Podcasts about When You Wish Upon a Star

Send us a textTara and EmKay are joined by Patreon Ashley Fletcher to talk all about the long history of Oz and Snow White crossing over! Rabbit holes include favorite Snow White adapations, Walt Disney's attempt to secure the rights to the Baum books to make his own Oz film, thoughts on the 2025 Snow White film, top favorite Oz and Snow White crossover moments, and so much more.Show notes:Ashley's LetterboxdThe history of Snow WhiteSnow White and the Seven Kajillion ControversiesA Rare Trip Inside Disney's Secret Animation VaultDisney's Snow White | Waiting on a Wish UnpluggedJUDY SINGS DISNEY 1964 When You Wish Upon A Star, Zip-a-Dee-Do-Dah & Someday My Prince Will Comewhy the new SNOW WHITE doesn't work | 2025 Disney film reviewI'm Wishing & Someday My Prince Will Come (1972) - Julie Andrews, Adriana CaselottiVera Bradley Wicked Collection@JoliCreates Instagram@JoliCreates Tik TokInstagram: @downtheyellowbrickpod#DownTheYBPTara: @taratagticklesEmKay: www.emilykayshrader.netPatreon: https://www.patreon.com/downtheyellowbrickpodEtsy: https://www.etsy.com/market/down_the_yellow_brick_podMusic by: Shane ChapmanEdited by: Emily Kay Shrader Down the Yellow Brick Pod: A Wizard of Oz Podcast preserving the history and legacy of Oz

In this episode of Synergy Loves Company, Eric dives into the connections between The King of Pop Michael Jackson and Disney. Starting from Michael's early days with the Jackson 5 and their cover of "Zip A Dee Doo Dah," to their appearance on Sandy in Disneyland, and Michael's solo career participation in Disneyland's 25th and 30th anniversaries. Discover how Michael's admiration for Disney influenced his life, including his performances, like "When You Wish Upon A Star," and his secret hotel suite at the Royal Plaza. Learn about Michael's ultimate Disney collaboration—the creation of Captain EO, a 3D in-park movie with George Lucas and Francis Ford Coppola, and how it became a part of Disney Parks history. The episode also covers Michael's contributions to DTV, his uncredited cameo in The Simpsons, and his continuous connection to Disney until his passing. Next time, Eric will explore the enigmatic Disney connections of Prince. Make sure to subscribe and stay tuned! Thanks for enjoying Synergy Loves Company: How Disney Connects to Everything. Check out Episode 1 of this miniseries: Madonna and Disney https://synergylovescompany.com/episode/madonna-and-disney https://www.synergylovescompany.com Donate to the show: https://ko-fi.com/synergylovescompany Youtube: https://www.youtube.com/@synergylovescompany Twitter: https://twitter.com/EricHSynergy Facebook: https://www.facebook.com/synergylovescompany Instagram and Threads :https://www.instagram.com/synergylovescompany/Read transcript

In this week's episode, Kelli tells you the popcorn buckets and souvenir sipper cups you need at Disneyland and Disney World this summer, and Chris reviews some of his favorite Easter Eggs in the movie Wish.Listen to us on your favorite podcast platform or at these links:Apple Podcasts: https://podcasts.apple.com/us/podcast/supercalifragilistic-awesome-disney-podcast/id1519529786IHeartRadio: https://www.iheart.com/podcast/269-supercalifragilistic-aweso-68324055/Spotify: https://open.spotify.com/show/7aEKXzO7tTCqZfnvJnzAPC SCFADP on Instagram: https://www.instagram.com/scfadp/SCFADP on YouTube: https://www.youtube.com/c/SuperCaliFragilisticAwesomeDisneyPodcastAll music for this episode is available through a creative commons license. The background music for the News segment was created by Kevin Macleod: Fuzzball Parade by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5044-fuzzball-paradeLicense: http://creativecommons.org/licenses/by/4.0/ For more things DISNEY (and Disney food reviews), check out our website: https://scfadp.com

Episode NotesEpisode 49:  Gene Simmons 1978 Solo AlbumIt's September, so you know what that means… we are reviewing another '78 solo album.  This year we are looking at the Demon himself, Mr. Gene Simmons. How does Gene's album compare to the previous album by Ace?  Is the album chuck full of the standard ‘Demon' songs like ‘God of Thunder', ‘Calling Dr. Love', ‘Love ‘Em Leave ‘Em', or ‘Duece'?  Or is this album a reflection of who Gene is as a person, musician, and star?  Nick, Nikko, and Rob take an in-depth look at the face of KISS, or should we say, the man of a thousand faces.  Like all the other solo albums, Gene's album was released on September 18th, 1978.After we look at the album, we will make our KISS list, and ‘The 9' will make an appearance. We will each pick three songs to compile later for a ‘best of' solo album compilation.  So, let's ‘Wish Upon a Star' at the ‘Holiday Inn' and pray we don't go ‘Burnin' Up With Fever' with ‘Mr. Make Believe'. Links:SHOW HOSThttps://right-between-the-eyes-podcast.simplecast.com/TWITTER@RBTEpodcasthttps://twitter.com/RBTEpodcast@NCarusoJrhttps://twitter.com/NCarusoJr@NikkoCarusohttps://twitter.com/NikkoCaruso@Vigilante1939  @DrummerRob10https://twitter.com/DrummerRob10FACEBOOKwww.facebook.com/RightBetweenTheEyesPodcastINSTAGRAMhttps://www.instagram.com/rightbetweentheeyespodcast/MERCHANDISEhttps://virtualmerchbooths.com/rbtepodcast/We love it loud... Right Between The Eyes!

