and down the same old strip/I’ve got to find a new place where the kids are hip”. The lyrics are Love’s, but as is so often the case with Brian Wilson’s collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and “I Get Around” was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. “I Get Around” is a worthy classic, but the B-side, “Don’t Worry Baby”, is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by “Be My Baby”, which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, “Be My Baby”] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line “Be my little baby”, and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, “Don’t Worry Baby”] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing — Ronnie Spector recorded a solo version of it many decades later, and it’s a fine performance, but the lyric misses something when it’s sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings “I guess I should have kept my mouth shut when I started to brag about my car,  but I can’t back down now because I pushed the other guys too far”, and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in “Dead Man’s Curve”, or “Tell Laura I Love Her”, or in another teen tragedy song we’ll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist’s fears are allayed by his girlfriend: [Excerpt: The Beach Boys, “Don’t Worry Baby”] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can’t cope with. He’s saved by a figure we’ll see a lot more of in Brian’s songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she’s too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic — the idea that the man is unable to deal with his own emotional problems without a woman fixing him — but there’s an emotional truth to it that one doesn’t get in much music of the era, and even if it’s a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it’s paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. “Don’t Worry Baby”, released as “I Get Around”’s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of “Don’t Worry Baby”: [Excerpt: The Beach Boys, “She Knows Me Too Well”] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon’s work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector’s production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, “Guess I’m Dumb”] Campbell got given that track because of an enormous favour he’d done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he’d had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he’d managed to get through that night’s show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys’ recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We’ll take a look at the results in a few weeks’ time.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at "Don't Worry Baby" by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys' work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're No Good" by the Swinging Blue Jeans. 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---- ERRATA: I say that the Surfin' USA album was released only four months after Surfin' Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet's name as if he were French here. I believe that's incorrect and his name is actually pronounced “Vennit”, though I'm not 100% sure. More importantly, I say that "Sweet Little Sixteen" wasn't a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks' autobiography. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys' music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we're going to take our second look at the Beach Boys, and we're going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We're going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We're going to look at “Don't Worry Baby”: [Excerpt: The Beach Boys, "Don't Worry Baby"] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, "Surfin' Safari" backed with "409". Since then we've also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After "Surfin' Safari" was a hit, in one of the many incomprehensible decisions made in the Beach Boys' career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, "Ten Little Indians". That track, a surf-rock version of the nursery rhyme with the group chanting "Kemo sabe" in the backing vocals, made only number forty-nine on the charts, and frankly didn't deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson's father and the group's manager, as a way of weakening Usher's influence with the group, as Murry didn't want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group's next single followed the same pattern as their first hit. The B-side was "Shut Down", a car song co-written by Brian and Roger Christian, who you may remember from the episode on "Surf City" as having been brought in to help Brian with car lyrics. "Shut Down" is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group's lead singer. His two-note saxophone solo comes in for some mockery from the group's fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, "Shut Down"]  "Shut Down" was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry's "Sweet Little Sixteen", and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] He might well also have been thinking of Chubby Checker's minor hit, "Twistin' USA", which listed places in America where people might be twisting: [Excerpt: Chubby Checker, "Twistin' USA"] Brian had taken Berry's melody and the place-name recitation, and with the help of his girlfriend's brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing -- at least, they could "if everybody had an ocean": [Excerpt: The Beach Boys, "Surfin' USA"] "Surfin' USA" became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn't result in a financial windfall for him as the songwriter. As the song was so close to "Sweet Little Sixteen", Chuck Berry got the sole songwriting credit -- one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit -- "Sweet Little Sixteen", while a great record, had never been a particularly big hit, while "Surfin' USA" is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. "Surfin' USA" was the title song of the group's second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year -- Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product -- though Little Deuce Coupe featured four songs recycled from their earlier albums -- but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet's production on the first album. Not only that, but as well as making the Beach Boys' records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a "Loco-Motion" knock-off, "The Revolution", released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, "The Revolution"] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer -- some say it was Betty Everett, but given that that's the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, "Act Naturally"] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, "The One You Can't Have"] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of "Surfin' USA", he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group's tour of the Midwest that Spring, and on many of the shows they performed over the summer -- he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian's parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group's vocal harmonies. And this was a major change. Up to this point, the Beach Boys' records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis' voice was also a little thin at this point, and he was behind the drum kit, which meant he didn't get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on "In My Room". This is one of the first songs on which Jardine took part in the studio, though he's actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. "In My Room" is a major, major, step forward in the group's sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song's lyrics, written by Gary Usher but inspired by Wilson's experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, "In My Room"] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks' fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David's mother, which hadn't worked out well for him.  