Podcast appearances and mentions of Vera Lynn

Vera Lynn once sang about the Nightingale, and while they may no longer sing in Berkeley Square, they certainly do still sing in the south of France. As Niall tells us, they are actually still fairly common there and he has a recording to share.

Auflösung der Rätsel und Aufgaben aus der letzten Runde: Christian hat zwei Lieder mit Dialekt-Imitationen gefunden, Lukas einen Song mit einem Cliffhanger. Die neuen Aufgaben: Christian muss eine hässliche Fehde zwischen Musikern oder Bands finden. Lukas muss recherchieren, was Tom´s Diner von Suzanne Vega mit Wind of Change von den Scorpions verbindet und was die Engländerinnen Vera Lynn, Shirley Bassey und Julie Andrews eint. Die Songs: EAV - Balkan-Boogie Peter Alexander - Salzburger Nockerl Tom Petty - Into the Great Wide Open Sun Kil Moon - War on Drugs: Suck My Co***k Suzanne Vega - Tom´s Diner Scorpions - Wind of Change Vera Lynn - (There'll Be Bluebirds Over) The White Cliffs of Dover Shirley Bassey - Goldfinger Julie Andrews - Supercalifragilisticexpialidocious

Hi everybody – Scott here welcoming you once again to the official Talking Pictures TV podcast – the podcast dedicated to the nation's favourite archive tv and movie channel. And what's more it's you, the viewers who are front and centre of the show as you send in your reviews of all your favourite entertainment coming up on the channel over the next three weeks.     In store this week... court room dramas, war time adventures, Boston cops and menacing robots alongside Matt Monro and Vera Lynn.   

Features vintage music by Geraldo, Vera Lynn and Ted Heath.  We also listen to a fun version of "Johnny Zero" by Sammy Kaye and a Soundie by The King Cole Trio. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

Con las Hermanas Navarro, los Caliope, Ska Cubano, Celeste Mendoza, Rolando Laserie, Pérez Prado & His Orchestra, Nat King Cole, Cuarteto Patria & Manu Dibango, Gigliola Cinquetti & los Panchos, Bobby Capo, Santo & Johnny, Simone Istwa, Andrea von Kampen, Kirk Ross, Crooked Still, The Secret Sisters, Katie Herzig, Artie Shaw y Vera Lynn.

This podcast contains explicit language and adult themes that may not be suitable for all listeners. In this episode of Here Comes The Guillotine, award winning Scottish comedians Frankie Boyle, Susie McCabe and Christopher Macarthur-Boyd chat about Yodelling, the Taliban and the English national football team...

Norden var i allra högsta grad indragna i andra världskriget. Alla de nordiska länderna hade en egen historia att bearbeta i efterkrigstiden. Det skulle påverka deras säkerhetspolitik under kalla kriget.Finland anfölls först av Sovjetunionen, för att senare alliera sig med Nazityskland. Ett Nazityskland som ockuperade Norge och Danmark. Sverige stödde Finland med krigsmateriel, men gjorde lite för att hjälpa Norge och Danmark.Under Lapplandskriget tvingades Finland avsluta andra världskriget med att fördriva sina forna vapenbröder Tyskland, för att uppfylla kraven i separatfreden med Sovjetunionen. Island ockuperades av britterna för att bli självständiga 1944.Detta är den femte och sista delen i serien om Norden under andra världskriget. Programledaren Urban Lindstedt samtalar med Martin Hårdstedt, professor i historia vid Umeå universitet.I krigets slutskede skulle Sverige försöka tvätta bort lite av skammen med eftergiftspolitiken gentemot Nazityskland genom att hjälpa hem nordiska medborgare från tyska koncentrationläger med de så kallade vita bussarna. Man utbildade också norska polistrupper som skulle underlätta för norrmännen att ta kontroll över sitt land igen.De nordiska ländernas erfarenheter av andra världskriget ledde också till olika ställningstaganden i säkerhetspolitiken. Norge och Danmark blev medlemmar av Nato, medan Sverige behöll sin neutralitet, men ett utvecklat hemligt samarbete med Nato, och Finland tvingades för en säkerhetspolitik för lugna Sovjetunionen.Bild: Ett bränt träd och ruiner i Rovaniemi i Finska Lappland den 16 oktober 1944 efter det tyska tillbakadragandet. Foto: Kim Borg SA-Kuva, Wikipedia, Public Domain.Musik: When the lights go on again med Vera Lynn och Mantovani and his Orchestra; Seiler; Marcus; Benjemen, 1942, Internet Archive, Public Domain.Källor: Nordic narratives of the Second World War: national historiographies revisited av Stenius Henrik, Österberg Mirja, Östling Johan.Klippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Episode 21 (10/06/24) On the show this week - We discuss recording in a studio for the first time, having bots as friends on social media, Greg investigates a too-good-to-be-true work from home job opportunity, D day, Vera Lynn, an interview with a veteran, Barry's movie biz news, MF Doom, why Earth's called Earth, the tragic story of Mal Evans, Soccer Aid, what dad's like (according to British supermarkets), Greg and Johnny attempt to sing Tom Walker songs (without knowing the tune), impressions of Tom Jones, walking, celebrity deaths vs non celebrity deaths, the bizarre suicide of a successful MIT student, limbo, Judas and Jesus, a celebrity seance, X factor “winners”, skid marks, Lays crisps, Future Greg and a whole lot more!

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Join us as we discuss Stanley Kubrick's 1964 dark comedy on the bomb. We also discuss great acting. Intro music: "Magne Pater" by Dominican Schola Cantorum. Outro music: "We'll Meet Again" by Vera Lynn.

I'm a natural man, not a Democrat, nor a Republican, a Socialist, a Communist, or even an Anarchist. I know this: When something in nature is removed, it's replaced with something else. Our politicians will tell you everything is all right. In fact, they'll say things couldn't be better. But spending 18 hrs. a day looking at an electronic screen is producing unhealthy behaviour. We're being manipulated into believing consumerism and profits are the path to contentment. It's creating distortions and a future collapse. MUSIC Glenn Miller & Marion Hutton, Vera Lynn, Max Steiner, Harry James & Kitty Kallen

Singers include: Judy Garland, Billie Holiday, Louise Tobin, Vera Lynn, Ella Fitzgerald, Helen Forest, the Andrews Sisters, Carmen Miranda, and Kate Smith.  Songs include: We'll Meet Again, Somewhere Over the Rainbow, Beer Barrel Polka, Undecided, What's New, Strange Fruit and God Bless America.

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Für Napoleon war Waterloo eine herbe Niederlage. Beim Grand Prix Eurovision de la Chanson war der Song "Waterloo" von ABBA ein absoluter Erfolg. Wir sprechen in unserem SWR1 Meilensteine Podcast über das gleichnamige Album der schwedischen Popsensation ABBA. 1974 war ein sensationelles Jahr für Pop- und Rockfans: Joni Mitchell hat ihr legendäres "Court And Spark" Album rausgebracht, Supertramp schenkten uns ihr "Crime of the Century", Steely Dan waren kulinarisch verdreht unterwegs mit "Pretzel Logic" und im März veröffentlichten ABBA das Album, das ihnen den internationalen Durchbruch verschaffen sollte: "Waterloo". Für die vier Schweden und Schwedinnen sollte das Album der Beginn ihrer internationalen Karriere werden, nicht nur wegen des Hits "Waterloo", mit dem sie 1974 den Eurovision Song Contest gewannen. Etwas Reggae, Glamrock und noch ganz viel mehr – für SWR1-Musikredakteur Niels Berkefeld ist "Waterloo" ein Abbild der kompletten musikalischen Bandbreite der 1970er-Jahre und es ist natürlich auch ein historischer Moment in der Geschichte des Eurovision Song Contest. "Da sehen wir einen ungeschliffenen Rohdiamant, den Beginn einer Weltkarriere und das Suchen und Finden des zukünftigen Sounds dieser Gruppe", sagt SWR1-Musikredakteur Niels Berkefeld. Benny und Björn von ABBA haben auf diesem Album musikalisch ganz viel ausprobiert, um den perfekten Sound für die Gruppe zu finden. Das merkt man eben auch an dem genre-technischen Gemischtwarenladen auf dem Album. Bevor Benny, Björn, Agnetha und Anni-Frid sich 1972 als ABBA zusammenschlossen, hatten alle vier eigene Musikkarrieren. Benny und Björn taten sich als erste zusammen und hatten in Japan schon einen Hit mit "She's My Kind of Girl". Der Song war allerdings als Titelsong eines schwedischen Erotikfilms bekannt und die Band damit leicht in die Schmuddelecke gedrängt worden. Als die finale Bandbesetzung abgeschlossen war, versuchte die Band das unliebsame Image durch die Teilnahme am ESC loszuwerden. Das klappte allerdings nicht auf Anhieb. Mit ihrem Song "Ring Ring" sind ABBA dann 1973 im schwedischen Vorentscheid nur auf Platz drei gelandet. Ein Jahr später, 1974 klappte es dann im zweiten Anlauf. ABBA gewannen nicht nur den schwedischen Vorentscheid, sondern auch den ESC in Brighton mit "Waterloo". Neben den tollen Kompositionen von Benny Andersson und Björn Ulvaeus, die in einigen Songs an den frühen deutschen Schlager erinnern, ist das Besondere an der Musik von ABBA auch das Zusammenspiel der beiden Stimmen von Agnetha und Anni-Frid. ABBA sind auch heute noch eine riesige Marketingmaschine, die auch durch das sehr saubere Image der vier Künstler sehr gut funktioniert hat – wobei vor allem Anni-Frid und Agnetha natürlich trotzdem als sexy inszeniert worden sind. Harmonie war das große Aushängeschild der Band. Es gab keine Skandale rund um Alkohol, Sex oder Drogen. Und während andere Musiker sich – damals wie heute – noch als Singles präsentierten, um bei den Fans die Träume einer Liebesbeziehung zum angehimmelten Star zumindest theoretisch am Leben erhalten wurden, wurde bei ABBA die heile Beziehungswelt propagiert. Probleme gab es in der ABBA-Welt nicht. Neben der Musik und den Erfolgen, die ABBA der Welt hinterlassen haben, gibt es noch ein Erbe, dass SWR1-Musikredakteur Dave Jörg im Podcast zu "Waterloo" hervorheben möchte: "Egal, wo die ABBA Songs laufen: [...] Das zaubert den Leuten ein Lächeln und Freude ins Gesicht und ins Herz. Und das hat 50 Jahre nach "Waterloo" niemals aufgehört." __________ Über diese Songs vom Album “Waterloo” wird im Podcast gesprochen (08:52) – "Waterloo" (23:40) – "Hasta Manana" (46:41) – "Honey, Honey" (51:56) – "Watch Out" (53:58) – "Sitting in the Palmtree" (54:34) – "King Kong Song" (55:52) – "Gonna Sing You My Lovesong" (59:08) – "Dance (While The Music Still Goes On)" __________ Über diese Songs wird außerdem im Podcast gesprochen (09:50) – "People Need Love" von ABBA (10:49) – "She's My Kind of Girl" von ABBA (13:04) – "Ring Ring" von ABBA (28:51) – "Maid of Orleans" von OMD (30:55) – "We'll Meet Again" von Vera Lynn (34:55) – "Hasta Manana" von Lena Andersson __________ Shownotes Liste der Meilensteine Folgen von 1 - 250: https://www.swr.de/swr1/rp/meilensteine/meilensteine-liste-top-250-100.pdf Artikel und Bildergalerie zum ESC 1974 in Brighton: https://www.eurovision.de/geschichte/1974-Eurovision-Song-Contest-in-Brighton,brighton107.html Bandbio von ABBA: https://www.eurovision.de/teilnehmer/Abba-Biografie-der-ESC-Sieger-von-1974,abba121.html ABBA beim "Eurovision Song Contest": https://www.youtube.com/watch?v=Xe40P8qzQh4  Ausschnitt aus dem Musikladen Interview 1976: https://www.youtube.com/watch?v=TWwsnyFqPts ABBA-Auftritt beim Musikladen Extra 1976: https://www.youtube.com/@Musikladen1972/search?query=ABBA SWR1 "80er Podcast" zu ABBA: https://www.swr.de/swr1/rp/programm/die-80er-der-musikpodcast-abba-in-den-80ern-100.html Die Metronome Studios in Stockholm – heute und historisch: https://atlantisstudios.se/ SWR1 Meilensteine Folge zu "Court and Spark": https://ardaudiothek.de/episode/swr1-meilensteine/joni-mitchell-court-and-spark/swr1/13068215/ SWR1 Meilensteine Folge zu "Pretzel Logic": https://www.ardaudiothek.de/episode/swr1-meilensteine/steely-dan-pretzel-logic/swr1/13163881/ SWR1 Meilensteine Folge zu "The Wall": https://www.ardaudiothek.de/episode/swr1-meilensteine/pink-floyd-the-wall/swr1/10457315/ Podcast-Tipp: "Lisas Paarschitt" in der ARD-Audiothek: Podcast-Tipp: https://www.ardaudiothek.de/sendung/lisas-paarschitt-der-beziehungs-podcast-mit-lisa-ortgies/94669398/ __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

In onze 'Airborne-uitzending' bespreken Bjorn, Tom en Judith het verloren oefenduel tegen Almere City, Vera Lynn, Bjorn met kippenvel, Amine Boutrah, Viktor Sikora, bellen we met RKC-supporter Joris om vooruit te blikken op het duel van komend weekend en hebben wij NOG een speciale gast aan de telefoon... Veel luisterplezier!

