Podcast appearances and mentions of victor records

In the 1880s, the record industry began by simply having the artist perform at a phonograph. In 1924, the trade journal Talking Machine World, covering the phonography and record industry, reported that Eddie King, Victor Records' manager of the "New York artist and repertoire department", had planned a set of recordings this perhaps the earliest printed use of A&R man. Actually, it says neither "A&R man" nor even "A&R", an name perhaps coined by Billboard magazine in 1946, and entering wide use in the late 1940s 

Den Weihnachtsabend besinnlich vor dem Christbaum zu verbringen war im Wilden Westen nicht gerade üblich - allein schon, weil der Christbaum in den Vereinigten Staaten lange nicht als Weihnachtstradition galt. Wie wurde Weihnachten an der Frontier üblicherweise verbracht? Jörg und Sibi sprechen angesichts der besinnlichen Jahreszeit über Weihnachstraditionen und überlieferte Weihnachts-Anekdoten aus dem Wilden Westen. 00:00 - Intro und Einleitung 01:24 - Nachrichten aus dem Wilden Westen: Lampassas Leader (Texas), 30.12.1899 04:59 - Die Tradition des Weihnachtsbaums in den USA 06:33 - Exkurs: Weihnachten im puritanisch-geprägten Amerika der Kolonialzeit (und darüber hinaus) 09:12 - Neue Traditionen ab 1830: Der Einfluss deutscher und irischer Einwanderer 11:58 - Entlegene Lage und extremes Wetter: Wie sah Weihnachten an der Frontier aus? 15:34 - Weihnachten auf "unserer kleinen Farm": Die Kindheitserinnerungen von Laura Ingalls Wilder 17:48 - Weihnachtsessen und andere Traditionen 21:10 - Typischer Geschenke und Weihnachtsdekorationen an der Frontier 24:33 - 25.12.1853: Das erste Weihnachtsfest in Nord-Arizona 31:25 - Soldaten gegen Bergarbeiter: Weihnachten in Bozeman (Montana) 1867 38:59 - 24.12.1872: Ben Horrell's "Weihnachtsschießerei" in Lampassas (Texas) 44:25 - Inspirationen und weihnachtliche Western-Filme 46:27 - Verabschiedung und Ausblick aufs nächste mal   (Verwendete Musik-Ausschnitte: "Maryland, my Maryland", vocals by Herbert Stuart, Columbia Records, recorded 1915-04-10; "Silent Night, Hallowed Night", vocals by Haydn Quartet, Victor Records, published 1905; "Joy to the World", by Trinity Choir, Watts, Handel, Victor Records, published 1911-07-06)

"Envuelve tus problemas en sueños" es una canción popular escrita por Harry Barris con letra de Ted Koehler y Billy Moll, publicada en 1931.La grabación del popular éxito original de 1931 fue realizada por Bing Crosby con la Orquesta Gus Arnheim el 2 de marzo de 1931 para Victor Records, pero la canción se ha convertido en un estándar, grabada por muchos otros artistas desde entonces. Escuchemos a las grandes divas del jazz y múltiples excelentes versiones instrumentales. Hosted on Acast. See acast.com/privacy for more information.

Recitation of Gunga Din by Rudyard Kipling recorded in 1919 for Victor Records.  

Readings by poet Edgar A. Guest recorded for Victor Records in 1919.

Love songs recorded in 1917 by Victor Records. 