But then on Marks' fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out -- as he had to, as he needed to pay their doctor's bills -- he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn't need those Wilsons, and as a fifteen-year-old kid he didn't have the understanding to realise that this might not be entirely true. He said "OK, I quit". At first, the rest of the group thought that he was joking, and even he wasn't at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they'd all heard him, and refused to speak directly to him -- anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay -- especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who'd lobbied to bring his friend into the group in the first place -- David was still, as the youngest member, the only one who didn't sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song "Kustom Kar Show", Brian told David that he wasn't ready to be writing songs for the group.  All this, plus pressure from David's parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, "Kustom Kar Show"] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn't co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it's quite obvious why they weren't played -- they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time -- some of Marks' flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years -- Murry Wilson didn't want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn't let up. Brian's songwriting was progressing at a furious pace, and that can be seen nowhere better than on "The Warmth of the Sun", a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination -- the two men have differed over the years over whether it was written the night before or the night after the assassination. "The Warmth of the Sun" is quite staggeringly harmonically sophisticated. We've talked before in this podcast about the standard doo-wop progression -- the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] "The Warmth of the Sun" starts out that way -- its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You'd expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G -- and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, "The Warmth of the Sun"] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time -- it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian's other big influences. "Fun Fun Fun" had lyrics by Mike Love -- some of his wittiest -- and starts out with an intro taken straight from "Johnny B. Goode": [Excerpt: The Beach Boys, "Fun Fun Fun"] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to "Da Doo Ron Ron". Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that "Da Doo Ron Ron"'s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, "Fun Fun Fun"] That became the group's fourth top ten hit, and made number five on the charts -- but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band -- Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards -- but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn't guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, "I Get Around (backing track)"] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father's interference, and fired him as the band's manager. Murry would continue to keep trying to interfere in his children's career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, "I Get Around"] It's fascinating to see that even this early in the group's career, and on one of their biggest, summeriest hits, there's already a tension in the lyrics, a sense of wanting to move on -- "I'm getting bugged driving up and down the same old strip/I've got to find a new place where the kids are hip". The lyrics are Love's, but as is so often the case with Brian Wilson's collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and "I Get Around" was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. "I Get Around" is a worthy classic, but the B-side, "Don't Worry Baby", is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by "Be My Baby", which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, "Be My Baby"] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line "Be my little baby", and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, "Don't Worry Baby"] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing -- Ronnie Spector recorded a solo version of it many decades later, and it's a fine performance, but the lyric misses something when it's sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings "I guess I should have kept my mouth shut when I started to brag about my car,  but I can't back down now because I pushed the other guys too far", and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in "Dead Man's Curve", or “Tell Laura I Love Her”, or in another teen tragedy song we'll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist's fears are allayed by his girlfriend: [Excerpt: The Beach Boys, "Don't Worry Baby"] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can't cope with. He's saved by a figure we'll see a lot more of in Brian's songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she's too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic -- the idea that the man is unable to deal with his own emotional problems without a woman fixing him -- but there's an emotional truth to it that one doesn't get in much music of the era, and even if it's a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it's paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. "Don't Worry Baby", released as "I Get Around”'s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of "Don't Worry Baby": [Excerpt: The Beach Boys, "She Knows Me Too Well"] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon's work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector's production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Campbell got given that track because of an enormous favour he'd done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he'd had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he'd managed to get through that night's show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys' recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We'll take a look at the results in a few weeks' time.

