Podcasts about Tin Pan Alley

The word Hello showed up just as the world was changing . . . in the absolute biggest ways ever. Nothing was the same after "Hello". In this episode we cross paths with Michigan J Frog, Tin Pan Alley, the Phonograph, Western Union, Laura Ingalls Wilder, Alexander Graham Bell, Scott Joplin, the telephone operator, Thomas Edison and J. N. Pattison.

In this episode of the LEGENDS: Podcast by All Day Vinyl interviews legendary songwriter Philip Springer, the composer of the classic Christmas song "Santa Baby" for Eartha Kitt in 1953. Springer recounts his start as a young pianist, his time in the Brill Building, and his early career in the Army playing with Tony Bennett for fellow GIs. He tells the story of writing "Santa Baby" with Joan Javits, the song's controversial reception, and how its popularity resurged after Madonna's 1987 cover. The conversation also covers Springer's work with major artists like Eartha Kitt, Frank Sinatra, Judy Garland, and Cliff Richard, his ability to adapt during the rock revolution, and later pioneering work in electronic music and synthesizers, including teaching at UCLA. Springer's daughter Tamara discusses her new documentary "More Than Santa Baby," discoveries in his catalog, and the film's themes of perseverance, resilience, and late-life creativity. This episode offers a rich overview of eight decades of music history through one songwriter's remarkable career — from Tin Pan Alley and pop standards to rock, film scores, and electronic innovation.

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Directed by his daughter Tamar Springer, MORE THAN SANTA BABY takes us into the life of Philip Springer, the musical icon that wrote the Christmas classic, 'Santa Baby'. Through intimate interviews, archival footage and rare recording, the film immerses the viewer in a musical legacy that spans from the Tin Pan Alley movement of the 1940s through the creative spirit of 1970s Hollywood. In this 1on1, we speak to Springer about growing up in a musical home and how she defines her father's legacy.

Anything is possible as we welcome power pop icon Chris Stamey from the dB's as our Third Lad! Our focus topic is on the producers of the O3L era - the sonic architects that carry out the visions of the artists we love and shape the sound of our favorite records. And Chris Stamey is someone who knows, as he's produced some fantastic records over the years, including albums by Pylon, Whiskeytown, Le Tigre, The Butchies, Alejandro Escovedo, and many more. Of course, that's only scratching the surface of Chris's amazing 50 year career, from releasing one of the earliest DIY indie records (Sneakers) to playing with Alex Chilton in the late '70s to being one of the creative forces in the seminal, era-defining band the dB's, to his fruitful solo career, a radio play, a songwriting memoir, and working with over 100 artists including fellow dB and recent O3L guest Peter Holsapple, Yo La Tengo, Freedy Johnston, The Golden Palominos, and more recently with The Salt Collective and Jody Stephens' Big Star Quintet. We chat with Chris about his gorgeous new album, Anything Is Possible, the influence of Brian Wilson, Alex Chilton, Tin Pan Alley, and the Lemon Twigs, the essence of being Chris Stamey, and the enduring legacy of producers like Martin Hannett, Martin Rushent, John Leckie, Scott Litt, Mitch Easter, Joe Foster, Steve Albini, Rick Rubin, Gil Norton, John Fry, Chris Thomas, and more. During this episode, you will hear: Chris Stamey - "Anything Is Possible" Chris Stamey - "Meet Me In Midtown" The Salt Collective - "Last Day We're Young"  Thanks to Howard Wuelfing from Howlin' Wuelf Media for the introduction and coordination. Proud members of the Pantheon Podcasts family. Learn more about your ad choices. Visit megaphone.fm/adchoices

Frizz and Bob take a big-picture dive into Pop: Then and Now. Naturally, Bob pours some Old Grand-Dad Bonded, and Frizz downs a new glass of Johnnie Walker Black Ruby, as they unfold how we got from troubadours and Tin Pan Alley to MTV idols, Max Martin machines, and TikTok-engineered hooks for the FYP. They trace pop's constant reinvention through technology, Black innovation, and generational shifts, while taking a look at Sabrina Carpenter's new-stalgia, Taylor "Showgirl" Swift, and the way virality now shapes what's considered "success." It's a fast tour through pop's past, its present chaos, and a game so hard... you'd wish you wrote a whole song about it.

According to the IMF, the UK is on course to record the highest inflation in the G7 this year. Sean Farrington talks to a senior economist about what this means for the UK economy in the long term and for Chancellor Rachel Reeves' budget plans in the short term. And we'll reporting on the latest round of the US China trade war. The US government is bullish, but are US businesses also up for the fight? We hear the views of a US importer. Also, Soho used to be at the heart of the British music industry. But the owner of a legendary Tin Pan Alley recording studio tells us business rates are making her studio unviable against a backdrop of home recording trends.

On this week's Fretboard Journal Podcast, we're joined by New York City-based guitarist and composer Vilray Bolles. Alongside Rachael Price of Lake Street Dive, he's one half of Rachael & Vilray, a duo with an uncanny knack for writing brand new songs that feel like they came straight from Tin Pan Alley. On their latest release, West of Broadway, the duo was inspired by both classic musicals and West Coast jazz. They even roped in Stephen Colbert for a cameo on the album. During our chat, we talk about Vilray's love for jazz, his days of busking (and the downside of cell reception at subway terminals), meeting Rachael at Boston's New England Conservatory of Music, how they recorded West of Broadway and so much more. Bonus: Watch Vilray perform “Forever Never Lasts” from West of Broadway on our Fretboard Journal YouTube channel: https://youtu.be/oL85JbQXV6c https://rachaelandvilray.com Our new, 57th issue of the Fretboard Journal is now mailing. Subscribe here to get it. Our next Fretboard Summit takes place August 20-22, 2026 at the Old Town School of Folk Music in Chicago. https://fretboardsummit.org We are brought to you by Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).