Kalle Lind och Mattias Enn meets again! Ett samtal med utgångspunkt i sångerskan och andravärldskrigsikonen Vera Lynn löper vidare till andra världskrigsikoner: Ulla Billquist, Rosita Serrano, Marlene Dietrich. Några av Vera Lynns världsrekord avhandlas, liksom den berömde sångaren Pink Floyd. Lyssna på alla avsnitt i Sveriges Radio Play.

“Als alles anders gelopen was, zouden we nu al getrouwd zijn geweest.” Openhartig en oprecht, liefdevol en hartverscheurend. Dat zijn de brieven die de jonge piloot Dick Winterdijk en zijn verloofde Beppie Meier naar elkaar schrijven. Hij vanuit de gevangenis in Haaren, zij aan haar houten bureautje thuis in Vught. Want het is oorlog, en dat verandert alles. In deel 1 van deze podcast ontrafelen we het verhaal van een gewetenloos verraad, die een liefde onmogelijk maakt. Reageren? podcast@bhic.nl Brieven, foto's en sites in deze podcast: www.bhic.nl/podcast/specialafscheidsbrieven Met speciale dank aan: Els ten Brink Marcel Winterdijk Maxime van Loenhout Daniel van den Brink Muziek: Promising Relationship / Trio for Piano Cello and Clarinet / Relent: Kevin MacLeod Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ We'll Meet Again: singer Vera Lynn with music and lyrics composed and written by Ross Parker and Hughie Charles The White Cliffs of Dover: singer Vera Lynn, composed in 1941 by Walter Kent, lyrics were originally written by Nat Burton (The state51 Conspiracy (on behalf of Hindsight Records UK/EUR); SOLAR Music Rights Management, Wise Music Group, CMRRA, Abramus Digital, LatinAutorPerf, and 9 Music Rights Societies)

This week, Aaron and Scott get together to discuss the Timbers getting smashed 5-0 in Houston in one of the worst games in Timbers history. A byproduct of this is that the Timbers have moved on from 6 year head coach Gio Savarese. The two discuss the timing, the impact and what we'll see the rest of the season and some interesting comments in the press conferences around Gio's departure. The conversation switches gears into a bit of a look into the future and who might replace Gio long term. They wrap up by talking about the upcoming Cascadia Cup game with Vancouver.Music Credit:We'll Meet Again by Vera Lynn

We start the show hearing and discussing clips from Professors Alperovitz and Ruane about why the evidence shows clearly that the bombs dropped on Hiroshima and Nagasaki were not necessary. We then turn to the article written by William Hartung published in the Peace and Planet News about the movie Oppenheimer, Nuclear Industrial Complex, and public denial. During his article he refers to other movies and thus we share clips (but not spoilers) from Dr. Strangelove and Fail Safe. We also discuss other movies: Threads and The Day After. We finish with a classic from Vera Lynn.

A tribute to Tony Bennett who we lost today with Tallulah Bankhead, Tony Bennett, Fred Allen, Portland Hoffa, Phil Foster, June Havok, Betty Hutton, Vera Lynn, etc

A tribute to Tony Bennett who we lost today with Tallulah Bankhead, Tony Bennett, Fred Allen, Portland Hoffa, Phil Foster, June Havok, Betty Hutton, Vera Lynn, etc

Un Día Como Hoy 18 de Junio: Nace: 1757: Ignaz Pleyel, fabricante de pianos y compositor austríaco (f. 1831). 1929: Jürgen Habermas, sociólogo y filósofo alemán. 1942: Paul McCartney, músico británico, de la banda The Beatles.1942: Paul McCartney, músico británico, de la banda The Beatles. Fallece: 1936: Máximo Gorki, escritor ruso (n. 1868). 2010: José Saramago, escritor, periodista y dramaturgo portugués, premio nobel de literatura en 1998 (n. 1922). 2020: Vera Lynn, cantante inglesa (n. 1917). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Hope you like songs because this week on the ride is a full show of songs that reference other songs, then we play the other song too. Songs about songs will include tracks from Pink Floyd, Vera Lynn, Queen, David Gray, Van Morrison, Bruce Springsteen, Roy Orbison, Warren Zevon, Marc Martel, Queen again, and Okkervile River.

With a career as an RAF engineer, and a vast vinyl collection comprising Vera Lynn to the Sex Pistols, John Leigh may have been an unconventional father but he left behind some unforgettable memories for his daughters. In this episode, Sioux Hill brings her dad's memory to life through music, a passion they shared from her childhood days through to adulthood.Sioux walks us through their special relationship, the hardship she suffered losing her dad to Covid 19, and the subsequent surreality of his loss, with Downing Street throwing two parties on the one-year anniversary of her dad's passing on the 16th of April 2021. Compassionate like her father, Sioux's happy place is the National Covid Memorial Wall where she was among the first Covid bereaved to paint thousands of hearts in the 10 days after the public mural was started on 29 March 2021. Sioux spends Father's day and her dad's birthdays at the wall as well as carrying out requests for people who want their loved ones remembered on the wall. When she isn't caring for four children with disabilities, Sioux finds her well-being in music while summoning the energy for activism, also campaigning for the Names Not Numbers group. Music credits: 'An Honest Mistake' - The Bravery. Rupert The Bear theme song, written by Len Beadle (also known as Frank Weston) and Ron Roker. Song recorded by Jackie Lee Music.Created, produced, and hosted by Karen Rice, the Stolen Goodbyes podcast won gold in the fiercely competitive Best Lockdown category of the British Podcast Award 2021.Stolen Goodbyes is described as: "outstanding ethical and trauma-informed journalism. Karen Rice manages to capture a historic event in real-time by listening with empathy. Future generations will listen to this podcast and know what it felt like to live through this pandemic." Dart Centre for Journalism and Trauma.Please listen to, review, and share this podcast with your network, it really helps!If you would like to make a donation (no matter how small) to the running costs of this passion project, please visit: https://karen-rice.com/podcast/ or http://bit.ly/3kMSKLgYou can follow Karen on Twitter @Ricekmc and Stolen Goodbyes on Instagram: https://bit.ly/3ITXSFC Facebook: https://bit.ly/3kGGwnG and Youtube: http://bit.ly/3Yq0jW5Support this show http://supporter.acast.com/stolen-goodbyes. Hosted on Acast. See acast.com/privacy for more information.

Pink Floyd would score another big hit and some mainstream crossover success with their eleventh studio album, The Wall.  Originally conceived by bassist Roger Waters, The Wall explores the self-isolation of a cynical rock star named Pink, and portrays events in his life from the loss of his father, to childhood trauma, to the pressures of rock stardom as bricks forming the wall.  Parts of the story are autobiographical from Waters, and parts naturally are based on former front man Syd Barrett.  The album was a commercial success, the most successful double album of all time, the second most popular Pink Floyd album behind their monstrous hit "Dark Side of the Moon," and would produce the groups only number 1 single on the charts with "Another Brick in the Wall, part 2."  Critical reviews were mixed at first, with some considering the rock opera to be pretentious, but the reviews would turn more positive over time.This would be the last album to feature the classic band lineup.  Richard Wright would be fired by Roger Waters during production, though he would stay on as a studio musician for the album.  One further studio album would be produced before acrimony would lead to Waters departure from the band.What the Riff co-founder Brian Dickhute brings us this album for today's podcast.  Brian is also using this as a swan song of sorts as he takes a break from regular podcasting duties to spend more time with the family.  Thanks so much for all your work over these hundreds of podcasts, Brian! Hey YouThis well-known track leads off side three of the album and reflects the desperation as Pink realizes how the wall of isolation he has built has trapped him in a cell of his own creation.  The inspiration for this song was the breakup of Waters' marriage.Is There Anybody Out There?In the film this song is used to transition from Pink the rock star to Pink the dictator.  Session musician Joe DiBlasi was brought in to play the fingerstyle guitar on this piece.Nobody's HomeThe last song written for the album was the result of a fight between Roger Waters and David Gilmour.  It was inspired by the isolation Waters felt during their 1977 tour and musings on Syd Barrett.  Some of the lyrics are also built around Richard Wright, keyboardist, who was allegedly dealing with drug addiction at the time.VeraThis song is a flashback to days of World War II.  The title was inspired by Vera Lynn, a British singer popular during the war who sang the song "We'll Meet Again."  Waters lost his grandfather in WWI and his father in WWII.Bring the Boys Back HomeRoger Waters considers this brief song the central theme of the album.  The idea is that not just war, but all activity including business and rock music should not be allowed to isolate a person from friends and family. Comfortably NumbOne of the more popular songs from the album, the music was written by David Gilmour and the lyrics by Roger Waters.  A significant argument occurred between Gilmour and Waters on the arrangement of this piece, with Gilmour preferring a stripped-down format and Watters wanting a more symphonic approach.  The contrasting sections of orchestration and more simplistic riffs is the result of the compromise made for the piece. ENTERTAINMENT TRACK:Frosty the Snowman by Jimmy Durante No, it isn't Christmas again.  Popular entertainer Jimmy Durante passed away in January of 1980, and his is one of his best known songs.  STAFF PICKS:The Spirit of Radio by Rush Bruce sneaks another Rush song in for Brian's final episode as a regular podcaster.  The lead-off track to Rush's album "Permanent Waves" was inspired by the slogan of CFNY-FM in Toronto.  FM radio was moving from a more free-form format to a more commercial format, and CFNY was bucking the trend.  Damned If I Do by the Alan Parsons ProjectRob brings us a piece from Alan Parsons' fourth studio album called "Eve."  The album is focused on the strength and characteristics of women and the difficulties they face in a world of men.  "Damned if I do, damned if I don't, but I love you."Boom Boom (Out Go the Lights) by Pat Travers Wayne's staff pick is a boogie woogie cover of a blues song originally released by Little Walter in 1957.  It is a well known party song which would not be politically correct today.  There's some great guitar playing, and an excellent call-and-response in the live version.  Ladies Night by Kool & The GangBrian's staff pick was a popular song in the dying days of disco.  This song would see a revitalization of Kool & the Gang's popularity going into the early 80's.     INSTRUMENTAL TRACK:Pipeline '76 by Roger PowellIt is unusual to find surfing instrumentals during the early 80's, but this one was around at the time.  