Dù bạn là một fan cứng của Pixar, hay chỉ mới xem vài bộ phim Pixar nào đó thôi, thì chắc hẳn sẽ phải để ý đến chiếc đèn nhún nhảy khi bộ phim bắt đầu. Trái với Disney cùng mở đầu thương hiệu là đoạn nhạc không lời “When You Wish Upon A Star” với tòa lâu đài nguy nga bắn pháo bông xuất hiện hoành tráng, phần intro của Pixar lại cực kỳ đơn giản. Đơn giản một cách thông minh. Dòng chữ PIXAR in hoa xuất hiện sau phút chớp ngắn ngủi giới thiệu về xưởng phim Walt Disney và tiếng “cút kít, cút kít” bắt đầu. Đó là tiếng bật nhảy từ chiếc đèn bàn trắng, chạy từ phía bên phải. Chiếc đèn chần chừ một lúc lâu trước chữ I, nhảy lên cố đè bẹp chữ I xuống, ngó nghiêng qua ngó nghiêng lại, rồi xoay phần bóng đèn ra màn hình cho đến khi màn hình chỉ còn một màu đen bao phủ. ______________ Tìm hiểu thêm về cuốn sách Sách Tản Văn "Thư Từ Xứ Con Người" của Tác Giả House tại đây: https://shope.ee/1q77yN0r8C ______________ Cùng Spiderum hóng các cuộc hội thoại thú vị, nhiều kiến thức bổ ích trên kênh Talk Sâu tại đây nhé: https://b.link/talksau Đón xem số podcast với Uy Lê (Saigon Tếu) tại đây:    • Để biết giới hạn ...   ______________ Bài viết: Câu chuyện lịch sử đằng sau chiếc đèn bàn nhún nhảy của Pixar Được viết bởi: Vĩnh Anh Link bài viết: https://spiderum.com/bai-dang/Cau-chu... *Nguồn tham khảo ở trong link bài viết ______________ Giọng đọc: Nam Editor: Wibu ______________ Bản quyền video: Bản quyền nhạc: Youve Got a Friend in Me Toy Story Guitar If I Didnt Have You Randy Newman Fingerstyle Guitar Cover Ratatouille Le Festin Simple Guitar Our Town James Taylor Randy Newman Chapdelaine Monsters Inc Theme ______________ --- Send in a voice message: https://podcasters.spotify.com/pod/show/spiderum/message Support this podcast: https://podcasters.spotify.com/pod/show/spiderum/support

本期节目是与瑞虹天地「Live in Dreams 美梦成真」双旦活动季联合呈现的“冬日暖心特辑”的第一集，将会听到主播私藏CD中的圣诞旋律，让喜欢爵士乐和CITYPOP的你一饱耳福。- 聊天的人 -顾超（微博@天方乐谈超人，公众号“天方乐谈Intermezzo”）- 音乐 -[01:59]平井堅 - When You Wish Upon A Star[09:41]Ella Fitzgerald, Louis Armstrong - I've Got My Love To Keep Me Warm[15:18]大野雄二 - Winter Wonderland[25:27]Elvis Presley - I'll Be Home For Christmas[29:34]The Swingle Singers - The Christmas Song[34:57]Ella Fitzgerald - What Are You Doing New Year's Eve？[40:32]稲垣潤一 - クリスマスキャロルの頃には[46:45]大橋トリオ - 恋人がサンタクロース[56:26]山下達郎 - クリスマス·イブ[1:01:35]女子十二乐坊 - All I Want For Christmas Is You喜欢并希望打赏本节目的听友，请关注节目的微信公众号并在对应文章下赞赏投喂，加入「天方乐谈」听友群，请添加管理员微信号guchaodemajia。- logo设计 -五颜六色的大亮哥- 收听方式 -推荐您使用「苹果播客」、小宇宙或任意泛用型播客客户端订阅收听《天方乐谈》，也可通过喜马拉雅等app收听。- 互动方式 -节目微信公众号：天方乐谈Intermezzo听友群管理员微信号：guchaodemajia本期节目由顾超与魔都电台联合制作。

This will be a shorter episode and it is for your entertainment. I hope. This is going to be a few pieces of music that I have been working on writing the arrangements and I have recorded these songs from various groups.The first is a rendition of Hallelujah by Leonard Cohen, and this is my own arrangement performed by a choir.The second is an arrangement for the harp, played by me, and it is When You Wish Upon A Star from Disney.The third is a rendition of Scat Singing, a jazz method and this is a well-known tv theme song that I'm sure you will recognize. This is done by a small group.The 4th is a new arrangement I am working on of When I Was Seventeen, played by me on my baby grand piano.And the last piece is a version of Empty Chairs at Empty Tables, from Les Mis, performed by me again, on my baby grand. Please listen to the end of this show, as it is quite important.So please, relax, have a glass wine or other beverage of your choice, and I hope you enjoy it. 