This Day in Legal History: John Jay CommissionedOn September 26, 1789, John Jay was commissioned as the first Chief Justice of the United States, marking a foundational moment in the establishment of the American judiciary. Nominated by President George Washington and swiftly confirmed by the Senate, Jay took the helm of the newly formed Supreme Court just one day after the Judiciary Act of 1789 was signed into law. His appointment signaled the beginning of the federal judiciary as a coequal branch of government under the U.S. Constitution.Jay was already a prominent figure in American political life, having served as President of the Continental Congress, co-author of The Federalist Papers, and Secretary for Foreign Affairs under the Articles of Confederation. As Chief Justice, he led a court that initially had little authority or docket, with its first session delayed until February 1790 due to logistical difficulties and lack of cases.Despite the Court's limited power at the time, Jay helped lay the groundwork for its future role. In Chisholm v. Georgia(1793), Jay authored an opinion asserting federal judicial authority over state governments, a controversial stance that ultimately led to the adoption of the Eleventh Amendment. His tenure also saw diplomatic service; while still Chief Justice, he negotiated the Jay Treaty with Great Britain in 1794 to resolve lingering post-Revolutionary War disputes.Jay resigned in 1795 after being elected Governor of New York and declined a later offer from President John Adams to return to the bench. His brief but influential time as Chief Justice helped define the legitimacy and independence of the U.S. Supreme Court.The U.S. Department of Justice indicted former FBI Director James Comey, escalating what critics describe as President Donald Trump's campaign of retribution against political adversaries. Comey faces two charges: making false statements to Congress and obstructing a congressional proceeding, stemming from his 2020 Senate testimony in which he denied authorizing anonymous leaks related to an FBI investigation. The indictment claims he actually did authorize such disclosures. However, the charges are notably sparse, lacking detailed supporting facts or corroborating evidence typically included in indictments of this gravity.The case has drawn intense scrutiny within the Justice Department. Prosecutors in the Eastern District of Virginia reportedly advised against filing charges due to insufficient evidence, and the district's top prosecutor resigned last week after expressing concern about political interference. Tensions escalated when U.S. Attorney Lindsey Halligan—formerly Trump's defense attorney—personally presented the case to the grand jury, an unusual move suggesting top-level involvement. Notably, the grand jury declined to indict Comey on a third proposed charge, highlighting doubts about the prosecution's strength.Legal experts and former officials, including Obama-era ethics advisor Norm Eisen, have condemned the indictment as politically motivated. Comey maintains his innocence and says he welcomes a trial. Members of his family, including his son-in-law and daughter, have faced professional consequences, which Comey's supporters view as further evidence of political targeting. The charges represent a sharp departure from norms intended to shield law enforcement from partisan use.Former FBI chief Comey charged as Trump ramps up campaign against critics | ReutersA federal judge in California has preliminarily approved a $1.5 billion class action settlement between authors and the AI company Anthropic, marking a major development in the legal battles over generative AI's use of copyrighted materials. U.S. District Judge William Alsup described the agreement as fair during a Thursday hearing, though final approval is still pending. Authors Andrea Bartz, Charles Graeber, and Kirk Wallace Johnson brought the lawsuit, accusing Anthropic of training its AI assistant Claude using millions of pirated books without permission.This settlement is the first in a growing wave of lawsuits targeting companies like OpenAI, Meta, and Microsoft for allegedly infringing on creators' rights through large-scale data scraping to train AI models. Although Alsup had previously ruled that some of Anthropic's training practices fell under fair use, he determined the company crossed the line by storing more than 7 million pirated books in a centralized database not strictly tied to AI training.The judge had initially hesitated to approve the deal and demanded further clarification from both sides, but now appears inclined to allow it to proceed to the notification stage for affected authors. If finalized, the agreement could signal a broader shift toward holding AI developers financially accountable for unauthorized content use. Publishing industry leaders have praised the development as a step toward curbing what they see as systemic, unchecked copyright violations in AI development. Anthropic, meanwhile, emphasized its commitment to safe and responsible AI.US judge preliminarily approves $1.5 billion Anthropic copyright settlement | ReutersKathryn Nester, a seasoned Utah criminal defense attorney and former top federal public defender, has been appointed to represent Tyler Robinson, the man accused of fatally shooting conservative activist Charlie Kirk during a Utah Valley University event on September 10. The state is seeking the death penalty against Robinson, who faces a charge of aggravated murder.Nester has a history of representing clients in high-profile and controversial cases. She previously defended Lyle Jeffs, a fugitive leader of a polygamous sect convicted of food stamp fraud, and John Earnest, the gunman in the 2019 Poway synagogue shooting, before stepping down due to a conflict of interest. She also defended a Utah doctor accused of destroying COVID-19 vaccines—a case later dropped—and is currently representing Kouri Richins, a children's author now charged with poisoning her husband.Her firm, Nester Lewis, has strong ties to Utah's federal public defense system. Her partner, Wendy Lewis, once represented Brian David Mitchell, the man convicted in the kidnapping of Elizabeth Smart. Robinson's case is expected to cost Utah County at least $750,000 for the defense alone, with over $1.3 million budgeted for the total prosecution and defense efforts.Robinson's next court appearance is scheduled for Monday. Nester has declined public comment on the case.Attorney representing Charlie Kirk's accused killer is former top public defender | ReutersThis week's closing theme is by George Gershwin.Born on September 26, 1898, George Gershwin occupies a unique place in American music history—standing at the intersection of classical composition, jazz improvisation, and Broadway flair. Raised in Brooklyn to Russian-Jewish immigrant parents, Gershwin began his musical life on the piano and quickly showed an uncanny ability to absorb and reshape the sounds of his time. Though he composed everything from operas to show tunes, it was Rhapsody in Blue, written in 1924 when he was just 25, that cemented his legacy.Commissioned by bandleader Paul Whiteman for a concert intended to bridge classical and popular music, Rhapsody in Blue was composed in a rush—famously sketched out on train rides and completed with the help of orchestrator Ferde Grofé. The piece opens with its iconic clarinet glissando, a spontaneous flourish during rehearsal that Gershwin decided to keep, and unfolds into a sweeping blend of jazz rhythms, bluesy melodies, and symphonic ambition. It captured something distinctly American—urban, restless, full of promise.Rhapsody in Blue premiered at Aeolian Hall in New York on February 12, 1924, with Gershwin himself at the piano. The audience included titans like Sergei Rachmaninoff and Jascha Heifetz, and the piece earned immediate acclaim. Though critics at the time debated whether it was truly “serious” music, it has since become a cornerstone of 20th-century composition and a symbol of American cultural identity.For Gershwin, Rhapsody in Blue was not a departure from classical form but a statement that American music—jazz, blues, Tin Pan Alley—deserved a place in the concert hall. More than a century later, it remains as fresh and vibrant as the city that inspired it.Without further ado, George Gershwin's Rhapsody in Blue, the first movement–enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Some newer immigrants to Floodlandia were surprised by last week's article celebrating two West Virginia natives — Don Redmond and Chu Berry — who became legendary jazzmen.“I'm sorry,” one of the new friends confided, “but to me the idea of West Virginia conjures up fiddles and banjos. I've never thought of it for jazz.”He's forgiven. Many don't realize the Mountain State's musical traditions are more diverse than stereotypes suggest.Meet MaceoIn fact, this year marks the 100th anniversary of the publication of one of the greatest jazz standards of all times, and it was written by an extraordinarily prolific West Virginian who was a major influence in 20th century music.Maceo Pinkard, born in Bluefield, WV, in 1897, the son of a coal miner and a school teacher, was educated at the Bluefield Colored Institute, class of 1913, and wrote his first major song — called “I'm Goin' Back Home” — the following year. (Today Bluefield State University holds a festival each year to honor of its famous alumnus.)Pinkard wrote hundreds of tunes, including many for stage and screen, his greatest being “Sweet Georgia Brown,” which he published in March 1925. Yes, she might have been a sweet Georgia peach, she was mountain girl at heart. Click here for The Flood's latest take on the tune from a recent rehearsal.As reported here earlier, the song that would top Maceo Pinkard's obituary when he died in 1962 at age 65 was co-written with lyricist Ken Casey.Soon after “Sweet Georgia Brown” was composed, it was introduced to the dancing/singing/humming/whistling public by bandleader Ben Bernie. As that nationally known orchestra did much to popularize the number, Pinkard cut Bernie in for a share of the tune's royalties by giving him a co-writer credit. They both could have retired on the royalties.But Pinkard was far from done. He went on to compose iconic tunes such as “Sugar (That Sugar Baby of Mine)” and “Them There Eyes,” the latter famously popularized by the legendary Billie Holiday in 1939. Maceo and DukePinkard also was a mentor to a young Duke Ellington — 20 years his junior — introducing him to New York City's music publishing industry during the early stages of Duke's career. That kindness helped Ellington lay the foundation for future success. After meeting at Barron's nightclub in Harlem in the spring of 1926, Pinkard took Ellington downtown to "Tin Pan Alley," the center of the music publishing world on Broadway. There Pinkard arranged for Ellington to have his first meeting at Mills Music. Irving Mills later became Ellington's manager and business partner, a critical boost for the careers of both men.Years later, Ellington said “thank you” to Pinkard by recording some of his early champion's compositions, including the standards "Sweet Georgia Brown" and "Them There Eyes," highlighting Pinkard's musical legacy. Paul Whiteman and Bix BeiderbeckePaul Whiteman — whose band included Bing Crosby, Hoagy Carmichael, Frankie Trumbauer and Bix Beiderbecke — brought Pinkard in to write material for them. Segregation of the mid-1920s onward thwarted Whiteman's efforts to hire African-American musicians for his band, but he was determined to play the music of Black composers and Pinkard was his first choice. For instance, in 1927, Pinkard published "Sugar" and, in June 1928, Whiteman's band was the first to record it, scoring a huge hit. Since then, "Sugar" has been done by everyone from Louis Armstrong to Fats Waller (who performed it on the pipe organ). To this day, jazz artists still cover it. Beiderbecke and Pinkard became friends and when Bix went out on his own, Pinkard penned "I'll Be A Friend With Pleasure" for his band (featuring Gene Krupa on drums, Benny Goodman on clarinet and Jimmy Dorsey on sax). Recorded in September 1930, it was among the last numbers that Bix recorded before his death at 28 the following summer.African American West VirginiaPinkard's story embodies the resilience and creativity of the Black community of West Virginia's Mercer County. Growing up in Bluefield, Maceo was shaped by the region's rich heritage, which flourished around institutions like the Bluefield Colored Institute (now Bluefield State University), a hub of African-American culture in the early 20th century.Established in 1895, two years before Pinkard's birth, Bluefield State emerged as a beacon of opportunity for Black West Virginians. Besides providing access to higher education in the industrialized southern West Virginia, it also was a cultural epicenter, hosting luminaries such as Langston Hughes, Fats Waller and Duke Ellington. During the 1950s and 1960s, Bluefield emerged as a hidden gem on the map of the so-called “Chitlin Circuit,” a national network of venues and businesses that provided platforms for emerging Black jazz and pop musicians during the latter years of institutionalized segregation. More Jazz from the Floodisphere?The Flood constantly expands its repertoire of jazzier tunes from the 1920s onward. To sample a randomized playlist from the cooler corner of the songbag, drop by the Swingin' Channel of the free Radio Floodango music streaming service.Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us,” it was clear: Diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay-Z vs. Nas—but diss tracks stretch back through a century of American pop to the Tin Pan Alley era. Vaudeville singer Eddie Cantor, James Brown, John Lennon, Carly Simon, Kool Moe Dee, Lauryn Hill, and countless other artists have all tapped the hitmaking power of a personal grudge. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks, and rap beefs that shaped the charts—and the culture. Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us”, it was clear: diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay Z vs. Nas—but diss tracks stretch back through a century of American pop, long before hip-hop, all the way to the days of Tin Pan Alley. From Eddie Cantor and James Brown, to John Lennon and Carly Simon, to Kool Moe Dee and Lauryn Hill, artists have been turning personal grudges into hits for over a century. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks and rap beefs that shaped the charts and the culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Kendrick Lamar took the Super Bowl halftime stage in 2025 and had the stadium chanting along to “Not Like Us”, it was clear: diss tracks had gone stratospheric. The Kendrick vs. Drake beef echoes legendary rap rivalries like Biggie vs. Tupac and Jay Z vs. Nas—but diss tracks stretch back through a century of American pop, long before hip-hop, all the way to the days of Tin Pan Alley. From Eddie Cantor and James Brown, to John Lennon and Carly Simon, to Kool Moe Dee and Lauryn Hill, artists have been turning personal grudges into hits for over a century. Step this way and join Chris Molanphy as he traces the history of answer records, diss tracks and rap beefs that shaped the charts and the culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