Among the tunes we've got on tap to share at Sal's Speakeasy this weekend is one with a curious history. A monster AM radio hit in the early 1960s, it actually was originally a jug band tune recorded many decades earlier.Back in the 1920s, a remarkable roots musician named Gus Cannon co-wrote “Walk Right In” for his hot new band, Cannon's Jug Stompers, to record for Victor Records.Already an established entertainer in the first years of commercial recording, Gus Cannon had a life story that reads like a novel. Born in the early 1880s on a plantation in Red Banks, Mississippi, he was 12 years old when his family moved a hundred miles southwest to what was to become the world capitol of all things blues, Clarksdale, Mississippi.Cannon's musical skills developed with little training, but with much innovation. For instance, he is said to have made his own first banjo, crafting it from a frying pan and a raccoon skin. At 15, he ran away from home to begin his career entertaining at sawmills, at levees and at railroad camps throughout the turn-of-the-century Mississippi Delta. Along the way, he taught himself fiddle. And a local musician named Alec Lee showed him how to use a knife blade as a guitar slide, a technique that Cannon adapted to his banjo playing.About 1907 Gus left Clarksdale for the big city of Memphis, where he played in a jug band led by Jim Guffin as well as with established blue and hokum artist Jim Jackson.It also was in Memphis that he met two other up-and-coming musicians — harmonica player Noah Lewis and guitarist Ashley Thompson — with whom he formed Cannon's Jug Stompers. Together they played parties, dances and medicine shows.Soon after that, inspired by the success of the Memphis Jug Band's first records, Cannon took his group to Victor Records to start putting out some discs.Enter The Song By then, the Jug Stompers were joined by Hosea Woods, who could chime in with guitar, banjo and kazoo and provide some vocals. It was with Woods that Cannon wrote and recorded “Walk Right In”.The tune offered great promise for the Stompers. Unfortunately, time wasn't on their side. The recording date was ominous — Oct. 1, 1929 — that is, less than a month before the collapse of the stock market and the beginning of the Great Depression.The Stompers' last recordings were made in 1930 and by the end of that decade, Cannon had effective retired, although he occasionally performed as a solo musician.Folk RevivalNow fast forward to 1962. The folk music revival was in full swing. Erik Darling was an important influence in the early days of the movement. (He had already formed The Tarriers with actor/singer Alan Arkin, hit the Billboard charts with their version of “Banana Boat Song,” and had replaced Pete Seeger in the last days of The Weavers.)In June 1962, Darling formed The Rooftop Singers with two friends with the specific goal of recording an updated version of “Walk Right In.” Darling had a bright new idea for the song. Unlike its juggy 1929 original, his arrangement got its distinctive sound by pairing twin 12-string guitars played in a pounding, percussive style. Their version — released six months later — became a No. 1 hit (and created a fad among folkies for the then-little known 12-string).Initially, writing credits on the record label were allocated solely to Darling and his band mate Bill Svanoe. However, eventually everyone did the right thing: the copyrights were corrected to add Gus Cannon and Hosea Woods' names.The success of The Rooftop Singers' recording — it became an international hit — was a big lift for Cannon, who by then was in his late 70s and fallen on hard times. In fact, the previous winter he'd had to pawn his banjo just to pay his heating bill. For the rest of his life, Cannon now received regular royalties checks as a songwriter.He also saw renewed interest in his music among newly minted folk fans. In 1963 Cannon recorded an album fo Stax Records with fellow Memphis musicians Will Shade (the former leader of the legendary Memphis Jug Band) on jug and Milton Roby on washboard. On the disc, Cannon performed traditional songs and his jug band era compositions and told stories between the tunes.Our Take on the TuneIn Flood years, we came to this song a little late in the game. We started playing it about a dozen years ago — our first recording of it was in the winter of 2010, at the beginning of the second year of our weekly podcasts — and it quickly became such a favorite for Michelle and Charlie that we brought it as the opening track of the band's next studio album, Cleanup & Recovery.Since Michelle will be back with us tomorrow night as the guest artist when we do our monthly show at Sal's Italian Eatery & Speakeasy in Ashland, Ky., we thought it would be fun to bring “Walk Right In” to the mix too. Here, from last week's rehearsal, is the 2023 take on the tune.If you're tooling around this weekend, be sure to walk right in and sit right down at Sal's this Saturday night. We play from 6 to 9 at 1624 Carter Avenue in beautiful downtown Ashland. The video below gives a taste of what's in store: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