Vem saber as novidades e curiosidades dos principais lançamentos do Disney+ Day. Tem o live-action de "Pinóquio", a série de curtas animados "Carros na Estrada" e "Thor: Amor e Trovão" estreia no streaming!

PINKIE SINGS

Hello and welcome back to ArtBeat radio!  This week's installment features lots of refreshing insight and fun facts about animals with AAW MAP Program student Jack Medved.  Jack shares a detailed interview about his favorite places to go and animals to see, as well as an in-depth informative segment on the nature of sloths.  We hope you enjoy listening!Jack: Roll the questions! Savannah: Why do you like educating people on animals?Jack: I am glad you asked! Not only have I learned about the animals and the habitats themselves, but I have also learned about the experts that know all about animals including the world's best ones: The Kraft Brothers. Also, what I am going to say is now that I have learned through books and online, educating others is very important because animals are very special and so amazing. We have to let others know and to share our knowledge to protect them. Also, another reason bioinspiration which means inspiration from biodiversity. Scientists get ideas from how nature does things. In my animal stories I share important lessons and share what their stories are really all about. You could say I am a genius. Savannah: Jack, how long have you been teaching people about animals?Jack: That isn't even a question you have to ask! The thing is, I have always been teaching people about animals because that's what makes me, me. *omitting part about place of residence*Jack: You could say that I am really great at drawing animals and taking photos as well. My mom has an Instagram here as well. But, there is also one thing here- not only am I good at those things, but taking advice is important as well. After all, all animals are special. Another thing is, it is not always easy to make animals understand us because we can't speak their languages or use their powers of course. Not only can you learn very good things here, but you could say I always go about discovering stuff. Adventurous, brave, and curious, that's me!Savannah: Jack, do you have a favorite place where you like to learn about animals, such as the San Diego Zoo? Jack: I know a lot of places. I go to the San Diego Zoo a lot and SeaWorld among other places. But, everyone has to be educated when it comes to taking care of animals and protecting their habitats. Now do you understand? I am frequently right and true. But, it's because I like to take action because it is the only way to know if your heart is in the right place. Instincts and being gifted- talk about a blessing! Savannah: Do you have any hopes or dreams for the future that you would like to share?Jack: Hopes or dreams? A lot! When it comes to adventures or things to add to my collections or my drawings. But also, it's like the song “When You Wish Upon A Star”. That always reminds me of things. I do have a good memory. You could say I am pretty smart and all. I am protective and caring. Of course, when it comes to knowledge and it comes to me, I can do anything because I always believe in myself. Savannah: Is there anyone who you would like to thank?Jack: Well, my friend that's a funny thing! You see, I am kind of beautiful in my own way. I can come up with ways to do certain things when it comes to answers for that. I thank my self instincts and my heart. I think I have good friends here. This taught me that even the most difficult of us has a fighting chance! When it comes to taking care of the world and protecting it, that shows how special Jack is! Now that you have got all of the questions out, that makes for a happy ending! Please email sandiego@ableartswork.org for the full transcription. 

Enjoy the sounds of Disneyland at opening from the opening park announcements to the sounds of Main Street Vehicles. This recording only proves that I have a lot to improve upon, but there are some good moments here. After meandering around Town Square, we'll head right down the middle of Main Street USA and through Sleeping Beauty Castle's entrance to Fantasyland.Audio recorded on 1/30/22 at 8:00am.As always, headphones are highly recommended.

Things get FREAKY this episode as we ride a shooting star all the way to an alternate universe where Miley doesn't exist, Roxy is an angel, and Lilly drinks lime water. We are joined by our pal Mike this episode, who brought weed. Thanks Mike! Off-topic diversions this episode may include: Full House, Jodie Foster, and Dexter's Laboratory. Follow us (@sweetnibletspod) on Instagram and Twitter for updates!

WHEN YOU WISH UPON A STAR... This week we are poking our elongated noses back into the wonderful world of Walt Disney animated classics. 1940's Pinocchio is the pick, so we'll be covering all the classics: "When You Wish Upon a Star", "I Got No Strings", "Hi-Diddle-Dee-Dee" ...and also some other less notable songs. Dietrich wants to be watching a fireworks display, Alex definitely prefers Flamingo Land to Pleasure Island and Ben's mind goes completely blank. Follow us on Twitter: @TSFTMpod As Honest John always says "Like, share and subscribe". Please consider leaving us a rating and review if you are enjoying the show. It means a great deal to us and makes it easier for other potential listeners to find us. Want to support us further? You can do this on Patreon from as little as £1 ($1.50) a month: https://www.patreon.com/TSFTM Thank you!