Abbott And Costello 44-12-07 Visit To Tin Pan Alley

Tin Pan Alley was an area of New York around the beginning of the 20th Century that served as ground zero for the earliest iterations of the music publishing industry. Learn all about this unique place and time in this classic episode.See omnystudio.com/listener for privacy information.

Composer Cole Porter (born June 9, 1891) was something of an anomaly among songwriters of the Tin Pan Alley era. Born to an affluent Indiana family, songwriting was initially just a hobby for him, but he soon parlayed his gift for penning witty urbane lyrics and totally original melodies and harmonies into one of the most important creative voices in American popular songwriter.

What does it take to keep a city's music soul alive when developers, gentrification, and time threaten to erase it?In this heartfelt and hilariously offbeat episode of The Ben and Skin Show, Ben Rogers, Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina Ray dive deep into the beating heart of the DFW music scene—and it's as wild, weird, and wonderful as you'd expect.From Krystina's Nirvana cover band Oatmeal Pizza (yes, you read that right) to a passionate plea to save Fort Worth's beloved venue The Cicada, the crew blends humor, nostalgia, and genuine love for local music into an unforgettable hour of radio. You'll hear about the upcoming June 8th benefit show, the rise of Fort Worth as a cultural powerhouse, and the bittersweet tug-of-war between community and commercialization.But the real showstopper? Skin's tribute to his high school buddy Rob Dunlap—a 7-foot-tall, bearded legend—whose band The Golden Falcons is reuniting for a 20-year anniversary show at Double Wide. With a vinyl reissue of their cult-classic Honduras album and a stacked lineup including Hawk vs. Dove and Minor Tigers, this episode is a rallying cry for anyone who's ever moshed in a dive bar or discovered their favorite band in a back alley venue.Memorable Moments:“The Eagle was here before radio existed… back in the Tin Pan Alley days.”“Imagine a 7-footer with a beard down to his chest belting out indie rock—how do you not go to that show?”“We should've called it the Wildlife Tour: Golden Falcons, Hawk vs. Dove, Minor Tigers!”