In episode 21 of the podcast, we share our favourite experiences from our 12-week spring/summer tour of England and Scotland.These include 3 very different accommodation options, a castle famous for appearing in a popular TV costume drama, a road trip, a train ride, a photoshoot in London, a football match and a landmark which is the title of a song associated with Vera Lynn.We have chosen experiences which include destinations in England (including London) and Scotland and we know will provide inspiration for your own travels around the UK. We struggled to choose only 10 and I am sure if we chose on a different day we would probably come up with a different list. Listen to this episode to discover our favourites.For further information and the full show notes for this episode visit https://uktravelplanning.com/episode-21/Connect with us - Website | Newsletter | Facebook group | Instagram | YouTubeSupport the show

Invité : Jean-Luc Leleu, historien au CNRS, membre du comité scientifique du mémorial de Caen, auteur de « Combattre en dictature. 1944, la Wermacht face au Débarquement » (Perrin) 3:30 Sources et idées reçues sur le Débarquement 10:30 Le contexte général du Débarquement de Normandie 22:00 Le commandement et le renseignement allemands 37:30 La préparation du débarquement 51:00 L'état de l'armée allemande et des soldats 59:00 Des motivations variées 1:06:45 Esprit sacrificiel et mensonges institutionnels Extrait audio : Vera Lynn, « The White Cliffs of Dover » (1942)

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Vandaag is het vrijdag en dat betekent dat het alweer tijd is voor de laatste aflevering in het thema ‘The Queen'. Dit thema heeft Ab gekozen naar aanleiding van het overlijden van Queen Elizabeth II & haar uitvaart afgelopen maandag. Om deze week mooi af te sluiten hoor je in deze aflevering een van haar favoriete nummers: White Cliffs of Dover van Vera Lynn.

Aflevering 4 met Chris Tempelman (VI) staat in het teken van de Airbornewedstrijd en de overname. Chris was aanwezig bij de persconferentie en heeft Coley Parry persoonlijke gesproken en vragen gesteld. In deze aflevering hebben de heren over het over kipnuggets, the Kiss-Cam op de perstribune, Harrie Gommans, Gelredoemscenario, Van der Kuit, Manhoef, Veteranen, Groningen-Vitesse, Utrecht-Vitesse en Vera Lynn, Veel luisterplezier!

Hello and welcome to our look at September 12th to 16th in Music History. A bad week for Johnnies. We lost one in 2003 and another in  2004. 92 year old Vera Lynn was top of the album chart inn 2009 and in 1979 Quadrophenia was on the big screen. All of this and more in less than 10 minutes.  Have a great week and thanks for listening. MartySee omnystudio.com/listener for privacy information.

We're going nuclear. John and Vee explore the threat of worldwide annihilation with two suspenseful military movies this week. This is Dr. Strangelove, and Crimson Tide.Lead out song: We'll Meet Again by Vera Lynn 

Martin and Lewis, originally broadcast June 23, 1953. Jerry tries to convince guest Vera Lynn to date him! Also Gunsmoke starring William Conrad, originally broadcast June 23, 1957, Home Surgery. Marshal Dillon is forced to amputate the leg of a settler on the prairie. The man's beautiful daughter is the object of Ben Walling's affection.

White Cliffs of Dover by Vera Lynn and Feeling Good by Nina Simone

"What we have is a series of images of a pseudo-world, which combine in the mind of the individual to create a worldview detached from actuality."—Colin Alexander We are joined by Dr Colin Alexander, Senior Lecturer in Political Communications at Nottingham Trent University, for a detailed conversation on the UK government's use of British wartime-style propaganda during (particularly the early days of) the COVID-19 pandemic. In March 2020, Dr Alexander published a short video entitled "Coronavirus and the British Wartime Propaganda Playbook"—as part of a series of pieces on propaganda during the pandemic—and it is that presentation which serves as the springboard for our conversation today. "Dr Colin Alexander is Senior Lecturer in Political Communications within the School of Arts and Humanities. He works in Communication and Society subject team and contributes teaching to the BA Joint Honours Humanities, BA Media Communication and Culture and the MA Media and Globalisation degree programmes." [For show notes please visit https://themindrenewed.com]

"What we have is a series of images of a pseudo-world, which combine in the mind of the individual to create a worldview detached from actuality."—Colin Alexander We are joined by Dr Colin Alexander, Senior Lecturer in Political Communications at Nottingham Trent University, for a detailed conversation on the UK government's use of British wartime-style propaganda during (particularly the early days of) the COVID-19 pandemic. In March 2020, Dr Alexander published a short video entitled "Coronavirus and the British Wartime Propaganda Playbook"—as part of a series of pieces on propaganda during the pandemic—and it is that presentation which serves as the springboard for our conversation today. "Dr Colin Alexander is Senior Lecturer in Political Communications within the School of Arts and Humanities. He works in Communication and Society subject team and contributes teaching to the BA Joint Honours Humanities, BA Media Communication and Culture and the MA Media and Globalisation degree programmes." [For show notes please visit https://themindrenewed.com]

Schrijven is leven, zegt Els Beerten in de 68ste aflevering van De Grote Vriendelijke Podcast. En dat merken kinderboekrecensenten Jaap Friso (JaapLeest.nl, Dagblad van het Noorden, Leeuwarder Courant) en Bas Maliepaard (Trouw) tijdens dit gesprek: Els' boek laat zich niet zomaar in een uurtje proppen. We praten over haar veelomvattende, nieuwste roman voor (jong)volwassenen: 'De rest van ons leven' (Querido 15+). Die gaat over Fredo, die na de Eerste Wereldoorlog met zijn vader naar Engeland emigreert, alwaar ze een kapperszaak beginnen. Maar dan breekt de Tweede Wereldoorlog uit, sluit Mussolini zich in hun moederland bij Hitler aan en zijn in Engeland opeens alle Italianen potentiële fascisten, die vervolgd moeten worden. Zonder teveel weg te geven: na de oorlog verhuist Fredo terug naar Italië, waar hij intrekt bij zijn nieuwe vriend Luigi en diens gezin. Daar loopt ook de kleine Vito rond, in wie Fredo zich herkent. Als diens ouders naar de mijnen in België vertrekken, ontfermt Fredo zich over Vito. In Trouw schreef Bas: "Zo ontvouwt Beerten een breed, indringend verhaal over opgroeien in een wankele wereld, familiebanden, migratie en de veerkracht om telkens opnieuw te beginnen." In het openhartige gesprek vertelt Beerten dat dit het eerste boek is dat ze schreef na de dood van haar man, nu vierenhalf jaar geleden. Ze wilde een boek schrijven over blijvers, over mensen die niet weglopen voor de ellende en over hoeveel mensen ervoor over hebben om gelukkig te zijn. Verwijzingen in deze aflevering We noemen Els' belangrijkste vorige boeken: 'Lopen voor je leven', 'Allemaal willen we de hemel' en 'Eén mens is genoeg'. Op haar website staat haar complete oeuvre. 'Allemaal willen we de hemel' stond op plek 83 van De Grote Vriendelijke 100 in 2021. Het liedje 'We'll meet again' van Vera Lynn is op YouTube te beluisteren. Besproken boeken 'Vliegen' Paulien Weikamp Querido 14+ 'Help! Een verrassing!' Miriam Bos Lemniscaat 4+ 'De gierige koning' Godfried Bomans Tekeningen: Thé Tjong-Khing Sunny Home 6+

In a music room deep in the rolling hills of Oxfordshire on a beautiful summer's day, Barry and Bob settle down onto a squashy sofa owned by the incomparable musician, entertainer, actor and raconteur Joe Brown for a talk about the Lynton Boys, the Beatles, Morecambe and Wise, Spike Mullins, Simon Dee, Vera Lynn and .We dedicate this episode, along with all the others in the series, to the memory of our wonderful pal Barry: a joyous spirit, a supremely funny man, and one of the kindest, warmest, nicest, sweetest people you could ever have the privilege of spending time with. We will all miss him so much.With many thanks to the Kites (Mark Allen, Jack Cryer and Matt Hodgson) for the tremendous theme music.You can hear more from the Kites here!Please rate, subscribe and tell your friends - it really makes a difference to how many people will manage to find us! See acast.com/privacy for privacy and opt-out information.