「完全八度」聽起來只是同一個音符， 同時演奏可增加厚度， 但其中可能隱藏著更多關於「尋找自我」的想像？ . 八度之間蘊含著許多音符， 選擇看似有限，其實能轉化成千千萬萬種旋律—— 在本週討論了許多關於「自由」的定義與思辨後， 讓我們一起尋找音樂裡「看似有限、實則無限」的答案吧！ . 【本集重點】 ＊台灣人都認識的垃圾車少女，也是用「八度」來做祈禱的起手式？（愛麗絲表示抗議⋯XD） ＊手太小，彈八度很吃力該怎麼辦？ ＊《亂世佳人》壯闊的愛情史詩格局，八度音功不可沒？ ＊《獅子王》開場曲「Circle of Life」氣勢如何堆砌？ ＊沒有八度音，《風之谷》的娜烏西卡就沒辦法飛翔？ ＊跟著下行八度，一起來淋一場浪漫的雨吧！ ＊配樂大師John Williams生涯大難題，竟是《第三類接觸》區區五個音的主題？ ＊《木偶奇遇記》名曲「When You Wish Upon A Star」，讓仙女下凡吧！ ＊《綠野仙蹤》經典「Over The Rainbow」，也像一段尋找家與自我的奇幻旅程？ ＊你是否也能創造屬於自己的人生主題旋律呢？ ＊放閃創作微發表「直到永遠」 . ※註：本集提到關於佛洛伊德「本我、自我、超我」的理論與音程的關係，未來將有更深入的觀察描述，敬請期待！ . 【延伸聆聽】 以上曲目可以自行查詢。 EDFU 傅冠豪《愛。琴。海 鋼琴創作集》Edmund.Fu 『Love。Piano。Ocean』（購買連結）

Sehr schade, aber wahr: Wir schicken die wunderbare Carol Schuler zum Henker. Da wir nett sind, lassen wir sie vorher noch eine kulturelle Henkersmahlzeit zusammenstellen. Mit von der Prä-Schafott-Partie sind ein Kloster, Grillen-Leichen und die Absetzung von Potentaten. Passend zur Mahlzeit empfiehlt sich: - "When You Wish Upon A Star" aus Disneys "Pinocchio" von 1940, gesungen von Cliff Edwards - "The Piano Has Been Drinking (Not Me)" von Tom Waits - "La Dolce Vita Dei Nobili" aus Fellinis "Dolce Vita", geschrieben von Nino Rota - "Csárdás" von Vittorio Monti - "Le Dernier Repas" von Jacques Brel

¡Suban el volumen! Diana Su los invita a un recorrido por las 14 canciones originales de Disney que han ganado el Oscar. Empezamos en la década de 1940 y terminamos en el año 2018. ¿Recuerdan todas?