Rabia from "Suddenly: A Frank Sinatra Podcast" and "TCBCast After Dark" joins Justin for a main feed discussion all about the 1977 compilation "Welcome to My World," which brought together an intriguing collection of country recordings spanning from 1958-1973 with some loose thematic threads that we try to tease out. Plus, Rabia dug up a handful of original contemporary reviews that reveal how critics received this album at the time, both positively and negatively! For Song of the Week, as voted on by TCBCast Patreon backers, Justin rolls with the final track featured on the album, Don Gibson's "I Can't Stop Loving You" which was a mainstay of Elvis's setlists for a number of years and also recorded as a jam during his 1969 sessions. Justin reflects on Gibson's original, Ray Charles' iconic cover, and what Elvis might have intended with his frequent inclusion of it in his live shows.  Rabia then takes us home with a dive into the rare one-liner Elvis did (twice!) of "Tiptoe Through the Tulips," a Tin Pan Alley song resurrected in 1968 - the same year Elvis was filmed on the set of his NBC TV special singing the song - by the immensely talented pop culture phenomenon that was Tiny Tim.  You can find "SUDDENLY" on most major podcast platforms where TCBCast is also available. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Send us a textApril Fools Fortnight Tuesday begins with our second "Songwriters You've Never Heard Of" episodes with the tuneful Joe Burke. A Tin Pan Alley veteran, Philadelphia born Joe had a bevy of Billboard hits in the 1930s. And an inaugural class inductee to the Songwriters Hall Of Fame. Tune in to enjoy the bevy!

A Funny MondayFirst a look at this day in History.Then The Campbells Playhouse starring Orson Welles, originally broadcast March 24, 1940, 85 years ago, June Moon starring Jack Benny.  The program features the funny story about a song writer from Schenectady who arrives in New York with plans to conquer Tin Pan Alley. Jack manages to get in a remark about Fred Allen. The story is based on a story by Ring Lardner titled, "Some Like Them Cold."Followed by A Day in the Life of Dennis Day, originally broadcast March 24, 1948, 77 years ago,  Weaverville Land Grab.  Dennis buys and runs a taxicab. He that discovers one of his passengers plans to take over the entire town. Then Abbott and Costello, originally broadcast March 24, 1949, 76 years ago, A Sam Shovel Mystery. The boys do a "Sam Shovel" mystery, "The Case Of The Man Who Burned His Sweetheart's Body In The Fireplace," or "I've Got My Love To Keep Me Warm." Finally Claudia, originally broadcast March 24, 1949, 76 years ago, Roger's Surprise.   Telling Mama the news. But who bought the land?Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

Mark-Eugene and David celebrate women in musical theatre, sharing their favorite writers and their impact. Later, David chats with Jennifer Ashley Tepper—acclaimed theatre historian, producer, and author—about her upcoming book, Women Writing Musicals: The Legacy That The History Books Left Out. Tepper, known for her work at 54 Below and productions like Be More Chill, highlights over 300 women who shaped Broadway, from Tin Pan Alley pioneers to today's trailblazers. She shares stories of icons like Betty Comden and Jeanine Tesori, as well as lesser-known but groundbreaking figures. Plus, Mark-Eugene and David tease an exciting partnership with Manhattan Theatre Club in the next episode! Learn more about your ad choices. Visit megaphone.fm/adchoices

The band is back! This Sunday at the "Unchained Melodies" show, the Evensong Quintet is playing a live recording concert of tunes in the public domain. Many of the best songwriters of the “Tin Pan Alley” era wrote some of their most enduring songs during the late 1920s, and many of these songs fall into public domain this year. Jazz musicians have long favored the work of these giants: George Gershwin, Cole Porter, Fats Waller, Irving Berlin, Hoagy Carmichael to name a few. For generations, big corporations have controlled the performance rights to this material, now these national treasures are free to be performed and recorded without restrictions. 

"THE NICHOLAS BROTHERS: CLASSIC CINEMA STARS OF THE MONTH" The Nicholas Brothers, FAYARD and HAROLD, are arguably two of the greatest dancer to ever hit Hollywood. Born to musician parents, they learned their craft working the vaudeville scene and appearing at the famous Cotten Club during the Harlem Renaissance before landing in Hollywood. In Tinseltown, they made movie magic dancing in some of Hollywood's biggest musicals. The brothers mixed tap-dancing with acrobatics to perfect thrilling routines that we're still win awe of today. They also had to endure the limits put upon them by the racism of the day. Join us this week, as we celebrate these icons of dance who are our Stars of the Month.  SHOW NOTES:  Sources: Brotherhood in Rhythm: The Tap Dancing of the Nicholas Brothers (2002), by Constance Valis Hill; Dorothy Dandridge: An Intimate Biography (1970), by Earl Mills; “The Nicholas Brothers, Fayard and Harold: Tap Dance Legends,” February 17, 2024, Dance Mogul magazine; “The Incredible Nicholas Brothers: A Classic Hollywood Black Dance Duo Everyone Should Be Obsessed With,” October 30, 2022, by Maureen Lee Lenker, Entertainment Weekly; “The Nicholas Brothers: Every Generations Dance Heroes,” February 17, 2020, by Najja Parker, The Atlanta Journal-Constitution; “Celebrating The Nicholas Brothers,” September 16, 2011, by Daniel Eagan, Smithsonian magazine; www.nicholasbrothers.com TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; AcademyMuseum.com Movies Mentioned:  Pie Pie Blackbird  (1932) - starring Nina Mae McKinney & The Nicholas Brothers; Stoopnocracy (1933), starring Budd Hulick & Harold Nicholas; The Emperor Jones (1933), starring Paul Robeson & Harold Nicholas; Kid Millions (1934), starring Eddie Cantor, Ann Sothern, & Ethel Merman; Jealousy (1934), starring Nancy Kelly & George Murphy; The Big Broadcast of 1936 (1935), starring Jack Oakie, George Burns, Gracie Allen, Bing Crosby, & Ethel Merman; Coronado (1935), starring Johnny Downs; My American Wife (1936), starring Francis Lederer & Ann Sothern; Don't Gamble with Love (1936) starring Ann Sothern; Babes in Arms (1937), starring Mickey Rooney & Judy Garland; Down Argentine Way (1940), starring Betty Grable, Don Ameche, Carmen Miranda, & Charlotte, Greenwood; Tin Pan Alley (1940), starring Betty Grable, Alice Faye, Jack Oakie, & John Payne; The Great American Broadcast (1941), starring Alice Faye & John Payne; Sun Valley Serenade (1941), starring Sonja Henie & John Payne; Orchestra Wives (1942), starring George Montgomery & Ann Rutherford; Stormy Weather (1943), starring Lena Horne; Reckless Age (1944), starring Gloria Jean & Harold Nicholas; Carolina Blues (1944), starring Kay Kyser & Ann Miller; The Pirate (1948), starring Judy Garland & Gene Kelly; Botta e Riposta (1950); El Mensaje le la Muerte (1953); Musik I'm Blut (1955); L'Empire de la Nuit (1964); The Liberation of L.B. Jones (1970), starring Lee J. Cobb, Roscoe Lee Brown, & Fayard Nicholas; Uptown Saturday Night (1974), starring Sidney Poitier, Bill Cosby, Richard Pryor, Flip Wilson, Harry Belafonte, & Harold Nicholas That's Entertainment! (1974); That's Dancing (1985); Tap (1989); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The song “Life in the West” became popular in the 1840s. The lyrics, written by American poet George Pope Morris, evoke the call of the fertile promised land and celebrates the freedom of living so close to nature.