You've caught Zac at just the right time: he's finished his winter hibernation in his movie cave and he's ready to talk! Here are the films he covers (spoiler free): Snowpiercer (2013), Ten Little Indians (1965), and Secret of the Wings (2012). --- Send in a voice message: https://anchor.fm/andnowthemovie/message

Hitting The Marks Podcast Part Deux Episode Seven: Equality By Subtraction. COHIV-19. Ten Little Indians. Vaccination Proclamation. December 15, 2020 It's the Hitting The Marks Podcast to the Max... Michael Jargo & Richard Bronson Vickrey are Back Again to Bring You All the BS News that is BS News from Around the Globe. On the Run... - Cleveland Baseball Set to Scalp the Team of It's Nickname. Opening a Pandora's Box? - COVID Casualties for Minor League Baseball - Mail Bag Conversation... Dealing with Double Standards in Society - To Vaccinate or Not To Vaccinate? Only YOU Can Choose. Do Your Homework. Links Below... - #HTMSports... Can KD Shine in Jersey? NFL Playoff Races. Steelers on the Slide. The Lowly NFC East. The Wild NFC West COVID Vaccination Information Links... https://www.skynews.com.au/details/_6215479059001 https://www.breitbart.com/europe/2020/12/11/australia-scraps-vaccine-after-hiv-false-positives/ https://cms.zerohedge.com/medical/australia-cancels-covid-vaccine-trial-over-unexpected-false-positives-hiv https://www.bloomberg.com/amp/news/articles/2020-12-10/australia-cancels-order-for-csl-vaccine-as-trial-stumbles Follow the Hitting The Marks Podcast on Social Media... @HTMpwPod /hittingthemarkspodcastnetwork @notjargo @therealrbv hittingthemarks.com SUBSCRIBE TO THE NEW HAMIN MEDIA GROUP AFFILIATES CHANNEL! www.haminmediagroup.podbean.com YOUTUBE: https://www.youtube.com/channel/UCnZkzOodkDzBN5wiunvCXkg CHECK OUT OUR SPONSORS!! Vince Russo Bro! Coffee from TheBroasters.com Artisan Greek Olive Oil from zourdosoliveoil.com  Pro Wrestling TeesProwrestlingtees.com/SuperStarSilvio ProWrestlingTees.com/BinHamin ProWrestlingTees.com/StevieRichardsProWrestlingTees.com/SEGShirts ProWrestlingTees.com/GreekGodPapadon  Stevie Richards Fitness StevieRichardsFitness.com

  Hitting The Marks Podcast Part Deux Episode Seven: Equality By Subtraction. COHIV-19. Ten Little Indians. Vaccination Proclamation.   December 15, 2020   It's the Hitting The Marks Podcast to the Max... Michael Jargo & Richard Bronson Vickrey are Back Again to Bring You All the BS News that is BS News from Around the Globe.   On the Run...   - Cleveland Baseball Set to Scalp the Team of It's Nickname. Opening a Pandora's Box?   - COVID Casualties for Minor League Baseball   - Mail Bag Conversation... Dealing with Double Standards in Society   - To Vaccinate or Not To Vaccinate? Only YOU Can Choose. Do Your Homework. Links Below...   - #HTMSports... Can KD Shine in Jersey? NFL Playoff Races. Steelers on the Slide. The Lowly NFC East. The Wild NFC West   COVID Vaccination Information Links...   https://www.skynews.com.au/details/_6215479059001   https://www.breitbart.com/europe/2020/12/11/australia-scraps-vaccine-after-hiv-false-positives/   https://cms.zerohedge.com/medical/australia-cancels-covid-vaccine-trial-over-unexpected-false-positives-hiv   https://www.bloomberg.com/amp/news/articles/2020-12-10/australia-cancels-order-for-csl-vaccine-as-trial-stumbles   Follow the Hitting The Marks Podcast on Social Media... @HTMpwPod /hittingthemarkspodcastnetwork @notjargo @therealrbv hittingthemarks.com   SUBSCRIBE TO THE NEW HAMIN MEDIA GROUP AFFILIATES CHANNEL!  www.haminmediagroup.podbean.com   YOUTUBE: https://www.youtube.com/channel/UCnZkzOodkDzBN5wiunvCXkg   CHECK OUT OUR SPONSORS!!   Vince Russo Bro! Coffee from TheBroasters.com   Artisan Greek Olive Oil from zourdosoliveoil.com    Pro Wrestling Tees Prowrestlingtees.com/SuperStarSilvio ProWrestlingTees.com/BinHamin ProWrestlingTees.com/StevieRichardsProWrestlingTees.com/SEGShirts ProWrestlingTees.com/GreekGodPapadon    Stevie Richards Fitness StevieRichardsFitness.com