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode ninety-nine, is on “Surfin’ Safari” by the Beach Boys, and the group’s roots in LA, and is fifty minutes long. 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 “Misirlou” by Dick Dale and the Deltones. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-three years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. The Beach Boys: Inception and Creation is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. The Surfin’ Safari album is now in the public domain, and so can be found cheaply, but the best version to get is still the twofer CD with the Surfin’ USA album. *But*, those two albums are fairly weak, the Beach Boys in their early years were not really an album band, and you will want to investigate them further. I would recommend, rather than the two albums linked above, starting with this budget-priced three-CD set, which has a surprisingly good selection of their material on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, there are going to be two podcast episodes. This one, episode ninety-nine, will be a normal-length episode, or maybe slightly longer than normal, and episode one hundred, which will follow straight after it, will be a super-length one that’s at least three times the normal length of one of these podcasts. I’m releasing them together, because the two episodes really do go together. We’ve talked recently about how we’re getting into the sixties of the popular imagination, and those 1960s began, specifically, in October 1962. That was the month of the Cuban Missile Crisis, which saw the world almost end. It was the month that James Brown released Live at the Apollo — an album we’ll talk about in a few weeks’ time. And if you want one specific date that the 1960s started, it was October the fifth, 1962. On that date, a film came out that we mentioned last week — Doctor No, the first ever James Bond film. It was also the date that two records were released on EMI in Britain. One was a new release by a British band, the other a record originally released a few months earlier in the USA, by an American band. Both bands had previously released records on much smaller labels, to no success other than very locally, but this was their first to be released on a major label, and had a slightly different lineup from those earlier releases. Both bands would influence each other, and go on to be the most successful band from their respective country in the next decade. Both bands would revolutionise popular music. And the two bands would even be filed next to each other alphabetically, both starting “the Bea”. In episode one hundred, we’re going to look at “Love Me Do” by the Beatles, but right now, in episode ninety-nine, we’re going to look at “Surfin’ Safari” by the Beach Boys: [Excerpt: The Beach Boys, “Surfin’ Safari”] Before I start this story properly, I just want to say something — there are a lot of different accounts of the formation of the Beach Boys, and those accounts are all different. What I’ve tried to do here is take one plausible account of how the group formed and tell it in a reasonable length of time. If you read the books I link in the show notes, you might find some disagreements about the precise order of some of these events, or some details I’ve glossed over. This episode is already running long, and I didn’t want to get into that stuff, but it’s important that I stress that this is just as accurate as I can get in the length of an episode. The Beach Boys really were boys when they made their first records. David Marks, their youngest member, was only thirteen when “Surfin’ Safari” came out, and Mike Love, the group’s oldest member, was twenty-one.  So, as you might imagine when we’re talking about children, the story really starts with the older generation. In particular, we want to start with Hite and Dorinda Morgan. The Morgans were part-time music business people in Los Angeles in the fifties. Hite Morgan owned an industrial flooring company, and that was his main source of income — putting in floors at warehouses and factories that could withstand the particular stresses that such industrial sites faced. But while that work was hard, it was well-paying and didn’t take too much time. The company would take on two or three expensive jobs a year, and for the rest of the year Hite would have the money and time to help his wife with her work as a songwriter. She’d collaborated with Spade Cooley, one of the most famous Western Swing musicians of the forties, and she’d also co-written “Don’t Put All Your Dreams in One Basket” for Ray Charles in 1948: [Excerpt: Ray Charles, “Don’t Put All Your Dreams in One Basket”] Hite and Dorinda’s son, Bruce, was also a songwriter, though I’ve seen some claims that often the songs credited to him were actually written by his mother, who gave him credits in order to encourage him. One of Bruce Morgan’s earliest songs was a piece called “Proverb Boogie”, which was actually credited under his father’s name, and which Louis Jordan retitled to “Heed My Warning” and took a co-writing credit on: [Excerpt: Louis Jordan, “Heed My Warning”] Eventually the Morgans also started their own publishing company, and built their own small demo studio, which they used to use to record cheap demos for many other songwriters and performers. The Morgans were only very minor players in the music industry, but they were friendly with many of the big names on the LA R&B scene, and knew people like John Dolphin, Bumps Blackwell, Sam Cooke, and the Hollywood Flames. Bruce Morgan would talk in interviews about Bumps Blackwell calling round to see his father and telling him about this new song “You Send Me” he was going to record with Cooke. But although nobody could have realised it at the time, or for many years later, the Morgans’ place in music history would be cemented in 1952, when Hite Morgan, working at his day job, met a man named Murry Wilson, who ran a machine-tool company based in Hawthorne, a small town in southwestern Los Angeles County. It turned out that Wilson, like Dorinda Morgan, was an aspiring songwriter, and Hite Morgan signed him up to their publishing company, Guild Music. Wilson’s tastes in music were already becoming old-fashioned even in the very early 1950s, but given the style of music he was working in he was a moderately talented writer. His proudest moment was writing a song called “Two Step Side Step” for the Morgans, which was performed on TV by Lawrence Welk — Murry gathered the whole family round the television to watch his song being performed.  