Episode one hundred and thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Eight Miles High” by the Byrds, and the influence of jazz and Indian music on psychedelic rock. This is a long one... 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 "Winchester Cathedral" by the New Vaudeville Band. 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/ Resources No Mixcloud this time, as there were multiple artists with too many songs. Information on John Coltrane came from Coltrane by Ben Ratliffe, while information on Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This dissertation looks at the influence of Slonimsky on Coltrane. All Coltrane's music is worth getting, but this 5-CD set containing Impressions is the most relevant cheap selection of his material for these purposes. This collection has the Shankar material released in the West up to 1962. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This episode is the second part of a loose trilogy of episodes set in LA in 1966. We're going to be spending a *lot* of time around LA and Hollywood for the next few months -- seven of the next thirteen episodes are based there, and there'll be more after that. But it's going to take a while to get there. This is going to be an absurdly long episode, because in order to get to LA in 1966 again, we're going to have to start off in the 1940s in New York, and take a brief detour to India. Because in order to explain this: [Excerpt: The Byrds, "Eight Miles High"] We're first going to have to explain this: [Excerpt: John Coltrane, "India (#3)"] Before we begin this, I just want to say something. This episode runs long, and covers a *lot* of musical ground, and as part of that it covers several of the most important musicians of the twentieth century -- but musicians in the fields of jazz, which is a music I know something about, but am not an expert in, and Hindustani classical music, which is very much not even close to my area of expertise. It also contains a chunk of music theory, which again, I know a little about -- but only really enough to know how much I don't know. I am going to try to get the information about these musicians right, but I want to emphasise that at times I will be straying *vastly* out of my lane, in ways that may well seem like they're minimising these musicians. I am trying to give just enough information about them to tell the story, and I would urge anyone who becomes interested in the music I talk about in the early parts of this episode to go out and find more expert sources to fill in the gap. And conversely, if you know more about these musics than I do, please forgive any inaccuracies. I am going to do my best to get all of this right, because accuracy is important, but I suspect that every single sentence in the first hour or so of this episode could be footnoted with something pointing out all the places where what I've said is only somewhat true. Also, I apologise if I mispronounce any names or words in this episode, though I've tried my best to get it right -- I've been unable to find recordings of some words and names being spoken, while with others I've heard multiple versions. To tell today's story, we're going to have to go right back to some things we looked at in the first episode, on "Flying Home". For those of you who don't remember -- which is fair enough, since that episode was more than three years ago -- in that episode we looked at a jazz record by the Benny Goodman Sextet, which was one of the earliest popular recordings to feature electric guitar: [Excerpt: The Benny Goodman Sextet, "Flying Home"] Now, we talked about quite a lot of things in that episode which have played out in later episodes, but one thing we only mentioned in passing, there or later, was a style of music called bebop. We did talk about how Charlie Christian, the guitarist on that record, was one of the innovators of that style, but we didn't really go into what it was properly. Indeed, I deliberately did not mention in that episode something that I was saving until now, because we actually heard *two* hugely influential bebop musicians in that episode,  and I was leaving the other one to talk about here. In that episode we saw how Lionel Hampton, the Benny Goodman band's vibraphone player, went on to form his own band, and how that band became one of the foundational influences for the genres that became known as jump blues and R&B. And we especially noted the saxophone solo on Hampton's remake of "Flying Home", played by Illinois Jacquet: [Excerpt: Lionel Hampton, "Flying Home"] We mentioned in that episode how Illinois Jacquet's saxophone solo there set the template for all tenor sax playing in R&B and rock and roll music for decades to come -- his honking style became quite simply how you play rock and roll or R&B saxophone, and without that solo you don't have any of the records by Fats Domino, Little Richard, the Coasters, or a dozen other acts that we discussed. But what we didn't look at in that episode is that that is a big band record, so of course there is more than just one saxophone player on it. And one of the other saxophone players on that recording is Dexter Gordon, a musician who was originally from LA. Those of you with long memories will remember that back in the first year or so of the podcast we talked a lot about the music programme at Jefferson High School in LA, and about Samuel Browne, the music teacher whose music programme gave the world the Coasters, the Penguins, the Platters, Etta James, Art Farmer, Richard Berry, Big Jay McNeely, Barry White, and more other important musicians than I can possibly name here. Gordon was yet another of Browne's students -- one who Browne regularly gave detention to, just to make him practice his scales. Gordon didn't get much chance to shine in the Lionel Hampton band, because he was only second tenor, with Jacquet taking many of the solos. But he was learning from playing in a band with Jacquet, and while Gordon didn't ever develop a honk like Jacquet's, he did adopt some of Jacquet's full tone in his own sound. There aren't many recordings of Gordon playing solos in his early years, because they coincided with the American Federation of Musicians' recording strike that we talked about in those early episodes, but he did record a few sessions in 1943 for a label small enough not to be covered by the ban, and you can hear something of Jacquet's tone in those recordings, along with the influence of Lester Young, who influenced all tenor sax players at this time: [Excerpt: Nat "King" Cole with Dexter Gordon, "I've Found a New Baby"] The piano player on that session, incidentally, is Nat "King" Cole, when he was still one of the most respected jazz pianists on the scene, before he switched primarily to vocals. And Gordon took this Jacquet-influenced tone, and used it to become the second great saxophone hero of bebop music, after Charlie Parker -- and the first great tenor sax hero of the music. I've mentioned bebop before on several occasions, but never really got into it in detail. It was a style that developed in New York in the mid to late forties, and a lot of the earliest examples of it went unrecorded thanks to that musicians' strike, but the style emphasised small groups improvising together, and expanding their sense of melody and harmony. The music prized virtuosity and musical intelligence over everything else, and was fast and jittery-sounding. The musicians would go on long, extended, improvisations, incorporating ideas both from the blues and from the modern classical music of people like Bartok and Stravinsky, which challenged conventional tonality. In particular, one aspect which became prominent in bebop music was a type of scale known as the bebop scale. In most of the music we've looked at in this podcast to this point, the scales used have been seven-note scales -- do-re-mi-fa-so-la-ti- which make an octave with a second, higher, do tone. So in the scale of C major we have C, D, E, F, G, A, B, and then another C: [demonstrates] Bebop scales, on the other hand, would generally have an extra note in, making an eight-note scale, by adding in what is called a chromatic passing note. For example, a typical bebop C major scale might add in the note G#, so the scale would go C,D,E,F,G,G#, A, B, C: [demonstrates] You'd play this extra note for the most part, when moving between the two notes it's between, so in that scale you'd mostly use it when moving from G to A, or from A to G. Now I'm far from a bebop player, so this won't sound like bebop, but I can demonstrate the kind of thing if I first noodle a little scalar melody in the key of C major: [demonstrates] And then play the same thing, but adding in a G# every time I go between the G and the A in either direction: [demonstrates] That is not bebop music, but I hope you can see what a difference that chromatic passing tone makes to the melody. But again, that's not bebop, because I'm not a bebop player. Dexter Gordon, though, *was* a bebop player. He moved to New York while playing with Louis Armstrong's band, and soon became part of the bebop scene, which at the time centred around Charlie Christian, the trumpet player Dizzy Gillespie, and the alto sax player Charlie Parker, sometimes nicknamed "bird" or "Yardbird", who is often regarded as the greatest of them all. Gillespie, Parker, and Gordon also played in Billy Eckstine's big band, which gave many of the leading bebop musicians the opportunity to play in what was still the most popular idiom at the time -- you can hear Gordon have a saxophone battle with Gene Ammons on "Blowing the Blues Away" in a lineup of the band that also included Art Blakey on drums and Dizzy Gillespie on trumpet: [Excerpt: Billy Eckstine, "Blowing the Blues Away"] But Gordon was soon leading his own small band sessions, and making records for labels like Savoy, on which you can definitely hear the influence of Illinois Jacquet on his tone, even as he's playing music that's more melodically experimental by far than the jump band music of the Hampton band: [Excerpt: Dexter Gordon, "Dexter Digs In"] Basically, in the late 1940s, if you were wanting to play bebop on the saxophone, you had two models to follow -- Charlie Parker, the great alto saxophonist with his angular, atonal, melodic sense and fast, virtuosic, playing, or Dexter Gordon, the tenor saxophonist, whose style had more R&B grease and wit to it, who would quote popular melodies in his own improvisations. And John Coltrane followed both. Coltrane's first instrument was the alto sax, and when he was primarily an alto player he would copy Charlie Parker's style. When he switched to being primarily a tenor player -- though he would always continue playing both instruments, and later in his career would also play soprano sax -- he took up much of Gordon's mellower tone, though he was also influenced by other tenor players, like Lester Young, the great player with Count Basie's band, and Johnny Hodges, who played with Duke Ellington. Now, it is important to note here that John Coltrane is a very, very, big deal. Depending on your opinion of Ornette Coleman's playing, Coltrane is by most accounts either the last or penultimate truly great innovator in jazz saxophone, and arguably the single foremost figure in the music in the last half of the twentieth century. In this podcast I'm only able to tell you enough about him to give you the information you need to understand the material about the Byrds, but were I to do a similar history of jazz in five hundred songs, Coltrane would have a similar position to someone like the Beatles -- he's such a major figure that he is literally venerated as a saint by the African Orthodox Church, and a couple of other Episcopal churches have at least made the case for his sainthood. So anything I say here about him is not even beginning to scratch the surface of his towering importance to jazz music, but it will, I hope, give some idea of his importance to the development of the Byrds -- a group of whom he was almost certainly totally unaware. Coltrane started out playing as a teenager, and his earliest recordings were when he was nineteen and in the armed forces, just after the end of World War II. At that time, he was very much a beginner, although a talented one, and on his early amateur recordings you can hear him trying to imitate Parker without really knowing what it was that Parker was doing that made him so great. But as well as having some natural talent, he had one big attribute that made him stand out -- his utter devotion to his music. He was so uninterested in anything other than mastering his instrument that one day a friend was telling him about a baseball game he'd watched, and all Coltrane could do was ask in confusion "Who's Willie Mays?" Coltrane would regularly practice his saxophone until his reed was red with blood, but he would also study other musicians. And not just in jazz. He knew that Charlie Parker had intensely studied Stravinsky's Firebird Suite, and so Coltrane would study that too: [Excerpt: Stravinsky, "Firebird Suite"] Coltrane joined the band of Eddie "Cleanhead" Vinson, who was one of those figures like Johnny Otis, with whom Vinson would later perform for many years, who straddled the worlds of jazz and R&B. Vinson was a blues shouter in the style of Big Joe Turner, but he was also a bebop sax player, and what he wanted was a tenor sax player who could play tenor the way Charlie Parker played alto, but do it in an R&B setting. Coltrane switched from alto to tenor, and spent a year or so playing with Vinson's band. No recordings exist of Coltrane with Vinson that I'm aware of, but you can get an idea of what he sounded like from his next band. By this point, Dizzy Gillespie had graduated from small bebop groups to leading a big band, and he got Coltrane in as one of his alto players, though Coltrane would often also play tenor with Gillespie, as on this recording from 1951, which has Coltrane on tenor, Gillespie on trumpet, with Kenny Burrell and two of the future Modern Jazz Quartet, Milt Jackson and Percy Heath, showing that the roots of modern jazz were not very far at all from the roots of rock and roll: [Excerpt: Dizzy Gillespie, "We Love to Boogie"] After leaving Gillespie's band, Coltrane played with a lot of important musicians over the next four or five years, like Johnny Hodges, Earl Bostic, and Jimmy Smith, and occasionally sat in with Miles Davis, but at this point he was still not a major musician in the genre. He was a competent, working, sideman, but he was also struggling with alcohol and heroin, and hadn't really found his own voice. But then Miles Davis asked Coltrane to join his band full-time. Coltrane was actually Davis' second choice -- he really wanted Sonny Rollins, who was widely considered the best new tenor player around, but he was eventually persuaded to take Coltrane. During his first period with Davis, Coltrane grew rapidly as a musician, and also played on a *lot* of other people's sessions. In a three year period Coltrane went from Davis to Thelonius Monk's group then back to Davis' group, and also recorded as both a sideman and a band leader on a ton of sessions. You can get a box set of his recordings from May 1956 through December 1958 that comes to nineteen CDs -- and that's not counting the recordings with Miles Davis, which aren't included on that set. Unsurprisingly, just through playing this much, Coltrane had grown enormously as a player, and he was particularly fascinated by harmonics, playing with the notes of a chord, in arpeggios, and pushing music to its harmonic limits, as you can hear in his solo on Davis' "Straight, No Chaser", which pushes the limits of the jazz solo as far as they'd gone to that point: [Excerpt: Miles Davis, "Straight, No Chaser"] But on the same album as that, "Milestones", we also have the first appearance of a new style, modal jazz. Now, to explain this, we have to go back to the scales again. We looked at the normal Western scale, do-re-mi-fa-so-la-ti-do, but you can start a scale on any of those notes, and which note you start on creates what is called a different mode. The modes are given Greek names, and each mode has a different feel to it. If you start on do, we call this the major scale or the Ionian mode. This is the normal scale we heard before -- C,D,E,F,G,A,B,C: [demonstrates] Most music – about seventy percent of the melodies you're likely to have heard, uses that mode. If you start on re, it would go re-mi-fa-so-la-ti-do-re, or D,E,F,G,A,B,C,D, the Dorian mode: [demonstrates] Melodies with this mode tend to have a sort of wistful feel, like "Scarborough Fair": [Excerpt: Simon and Garfunkel, "Scarborough Fair"] or many of George Harrison's songs: [Excerpt: The Beatles, "I Me Mine"] Starting on mi, you have the Phrygian mode, mi-fa-so-la-ti-do-re-mi: [demonstrates] The Phrygian mode is not especially widely used, but does turn up in some popular works like Barber's Adagio for Strings: [Excerpt: Barber, "Adagio for Strings"] Then there's the Lydian mode, fa-so-la-ti-do-re-mi-fa: [demonstrates] This mode isn't used much at all in pop music -- the most prominent example I can think of is "Pretty Ballerina" by the Left Banke: [Excerpt: The Left Banke, "Pretty Ballerina"] Starting on so, we have so-la-ti-do-re-mi-fa-so -- the Mixolydian mode: [demonstrates] That mode has a sort of bluesy or folky tone to it, and you also find it in a lot of traditional tunes, like "She Moves Through the Fair": [Excerpt: Davey Graham, "She Moved Thru' The Bizarre/Blue Raga"] And in things like "Norwegian Wood" by the Beatles: [Excerpt: The Beatles, "Norwegian Wood"] Though that goes into Dorian for the middle section. Starting on la, we have the Aeolian mode, which is also known as the natural minor scale, and is often just talked about as “the minor scale”: [demonstrates] That's obviously used in innumerable songs, for example "Losing My Religion" by REM: [Excerpt: REM, "Losing My Religion"] And finally you have the Locrian mode ti-do-re-mi-fa-so-la-ti: [demonstrates] That basically doesn't get used, unless someone wants to show off that they know the Locrian mode. The only vaguely familiar example I can think of is "Army of Me" by Bjork: [Excerpt: Bjork, "Army of Me"] I hope that brief excursion through the seven most common modes in Western diatonic music gives you some idea of the difference that musical modes can make to a piece. Anyway, as I was saying, on the "Milestones" album, we get some of the first examples of a form that became known as modal jazz. Now, the ideas of modal jazz had been around for a few years at that point -- oddly, it seems to be one of the first types of popular music to have existed in theory before existing in practice. George Russell, an acquaintance of Davis who was a self-taught music theorist, had written a book in 1953 titled The Lydian Chromatic Concept of Tonal Organization. That book argues that rather than looking at the diatonic scale as the basis for music, one should instead look at a chord progression called the circle of fifths. The circle of fifths is exactly what it sounds like -- you change chords to one a fifth away from it, and then do that again and again, either going up, so you'd have chords with the roots C-G-D-A-E-B-F# and so on: [demonstrates] Or, more commonly, going down, though usually when going downwards you tend to cheat a bit and sharpen one of the notes so you can stay in one key, so you'd get chords with roots C-F-B-E-A-D-G, usually the chords C, F, B diminished, Em, Am, Dm, G: [demonstrates] That descending cycle of fifths is used in all sorts of music, everything from "You Never Give Me Your Money" by the Beatles: [Excerpt: The Beatles, "You Never Give Me Your Money"] to "I Will Survive" by Gloria Gaynor: [Excerpt: Gloria Gaynor, "I Will Survive"] But what Russell pointed out is that if you do the upwards cycle of fifths, and you *don't* change any of the notes, the first seven root notes you get are the same seven notes you'd find in the Lydian mode, just reordered -- C-D-E-F#-G-A-B . Russell then argued that much of the way harmony and melody work in jazz could be thought of as people experimenting with the way the Lydian mode works, and the way the cycle of fifths leads you further and further away from the tonal centre. Now, you could probably do an entire podcast series as long as this one on the implications of this, and I am honestly just trying to summarise enough information here that you can get a vague gist, but Russell's book had a profound effect on how jazz musicians started to think about harmony and melody. Instead of improvising around the chord changes to songs, they were now basing improvisations and compositions around modes and the notes in them. Rather than having a lot of chord changes, you might just play a single root note that stays the same throughout, or only changes a couple of times in the whole piece, and just imply changes with the clash between the root note and whatever modal note the solo instrument is playing. The track "Milestones" on the Milestones album shows this kind of thinking in full effect -- the song consists of a section in G Dorian, followed by a section in A Aeolian (or E Phrygian depending on how you look at it). Each section has only one implied chord -- a Gm7 for the G Dorian section, and an Am7(b13) for the A Aeolian section -- over which Davis, Cannonball Adderley on alto sax, and Coltrane on tenor, all solo: [Excerpt: Miles Davis, "Milestones"] (For the pedants among you, that track was originally titled "Miles" on the first pressings of the album, but it was retitled "Milestones" on subsequent pressings). The modal form would be taken even further on Davis' next album to be recorded, Porgy and Bess, which featured much fuller orchestrations and didn't have Coltrane on it. Davis later said that when the arranger Gil Evans wrote the arrangements for that album, he didn't write any chords at all, just a scale, which Davis could improvise around. But it was on the album after that, Kind of Blue, which again featured Coltrane on saxophone, that modal jazz made its big breakthrough to becoming the dominant form of jazz music. As with what Evans had done on Porgy and Bess, Davis gave the other instrumentalists modes to play, rather than a chord sequence to improvise over or a melody line to play with. He explained his thinking behind this in an interview with Nat Hentoff, saying "When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them." This style shows up in "So What", the opening track on the album, which is in some ways a very conventional song structure -- it's a thirty-two bar AABA structure. But instead of a chord sequence, it's based on modes in two keys -- the A section is in D Dorian, while the B section is in E-flat Dorian: [Excerpt: Miles Davis, "So What"] Kind of Blue would become one of the contenders for greatest jazz album of all time, and one of the most influential records ever made in any genre -- and it could be argued that that track we just heard, "So What", inspired a whole other genre we'll be looking at in a future episode -- but Coltrane still felt the need to explore more ideas, and to branch out on his own. In particular, while he was interested in modal music, he was also interested in exploring more kinds of scales than just modes, and to do this he had to, at least for the moment, reintroduce chord changes into what he was doing. He was inspired in particular by reading Nicolas Slonimsky's classic Thesaurus of Scales and Melodic Patterns. Coltrane had recently signed a new contract as a solo artist with Atlantic Records, and recorded what is generally considered his first true masterpiece album as a solo artist, Giant Steps, with several members of the Davis band, just two weeks after recording Kind of Blue. The title track to Giant Steps is the most prominent example of what are known in jazz as the Coltrane changes -- a cycle of thirds, similar to the cycle of fifths we talked about earlier. The track itself seems to have two sources. The first is the bridge of the old standard "Have You Met Miss Jones?", as famously played by Coleman Hawkins: [Excerpt: Coleman Hawkins, "Have You Met Miss Jones?" And the second is an exercise from Slonimsky's book: [Excerpt: Pattern #286 from Thesaurus of Scales and Melodic Patterns] Coltrane combined these ideas to come up with "Giant Steps", which is based entirely around these cycles of thirds, and Slonimsky's example: [Excerpt: John Coltrane, "Giant Steps"] Now, I realise that this is meant to be a history of rock music, not jazz musicology theory time, so I promise you I am just hitting the high points here. And only the points that affect Coltrane's development as far as it influenced the music we're looking at in this episode. And so we're actually going to skip over Coltrane's commercial high-point, My Favourite Things, and most of the rest of his work for Atlantic, even though that music is some of the most important jazz music ever recorded. Instead, I'm going to summarise a whole lot of very important music by simply saying that while Coltrane was very interested in this musical idea of the cycle of thirds, he did not like being tied to precise chord changes, and liked the freedom that modal jazz gave to him. By 1960, when his contract with Atlantic was ending and his contract with Impulse was beginning, and he recorded the two albums Olé and Africa/Brass pretty much back to back, he had hit on a new style with the help of Eric Dolphy, a flute, clarinet, and alto sax player who would become an important figure in Coltrane's life. Dolphy died far too young -- he went into a diabetic coma and doctors assumed that because he was a Black jazz musician he must have overdosed, even though he was actually a teetotal abstainer, so he didn't get the treatment he needed -- but he made such a profound influence on Coltrane's life that Coltrane would carry Dolphy's picture with him after his death. Dolphy was even more of a theorist than Coltrane, and another devotee of Slonimsky's book, and he was someone who had studied a great deal of twentieth-century classical music, particularly people like Bartok, Messiaen, Stravinsky, Charles Ives, and Edgard Varese. Dolphy even performed Varese's piece Density 21.5 in concert, an extremely demanding piece for solo flute. I don't know of a recording of Dolphy performing it, sadly, but this version should give some idea: [Excerpt: Edgard Varese, "Density 21.5"] Encouraged by Dolphy, Coltrane started making music based around no changes at all, with any changes being implied by the melody. The title song of Africa/Brass, "Africa", takes up an entire side of one album, and doesn't have a single actual chord change on it, with Dolphy and pianist McCoy Tyner coming up with a brass-heavy arrangement for Coltrane to improvise over a single chord: [Excerpt: The John Coltrane Quartet: "Africa"] This was a return to the idea of modal jazz, based on scales rather than chord changes, but by implying chord changes, often changes based on thirds, Coltrane was often using different scales than the modes that had been used in modal jazz. And while, as the title suggested, "Africa" was inspired by the music of Africa, the use of a single drone chord underneath solos based on a scale was inspired by the music of another continent altogether. Since at least the mid-1950s, both Coltrane and Dolphy had been interested in Indian music. They appear to have first become interested in a record released by Folkways, Music Of India, Morning And Evening Ragas by Ali Akbar Khan: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But the musician they ended up being most inspired by was a friend of Khan's, Ravi Shankar, who like Khan had been taught by the great sarod player Alauddin Khan, Ali Akbar Khan's father. The elder Khan, who was generally known as "Baba", meaning "father", was possibly *the* most influential Indian musician of the first half of the twentieth century, and was a big part of the revitalisation of Indian music that went hand in hand with the growth of Indian nationalism. He was an ascetic who lived for music and nothing else, and would write five to ten new compositions every day, telling Shankar "Do one thing well and you can achieve everything. Do everything and you achieve nothing". Alauddin Khan was a very religious Muslim, but one who saw music as the ultimate way to God and could find truths in other faiths. When Shankar first got to know him, they were both touring as musicians in a dance troupe run by Shankar's elder brother, which was promoting Indian arts in the West, and he talked about taking Khan to hear the organ playing at Notre Dame cathedral, and Khan bursting into tears and saying "here is God". Khan was not alone in this view. The classical music of Northern India, the music that Khan played and taught, had been very influenced by Sufism, which was for most of Muslim history the dominant intellectual and theological tradition in Islam. Now, I am going to sum up a thousand years of theology and practice, of a religion I don't belong to, in a couple of sentences here, so just assume that what I'm saying is wrong, and *please* don't take offence if you are Sufi yourself and believe I am misrepresenting you. But my understanding of Sufism is that Sufis are extremely devoted to attaining knowledge and understanding of God, and believe that strict adherence to Muslim law is the best way to attain that knowledge -- that it is the way that God himself has prescribed for humans to know him -- but that such knowledge can be reached by people of other faiths if they approach their own traditions with enough devotion. Sufi ideas infuse much of Northern Indian classical music, and so for example it has been considered acceptable for Muslims to sing Hindu religious music and Hindus to sing songs of praise to Allah. So while Ravi Shankar was Hindu and Alauddin Khan was Muslim, Khan was able to become Shankar's guru in what both men regarded as a religious observance, and even to marry Khan's daughter. Khan was a famously cruel disciplinarian -- once hospitalising a student after hitting him with a tuning hammer -- but he earned the devotion of his students by enforcing the same discipline on himself. He abstained from sex so he could put all his energies into music, and was known to tie his hair to the ceiling while he practiced, so he could not fall asleep no matter how long he kept playing. Both Khan and his son Ali Akhbar Khan played the sarod, while Shankar played the sitar, but they all played the same kind of music, which is based on the concept of the raga. Now, in some ways, a raga can be considered equivalent to a mode in Western music: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But a raga is not *just* a mode -- it sits somewhere between Western conceptions of a mode and a melody. It has a scale, like a mode, but it can have different scales going up or down, and rules about which notes can be moved to from which other notes. So for example (and using Western tones so as not to confuse things further), a raga might say that it's possible to move up from the note G to D, but not down from D to G. Ragas are essentially a very restrictive set of rules which allow the musician playing them to improvise freely within those rules. In the late 1940s and early 1950s, the violinist Yehudi Mehuin, at the time the most well-known classical musician in the world, had become fascinated by Indian music as part of a wider programme of his to learn more music outside what he regarded as the overly-constricting scope of the Western classical tradition in which he had been trained. He had become a particular fan of Shankar, and had invited him over to the