It's been a tough week all around, not just nationally and internationally, but also personally for me and my family. Because I did not have the time or energy to put out a brand-new episode today, I am presenting to you a former bonus episode first published sometime in the past couple years which features a collection of some of the finest late career recordings of pop standards that Eileen Farrell made between 1988 and 1991 arranged and music directed by Loonis McGlohon or Robert Farnon. The songs all stem from the tradition of the Great American Songbook, whether well-known or more obscure, whether originally written for Broadway shows, for Hollywood, or simply straight from Tin Pan Alley. Backed by either a small combo or an orchestra, Farrell sounds remarkably youthful and always deeply connected to the style and essence of this music, which is no surprise since she had been singing this repertoire from her earliest days and is one of the very finest all-around singers this country has ever produced. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Jay Bragg, the leader of this great ensemble, has recorded and released hundreds of songs, performed over 3,600 shows across America including tours with Alan Jackson and Chris Stapleton. He's founded a music charity and has become an international Christmas connoisseur with his annual ‘A Songwriter's Christmas' tour and original holiday compositions. Whether it's writing songs, making records, performing live or volunteering for hospice patients - something he still does every week - Jay makes music to serve others, contributing a healthy dose of joy and good vibes into a culture that is increasingly inundated with the opposite. In October 2024, Jay launched his latest obsession - a fictional North Pole alter-ego act called King Kazoo & The Reindeer Band - a whimsical gumbo of jazz, blues, swing, Christmas and Tin Pan Alley music. It was Seeing the affect the kazoo had on listeners young and old, that had Jay began developing King Kazoo & The Reindeer Band.

“He's making a list, checking it twice…”With a nod to the legendary Tin Pan Alley composer Haven Gillespie, who penned the lyrics to the iconic holiday song, senior healthcare consultant Ronald Hirsch, MD has been making his own list of healthcare professionals all year, paying close attention to their deeds in the field of healthcare.Calling them “Hirsch's Heroes,” an annual tradition that began in 2015, Hirsch will reveal those to whom he has bestowed the esteemed honor during the next live edition of Monitor Mondays.Other broadcast segments will include these instantly recognizable features:• The RAC Report: Healthcare attorney Knicole Emanuel will report the latest news about auditors.• Risky Business: Healthcare attorney David Glaser, shareholder in the law offices of Fredrikson & Byron, will join the broadcast with his trademark segment.• Field Report: Phyisican and attorney Dr. John K. Hall is expected to file a field report on the recent Anthem Blue Cross Blue Shield proposal relative to its anethesia policy which the giant payer has since abandoned.• Legislative Update: Matthew Albright, chief leglistative affairs analyst for Zelis, will report on the latest legislative actions impacting the healthcare regulatory setting.

The original Tin Pan Alley was in Fifth and Sixth Avenue in Manhattan, New York, where music publishers set up shop in the late 19th century, attracting songwriters and coming to dominate American popular music. Since then Tin Pan Alley has come to mean a quarter where there are music shops and where musicians gather. Cities all over the globe have Tin Pan Alleys of their own. For instance, if you wanted to buy a bass guitar in London, you'd head to the UK's Tin Pan Alley, Denmark Street. In this week's series of the Essay BBC correspondents from Madrid to Tokyo explore the Tin Pan Alleys of their towns, talking to musicians trying out the instruments before they buy, and to the shopkeepers selling them. They explore the state of the musical culture, and culture more generally, of the countries they are reporting from.The series begins in Beijing where Stephen McDonell visits Xinjiekou Street, where the shops sell Chinese traditional instruments: the erhu, a two string fiddle; the pipa, a pear shaped lute; the guzheng, a zither...and several others. He discovers that there is renewed enthusiasm for them and their music, and meets some musicians playing in a tunnel, not for the acoustic but because, in an odd reversal of the norm, if they play in the street young people object to the noise and shop them to the cops. Presenter: Stephen McDonell Producer: Julian May

Galip Dede Street in Istanbul used to be famous for its antique, philatelic and book shops. But over the past 30 years more and more music shops have opened and now the street has more than 30. Esra Yalcinalp talks to the shopkeepers who sell instruments of all kinds, all the orchestral instruments. Here, too, she finds musicians who might buy a bağlama or saz, like a mandolin with a very long neck, and a kemençe or lyra, a bowed instrument, used in Ottoman classical and Turkish folk music. She gets a demonstration of the different rhythms a master can play on the darbuka, the goblet shaped drum used in Turkish classical music. She meets, too, a French musician seeking strings for her Syrian oud. Can she find these in Galip Dede? Of course. No problem.There is a problem, though - tourism. It's driving up rents and driving out specialist music shops, which are replaced by hotels and T shirt shops. Presenter: Esra Yalcinalp Producer: Julian May

The journalist Guy Hedgecoe, who covers Spain for the BBC, visits Felipe Conde's shop and workshop in Centro, Madrid. Conde is the fourth generation of his family to make classical and flamenco guitars. Many of the great flamenco musicians - Moraito, Paco de Lucia, Tomatito - have played Conde guitars, as have artists from other traditions - Leonard Cohen, Lenny Kravitz, Cat Stevens. And Paco de Lucia gave one to Michael Jackson. Guy meet Antonio Gonzalez, one of Conde's customers, who tell him what qualities he is looking for - and plays. And he watches while Felipe Conde works on a new instrument. Guy explores the state of the craft of making, the art of playing and the place of the classical guitar and flamenco music in Spain, and around the world, today. Presenter: Guy Hedgecoe Producer: Julian May

Ochanomizu means 'tea water' because of its proximity to the Kanda River, which in the Edo period provided water for the Shogun's tea. Now it is a university area - Meiji University, Tokyo Medical and Dental University, and Juntendo University all have campuses in Ochanomizu. Phoebe Amoroso reports on the way teahouses have given way to musical instrument shops. There are more than 70 in Ochanomizu's 'Guitar Street' . But you can buy harmonicas and accordions, too. In such a competitive space shops survive by specialising. Almost all the instruments sold are western, but made with Japanese materials, craftsmanship and attention to detail.Presenter: Phoebe Amoroso Producer: Julian May

'Be not afeard. The isle is full of noises, Sounds, and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears...'There is an idea that what Caliban is describing is gamelan music, and that Shakespeare had heard accounts of it as he wrote The Tempest from sailors who had recently returned from a voyage to the Spice Islands - Indonesia.The village of Tihingan in Bali is full of noises because the chief occupation there is making gongs for gamelans, the wonderful gong orchestras of Bali and Java. Ade Mardiyati, a journalist who reports for the BBC's Indonesian service, visits Tihingan - Indonesia's Tin Pan Alley - the learn about the craft. Two crucial skills are involved; that of the smith who forges the gongs, and that , the tuner who works them to ensure they give the right note. In a sonically rich essay, recorded while these masters work, Ade explores the past, present and future of gamelan making, and music.Presenter: Ade Mardiyati Producer: Julian May