That song was a moderate success – it was never a hit for anyone, but it was recorded by several country artists, including the rockabilly singer Bonnie Lou, and most interestingly for our purposes by Johnny Lee Wills, Bob Wills’ brother: [Excerpt: Johnny Lee Wills, “Two Step Side Step”] Wilson wrote a few other songs for the Morgans, of which the most successful was “Tabarin”, which was recorded by the Tangiers — one of the several names under which the Hollywood Flames performed. Gaynel Hodge would later speak fondly of Murry Wilson, and how he was always bragging about his talented kids: [Excerpt: The Tangiers, “Tabarin”] But as the fifties progressed, the Morgans published fewer and fewer of Wilson’s songs, and none of them were hits. But the Morgans and Wilson stayed in touch, and around 1958 he heard from them about an opportunity for one of those talented kids. Dorinda Morgan had written a song called “Chapel of Love” — not the same song as the famous one by the Dixie Cups — and Art Laboe had decided that that song would be perfect as the first record for his new label, Original Sound. Laboe was putting together a new group to sing it, called the Hitmakers, which was based around Val Poliuto. Poliuto had been the tenor singer of an integrated vocal group — two Black members, one white, and one Hispanic — which had gone by the names The Shadows and The Miracles before dismissing both names as being unlikely to lead to any success and taking the name The Jaguars at the suggestion of, of all people, Stan Freberg, the comedian and voice actor. The Jaguars had never had much commercial success, but they’d recorded a version of “The Way You Look Tonight” which became a classic when Laboe included it on the massively successful “Oldies But Goodies”, the first doo-wop nostalgia album: [Excerpt: The Jaguars, “The Way You Look Tonight”] The Jaguars continued for many years, and at one point had Richard Berry guest as an extra vocalist on some of their tracks, but as with so many of the LA vocal groups we’ve looked at from the fifties, they all had their fingers in multiple pies, and so Poliuto was to be in this new group, along with Bobby Adams of the Calvanes, who had been taught to sing R&B by Cornell Gunter and who had recorded for Dootsie Williams: [Excerpt: The Calvanes, “Crazy Over You”] Those two were to be joined by two other singers, who nobody involved can remember much about except that their first names were Don and Duke, but Art Laboe also wanted a new young singer to sing the lead, and was auditioning singers. Murry Wilson suggested to the Morgans that his young son Brian might be suitable for the role, and he auditioned, but Laboe thought he was too young, and the role went to a singer called Rodney Goodens instead: [Excerpt: The Hitmakers, “Chapel of Love”] So the audition was a failure, but it was a first contact between Brian Wilson and the Morgans, and also introduced Brian to Val Poliuto, from whom he would learn a lot about music for the next few years. Brian was a very sensitive kid, the oldest of three brothers, and someone who seemed to have some difficulty dealing with other people — possibly because his father was abusive towards him and his brothers, leaving him frightened of many aspects of life. He did, though, share with his father a love of music, and he had a remarkable ear — singular, as he’s deaf in one ear. He had perfect pitch, a great recollection for melodies — play him something once and it would stay in his brain — and from a very young age he gravitated towards sweet-sounding music. He particularly loved Glenn Miller’s version of “Rhapsody in Blue” as a child: [Excerpt: The Glenn Miller Orchestra, “Rhapsody in Blue”] But his big musical love was a modern harmony group called the Four Freshmen — a group made up of two brothers, their cousin, and a college friend. Modern harmony is an outdated term, but it basically meant that they were singing chords that went beyond the normal simple triads of most pop music. While there were four, obviously, of the Four Freshmen, they often achieved an effect that would normally be five-part harmony, by having the group members sing all the parts of the chord *except* the root note — they’d leave the root note to a bass instrument. So while Brian was listening to four singers, he was learning five-part harmonies. The group would also sing their harmonies in unusual inversions — they’d take one of the notes from the middle of the chord and sing it an octave lower. There was another trick that the Four Freshmen used — they varied their vocals from equal temperament.  To explain this a little bit — musical notes are based on frequencies, and the ratio between them matters. If you double the frequency of a note, you get the same note an octave up — so if you take an A at 440hz, and double the frequency to 880, you get another A, an octave up. If you go down to 220hz, you get the A an octave below. You get all the different notes by multiplying or dividing a note, so A# is A multiplied by a tiny bit more than one, and A flat is A multiplied by a tiny bit less than one. But in the middle ages, this hit a snag — A#. which is A multiplied by one and a bit, is very very slightly different from B flat, which is B multiplied by 0.9 something. And if you double those, so you go to the A# and B flat the next octave up, the difference between A# and B flat gets bigger. And this means that if you play a melody in the key of C, but then decide you want to play it in the key of B flat, you need to retune your instrument — or have instruments with separate notes for A# and B flat — or everything will sound out of tune. It’s very very hard to retune some instruments, especially ones like the piano, and also sometimes you want to play in different keys in the same piece. If you’re playing a song in C, but it goes into C# in the last chorus to give it a bit of extra momentum, you lose that extra momentum if you stop the song to retune the piano. So a different system was invented, and popularised in the Baroque era, called “equal temperament”. In that system, every note is very very slightly out of tune, but those tiny errors cancel out rather than multiply like they do in the old system. You’re sort of taking the average of A# and B flat, and calling them the same note. And to most people’s ears that sounds good enough, and it means you can have a piano without a thousand keys.  