US to perform. Shankar had refused to come at that point, sending his brother-in-law Ali Akbar Khan over, as he was in the middle of a difficult divorce, and that had been when Khan had recorded that album which had fascinated Coltrane and Dolphy. But Shankar soon followed himself, and made his own records: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] The music that both Khan and Shankar played was a particular style of Hindustani classical music, which has three elements -- there's a melody instrument, in Shankar's case the sitar and in Khan's the sarod, both of them fretted stringed instruments which have additional strings that resonate along with the main melody string, giving their unique sound. These are the most distinctive Indian instruments, but the melody can be played on all sorts of other instruments, whether Indian instruments like the bansuri and shehnai, which are very similar to the flute and oboe respectively, or Western instruments like the violin. Historically, the melody has also often been sung rather than played, but Indian instrumental music has had much more influence on Western popular music than Indian vocal music has, so we're mostly looking at that here. Along with the melody instrument there's a percussion instrument, usually the tabla, which is a pair of hand drums. Rather than keep a steady, simple, beat like the drum kit in rock music, the percussion has its own patterns and cycles, called talas, which like ragas are heavily formalised but leave a great amount of room for improvisation. The percussion and the melody are in a sort of dialogue with each other, and play off each other in a variety of ways. And finally there's the drone instrument, usually a stringed instrument called a tamboura. The drone is what it sounds like -- a single note, sustained and repeated throughout the piece, providing a harmonic grounding for the improvisations of the melody instrument. Sometimes, rather than just a single root note, it will be a root and fifth, providing a single chord to improvise over, but as often it will be just one note. Often that note will be doubled at the octave, so you might have a drone on both low E and high E. The result provides a very strict, precise, formal, structure for an infinitely varied form of expression, and Shankar was a master of it: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] Dolphy and, especially, Coltrane became fascinated by Indian music, and Coltrane desperately wanted to record with Shankar -- he even later named his son Ravi in honour of the great musician. It wasn't just the music as music, but music as spiritual practice, that Coltrane was engaged with. He was a deeply religious man but one who was open to multiple faith traditions -- he had been brought up as a Methodist, and both his grandfathers were ministers in the African Methodist Episcopal Zion Church, but his first wife, Naima, who inspired his personal favourite of his own compositions, was a Muslim, while his second wife, Swamini Turiyasangitananda (who he married after leaving Naima in 1963 and who continued to perform as Alice Coltrane even after she took that name, and was herself an extraordinarily accomplished jazz musician on both piano and harp), was a Hindu, and both of them profoundly influenced Coltrane's own spirituality. Some have even suggested that Coltrane's fascination with a cycle of thirds came from the idea that the third could represent both the Christian Trinity and the Hindu trimurti -- the three major forms of Brahman in Hinduism, Brahma, Vishnu, and Shiva. So a music which was a religious discipline for more than one religion, and which worked well with the harmonic and melodic ideas that Coltrane had been exploring in jazz and learning about through his studies of modern classical music, was bound to appeal to Coltrane, and he started using the idea of having two basses provide an octave drone similar to that of the tamboura, leading to tracks like "Africa" and "Olé": [Excerpt: John Coltrane, "Olé"] Several sources have stated that that song was an influence on "Light My Fire" by the Doors, and I can sort of see that, though most of the interviews I've seen with Ray Manzarek have him talking about Coltrane's earlier version of "My Favourite Things" as the main influence there. Coltrane finally managed to meet with Shankar in December 1961, and spent a lot of time with him -- the two discussed recording an album together with McCoy Tyner, though nothing came of it. Shankar said of their several meetings that month: "The music was fantastic. I was much impressed, but one thing distressed me. There was turbulence in the music that gave me a negative feeling at times, but I could not quite put my finger on the trouble … Here was a creative person who had become a vegetarian, who was studying yoga, and reading the Bhagavad-Gita, yet in whose music I still heard much turmoil. I could not understand it." Coltrane said in turn "I like Ravi Shankar very much. When I hear his music, I want to copy it – not note for note of course, but in his spirit. What brings me closest to Ravi is the modal aspect of his art. Currently, at the particular stage I find myself in, I seem to be going through a modal phase … There's a lot of modal music that is played every day throughout the world. It is particularly evident in Africa, but if you look at Spain or Scotland, India or China, you'll discover this again in each case … It's this universal aspect of music that interests me and attracts me; that's what I'm aiming for." And the month before Coltrane met Shankar, Coltrane had had a now-legendary residency at the Village Vanguard in New York with his band, including Dolphy, which had resulted not only in the famous Live at the Village Vanguard album, but in two tracks on Coltrane's studio album Impressions. Those shows were among the most controversial in the history of jazz, though the Village Vanguard album is now often included in lists of the most important records in jazz. Downbeat magazine, the leading magazine for jazz fans at the time, described those shows as "musical nonsense" and "a horrifying demonstration of what appears to be a growing anti-jazz trend" -- though by the time Impressions came out in 1963, that opinion had been revised somewhat. Harvey Pekar, the comic writer and jazz critic, also writing in DownBeat, gave Impressions five stars, saying "Not all the music on this album is excellent (which is what a five-star rating signifies,) but some is more than excellent". And while among Coltrane fans the piece from these Village Vanguard shows that is of most interest is the extended blues masterpiece "Chasin' the Trane" which takes up a whole side of the Village Vanguard LP, for our purposes we're most interested in one of the two tracks that was held over for Impressions. This was another of Coltrane's experiments in using the drones he'd found in Indian musical forms, like "Africa" and "Olé". This time it was also inspired by a specific piece of music, though not an instrumental one. Rather it was a vocal performance -- a recording on a Folkways album of Pandita Ramji Shastri Dravida chanting one of the Vedas, the religious texts which are among the oldest texts sacred to any surviving religion: [Excerpt: Pandita Ramji Shastri Dravida, "Vedic Chanting"] Coltrane took that basic melodic idea, and combined it with his own modal approach to jazz, and the inspiration he was taking from Shankar's music, and came up with a piece called "India": [Excerpt: John Coltrane, "India"] Which is where we came in, isn't it? [Excerpt: The Byrds, "Eight Miles High"] So now, finally, we get to the Byrds. Even before "Mr. Tambourine Man" went to number one in the charts, the Byrds were facing problems with their sound being co-opted as the latest hip thing. Their location in LA, at the centre of the entertainment world, was obviously a huge advantage to them in many ways, but it also made them incredibly visible to people who wanted to hop onto a bandwagon. The group built up much of their fanbase playing at Ciro's -- the nightclub on the Sunset Strip that we mentioned in the previous episode which later reopened as It's Boss -- and among those in the crowd were Sonny and Cher. And Sonny brought along his tape recorder. The Byrds' follow-up single to "Mr. Tambourine Man", released while that song was still going up the charts, was another Dylan song, "All I Really Want to Do". But it had to contend with this: [Excerpt: Cher, "All I Really Want to Do"] Cher's single, produced by Sonny, was her first solo single since the duo had become successful, and came out before the Byrds' version, and the Byrds were convinced that elements of the arrangement, especially the guitar part, came from the version they'd been performing live – though of course Sonny was no stranger to jangly guitars himself, having co-written “Needles and Pins”, the song that pretty much invented the jangle. Cher made number fifteen on the charts, while the Byrds only made number forty. Their version did beat Cher's in the UK charts, though. The record company was so worried about the competition that for a while they started promoting the B-side as the A-side. That B-side was an original by Gene Clark, though one that very clearly showed the group's debt to the Searchers: [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] While it was very obviously derived from the Searchers' version of "Needles and Pins", especially the riff, it was still a very strong, original, piece of work in its own right. It was the song that convinced the group's producer, Terry Melcher, that they were a serious proposition as artists in their own right, rather than just as performers of Dylan's material, and it was also a favourite of the group's co-manager, Jim Dickson, who picked out Clark's use of the word "probably" in the chorus as particularly telling -- the singer thinks he will feel better when the subject of the song is gone, but only probably. He's not certain. "I'll Feel a Whole Lot Better", after being promoted as the A-side for a short time, reached number one hundred and two on the charts, but the label quickly decided to re-flip it and concentrate on promoting the Dylan song as the single. The group themselves weren't too bothered about their thunder having been stolen by Sonny and Cher, but their new publicist was incandescent. Derek Taylor had been a journalist for the Daily Express, which at that time was a respectable enough newspaper (though that is very much no longer the case). He'd become involved in the music industry after writing an early profile on the Beatles, at which point he had been taken on by the Beatles' organisation first to ghostwrite George Harrison's newspaper column and Brian Epstein's autobiography, and then as their full-time publicist and liner-note writer. He'd left the organisation at the end of 1964, and had moved to the US, where he had set up as an independent music publicist, working for the Byrds, the Beach Boys, and various other acts in their overlapping social circles, such as Paul Revere and the Raiders. Taylor was absolutely furious on the group's behalf, saying "I was not only disappointed, I was disgusted. Sonny and Cher went to Ciro's and ripped off the Byrds and, being obsessive, I could not get this out of my mind that Sonny and Cher had done this terrible thing. I didn't know that much about the record business and, in my experience with the Beatles, cover versions didn't make any difference. But by covering the Byrds, it seemed that you could knock them off the perch. And Sonny and Cher, in my opinion, stole that song at Ciro's and interfered with the Byrds' career and very nearly blew them out of the game." But while the single was a comparative flop, the Mr. Tambourine Man album, which came out shortly after, was much more successful. It contained the A and B sides of both the group's first two singles, although a different vocal take of "All I Really Want to Do" was used from the single release, along with two more Dylan covers, and a couple more originals -- five of the twelve songs on the album were original in total, three of them Gene Clark solo compositions and the other two co-written by Clark and Roger McGuinn. To round it out there was a version of the 1939 song "We'll Meet Again", made famous by Vera Lynn, which you may remember us discussing in episode ninety as an example of early synthesiser use, but which had recently become popular in a rerecorded version from the 1950s, thanks to its use at the end of Dr. Strangelove; there was a song written by Jackie DeShannon; and "The Bells of Rhymney", a song in which Pete Seeger set a poem about a mining disaster in Wales to music. So a fairly standard repertoire for early folk-rock, though slightly heavier on Dylan than most. While the group's Hollywood notoriety caused them problems like the Sonny and Cher one, it did also give them advantages. For example, they got to play at the fourth of July party hosted by Jane Fonda, to guests including her father Henry and brother Peter, Louis Jordan, Steve McQueen, Warren Beatty, and Sidney Poitier. Derek Taylor, who was used to the Beatles' formal dress and politeness at important events, imposed on them by Brian Epstein, was shocked when the Byrds turned up informally dressed, and even more shocked when Vito Paulekas and Carl Franzoni showed up. Vito (who was always known by his first name) and Franzoni are both important but marginal figures in the LA scene. Neither were musicians, though Vito did make one record, produced by Kim Fowley: [Excerpt: Vito and the Hands, "Vito and the Hands"] Rather Vito was a sculptor in his fifties, who had become part of the rock and roll scene and had gathered around him a dance troupe consisting largely of much younger women, and also of himself and Franzoni. Their circle, which also included Arthur Lee and Bryan MacLean, who weren't part of their dance troupe but were definitely part of their crowd, will be talked about much more in future episodes, but for now we'll just say that they are often considered proto-hippies, though they would have disputed that characterisation themselves quite vigorously; that they were regular dancers at Ciro's and became regular parts of the act of both the Byrds and the Mothers of Invention; and we'll give this rather explicit description of their performances from Frank Zappa: "The high point of the performance was Carl Franzoni, our 'go-go boy.' He was wearing ballet tights, frugging violently. Carl has testicles which are bigger than a breadbox. Much bigger than a breadbox. The looks on the faces of the Baptist teens experiencing their grandeur is a treasured memory." Paints a vivid picture, doesn't it? So you can possibly imagine why Derek Taylor later said "When Carl Franzoni and Vito came, I got into a terrible panic". But Jim Dickson explained to him that it was Hollywood and people were used to that kind of thing, and even though Taylor described seeing Henry Fonda and his wife pinned against the wall by the writhing Franzoni and the other dancers, apparently everyone had a good time. And then the next month, the group went on their first UK tour. On which nobody had a good time: [Excerpt: The Byrds, "Eight Miles High"] Even before the tour, Derek Taylor had reservations. Obviously the Byrds should tour the UK -- London, in particular, was the centre of the cultural world at that time, and Taylor wanted the group to meet his old friends the Beatles and visit Carnaby Street. But at the same time, there seemed to be something a little... off... about the promoters they were dealing with, Joe Collins, the father of Joan and Jackie Collins, and a man named Mervyn Conn. As Taylor said later "All I did know was that the correspondence from Mervyn Conn didn't assure me. I kept expressing doubts about the contents of the letters. There was something about the grammar. You know, 'I'll give you a deal', and 'We'll get you some good gigs'. The whole thing was very much showbusiness. Almost pantomime showbusiness." But still, it seemed like it was worth making the trip, even when Musicians Union problems nearly derailed the whole thing. We've talked previously about how disagreements between the unions in the US and UK meant that musicians from one country couldn't tour the other for decades, and about how that slightly changed in the late fifties. But the new system required a one-in, one-out system where tours had to be set up as exchanges so nobody was taking anyone's job, and nobody had bothered to find a five-piece group of equivalent popularity to the Byrds to tour America in return. Luckily, the Dave Clark Five stepped into the breach, and were able to do a US tour on short notice, so that problem was solved. And then, as soon as they landed, the group were confronted with a lawsuit. From the Birds: [Excerpt: The Birds, "No Good Without You Baby"] These Birds, spelled with an "i", not a "y", were a Mod group from London, who had started out as the Thunderbirds, but had had to shorten their name when the London R&B singer Chris Farlowe and his band the Thunderbirds had started to have some success. They'd become the Birds, and released a couple of unsuccessful singles, but had slowly built up a reasonable following and had a couple of TV appearances. Then they'd started to receive complaints from their fans that when they went into the record shops to ask for the new record by the Birds, they were being sold some jangly folky stuff about tambourines, rather than Bo Diddley inspired R&B. So the first thing the American Byrds saw in England, after a long and difficult flight which had left them very tired and depressed, especially Gene Clark, who hated flying, was someone suing them for loss of earnings. The lawsuit never progressed any further, and the British group changed their name to Birds Birds, and quickly disappeared from music history -- apart from their guitarist, Ronnie Wood, who we'll be hearing from again. But the experience was not exactly the welcome the group had been hoping for, and is reflected in one of the lines that Gene Clark wrote in the song he later came up with about the trip -- "Nowhere is there love to be found among those afraid of losing their ground". And the rest of the tour was not much of an improvement. Chris Hillman came down with bronchitis on the first night, David Crosby kept turning his amp up too high, resulting in the other members copying him and the sound in the venues they were playing seeming distorted, and most of all they just seemed, to the British crowds, to be unprofessional. British audiences were used to groups running on, seeming excited, talking to the crowd between songs, and generally putting on a show. The Byrds, on the other hand, sauntered on stage, and didn't even look at the audience, much less talk to them. What seemed to the LA audience as studied cool seemed to the UK audience like the group were rude, unprofessional, and big-headed. At one show, towards the end of the set, one girl in the audience cried out "Aren't you even going to say anything?", to which Crosby responded "Goodbye" and the group walked off, without any of them having said another word. When they played the Flamingo Club, the biggest cheer of the night came when their short set ended and the manager said that the club was now going to play records for dancing until the support act, Geno Washington and the Ramjam Band, were ready to do another set. Michael Clarke and Roger McGuinn also came down with bronchitis, the group were miserable and sick, and they were getting absolutely panned in the reviews. The closest thing they got to a positive review was when Paul Jones of Manfred Mann was asked about them, and he praised some of their act -- perceptively pointing to their version of "We'll Meet Again" as being in the Pop Art tradition of recontextualising something familiar so it could be looked at freshly -- but even he ended up also criticising several aspects of the show and ended by saying "I think they're going to be a lot better in the future". And then, just to rub salt in the wound, Sonny and Cher turned up in the UK. The Byrds' version of "All I Really Want to Do" massively outsold theirs in the UK, but their big hit became omnipresent: [Excerpt: Sonny and Cher, "I Got You Babe"] And the press seemed to think that Sonny and Cher, rather than the Byrds, were the true representatives of the American youth culture. The Byrds were already yesterday's news. The tour wasn't all bad -- it did boost sales of the group's records, and they became friendly with the Beatles, Stones, and Donovan. So much so that when later in the month the Beatles returned to the US, the Byrds were invited to join them at a party they were holding in Benedict Canyon, and it was thanks to the Byrds attending that party that two things happened to influence the Beatles' songwriting. The first was that Crosby brought his Hollywood friend Peter Fonda along. Fonda kept insisting on telling people that he knew what it was like to actually be dead, in a misguided attempt to reassure George Harrison, who he wrongly believed was scared of dying, and insisted on showing them his self-inflicted bullet wounds. This did not go down well with John Lennon and George Harrison, both of whom were on acid at the time. As Lennon later said, "We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man" Eventually they asked Fonda to get out, and the experience later inspired Lennon to write this: [Excerpt: The Beatles, "She Said, She Said"] Incidentally, like all the Beatles songs of that period, that was adapted for the cartoon TV series based on the group, in this case as a follow-the-bouncing-ball animation. There are few things which sum up the oddness of mid-sixties culture more vividly than the fact that there was a massively popular kids' cartoon with a cheery singalong version of a song about a bad acid trip and knowing what it's like to be dead. But there was another, more positive, influence on the Beatles to come out of them having invited the Byrds to the party. Once Fonda had been kicked out, Crosby and Harrison became chatty, and started talking about the sitar, an instrument that Harrison had recently become interested in. Crosby showed Harrison some ragas on the guitar, and suggested he start listening to Ravi Shankar, who Crosby had recently become a fan of. And we'll be tracking Shankar's influence on Harrison, and through him the Beatles, and through them the whole course of twentieth century culture, in future episodes. Crosby's admiration both of Ravi Shankar and of John Coltrane was soon to show in the Byrds' records, but first they needed a new single. They'd made attempts at a version of "The Times They Are A-Changin'", and had even tried to get both George Harrison and Paul McCartney to add harmonica to that track, but that didn't work out. Then just before the UK tour, Terry Melcher had got Jack Nitzsche to come up with an arrangement of Dylan's "It's All Over Now, Baby Blue": [Excerpt: The Byrds, "It's All Over Now, Baby Blue (version 1)"] Nitzsche's arrangement was designed to sound as much like a Sonny and Cher record as possible, and at first the intention was just to overdub McGuinn's guitar and vocals onto a track by the Wrecking Crew. The group weren't happy at this, and even McGuinn, who was the friendliest of the group with Melcher and who the record was meant to spotlight, disliked it. The eventual track was cut by the group, with Jim Dickson producing, to show they could do a good job of the song by themselves, with the intention that Melcher would then polish it and finish it in the studio, but Melcher dropped the idea of doing the song at all. There was a growing factionalism in the group by this point, with McGuinn and to a lesser extent Michael Clarke being friendly with Melcher. Crosby disliked Melcher and was pushing for Jim Dickson to replace him as producer, largely because he thought that Melcher was vetoing Crosby's songs and giving Gene Clark and Roger McGuinn free run of the songwriting. Dickson on the other hand was friendliest with Crosby, but wasn't much keener on Crosby's songwriting than Melcher was, thinking Gene Clark was the real writing talent in the group. It didn't help that Crosby's songs tended to be things like harmonically complex pieces based on science fiction novels -- Crosby was a big fan of the writer Robert Heinlein, and in particular of the novel Stranger in a Strange Land, and brought in at least two songs inspired by that novel, which were left off albums -- his song "Stranger in a Strange Land" was eventually recorded by the San Francisco group Blackburn & Snow: [Excerpt: Blackburn & Snow, "Stranger in a Strange Land"] Oddly, Jim Dickson objected to what became the Byrds' next single for reasons that come from the same roots as the Heinlein novel. A short while earlier, McGuinn had worked as a guitarist and arranger on an album by the folk singer Judy Collins, and one of the songs she had recorded on that album was a song written by Pete Seeger, setting the first eight verses of chapter three of the Biblical book of Ecclesiastes to music: [Excerpt: Judy Collins, "Turn Turn Turn (To Everything There is a Season"] McGuinn wanted to do an electric version of that song as the Byrds' next single, and Melcher sided with him, but Dickson was against the idea, citing the philosopher Alfred Korzybski, who was a big influence both on the counterculture and on Heinlein. Korzybski, in his book Science and Sanity, argued that many of the problems with the world are caused by the practice in Aristotelean logic of excluding the middle and only talking about things and their opposites, saying that things could be either A or Not-A, which in his view excluded most of actual reality. Dickson's argument was that the lyrics to “Turn! Turn! Turn!” with their inflexible Aristotelianism, were hopelessly outmoded and would make the group a laughing stock among anyone who had paid attention to the intellectual revolutions of the previous few decades. "A time of love, a time of hate"? What about all the times that are neither for loving or hating, and all the emotions that are complex mixtures of love and hate? In his eyes, this was going to make the group look like lightweights. Terry Melcher disagreed, and forced the group through take after take, until they got what became the group's second number one hit: [Excerpt: The Byrds, "Turn! Turn! Turn!"] After the single was released and became a hit, the battle lines in the group hardened. It was McGuinn and Melcher on one side, Crosby and Dickson on the other, with Chris Hillman, Michael Clarke, and Gene Clark more or less neutral in the middle, but tending to side more and more with the two Ms largely because of Crosby's ability to rub everyone up the wrong way. At one point during the sessions for the next album, tempers flared so much that Michael Clarke actually got up, went over to Crosby, and punched Crosby so hard that he fell off his seat. Crosby, being Hollywood to the bone, yelled at Clarke "You'll never work in this town again!", but the others tended to agree that on that occasion Crosby had it coming. Clarke, when asked about it later, said "I slapped him because he was being an asshole. He wasn't productive. It was necessary." Things came to a head in the filming for a video for the next single, Gene Clark's "Set You Free This Time". Michael Clarke was taller than the other Byrds, and to get the shot right, so the angles would line up, he had to stand further from the camera than the rest of them. David Crosby -- the member with most knowledge of the film industry, whose father was an Academy Award-winning cinematographer, so who definitely understood the reasoning for this -- was sulking that once again a Gene Clark song had been chosen for promotion rather than one of his songs, and started manipulating Michael Clarke, telling him that he was being moved backwards because the others were jealous of his good looks, and that he needed to move forward to be with the rest of them. Multiple takes were ruined because Clarke listened to Crosby, and eventually Jim Dickson got furious at Clarke and went over and slapped him on the face. All hell broke loose. Michael Clarke wasn't particularly bothered by being slapped by Dickson, but Crosby took that as an excuse to leave, walking off before the first shot of the day had been completed. Dickson ran after Crosby, who turned round and punched Dickson in the mouth. Dickson grabbed hold of Crosby and held him in a chokehold. Gene Clark came up and pulled Dickson off Crosby, trying to break up the fight, and then Crosby yelled "Yeah, that's right, Gene! Hold him so I can hit him again!" At this point if Clark let Dickson go, Dickson would have attacked Crosby again. If he held Dickson, Crosby would have taken it as an invitation to hit him more. Clark's dilemma was eventually relieved by Barry Feinstein, the cameraman, who came in and broke everything up. It may seem odd that Crosby and Dickson, who were on the same side, were the ones who got into a fight, while Michael Clarke, who had previously hit Crosby, was listening to Crosby over Dickson, but that's indicative of how everyone felt about Crosby. As Dickson later put it, "People have stronger feelings about David Crosby. I love David more than the rest and I hate him more than the rest. I love McGuinn the least, and I hate him the least, because he doesn't give you emotional feedback. You don't get a chance. The hate is in equal proportion to how much you love them." McGuinn was finding all this deeply distressing -- Dickson and Crosby were violent men, and Michael Clarke and Hillman could be provoked to violence, but McGuinn was a pacifist both by conviction and temperament. Everything was conspiring to push the camps further apart. For example, Gene Clark made more money than the rest because of his songwriting royalties, and so got himself a good car. McGuinn had problems with his car, and knowing that the other members were jealous of Clark, Melcher offered to lend McGuinn one of his own Cadillacs, partly in an attempt to be friendly, and partly to make sure the jealousy over Clark's car didn't cause further problems in the group. But, of course, now Gene Clark had a Ferrarri and Roger McGuinn had a Cadillac, where was David Crosby's car? He stormed into Dickson's office and told him that if by the end of the tour the group were going on, Crosby didn't have a Bentley, he was quitting the group. There was only one thing for it. Terry Melcher had to go. The group had recorded their second album, and if they couldn't fix the problems within the band, they would have to deal with the problems from outside. While the group were on tour, Jim Dickson told Melcher they would no longer be working with him as their producer. On the tour bus, the group listened over and over to a tape McGuinn had made of Crosby's favourite music. On one side was a collection of recordings of Ravi Shankar, and on the other was two Coltrane albums -- Africa/Brass and Impressions: [Excerpt: John Coltrane, "India"] The group listened to this, and basically no other music, on the tour, and while they were touring Gene Clark was working on what he hoped would be the group's next single -- an impressionistic song about their trip to the UK, which started "Six miles high and when you touch down, you'll find that it's stranger than known". After he had it half complete, he showed it to Crosby, who helped him out with the lyrics, coming up with lines like "Rain, grey town, known for its sound" to describe London. The song talked about the crowds that followed them, about the music -- namechecking the Small Faces, who at the time had only released two single