'the advertisement in the Johnson City Chronicle read .... Can You Sing Or Play Old-Time Music? ... actual tryout for the purpose of making columbia recordsThe auditions were part of a search for native Appalachian-Blue Ridge Mountains musical talent. Frank Buckley Walker was a pioneer, as was Ralph Peer of Victor Records, in the art of remote recording, which was deemed more effective than bringing musicians to New York City or larger northern cities to record. They thought the unsophisticated amateurs would perform more comfortably in their accustomed surroundings. considered by music scholars as important recordings of early country music that influenced a whole generation of revivalist folk musicians of the 1950s and 1960s, including Bob Dylan, Joan Baez, and Doc Watson. ...... The Johnson City Sessions ..

From 1928-1933 Victor Records (then in 1931 RCA Victor) produced a series of Blues, Jug Band, Gospel, Jazz. Skiffle and Sermon recordings specifically marketed to African American record buyers..and some hip hot jazz loving white folks!...Icons such as Memphis Jug Band, Blind Willie McTell, Fury Lewis, Tommy Johnson, Duke Ellington, Bennie Moten and Jelly Roll Morton were released on Victors special RACE "38,000" numerical series. Join us for part two of our exploration of the vintage 1928-33 Victor "Race" records releases. --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Host Nate Wilcox gets Gareth to detail his researches on the earliest days of the record industry when Thomas Edison battled The Victor Talking Machine company for control of the industry. Then the conversation follows the record industry's evolution into the "race records" era of the 1920s, John Hammond's career at Columbia Records. Then we focus on Chris Blackwell, the British record man behind Island Records and wrap with some of his contemporaries in the UK record industry of the 70s & 80s.Buy the book and support the podcast.Download this episode.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts. 

Sons of a tenant farming family, Alton Delmore and his baby brother Rabon grew up dirt poor in Elkmont, Alabama, in the 1920s, but they were rolling in another kind of riches: Music, the melodies and lyrics they heard it all around them and that they would bring to the rest of us.The boys' mom, Mollie Delmore, wrote and sang gospel songs for their church. When Alton and Rabon later fashioned themselves in one of America's first supergroups, The Delmore Brothers, they helped create the still-emerging genre of country music by blending those tight gospel-style harmonies with blues and the quicker guitar-work of traditional folk music.The Delmores made their first recording for Columbia in 1931 ("I've Got the Kansas City Blues" and "Alabama Lullaby" which became their theme song.) Two years later, they signed a contract with Victor Records budget label Bluebird, and for it on Dec. 6, 1933, they recorded the tune that they called “I Got The Big River Blues.” Music historians think the song probably was inspired by the cataclysmic flood of 1927 along the lower Mississippi River, a landmark moment in American history — and in music history — which left a trail of loss and damage through at least 10 states. It was a song that helped The Delmore Brothers become regulars — and soon the most popular act — on radio's then-new Grand Ole Opry variety program.Enter Doc WatsonMeanwhile, over in North Carolina, Doc Watson was 10 years old when that Delmore Brothers record came out. Young Doc — well, he was still “Arthel” to everyone in Deep Gap, NC, back then — was already interested in music, playing harmonica and teaching himself banjo, and he was three years away to starting his mastery of the guitar. The story goes that one day Watson's father, hearing Arthel plucking chords on a borrowed guitar, promised to buy the boy his own guitar if he could teach himself a song by the end of the day. The youth taught himself The Carter Family's “When the Roses Bloom in Dixieland,” and a week later he was the proud owner of a $12 Stella. (He would be a few years before he got his D-18.)But back to the song, Watson always said he first heard the song from the Delmores, but he fashioned his famed 1964 rendition as he thought his hero Merle Travis would play it, with a heavy emphasis on the thumb being used to thump out a driving bass line. (For that Vanguard Records album, he also renamed the song “Deep River Blues,” which is why a lot of us thought Doc wrote it.)In an Acoustic Guitar magazine interview a few months before his death in 2012, Doc said he wanted to play the tune as soon as he heard it, but that he couldn't manage to make it sound good enough with just one guitar… that is, until about 1939 when he first heard that cool Travis picking style on the radio. He said he figured that if he could get that big bass working, maybe he could at least do the song. And he did and he did.Our Take on the TuneThroughout the winter and this spring, our newest band mate, Danny Cox, has been having one-on-one weekly jam session with his old buddy, bassist Randy Hamilton, and sometimes they bring tunes they've work out to the regular weekly Flood rehearsal for the rest of us to get in on the fun. Now, over the the years, we've tried to work out a Flood arrangement of “Deep River Blues,” but it never really took, until recently when Randy and Danny brought in what they'd wrought. And as you can hear on this track, we're all pretty excited about it. Click here to hear our first take on “Deep River Blues,” with Randy singing the lead!Postscript for the Folkies Amongst UsFinally, if this is the sort of tune that soothes your soul, then you're probably — like us — unreconstructed folkies. If you'd like another serving or two (or 20 or so), check out the band's Folk Channel on our Radio Floodango music streaming feature by clicking here. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Doctors promise to do no harm. Dr Buck Ruxton did the opposite. The crimes of this Lancashire physician justified the sensational headlines. The case marked a watershed in the acceptance of forensic science as we know it today.Music credits'Who's Been Polishing The Sun?' performance by Ambrose and His Orchestra, Decca Records, 1935.'Lovely To Look At' performed by Eddy Duchin (vocals by Lew Sherwood), Victor Records, 1935.