Pro Audio Design Engineer Andy Bereza summarises his impressive career in a chat with Paul Gilby. Andy founded Allen & Heath Mixers before working for TEAC/Tascam, where he conceived the TEAC Portastudio the portable multitrack cassette tape recorder that revolutionised the home recording market in the 1980s. He then co-founded Bandive-Turnkey where he developed a range of budget signal processors and the famous Great British Spring reverb to sell to the rapidly expanding Home Studio Recording market. At the same time, he was a consultant for the Fostex X15 multitrack cassette as well as helping to steer further product designs. Chapters00:00 - Introduction00:34 - Getting Into Electronics01:45 - Building Custom Desks04:09 - Allen & Heath Mixers06:07 - The Minimixer08:54 - The Pink Floyd Desks12:24 - Allen & Heath Mod II Mixer13:20 - Expanding The Company15:23 - Moving To Tascam 16:58 - Constructing The Portastudio 21:57 - Setting Up Bandive / Turnkey24:55 - Creating Products For The Home Studio 29:03 - Fostex Releases in the 80s30:48 - Bandive Seck Mixers32:08 - Expanding Turnkey35:14 - Selling To Harman38:38 - Launching Digital Postcards41:07 - A Brief Career Summary42:13 - Proudest Career MomentAndy Bereza BiogAndy Bereza started his career as a Audio Design Engineer after moving to London in 1967 to study Electronics at Chelsea University. A chance encounter with Siggy Jackson in Tin Pan Alley gave him his first custom commission and many more soon followed, with Andy building mixers for Bill Shepherd (producer of the Bee Gees), Alan Price, Maurice Gibb and also a location recording mixer for the Clockwork Orange movie.In 1970 Andy became the Founder of Allen & Heath, where he initially developed the black range of mixers, then their first mass market product the Minimix. At the same time he creating custom quadraphonic live desks for The Who along with Pink Floyd's Pompeii and Dark Side Of The Moon touring desks.In 1975, Andy joined TEAC America and was employed to introduce Tascam into Europe. Then in 1976 he was contracted directly with TEAC Japan where he developed the iconic Portastudio that changed the face of the home recording industry. In 1977 he became one of the founders of Bandive Ltd and helped to develop further products for the home recording market and created the popular Turnkey By Mail catalogue during the late 1970s to mid 80s. Bandive then opened the Turnkey retail store in central London.Following the sale of Bandive / Turnkey to Harman UK in 1987, he briefly became their Marketing Director, before signing up to become Managing Director of Fostex in 1991. Later in the 90s Andy left the Pro Audio industry and turned his attention to multimedia where he developed interactive product catalogues on CD-ROM.Paul Gilby BiogPaul Gilby is the co-founder, along with his brother Ian, of Sound On Sound magazine in 1985. Having written many product reviews and interviews over the years he now heads up the Digital Media side of the business managing the team that looks after the SOS website as well as the video and podcast productions.Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In which a flirty but forgotten Tin Pan Alley song leads to the first great moral panic in pop music history, and John sneakily borrows someone else's shanty town. Certificate #12960.

Check the calendar, maniacs! The gang is all here this week as we start a new theme, A Comedy Of Horrors, with the 1981 lampoon Saturday The 14th. While we break down this goofy flick, we also discuss other topics such as watching movies on half speed, Tin Pan Alley, and our opinions of the combination of chicken and peanut butter. Drop that Caramello and check out our Patreon! This month we play a little game Gregg cooked up called Pit Or Pass? Six songs have been selected, all cover songs by late 90s and early 00s nu-metal bands, and we decide whether we hit the pit if it's good or we check out the merch booth if it's bad. For as little as $2 a month you can get in on the action as well with bonus episodes, Discord privileges, livestreams, exclusive merchandise and more! Want more discussions on haunted houses? Check out our previous episodes on Cellar Dweller (episode 11), Bloody New Year (episode 16), Night Of The Demons (episode 58), Demons (episode 135), Ghosthouse (episode 138), Slime City (episode 233), House (episode 236), and Blood Theatre (episode 245).

En esta ocasión vamos a escuchar el álbum "Trouble in Mind" de Mance Lipscomb, grabado en Houston, Texas, en 1961, es un testimonio esencial del blues rural y la música tradicional estadounidense. Fue producido por Chris Strachwitz y Mack McCormick y lanzado por el sello Reprise. Las grabaciones se realizaron en la casa de Lipscomb en Navasota, Texas, después de que Strachwitz y McCormick, originalmente interesados en grabar a Lightnin' Hopkins, encontraran a Lipscomb. Todas las notas del programa son gentileza de Mack McCormick y esas notas en las distintas ediciones del disco destacan la diversidad del repertorio de Lipscomb, que incluye desde blues hasta baladas y canciones de Tin Pan Alley. McCormick resalta la influencia de Lipscomb en otros artistas, como Bob Dylan y Eric Clapton, y subraya la importancia cultural de estas grabaciones, no solo como precursoras de otros géneros, sino por su valor intrínseco

I guess this could be a Canada Day Long Weekend Special? The song this week is "The Cat Came Back," a song written in the 1890s by a Tin Pan Alley songwriter but made famous by a Canuck. The first version is by Sonny James, a country dude who picks n grins his way through this Goofy Great. The man, the myth Fred Penner didn't pen the song, but people think he did. So let's call it Canadian! His version is wild ... and it's for the kids, so there's extra meows. Does it fade out into "Break on Through" by The Doors? It's a chlling tale of psychopathy, either way. The third in the litter is by Sweden's Stomachmouths, who combine the song with "Hit The Road Jack" and add some proper piano and clothespin-on-nose vocals. Stefan Kery really hits those 3's! This is the one to turn the wee ones onto garage rock. We were going to do a surf version by The Phantom Surfers but technical problems scuppered that - That Darn Cat!!!

Was Elvis the real phantom of the Opry? Bill talked about songwriting with artists over Zoom, writing for Mojo, the Brill Building in 1961, confederate ghosts, Crowded House, Jill Sobule, Tin Pan Alley, and finding inspiration in artwork & cartoons. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Bill DeMain, a successful author, songwriter, journalist, tour guide, and musical historian who has been on the podcast previously for episode RSR200. As one half of the pop duo Swan Dive, he has released ten acclaimed albums with his singing partner Molly Felder, enjoying several Top 5 singles and tours of Japan, Thailand and Korea. He's also written songs for and with many other artists, including Curtis Stigers, Marshall Crenshaw, Teddy Thompson & Kelly Jones,  David Mead, Bleu, Kim Richey, Jill Sobule and Boo Hewerdine. His songs have appeared on TV shows like Sons of Anarchy, Private Practice, Felicity and The L Word, and in commercials for Laneige Cosmetics, Unicef and Sky Mobile. Bill is also a much-published music journalist, who's written for MOJO, Uncut, Entertainment Weekly and Classic Rock. He has written five books, including 2017's Amazon best-seller Sgt. Pepper At 50, and two of collections of interviews with noted songwriters such as David Bowie, Stevie Nicks, Ray Charles, Dolly Parton, Barry Gibb, Kate Bush and Smokey Robinson.  In addition, he is the owner of the music history walking tour Walkin' Nashville, a radio correspondent for BBC Glasgow and a cartoonist whose work has been published by Reader's Digest and Funny Times. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/7bB32vult4uY4TTaLa6X08?si=6fafbae7c9834d61 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/456