But the Four Freshmen didn’t stick to that — because you don’t need to retune your throat to hit different notes (unless you’re as bad a singer as me, anyway). They would sing B flat slightly differently than they would sing A#, and so they would get a purer vocal blend, with stronger harmonic overtones than singers who were singing the notes as placed on a piano: [Excerpt: the Four Freshmen, “It’s a Blue World”] Please note by the way that I’m taking the fact that they used those non-equal temperaments somewhat on trust — Ross Barbour of the group said they did in interviews, and he would know, but I have relatively poor pitch so if you listened to that and thought “Hang on, they’re all singing dead-on equal tempered concert pitch, what’s he talking about?”, then that’s on him. When Brian heard them singing, he instantly fell for them, and became a major, major fan of their work, especially their falsetto singer Bob Flanigan, whose voice he decided to emulate. He decided that he was going to learn how they got that sound. Every day when he got home from school, he would go to the family’s music room, where he had a piano and a record player. He would then play just a second or so of one of their records, and figure out on the piano what notes they were singing in that one second, and duplicating them himself. Then he would learn the next second of the song. He would spend hours every day on this, learning every vocal part, until he had the Four Freshmen’s entire repertoire burned into his brain, and could sing all four vocal parts to every song. Indeed, at one point when he was about sixteen — around the same time as the Art Laboe audition — Brian decided to go and visit the Four Freshmen’s manager, to find out how to form a successful vocal group of his own, and to find out more about the group themselves. After telling the manager that he could sing every part of every one of their songs, the manager challenged him with “The Day Isn’t Long Enough”, a song that they apparently had trouble with: [Excerpt: The Four Freshmen, “The Day Isn’t Long Enough”] And Brian demonstrated every harmony part perfectly. He had a couple of tape recorders at home, and he would experiment with overdubbing his own voice — recording on one tape recorder, playing it back and singing along while recording on the other. Doing this he could do his own imitations of the Four Freshmen, and even as a teenager he could sound spookily like them: [Excerpt: The Beach Boys [Brian Wilson solo recording released on a Beach Boys CD], “Happy Birthday Four Freshmen”] While Brian shared his love for this kind of sweet music with his father, he also liked the rock and roll music that was making its way onto the radio during his teen years — though again, he would gravitate towards the sweet vocal harmonies of the Everly Brothers rather than to more raucous music. He shared his love of the Everlys with his cousin Mike Love, whose tastes otherwise went more in the direction of R&B and doo-wop. Unlike Brian and his brothers, Mike attended Dorsey High School, a predominantly Black school, and his tastes were shaped by that — other graduates of the school include Billy Preston, Eric Dolphy, and Arthur Lee, to give some idea of the kind of atmosphere that Dorsey High had. He loved the Robins, and later the Coasters, and he’s been quoted as saying he “worshipped” Johnny Otis — as did every R&B lover in LA at the time. He would listen to Otis’ show on KFOX, and to Huggy Boy on KRKD. His favourite records were things like “Smokey Joe’s Cafe” by the Robins, which combined an R&B groove with witty lyrics: [Excerpt: The Robins, “Smokey Joe’s Cafe”] He also loved the music of Chuck Berry, a passion he shared with Brian’s youngest brother Carl, who also listened to Otis’ show and got Brian listening to it. While Mike was most attracted to Berry’s witty lyrics, Carl loved the guitar part — he’d loved string instruments since he was a tiny child, and he and a neighbour, David Marks, started taking guitar lessons from another neighbour, John Maus. Maus had been friends with Ritchie Valens, and had been a pallbearer at Valens’ funeral. John was recording at the time with his sister Judy, as the imaginatively-named duo “John & Judy”: [Excerpt: John & Judy, “Why This Feeling?”] John and Judy later took on a bass player called Scott Engel, and a few years after that John and Scott changed their surnames to Walker and became two thirds of The Walker Brothers. But at this time, John was still just a local guitar player, and teaching two enthusiastic kids to play guitar. Carl and David learned how to play Chuck Berry licks, and also started to learn some of the guitar instrumentals that were becoming popular at the time. At the same time, Mike would sing with Brian to pass the time, Mike singing in a bass voice while Brian took a high tenor lead. Other times, Brian would test his vocal arranging out by teaching Carl and his mother Audree vocal parts — Carl got so he could learn parts very quickly, so his big brother wouldn’t keep him around all day and he could go out and play. And sometimes their middle brother Dennis would join in — though he was more interested in going out and having fun at the beach than he was in making music. Brian was interested in nothing *but* making music — at least once he’d quit the school football team (American football, for those of you like me who parse the word to mean what it does in Britain), after he’d got hurt for the first time. But before he did that, he had managed to hurt someone else — a much smaller teammate named Alan Jardine, whose leg Brian broke in a game. Despite that, the two became friends, and would occasionally sing together — like Brian, Alan loved to sing harmonies, and they found that they had an extraordinarily good vocal blend. While Brian mostly sang with his brothers and his cousin, all of whom had a family vocal resemblance, Jardine could sound spookily similar to that family, and especially to Brian. Jardine’s voice was a little stronger and more resonant, Brian’s a little sweeter, with a fuller falsetto, but they had the kind of vocal similarity one normally only gets in family singers. However,  they didn’t start performing together properly, because they had different tastes in music — while Brian was most interested in the modern jazz harmonies of the Four Freshman, Jardine was a fan of the new folk revival groups, especially the Kingston Trio. Alan had a group called the Tikis when he was at high school, which would play Kingston Trio style material like “The Wreck of the John B”, a song that like much of the Kingston Trio’s material had been popularised by the Weavers, but which the Trio had recorded for their first album: [Excerpt: The Kingston Trio, “The Wreck of the John B”] Jardine was inspired by that to write his own song, “The Wreck of the Hesperus”, putting Longfellow’s poem to music. One of the other Tikis had a tape recorder, and they made a few stabs at recording it. They thought that they sounded pretty good, and they decided to go round to Brian Wilson’s house to see if he could help them — depending on who you ask, they either wanted him to join the band, or knew that his dad had some connection with the music business and wanted to pick his brains. When they turned up, Brian was actually out, but Audree Wilson basically had an open-door policy for local teenagers, and she told the boys about Hite and Dorinda Morgan. The Tikis took their tape to the Morgans, and the Morgans responded politely, saying that they did sound good — but they sounded like the Kingston Trio, and there were a million groups that sounded like the Kingston Trio. They needed to get an original sound. The Tikis broke up, as Alan went off to Michigan to college. But then a year later, he came back to Hawthorne and enrolled in the same community college that Brian was enrolled in. Meanwhile, the Morgans had got in touch with Gary Winfrey, Alan’s Tikis bandmate, and asked him if the Tikis would record a demo of one of Bruce Morgan’s songs. As the Tikis no longer existed, Alan and Gary formed a new group along the same lines, and invited Brian to be part of one of these sessions. That group, The Islanders made a couple of attempts at Morgan’s song, but nothing worked out. But this brought Brian back to the Morgans’ attention — at this point they’d not seen him in three years. Alan still wanted to record folk music with Brian, and at some point Brian suggested that they get his brother Carl and cousin Mike involved — and then Brian’s mother made him let his other brother Dennis join in.  