Harry Pace started the first major Black-owned record label in the U.S., but his achievements went mostly unnoticed until recently, when his descendants uncovered his secret history."A century ago, around the dawn of the Harlem Renaissance, New York City was brimming with music. Black artists like Eubie Blake, Florence Mills and Fats Waller were performing in dance halls and nightclubs including Edmond's Cellar and The Lincoln Theatre. On the next Coffee Conversations with Greg J, We're talking to Bill Doggett renownedBack arts historian about this fascinating story Bill Doggett is one of 4 African American members of The Association For Recorded Sound Collections, an organization compromised of the leading institutions, universities and libraries with notable dedicated Sound and Music Archives such as The Library of Congress, The Smithsonian, Yale, Rutgers, Stanford, UCLA and Manhattan's Rodgers and Hammerstein Archive.Doggett's Early Sound recordings Archive includes many Edison cylinders from the 1890s which were re licensed as flat disc recordings by Columbia and Victor Records. Notably, The Archive includes the only two recordings by the first African American to make a sound recording in 1900, George W Johnson. These recordings are sampled in live demos in his lectures and multi media presentations played on a 1922 Acoustic Senior table top Victrola. ( a suitcase Victrola)The story of early American popular music is incomplete without the story of Black Swan Records and Harry Pace - the first record label owned by African Americans. So many artists of the late 1800's and early 1900's were published by this label and the story of Harry Pace is interesting, compelling and full of surprises.

Celebrating the life and music of the great Jimmie Rodgers on the anniversary of his death, May 26, 1933. Though only 35 when he succumbed to tuberculosis, Jimmie Rodgers was the original country music superstar recording over 100 sides for Victor Records.

CAST OF CHARACTERSBrett - FBI HRT Operator Ira Breuer (aka Agent Morgan)Cami - Dr. Jenny Archer, Anthropologist and Delta Green FriendlyDoug - FBI Special Agent Mark Hansom (aka Agent Meshach)Jack - FBI Special Agent Cassandra Reese (aka Agent Madison)Vince - The HandlerMUSIC & SOUND EFFECTSEpidemic SoundJack McCormack. "Moonlight and Roses." Victrola, 1925.  Delta Green Remix by Jack.Jack Shilkret's Orchestra. "Sometime." Victor Records, 1925. Delta Green Remix by Jack.DELTA GREEN LINKSDelta GreenImpossible LandscapesBLACK PROJECT GAMING LINKSLinktree