Much has been discussed of Paul McCartney's love of what John Lennon called "granny music." The music of his parents' generation, British Music Hall, Vaudeville, Tin Pan Alley...you know the genre...the stuff Lennon loved to complain about when it came from Paul, but seemingly had no problem with his favorite group, Nilsson, whos stock and trade was the song tradition rooted in that era. Paul, however, loved, and still loves, music and art from that time. It gives him a chance to embody the character pieces he so easily writes, putting himself in the shoes of Fred Astaire and getting to pretend he's someone other than Paul McCartney. Honey Pie also has roots in trad jazz, and Lennon obviously knew a thing or two because he pulls off a spot-on Django Reinhardt impression on his guitar solo. Personally, I love this side of Paul, "Honey Pie," "You Gave Me The Answer," "Martha My Dear," I'll take it all! Returning to the show this week is the always wonderful Dr. Christine Feldman-Barrett, author of the brilliant book A Women's History of the Beatles and the newly released "The Life, Death, and Afterlife of the Record Store." She joins us from all the way across the world in Brisbane where we chat about appreciating legacy artists in all their eras, what record stores mean to her, the cyclical nature of culture, and an exciting round of Beatles trivia! Be sure to pick up a copy of her book at the links above or anywhere you get good books! What do you think about "Honey Pie" at #93? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! --- Send in a voice message: https://podcasters.spotify.com/pod/show/rankingthebeatles/message Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support

On this week's show we preview the upcoming WiFi 7 specification and we review the Technics SU-GX70 Network Audio Amplifier Review. We also read your emails and take a look at the week's news. News: Roku just announced a free NBA channel ESPN's Stand-Alone Streaming Service Will Be Available Through Disney+ Apple TV+ share grows in the US, but still lags behind its competitors LG TV owners should update their firmware, webOS vulnerability found in a few models Other: Ridiculous 150" AWOL Vision Theater Setup Roku patent invents a way to show ads over anything you plug into your TV | Ars Technica A Giga-Sunset For Gigaset IoT Devices | Hackaday WiFi 7 May be What We Have All Been Waiting For Why WiFi 7 is the future of wireless technology As of now, the finalized specifications for WiFi 7 (also known as 802.11be) have not been officially released, as the standard is still in development. However, based on industry discussions and proposals, some expected features of the proposed WiFi 7 specification include: Increased Speeds: WiFi 7 is anticipated to offer even higher data rates than its predecessors, potentially reaching multi-gigabit speeds  Enhanced Efficiency: Improved spectrum efficiency will allowi for better performance in crowded environments and increased capacity for simultaneous connections. Low Latency: WiFi 7 is likely to target reduced latency to support real-time applications such as online gaming, video streaming, and video conferencing with minimal delay. Advanced Security:  Multi-User MIMO: More advanced Multi-User Multiple Input Multiple Output (MU-MIMO) technology  Orthogonal Frequency Division Multiple Access (OFDMA): The use of OFDMA will enhance spectral efficiency and enable better resource allocation for various types of traffic. Improved Beamforming: Enhanced beamforming techniques will optimize signal transmission and reception, improving network coverage and reliability. Wider Spectrum Utilization: WiFi 7 may explore the use of new frequency bands or spectrum sharing techniques to accommodate more devices and applications and deliver better performance. IoT Optimization: Features tailored for Internet of Things (IoT) devices to support the increasing number of connected devices and diverse IoT applications. Power Efficiency Enhancements: Efforts to improve power efficiency to extend battery life in wireless devices and reduce energy consumption overall. It's important to note that these features are based on expectations and early proposals for WiFi 7. The final specifications may vary as the standard progresses through the development and approval process. Technics SU-GX70  Network Audio Amplifier Review Listening to music takes three elements, the music itself, the speakers, and the amplification. If one of these elements is not up to the task, your entire experience will be less than desired. Great speakers take high quality audio to even higher levels. The converse is also true, poor quality audio files will sound even worse.  There is a middle layer that we don't talk about as much, and that's the amplification. Back in the 70's all we cared about were watts! The more, the better! As a teenager I did not appreciate that not all power is created equal. Smart amplifier design can make your music sound even better and that's what the engineers at Technics have done with the SU-GX70 Network Audio Amplifier (MSRP $1999.95). The GX70 is a box that has something for everyone. First and foremost it's a digital amplifier that outputs a total of 80 Watts into 8 ohms and supports a ton of physical connections including: Line level x2, phono, HDMI ARC, optical x2, coaxial, USB Type A, USB Type B. Supporting HDMI ARC allows you to connect your own speakers as a soundbar alternative.   As far as wireless connection goes, you have Wi-fi, ethernet, Bluetooth, Google Chromecast and Apple AirPlay 2. DAB (Digital Audio Broadcast) and  FM. You can also get access to Spotify, Tidal, Qobuz through the app.  Hi Res is supported via the USB port with a DAC that can decode 32-bit/384kHz PCM and DSD512 files and it can handle MQA streams from Tidal. This is one versatile integrated amp!! Setup To connect the GX70 to the network you use the Apple Home (or Google Home) app. Which seemed odd to us since there is a remote control and display screen. But once you are connected to your network you can use the Technics Audio Center App to control the system. Actually, the only reason you would need the app is if you want to send MQA streams to the amp. All the radio stations that are available through the app are available on your phone or tablet via apps source apps like iHeart Radio. You can tweak the amp to dial it in for your speakers through a calibration on the amp. But it sounded really good right out of the box.  We'll give it an 8 out of 10 for setup, knocking off two points because you have to use Apple/Google Home to get it connected to your network. The aforementioned remote is a better way to use and interact with the amp. You pretty much just need to connect your speakers and you are good to go. Sound To test the audio we turned to the HT Guys Listener Playlist (Playlist available on iTunes, Amazon, and Spotify)  and listened via Airplay2, Bluetooth, and USB. All the music was played in the highest fidelity available on the platform. Both Airplay and Bluetooth lowered quality to fit within the limits of the protocol. It should be noted that the GX70 does not support AptX.  We'll discuss Airplay and Bluetooth together and sum it up by saying the quality was good. The only thing we'll say is that these formats work well for convenience without sacrificing too much quality. When listening to music while doing something else, this is a nice feature. But for really listening to music we used the USB connection. Once connected to Listened to Steely Dan, Deacon Blues (24 bit 192kHz) across three different speakers and found that the GX70 helped capture nuances in the music that we had never heard before. The sound was clean and precise. In Stevie Ray Vaughan's Tin Pan Alley his voice was so smooth and raspy but in a good way! It's like the amp gave it more power and weight! But can it make your walls rattle? You would think at 80W total that this was not a possibility and depending on your speakers it's not. If you have power hungry speakers they will push the amp to its limits. However, if you have efficient  speakers, it will fill the room with sound. More than we were expecting. For that we turned to UFO Strangers in the Night Live, which is an excellent album from the 1970's, but the recording wasn't the best. We'll say this, the GX70 attached to Ascend Acoustics Sierra-1s, which are not extremely efficient speakers, got loud enough to where family members asked to turn down the music! Conclusion What we liked A plethora of input sources (both wired and wireless)  Build Quality is first rate LCD and Remote make it easy to use and setup Outstanding detailed sound quality Needs Improvement Two app setup Would like to see Aptx for high quality audio from mobile devices. Needs a tad more power The GX70 offers an elevated listening experience that brings music to life with clarity, depth, and immersive soundstaging making it a top choice for those who are serious about their music.