Jasmin Kent Rodgman, the British/Malaysian artist and composer, joins Welsh tenor Gwyn Hughes Jones and British/Chinese artist Aowen Jin as they select and discuss the latest five tracks to be added to the weekly playlist, where each track has a musical connection with the previous one. Cerys Matthews and Jeffrey Boakye pick up where they left off last time, with Luis Fonsi and Justin Bieber's classic earworm Despacito. So where will their journey take us from there? Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks added to this week's playlist: Tu Vuò' Fà' l'Americano by Sophia Loren and Paolo Bacilieri Heebie Jeebies by Louis Armstrong Ha Ha Lili by San Dingding Nessun Dorma! by Giacomo Puccini, sung by Luciano Pavarotti I'm Forever Blowing Bubbles sung by Doris Day and Jack Smith Other music in this episode: God Walked Down by The Allergies The Other Bank by Janet Kent Rodgman Despacito by Luis Fonsi and Daddy Yankee feat Justin Bieber Tu Vuò' Fà' l'Americano sung by Jude Law, Matt Damon and Rosario Fiorello Life on Mars by David Bowie Shotgun by George Ezra I Fought the Law by The Clash Are You Lonesome Tonight? by Elvis Presley Violaine by Cocteau Twins Sequenza III for Female Voice by Luciano Berio Shawnee Stomp Dance from First Nation Sacred Songs Adiemus by Karl Jenkins Puirt a beul, Scottish Mouth Music, by the Quadriga Consort Nessun Dorma! sung by Gwyn Hughes Jones I'm Forever Blowing Bubbles sung by Vera Lynn