CAST OF CHARACTERSBrett - FBI HRT Operator Ira Breuer (aka Agent Morgan)Cami - Dr. Jenny Archer, Anthropologist and Delta Green FriendlyDoug - FBI Special Agent Mark Hansom (aka Agent Meshach)Jack - FBI Special Agent Cassandra Reese (aka Agent Madison)Vince - The HandlerMUSIC & SOUND EFFECTSEpidemic SoundArthur Collins.  "If I'm Going to Die, I'm Going to Have Some Fun." Columbia Records, 1906.  Delta Green Remix by Jack.Nicholas Orlando's Orchestra. "Velvet Lady." Victor Records, 1919. Delta Green Remix by Jack.Victor Salon Orchestra. "By the Light of the Stars." Victor Records, 1925. Delta Green Remix by Jack.DELTA GREEN LINKSDelta GreenImpossible LandscapesBLACK PROJECT GAMING LINKSLinktree

Welcome back to another episode of your favorite comedy variety podcast. This week Andy and Viktor are without Cyle, so obviously that means we're going to pick our noses on microphone and talk about the X-men for a while. Andy recounts his wasted day at work watching horrible movies that nobody else wanted to watch with him. They tell us about the incredibly sweet and idiotic story about how Victor is recording an anniversary vinyl for his girlfriend. Thanks for joining us at Sometimes I Hate You! Back us on patreon at: patreon.com/sometimesihateyou Find us anywhere by going to: linktr.ee/sometimeishateyou --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sometimes-i-hate-you-podcast/support

The community of Brownsville, Tennessee lies about 60 miles or so just East of Memphis, just a short ways off of Highway 40, the long interstate that runs the entire width of Tennessee from North Carolina’s Great Smoky Mountains to the Mississippi River. Brownsville, whose population was roughly ten thousand at the last census, has recently come to recognize two of its most accomplished offspring. Located in the former Flagg Grove School, once a one-room schoolhouse for “colored” children, is the Tina Turner Museum. Immediately nextdoor, and also maintained as a public attraction, is the tiny home, a cottage or really a shack, once lived in by Brownsville’s other great artist, the blues singer Sleepy John Estes. Both Estes and Turner, by the way, actually grew up in Ripley aka./Nutbush, an unincorporated community adjacent to Brownsville once populated almost exclusively by black residents. At the time of Tina Turner’s birth in 1939, Sleep John, born either in 1899 or 1900-no one’s really sure, was already in the middle of a recording and performing career that extended from 1929 right up to his death in 1977. As a child in Ripley/Nutbush, John, like so many bluesmen before and after him, helped out on his family’s share-crop cotton farm and tried to pick out tunes on a homemade cigar box guitar. After a particularly productive season his mother awarded John for his hard work on the farm by buying him a real guitar. For the first decade or so of his musical career, John, along with his “Brownsville Gang” which included harmonica player Hammie Nixon, mandolinist Yank Rachell, jug and piano player Jab Jones, and guitarists Son Bonds and Charlie Pickett, performed and traveled throughout the Western Tennesssee area often performing in Memphis. In 1929 Victor Records talent scout Ralph Peer arranged for John’s first recording session, a three-day affair, which produced one of his most well known songs Diving Duck Blues as well as five others. Legend has it that the gang followed the sessions with a week long binge of drinking, gambling and whoring in West Memphis, the wide-open mostly black community located just across the river from Memphis proper. The following year, 1930 saw John and his gang recording another fourteen songs. John, it seemed, was a highly prolific songwriter. Three things distinguish the music of Sleepy John Estes. First, was his guitar playing. It wasn’t very good. Many have described his playing as “thrashing”. But while John certainly wasn’t in a class with virtuosos like Blind Blake or Big Bill Broonzy, his playing did have a strong propulsive quality that served his music well. He usually played in standard tuning in the key of G, or in G position with a capo. Second, was his “crying” vocal style that made him sound like an old man long before he was one. The final quality that sets his music apart and was his songwriting; his ability to craft a musical story. While many of John’s songs concern the usual blues subject matter, ie whiskey and women, John was also a chronicler of people and events around him. He wrote about people he knew, people he worked for, people he dealt with and people he admired. In Liquor Store Blues John sings his admiration for the man he buys hootch from: Now if you're ever in Forrest City, I'll tell you what to doLet Mr. Peter Adams get acquainted with youWell, you won't have to go, well, you won't have to goYou can get what you want, oh, right here in my liquor store In Brownsville Blues, John sings the praises of local mechanic Vassar Williams: Now, he can straighten your wiSupport the show (https://paypal.me/BFrank53?locale.x=en_US)