When the podcast is coming back its going to make time for the latest on Blu-ray and this show has some choice stuff. First, Erik Childress and Sergio Mims begin what is the start of a virtual George Peppard-tober. Some remastered Agatha Christie from Kino gets to the various adaptations of Ten Little Indians. Then there is plenty of new 4K releases including the love/hate relationship with a childhood favorite, one of Tim Burton’s first films and one of Stanley Kubrick’s last. But its all a windup for an extended discussion over Arrow’s incredible new 4K package of the one and only Flash Gordon.   Imprint (The Carpetbaggers, No Way To Treat a Lady) Kino (Breezy, The Raging Moon, Evil Under the Sun, Death on the Nile, Ten Little Indians, Pray for the Wildcats) Warner Bros. (The Goonies 4K, Beetlejuice 4K, Full Metal Jacket 4K) Arrow (Flash Gordon 4K)

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Mười người da đen nhỏ hoặc And Then There Were None - "Và rồi chẳng còn ai" là một tiểu thuyết hình sự của nhà văn Agatha Christie. Tác phẩm đôi khi còn được xuất bản (và chuyển thể thành phim) dưới tên Ten Little Indians (10 gã da đỏ nhỏ). Tiểu thuyết nói về vụ án bí ẩn trên hòn đảo Soldier Island với 10 người bằng cách này hay cách khác đã thiệt mạng mà không hề có sự hiện diện hay dấu vết của thủ phạm. Đây được coi là một trong những tiểu thuyết hình sự xuất sắc và nổi tiếng nhất của Agatha Christie, trên 100 triệu bản sách đã được bán ra khiến tác phẩm này trở thành tiểu thuyết hình sự bán chạy nhất trong lịch sử xuất bản thế giới. ► Email liên hệ hợp tác: nguyennlhoan@gmail.com ► Youtube: https://www.youtube.com/c/BookaholicMaxNguyen

Hosts Mat Bradley-Tschirgi and William Thrasher discuss Mystery House, the first adventure game released by Sierra. The publisher's original name was On-Line Systems. A revolutionary graphic adventure with a text parser interface, Mystery House weaves a half-assed story inspired by Agatha Christie's novel Ten Little Indians with a few oddball puzzles to boot. The words the parser understands are peculiar, the art by designer Robert Williams is rather childish, but the murder mystery aspect has some suspenseful elements that still work today.  Follow the show on Twitter @Sequelcast2 Like our Sequelcast 2 Facebook Page Sequelcast 2 is delighted to be a member of The Batman Podcast Network. Hear more great podcasts here! Watch Thrasher's tabletop RPG YouTube show d-infinity Live!. Listen to Marc with a C's music podcast Discography. Buy One Starry Night, a Cthulhu Live scenario Thrasher contributed to, from DriveThruRPG!  Buy Mat's new book The Films of Uwe Boll Vol. 1: The Video Game Movies!  Watch Alex Miller's YouTube series The Trailer Project!