Vera Lynn died at age 103 in June 2020. Bob reminisces about one of his favourite of her songs, "We'll Meet Again." For more from Bob Ramsay visit ramsayinc.com.

Vera Lynn, we’ll meet again: https://www.youtube.com/watch?v=T5C4meGkNyc&feature=youtu.be02:21 八十自述06:55 父親送我的生日禮物11:50 鼠年的生辰雜感 17:09 補充歡迎訂閱 / like / 分享維多利亞mewe: https://mewe.com/i/維多利亞齋講 Powered by Firstory Hosting

Episode Topic: "A Nightingale Sang In Berkeley Square"In the final week of London in Song, we focus on one of the most successful London songs of the twentieth century. Written in 1939, with words by Eric Maschwitz and music by Manning Sherwin, this romantic ballad was quickly established as a standard of the lounge repertoire and has been recorded by Vera Lynn, Nat King Cole, Bobby Darin, Frank Sinatra, Perry Como, Harry Connick Jr., Mel Torme, and Rod Stewert among many others. The song takes its title from a short story by Michael Arlen. This week we will consider what happens in the translation from short story to song, and we will ask what it means for a nightingale to sing in Berkeley Square.Featured Speakers: Ian Newman, Professor in the English Department and Fellow of the Keough-Naughton Institute for Irish Studies and of the Nanovic Institute for European Studies, University of Notre DameRev. Jim Lies C.S.C., Senior Director for Academic Initiatives and Partnerships for the Notre Dame London Global Gateway, University of Notre DameRead this episode's recap over on the University of Notre Dame's open online learning community platform, ThinkND: go.nd.edu/bd5689.This podcast is a part of the London Book Club ThinkND Series titled “London in Song”.