CHOO CHOO BILLY MURRAY – EDWARD SMALLE VICTOR 19516 CAT’S SERENADE XAVIER CUGAT & THE WALDORF ASTORIA ORCHESTRA VICTOR 26752 DOODLE DOO DOO BENSON ORCHESTRA OF CHICAGO VICTOR 19318 BLUES IN THE AIR SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS VICTOR 20-1510 NO MORE WORRYIN’ PAUL WHITEMAN AND HIS ORCHESTRA VICTOR 20007 DON’T GIVE ALL … Continue reading "Episode 76: Victor Records on Parade"

Hear all about a brave bear named Wojtek who came to join the army in a time of war. After being released from Soviet prison camps, exiled Polish soldiers reunited under General Władysław Anders and were informally dubbed ‘Anders Army’.  This army, after evacuating the Soviet Union, traveled to the Middle East to join Allied forces. While in Iran, the Anders’ Army added an unlikely member to their ranks who played an important role in the company as he helped to boost morale, carry ammunition, and perform guard duties.  Though this soldier may appear to be rather typical, he was far from it. He was, after all, a Syrian brown bear. In this episode, our hosts John and Nitzan discuss the unbelievable story of Wojtek the bear and his legendary role in the 22nd Company of Anders’ Army. How did the army find this bear and why did they keep it, even incorporate it? How did Wojtek contribute to the military efforts? And what became of him after the war was over? Like our show? Sign up for our newsletter! Time stamps [02:10] A brief introduction to events in Poland during the Second World War [05:35] How Wojtek was introduced to the Anders’ Army [08:35] How Wojtek was incorporated into the army [11:14] How could a bear be tamed and trained as a soldier? [14:27] How did the soldiers manage to feed an animal as large as Wojtek? [15:58] How Wojtek helped his company at the Battle of Monte Cassino [17:57] What happened to Wojtek and his company following the battle [22:35] Wojtek’s impact on Polish soldiers and his legacy Further reading One Photo One Story: Wojtek the Soldier Bear / on Culture.pl Trail of Hope / a site chronicling stories from the Anders Army that went into Trail of Hope, Norman Davis' book on the subject Wojtek the Bear / on Wikipedia Norman Davies on the Trail of Anders’ Army / on Culture.pl Battle of Monte Cassino / on Wikipedia Further watching The Bear That Went to War Soldier Bear Wojtek Wojciech Narębski A life well lived @ TEDxKazimierz Thanks Wojciech Narębski / emeritus professor of the Polish Academy of Sciences and ex-soldier of the Anders' Army, who kindly allowed us to interview him and told the story of the unit Wojtek served in. Tadeusz Kaleta / professor at the Warsaw University of Life Sciences, who kindly explained how bears behave in their natural habitat.  Songs & sound clips On My Way to New Orleans / Performed by Arthur Collins and Byron G. Harlan; Issue Number: Edison Blue Amberol: 2650, Edison Record: 3744; Release year: 1915 Jazz Baby / Performed by Marion Harris; Released under Victor Records; Release year: 1919 WWII Chronicle / Film Bulletin; Produced by Signal Corps Photographic Center; Issue no 48 Air Raid Siren Sound Effect / A RNaudioproductions original recording  // Audio 2005 Writing on Paper with Pen Sound Effect / A SoundEffectsFactory original recording   SFTEW Team: Wojciech Oleksiak, Adam Zulawski, John Beauchamp, Nitzan Reisner, Michael Keller & Barbara Rogala