Today Ken welcomes actor Emma Dumont (The Gifted) to the show. Ken and Emma discuss Emma's Golden Girls fandom, The Facts of Life, being a Jo, The Facts of Life reunion, loving private school uniforms, roller skates, RollerReid, Roller Derby, Whip It!, being very tall, getting good at something through sheer will and hard work, Ken's failure at practice, Magic, learning Mandarin, doing ballet in Russia, regional oddities, "bubblahs", Seattle, underground cities, being Shanghai'd, vintage airplanes, Brownie uniforms, James at 15, virginity loss on TV, NYC vs. LA, why Americans dress badly now, learning empathy, Eastland Academy, presenting disabilities on TV, Lisa Whelchel's christian dance pop album, sitcom tone, Very Special Episodes, the teenage prostitute FoL, Rose Red, Rock n Rollergames, American Gladiators, G.L.O.W., which FoL girl Ken is, weirdness about Jo's boyfriend, failed backdoor pilots, Pam Adlon, Nurses, spin off of spin offs, Jocko, America's obsession with Australia, Ken's crush on Sherrie (Austin) Krenn, Ten Little Indians, Maurice LaMarce as Rod Serling, tough girls, McKenzie Astin, "Sexy Lingerie", Lisa Whelchel's ventriloquism skills, bunheads, Poison Ivy, Alex Rocco, Jo's Dad, Betty White, TV's Bloopers and Practical Jokes, cool Summer jobs, Ken's job history, martial arts, Emma's quest for mystery robots at the end of an off brand Pinocchio tape, Will Wonka, being a diehard iPod owner, and the horrors of made for TV movies in the 90s.

I talk about redemption, white foster parents and learning how to drive while drunk.

Listen as Louis Kerman talks with Heart of the Hills Players about their upcoming production of Something’s Afoot, a murder mystery musical comedy spoof of Agatha Christie’s Ten Little Indians. Performances of this show are: Thursday, November, 8, 2018 at 2:00 PMFriday, November 9, 2018 at 2:00 PMSaturday, November 10, 2018 at 7:00 PMSunday, November 11, 2018 at 2:00 PMGet tickets here. For more information on Heart of the Hills visit hohplayers.org. This podcast has been brought to you by MIWarren. To hear more podcasts like this, visit MIWarren.org.  

Show 103 starts and Leo keeps hearing that click!!! It’s driving him nuts and he tells a “Ten Little Indians” story of pod-casting where he is going to kill everyone one by one until he finds the source of the … Continue reading →

Zo joins again for a series of murder-palooza movies: Ten Little Indians, Scream and Hot Fuzz. Lotsa fun death here.Podcast breakdown:0:00 -- nuqneH, podcast business4:35 -- Ten Little Indians (1965)23:55 -- Scream56:52 -- Hot Fuzz1:11:50 -- Awards and rankings1:28:05 -- Next movie podcast plannings1:40:22 -- Eclipse, Qapla' and outtakes (lots of 'em)Click here to watch The Phantom Carriage!Which genre should we hit three movie podcasts from now? 50s musicals, in love with best friend movies or B actors in starring roles movies?Remember to rate and comment on iTunes!Remember to join the Facebook page (a great place to vote on the next few movie podcasts)!Comment on anything we've said or anything we will say. jrwatchesstartrek@gmail.com.This episode is dedicated in loving memory to Wes Craven (1939-2015).Direct MP3 DownloadiTunes SubscriptionRSS Feed

Patrick Moody makes his Wicked Library debut with this story told by Addison Peacock.In this dark tale, Celia’s family moves to the country after buying an old plantation to fix up and flip. She doesn't really like the old house, but everything changes when she meets a group of other children who want to sing and play with her.

Sam and Rob emerge from a terrifying, tense, body-horror blood-bath into something completely diff—oh. Still, it's something a whole lot better than last week! We talk about gender politics, camerawork and musical changes, and why this isn't really a science fiction film. Sort of. This Week's Watching CRITICAL ROLE (2015—): Matthew Mercer, Ashley Johnson, Laura Bailey SUITS (2011—): Doug Liman, Gabriel Macht, Patrick J. Adams Recommendations THE TEXAS CHAINSAW MASSACRE (1974): Tobe Hooper, Marilyn Burns, Paul A. Partain EVENT HORIZON (1997): Paul Anderson, Laurence Fishburne, Sam Neill ALONG CAME A SPIDER (2001): Lee Tamahori, Morgan Freeman, Monica Potter FROM HELL (2001): the Hughes brothers, Johnny Depp, Heather Graham Footnotes Read more about Felicia Day — whose 'Geek & Sundry' network is behind Rob's viewing choice this week — here. Sam mentions the conversation between Harry Dean Stanton and Ridley Scott about Ten Little Indians, which you can find here. The Alien wiki is good, and has quite a lot on the sexual imagery of the film that Rob mentioned towards the end of today's episode. He talked briefly about Giger, too, whose concept art for the film is frankly terrifying. Finally, as a part of Sam's mini discourse on the movie's racial politics, he referred to his own article, which talks about ‘blaxploitation' and racial stereotypes in the context of pop culture.