Rest in Peace, Vera.See omnystudio.com/listener for privacy information.

Comedian Rebel Wilson is on the show, NRL Legend Mark Hughes calls up to talk about Beanie for Brain Cancer, and we pay tribute to the great Vera Lynn.See omnystudio.com/listener for privacy information.

Ákvörðun um að opna landið um miðjan júní er umdeild en Þórófur Guðnason, sóttvarnalæknir tekur ekki undir gagnrýni kollega sinna sem hafa áhyggjur af opnuninni. Ragnar Freyr Ingvarsson, sem var yfirlæknir á COVID deild LSH meðan hún var starfrækt hefði viljað meira samráð um ákvörðunina. Ferðamenn frá Evrópu og í Asíu hafa sýnt Íslandi áhuga eftir að tilkynnt var að landið yrði opnað snemmsumars segir Birna Ósk Einarsdóttir, framkvæmdastjóra sölu- og þjónustusviðs Icelandair. Bergljót Baldursdóttir ræddi við hana. Samninganefndir flugfreyja og Icelandair hafa setið á fundi hjá Ríkissáttasemjara frá því klukkan tvö. Á Alþingi í dag er rætt um frumvör sem skilyrða aðstoð vegna COVID og setja launa- og aðrgreiðslum fyrirtækja sem hana þiggja skorður. Þá sætti forsætisráðherra gagnrýni fyrir að VG hefði staðið í vegi fyrir framkvæmdum á vegum NATO í Helguvík. Forsætisráðherra vísaði því á bug. Forseti Kína vísar því á bug að Kínverjar hafi leynt upplýsingum um kórónuveiruna og áhrif hennar á fólk. Hann kveðst styðja óháða rannsókn á málinu. Ásgeir Tómasson sagði frá. Tveir forsetaframbjóðendur hafa skilað inn meðmælenda listum og sá þriðji vísar í lista á netinu. Kostnaður Haga vegna starfsloka Finns Þórs Árnasonar sem forstjóra Haga og Guðmundar Marteinssonar, framkvæmdastjóra Bónus, nemur 314 milljónum. Breska söngkonan Vera Lynn varð um helgina elsti tónlistarmaðurinn til þess að komast á breska vinsældalistann, með lagi sem hún hljóðritaði fyrst fyrir rúmlega 80 árum. --------- Heimsfaraldurinn virðist hafa aukið á vanda þeirra sem búa við sára fátækt á Íslandi. Í Speglinum verður rætt við mæður sem segjast ekki geta boðið börnum sínum neitt til afþreyingar í sumar. Öryrkjar og aðrir efnalitlir hópar hafi gleymst. Arnhildur Hálfdánardóttir ræddi við Hildi Oddsdóttur og Kristínu. Niðurstaða í atkvæðagreiðslu flugmanna um nýjan kjarasamning verður ljós á sama tíma og hluthafafundur Icelandair hefst á föstudaginn. Afstaða flugvirkja til nýs samnings skýrist á miðvikudaginn. Óvíst er hvenær flugfreyjur semja en þær sitja á samningafundi. Arnar Páll Hauksson segir frá. Þrjú sveitarfélög suður með sjó eru meðal þeirra sem verða harðast úti vegna hruns ferðaþjónustunnar. Berglind Kristinsdóttir, framkvæmdastjóri Sambands sveitarfélaga á Suðurnesjum segir að ríkið verði að bæta sveitarfélögum tekjutap því í haust verði erfitt að standa undir lögbundinni þjónustu. Í Jógía-karta á Jövu í Indónesíu verjast íbúar plágunni með 49 daga inniveru og einföldum grænmetisrétti. Pálmi Jónasson segir frá. Umsjón:

What was once thought to be impossible, is now a lit little bit less impossible. Not much though. Outro Song: “We'll Meet Again” by Vera Lynn

Did you know the iPhone adapter for headphones is called a dongle? Neither did we. Background music link: https://youtu.be/d-baXOfj9tY Outro Music: “We'll meet again” by Vera Lynn

It's an ad that Aussies of my generation grew up with. Jack Thompson, in his ruggedly good-looking larrikin phase, says to the barman, “Claytons thanks, Brian”. A dumbfounded onlooker responds, “On the wagon, Jack?”“Nah” drawls Jack. “When I don't feel like alcohol, I have Claytons.”(Voice-over): “Claytons: the drink you have when you're not having a drink”. And so an expression entered Australian vernacular. When you can't have the real thing, but you have to make do with a less than adequate substitute, it's a Claytons. This is often derogatory, of course (in typical Aussie fashion). You really don't want to end up with a Claytons car or work for a Claytons boss or (worst of all) be described as a Claytons husband.But it doesn't have to be negative. Sometimes, because of the situation you find yourself in, you just have to say, “I'll have Claytons, thanks”. I think that's where many of us are at with church, in this surreal coronavirus moment. We're genuinely thankful for the technology that allows us to connect with our church communities online in the various kinds of simulated Sunday things that many churches are doing. And yet we also can't help feeling the Claytons nature of it all—in the lack of physical presence with one another, the diminished communicative power of the preaching, the absence of communal singing and the Lord's Supper, and so much more. We miss the real thing, but we're grateful in the meantime for the ‘church you have when you're not having church'. I think both of these impulses are healthy—the sadness at no longer having the real thing, and the gratitude for the Claytons substitute. In fact, I think embracing both of these attitudes will be important over the coming difficult months.On one hand, the benefits of gratitude are obvious, and I won't dwell too long on them. Thanksgiving in all circumstances is one of the basic characteristics of the redeemed life. And now, in these particularly difficult circumstances, there is much that we should thank God for—for the opportunities some of us have to spend more time with our families; for the undoubted gospel opportunities that are opening up as we interact with friends and neighbours whose secure worlds have been rattled; and for our pastors, who are all working long hours under stress, scrambling to minister to the flock when most of their normal tools for doing so have been suddenly withdrawn. Let's be thankful and positive about the extraordinary technology that is allowing us to stay in touch online, to hear each other's voices and to see each other's faces, even if in a mirror darkly (when the webcam is positioned facing the window).On the other hand, it will also do us good to openly embrace the fact that what we're doing online is not the real thing—that it's Claytons church—for at least two reasons.Firstly, I think it's spiritually healthy for us grieve the loss of our local church gatherings. It's good to miss meeting together as a congregation, to long for its return, and to realise (perhaps for the first time for some of us) just how precious, unique and important the weekly gathering of a local congregation is. I wonder if this will be a Hebrews 12 moment for us, in which God disciplines us as his children to appreciate afresh something that we frequently take for granted. (And I don't think we want to convey the opposite theological lesson over the next several months—namely, that church-without-actually-gathering is still pretty much church, so long as you catch up with an online sermon and sing along with some Christian music in your lounge room.)Secondly, if we embrace the Claytons nature of what we're doing online on Sundays, it may actually help us do a better job. I don't just mean that it will motivate us to lean harder on the ‘one-another' aspect of ministry during the week (as I suggested in an earlier Payneful Truth)—although it will. I mean that if we embrace the fact that it's not possible to re-create the reality of our Sunday gatherings in an online space, it may liberate us to use the technology at our disposal more flexibly and effectively. In Claytons mode, we can experiment with various ways to achieve as much as possible online with each other, without feeling like we have to re-create ‘Sunday' for people—something that the circumstances and the medium make impossible. Let me give just one example: I strongly suspect that online ‘sermons' will be more effective if they stop trying to be a real sermon (of the live-audience, preached kind) and embrace the character and limitations of the online video medium. Live, preached sermons are a form of ‘hot' media (to use Marshall McLuhan's term). They require the full engagement of the listener in the communicative event—to follow the argument being laid out, to imagine the story the preacher is telling, to picture the imagery he is referring to, and so on. This is partly why physical presence is so important for a sermon. What a sermon requires of its listener—which is a high level of engagement—is made possible by the physical nature of the experience: sitting quietly together with others who are also listening, the physical presence of the preacher, his eye contact, mannerisms, gestures, variations in pitch and tone, and so on.Trying to translate this form of communication to online video, straight to camera with no audience, is a media mismatch. It's a tough ask, both for speaker and hearer. This is partly because video is a ‘cool' medium, that functions by showing rather than telling, by creating feelings rather than arguments, by tellings stories rather than expounding texts—all of which is why you never see anyone on TV talking directly to camera to explain something for more than about 30 seconds. But it's also because preaching is crowd communication—it has a voice and rhetorical character that assumes a largish bunch of people in front of you. An online straight-to-camera talk, on the other hand, is directed just to the one or two people who are watching. It's like preaching a sermon in someone's lounge-room to two people—to do it well requires a personal, conversational voice that most of us aren't used to employing. In practical terms, I suspect that for straight-to-camera Bible teaching to be effective over the next 3-6 months (and it could be that long!), we will need to keep adapting its form. If we want our people to stay tuned in and engaged, Bible teaching may need to be delivered in significantly shorter chunks—perhaps in two or three bites of 8 minutes each, rather than in one continuous 30 minute exposition.Will these adapted forms achieve all that a good quality sermon achieves? Almost certainly not. It will be a Claytons, and a temporary one at that. But it will likely be a more effective way to teach the Word in this current weird situation.As I round off this week's edition, the Queen has just delivered a short message to the British people, encouraging them to show the good-natured fortitude that the Brits were known for during the Second World War. She concluded with an allusion to the famous Vera Lynn song of that era: “We will meet again”, she said. We will indeed meet again. And as we long and pray for that day to come, let's embrace the Claytons nature of our current experience—with sadness and hope, with thankfulness and grace, and with some creative flexibility to make the most of what God has given us. PS. Thanks for the comments and feedback on last week's edition about one-another evangelism. Two different people—John Lavender and Dave Pitt—got in touch to point out that in the Gospels we see a version of this one-another evangelism in the testimony of people who can't help telling others what Jesus has done for them. They both gave the same two examples: the Samaritan woman in Jn 4:39, through whom many of her fellow Samaritans believe; and the leper who is told to say nothing to anyone about his healing but ends up “talking freely (Gk. kerussein)” and spreading “the news (Gk. logos). Nicely spotted. PPS. Something else worth checking out this week: The Centre for Christian Living at Moore College (my former esteemed employers) have just put out their 2019 Annual. It contains essays, podcast transcripts and student articles—all the best content from 2019. And it's free (or very nearly free). PPS. And this week's image is not as random and tenuous as usual. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.twoways.news/subscribe

Steffan with the final hour of today’s D-Day Edition of the program with sound from CBS reflecting on their radio broadcasts from 1944. Listeners call in to tell their families’ D-Day stories. We wrap up the show with sound from the Queen, and President Trump in Portsmouth. Music from Vera Lynn and Nat King Cole.See omnystudio.com/listener for privacy information.

We look at the social media vs Trump.........Political humor is more politics than humor......Too many investigations will hurt Democrats......Trump vs McCain.............Roberto Clemente Hall of Fame......Happy # 102 Vera Lynn.........and other stories..... Please check our blog  or follow me on Twitter....... Check Carlos Guedes' schedule this week in Dallas........