Todays guest entrepreneur joining us on the top rated podcast inter Join Up Dots is a slight departure from what we have seen recently. Elizabeth grew up in New York State, where she sang pop songs by Madonna around the house and started writing her own pop songs at an early age. Then when she was nine years old her school music teacher told her she had the voice of an opera singer, and took her to see her first opera. Her great-grandfather was a virtuoso musician who signed with Victor Records in the 1890's, but no one else in her family ever listened to classical music. Which is a really interesting position to find yourself in. Most people will struggle with fighting their way to a new future even if they are surrounded by people that have the same passion as them. But find yourself in a world, where very few people understand what is going on inside you then it comes down to a huge amount of hustle muscle, and personal belief. And so she worked at her talent, found the right people to work with and a few years later sang her first classical piece, and has never looked back. But even more interesting is her refusal to do things any other way than her own, and is blending many different styles into her repertoire, even comedy with an off the wall version of “Hot Stuff” by Donna Summer. So with all the avenues in front of her to travel, how does she make the decisions that will be right for her own career, and not dilute her natural born talent? And does she embrace the hustle that it takes to build a career, or would she like to just get up there and belt them out? Well lets find out as we bring onto the show to start joining up dots, with the one and only Elizabeth Tyron. Show Highlights During the show we discussed such weighty subjects with Elizabeth Tryon such as: Why Madonna is such a great role model for anyone struggling with lack of focus and an inability to deal with the knocks that life will deal you. Why being authentic to yourself and living a life on your own terms is the only way to go as it leads to finding your tribe so much quicker. How the hustle muscle is not something she likes doing, but has learnt how to let things simply figure themselves out.. And lastly…….. How it is so important to find the sweet spot within your own talent to maximise the rewards for the minimum effort. 

This program will examine the suppressed history of the commercialization of Race and Race Consciousness through the lense of sheet music and early sound recordings of turn of the century Coon Songs and Minstrel Shows produced by Victor and Columbia Records 1900-1910. Bill Doggett is a California based archivist and specialist in Race and Race Consciousness in recordings at the Dawn of Recorded Sound.  With hundreds of rare 1900-1920 78rpm recordings of Coon Songs and other "Race Records" in his Sound Archive, Doggett was commissioned in 2015 by The Sound Division of The Library of Congress to create a project for The National Juke Box which will launch in 2017. The Sound files are: (a) Jests from Georgia by Ralph Bingham- attached is Jest#1(b) Two Negro Stories by Nat Wills: Attached is Story#1-The Head Waiter (c) Collins and Harlan: Nigger Loves His Possum-a 1905 Platinum Gold record for Victor Records (d) Moonlight in Jungleland by Collins and Harlan-excerpt (e) The Whistling Coon sung by the George W. Johnson:the first African American to record a record for Victor Records