Isaac and I introduce our new horrendously-named segment Cinemusk! On a recurring basis we'll scour through Netflix, Amazon, and other services looking for lesser-known independent, foreign, and art films and select some to review, all based on a common theme. This week's Cinemusk: dinner party disaster films! We take a look at The Perfect Host, The Invitation, and Coherence. Isaac and I also discuss why horror films are the last bastion of experimental filmmaking in Hollywood. I'm a dummy and refer to "Ten Little Indians" as "Seven Little Indians" for some reason. As always, get personal and we wind up talking about why I hate hugging. Music: www.bensound.com

The Doctors clash while discussing Quentin Tarintino's latest, racial slurs, and violence against women -- with controversial results. Also under the microscope: Kurt Russell, Sam Jackson, Jennifer Jason Leigh, Walton Goggins, Michael Madsen, Tim Roth, Bruce Dern, Death Proof, Life Boat, Alfred Hitchcock, Ten Little Indians, Agatha Christie, Django Unchained, True Romance, Natural Born Killers, Kill Bill vol 1 & 2, Grindhouse, Robert Rodriguez, Four Rooms, Pulp Fiction, Reservoir Dogs, Inglorious Basterds, Richard Wagner, Tom Sawyer, Chitty Chitty Bang Bang, Dick Van Dyke, The Sherman Brothers, Werner Herzog, François Truffaut, Stanley Kubrik, Ennio Morricone, Sisters, Brian De Palma, Amy Poehler, Tina Fey, Three Women (Three Sisters, Five Women), Robert Altman, Christoph Waltz, Leo DiCaprio, Louis CK, Survivor, Channing Tatum, The Force Awakens, The Late Show with Stephen Colbert, Patricia Arquette, James Gandolfini, True Romance, Dreamer, Sky High, Vanilla Sky, Elvis Presley, Forrest Gump, Rich Little, Bone Tomahawk, Avengers (franchise), Out of Sight, Steven Soderbergh, Elmore Leonard, Star Wars (prequels), Demián Bichir, The Bridge (series), Dom Hemingway, Jude Law, Nebraska, Gunsmoke, Big Valley, Support Your Local Sheriff, James Garner, Justified, Timothy Olyphant, Sons of Anarchy, The Shield, The Matrix, Jamie Fox, John Carpenter, The Thing and Joe Pantoliano.  Questions or comments? Contact Adam & Gregor at: show@hollywoodrx.net. Review us on iTunes...Today! Like us on Facebook. Or both.

Hugh O'Brian, best-known for portraying legendary lawman Wyatt Earp, talks about his acting career as well as HOBY, his successful youth leardership project, in this special episode. O’Brian’s movies include such popular releases as The Shootist, Ten Little Indians, Come Fly with Me, and Twins. With the help of his lovely wife, Virginia, he’s also written a memoir titled Hugh O’Brian, or What’s Left of Him -- just in time to celebrate his 90th birthday on April 19! One of the few remaining classic Western stars, O'Brian has amazing stories of an era in entertainment that there soon will be too few who can share in first person. Friends, family and fans have been encouraging Hugh to finish his autobiography for several years.  The book chronicles many never before published stories about Marilyn Monroe, the Marine Corps, living at the House of Seven Garbos, meeting Albert Schweitzer, and being shot between the eyes on the set of The Shootist because the director wanted a film shot without interruption, which wouldn’t allow for the use of a stuntman. O’Brian’s impressive showbiz resume includes 7 Broadway shows, 33 films and 450 television shows. He has a well-deserved star on the Hollywood Walk of Fame and a Golden Globe Award.    Virginia O’Brian, film historian James Colt Harrison, and Classic Movie Guide founder Diana Saenger will also participate in this celebration of Hugh O’Brian’s upcoming 90th birthday. Happy Birthday, Hugh!  

【多纳英文儿歌 初学级】Ten Little Indians（十个小印第安人）

Grade 1