The great Harlem stride pianist Johnson recorded many piano rolls for various companies including QRS, Universal and Perfection, creating an early prototype of the stride style. Here he is featured playing his own compositions as well as interpretations of other tunes from Tin Pan Alley and the black theatre, including one duet with his erstwhile student Fats Waller --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Welcome to Glenn Robison's Rapidly Rotating Records, bringing you vintage music to which you can't not tap your toes, from rapidly rotating 78 RPM records of the 1920s and '30s. So why is there a bottle of Green River Bourbon on this post instead of a Tin Pan Alley composer or a vaudeville artist or […] The post Happy St. Patrick's Day from RRR #1,235 March 17, 2024 appeared first on Glenn Robison's Rapidly Rotating 78 RPM Records.

Irving Berlin, Dorothy Fields, George and Ira Gershwin, Jerome Kern, Johnny Mercer, Cole Porter, Rodgers and Hammerstein. These, along with many others, are the sorts of songwriters we associate with the Great American Songbook, the amorphous canon of important 20th-century pop songs, jazz standards, and show tunes from Broadway, Tin Pan Alley, and movie musicals. But there's another important detail here. The songs we think of as the Songbook are from, more specifically, the 1920s through the 1950s. With some simple arithmetic, you can see that they're, uh, getting on in years — which might (must?) mean that their devotees are, too. The Nose is off this week. In its place this hour, a look at and a listen to — and some concern for the future of — the Great American Songbook. GUESTS: Joelle Lurie: Vocalist, songwriter, voiceover artist, and bandleader Steve Metcalf: Founder and director of the Garmany concert series at the University of Hartford's Hartt School The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Eugene Amatruda contributed to this show, which originally aired September 1, 2023.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Paul Logothetis visits a tiny stretch of one street in New York, which is celebrated for its place in American music history.See omnystudio.com/listener for privacy information.

All this week, as part of the launch of the 2024 Public Song Project, we're debuting contributions from professional musicians and friends of WNYC. To wrap up the launch, we hear a song from Brooklyn supergroup Coco and speak to bandmember Maia Friedman. Afterwards, we're joined again by musicology professor Anna Celenza to talk about Tin Pan Alley and Broadway of the 1920s.

All this week, as part of the launch of the 2024 Public Song Project, we're debuting contributions from professional musicians and friends of WNYC. To wrap up the launch, we hear a song from Brooklyn supergroup Coco and speak to bandmember Maia Friedman. Afterwards, we're joined again by musicology professor Anna Celenza to talk about Tin Pan Alley and Broadway of the 1920s.

The immeasurably famous Irving Berlin seems like the perfect example of a U.S. immigrant success story. But reality is complicated and imperfect, and so was Berlin's music-filled life. Research: Bergreen, Laurence. “Irving Berlin: This Is the Army.” Prologue. Summer 1996, Vol. 28, No. 2 https://www.archives.gov/publications/prologue/1996/summer/irving-berlin-1 Carlson, Olivia. “What's White Christmas without Minstrelsy?” Music 345: Race, Identity, and Representation in American Music. Student Blogs and Library Exhibit Companion. https://pages.stolaf.edu/americanmusic/2021/10/25/whats-white-christmas-without-minstrelsy/ CBS Sunday Morning. “American songsmith Irving Berlin.” Via YouTube. https://www.youtube.com/watch?v=DV9uq8z2k5E Greten, Paula Anne. “Irving Berlin.” American History. August 2006. Hamm, Charles. “Irving Berlin -- Songs from the Melting Pot: The Formative Years, 1907-1914.” Oxford University Press. Via New York Times. https://archive.nytimes.com/www.nytimes.com/books/first/h/hamm-berlin.html Hamm, Charles. “Alexander and His Band.” American Music , Spring, 1996, Vol. 14, No. 1 (Spring, 1996). Via JSTOR. https://www.jstor.org/stable/3052459 Hyland, William G. “The Best Songwriter Of Them All.” Commentary. October 1990. "Irving Berlin." St. James Encyclopedia of Popular Culture Online, Gale, 2013. Gale In Context: U.S. History, link.gale.com/apps/doc/K2419200098/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=be3b3028. Accessed 16 Nov. 2022. Jewish Lives. “Irving Berlin.” Podcast. Episode 4. 11/18/2019. Jewish Virtual Library. “Irving Berlin.” https://www.jewishvirtuallibrary.org/irving-berlin Judaism Unbound. “Bonus Episode: Irving Berlin – Judah Cohen (American Jewish History #5).” Podcast. Episode 248, October 2 2019. Kaplan, James. “Irving Berlin: New York Genius.” Yale University Press. 2019. Kennedy Center. “This Land is Your Land: The story behind the song.” https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/story-behind-the-song/the-story-behind-the-song/this-land-is-your-land/ Magee, Jeffrey. "'Everybody Step': Irving Berlin, jazz, and Broadway in the 1920s." Journal of the American Musicological Society, vol. 59, no. 3, fall 2006, pp. 697+. Gale General OneFile, link.gale.com/apps/doc/A157180372/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=07c374cd. Accessed 16 Nov. 2022. Markel, Howard. “How Irving Berlin's blue skies turned to blue days.” PBS NewsHour. 9/24/2021. https://www.pbs.org/newshour/health/how-irving-berlins-blue-skies-turned-to-blue-days Maslon, Laurence. “Overture.” (And following pages) The Irving Berlin Music Company. https://www.irvingberlin.com/overture Schiff, David. “For Everyman, By Everyman.” The Atlantic Monthly. March 1996. Spitzer, Nick. “The Story Of Woody Guthrie's 'This Land Is Your Land'.” NPR. 2/15/2012. https://www.npr.org/2000/07/03/1076186/this-land-is-your-land The Irving Berlin Music Company. “Irving Berlin.” https://static1.squarespace.com/static/57d1974abe6594a72075321b/t/5a5f673eec212d2269841cf4/1516201791369/Irving+Berlin+-+official+biography.pdf White, Timothy. “Irving Berlin Knew Pop Music's Power.” Billboard. Vol. 111, Issue 21. 5/22/1999. Twentieth Century-Fox Film Corp. v. Dieckhaus, 153 F.2d 893, 898 (8th Cir. 1946) https://casetext.com/case/twentieth-century-fox-film-corp-v-dieckhaus Bornstein, George. "Say it with music." TLS. Times Literary Supplement, no. 5698, 15 June 2012, p. 9. Gale Literature Resource Center, link.gale.com/apps/doc/A667239228/LitRC?u=mlin_oweb&sid=googleScholar&xid=7d90f5a8. Accessed 2 Dec. 2022. See omnystudio.com/listener for privacy information.