Joining us on the Steve Jobs inspired podcast is an amazing guest entrepreneur. We have many types of people joining us on the top rated business podcast interview Join Up Dots, but today's guest is a slight departure from what we have seen recently. Our guest grew up in New York State, where she had huge motivation to sing pop songs by Madonna around the house and then started writing her own pop songs at an early age. Then when she was nine years old her school music teacher told her she had the voice of an opera singer, and took her to see her first opera. Her great-grandfather was a virtuoso musician who signed with Victor Records in the 1890's, but no one else in her family ever listened to classical music. Which is a really interesting position to find yourself in. Most people will struggle with fighting their way to a new future even if they are surrounded by people that have the same passion as them. But find yourself in a world, where very few people understand what is going on inside you then it comes down to a huge amount of hustle muscle, and personal belief. And so she worked at her talent, found the right people to work with and a few years later sang her first classical piece, and has never looked back. But even more interesting is her refusal to do things any other way than her own, and is blending many different styles into her repertoire, even comedy with an off the wall version of “Hot Stuff” by Donna Summer. So with all the avenues in front of her to travel, how does she make the decisions that will be right for her own career, and not dilute her natural born talent? And does she embrace the hustle that it takes to build a career, or would she like to just get up there and belt them out? Well lets find out as we bring onto the show to start joining up dots and follow the words of Steve Jobs, with the one and only singing entrepreneur Elizabeth Tryon.  

Gordon looks into the work of Wilbur Sweatman, a seminal yet fairly obscure character in the history of jazz. Born near Kansas City in the late 19th century, Sweatman quickly became a virtuosic clarinetist capable of playing in a variety of styles including ragtime and classical among others. In the early 20th Century, Sweatman started his career as a Vaudeville performer, a move which would help him gain notariaty but also cause him to be panned by most jazz historians. In 1916, Sweatman makes what Dr. Vernick considers the first jazz recording in history, coming almost a year before Original Dixieland Jazz Band’s famous recording for Victor Records in 1917.

Gordon looks into the work of Wilbur Sweatman, a seminal yet fairly obscure character in the history of jazz. Born near Kansas City in the late 19th century, Sweatman quickly became a virtuosic clarinetist capable of playing in a variety of styles including ragtime and classical among others. In the early 20th Century, Sweatman started his career as a Vaudeville performer, a move which would help him gain notariaty but also cause him to be panned by most jazz historians. In 1916, Sweatman makes what Dr. Vernick considers the first jazz recording in history, coming almost a year before Original Dixieland Jazz Band’s famous recording for Victor Records in 1917.

Vaudeville entertainment for black audiences began in 1909 with an organization called TOBA. Those four letters stood for Theater Owners Bookers Association. Often called by the black entertainers who worked the TOBA circuit: Tough On Black Artists. For many of the artists, trying times to be sure. However, it was an important cog in the machine which brought black entertainment to the rural areas and large cities in the early part of the century. TOBA had more than 100 theaters operating by the end of the 1920s.Blues and Jazz were an important part of black entertainment in those early years and surely both idioms grew because of the fine caliber of the performers of that era and their ability to reach large audiences throughout most of the country.Actual recordings started being made in 1914 by Victor, Columbia and Edison though the Edison company finally bowed out of the business. In 1918, the Paramount Record Company (a subsidiary of the Wisconsin Chair Company of Port Washington) came into being primarily to make recordings for folks to play on their newly purchased record players which were made by the Chair Company. Paramount is famous today for two things....they were first to record Blind Lemon Jefferson and Ma Rainey and....they made terrible quality pressings of cheap shellac. Were it not for Paramount however, many great artists would never have been heard. Business is business.The Vaudeville Years highlights some of the dynamic female vocalists of that time, women who set the mark for all other female blues shouters to follow.John Rhys/BluePower.comHere's the music:1)...."Hand Clappin' "....Red Prysock....Mercury Records2)...."St. Louis Blues"....Bessie Smith....Columbia Records3)...."Bo Weavil Blues"....Ma Rainey....Paramount Records4)...."I'm A Mighty Tight Woman"....Sippie Wallace....Okeh (Columbia) Records5)...."T.B. Blues"....Victoria Spivey....Victor Records6)...."Coffin Blues"....Ida Cox....Paramount Records7)...."Texas Moaner Blues"....Alberta Hunter....Paramount Records8)...."Hand Clappin' "....Red Prysock....Mercury RecordsClick here to listen to....In The Beginning....The Vaudeville Years!Click here to go to....Red Hot Jazz.com_________________________________________________________________