The group went to see the Morgans, who once again told them that they needed some original material. Dennis piped up that the group had been fooling around with a song about surfing, and while the Morgans had never heard of the sport, they said it would be worth the group’s while finishing off the song and coming back to them. At this point, the idea of a song about surfing was something that was only in Dennis’ head, though he may have mentioned the idea to Mike at some point. Mike and the Wilsons went home and started working out the song, without Al being involved at this time — some of the rehearsal recordings we have seem to suggest that they thought Al was a little overbearing and thought of himself as a bit more professional than the others, and they didn’t want him in the group at first. While surf music was definitely already a thing, there were very few vocal surf records. Brian and Mike wrote the song together, with Mike writing most of the lyrics and coming up with his own bass vocal line, while Brian wrote the rest of the music: [Excerpt: The Beach Boys, “Surfin’ (Rehearsal)”] None of the group other than Dennis surfed — though Mike would later start surfing a little — and so Dennis provided Mike with some surfing terms that they could add into the song. This led to what would be the first of many, many arguments about songwriting credit among the group, as Dennis claimed that he should get some credit for his contribution, while Mike disagreed: [Excerpt: The Beach Boys, “Surfin’ (Rehearsal)”] The credit was eventually assigned to Brian Wilson and Mike Love. Eventually, they finished the song, and decided that they *would* get Al Jardine back into the group after all. When Murry and Audree Wilson went away for a long weekend and left their boys some money for emergencies, the group saw their chance. They took that money, along with some more they borrowed from Al’s mother, and rented some instruments — a drum kit and a stand-up bass. They had a party at the Wilsons’ house where they played their new song and a few others, in front of their friends, before going back to the Morgans with their new song completed. For their recording session, they used that stand-up bass, which Al played, along with Carl on an acoustic guitar, giving it that Kingston Trio sound that Al liked. Dennis was the group’s drummer, but he wasn’t yet very good and instead of drums the record has Brian thumping a dustbin lid as its percussion. As well as being the lead vocalist, Mike Love was meant to be the group’s saxophone player, but he never progressed more than honking out a couple of notes, and he doesn’t play on the session. The song they came up with was oddly structured — it had a nine-bar verse and a fourteen-bar chorus, the latter of which was based around a twelve-bar blues, but extended to allow the “surf, surf with me” hook. But other than the unusual bar counts it followed the structure that the group would set up most of their early singles. The song seems at least in part to have been inspired by the song “Bermuda Shorts” by the Delroys, which is a song the group have often cited and would play in their earliest live shows: [Excerpt: The Delroys, “Bermuda Shorts”] They messed around with the structure in various ways in rehearsal, and those can be heard on the rehearsal recordings, but by the time they came into the studio they’d settled on starting with a brief statement of the chorus hook: [Excerpt: The Beach Boys, “Surfin'”] It then goes into a verse with Mike singing a tenor lead, with the rest of the group doing block harmonies and then joining him on the last line of the verse: [Excerpt: The Beach Boys, “Surfin'”] And then we have Mike switching down into the bass register to sing wordless doo-wop bass during the blues-based chorus, while the rest of the group again sing in block harmony: [Excerpt: The Beach Boys, “Surfin'”] That formula would be the one that the Beach Boys would stick with for several singles to follow — the major change that would be made would be that Brian would soon start singing an independent falsetto line over the top of the choruses, rather than being in the block harmonies.  The single was licensed to Candix Records, along with a B-side written by Bruce Morgan, and it became a minor hit record, reaching number seventy-five on the national charts. But what surprised the group about the record was the name on it. They’d been calling themselves the Pendletones, because there was a brand of thick woollen shirt called Pendletons which was popular among surfers, and which the group wore.  It might also have been intended as a pun on Dick Dale’s Deltones, the preeminent surf music group of the time. But Hite Morgan had thought the name didn’t work, and they needed something that was more descriptive of the music they were doing. He’d suggested The Surfers, but Russ Regan, a record promoter, had told him there was already a group called the Surfers, and suggested another name. So the first time the Wilsons realised they were now in the Beach Boys was when they saw the record label for the first time. The group started working on follow-ups — and as they were now performing live shows to promote their records, they switched to using electric guitars when they went into the studio to record some demos in February 1962. By now, Al was playing rhythm guitar, while Brian took over on bass, now playing a bass guitar rather than the double bass Al had played. For that session, as Dennis was still not that great a drummer, Brian decided to bring in a session player, and Dennis stormed out of the studio. However, the session player was apparently flashy and overplayed, and got paid off. Brian persuaded Dennis to come back and take over on drums again, and the session resumed. Val Poliuto was also at the session, in case they needed some keyboards, but he’s not audible on any of the tracks they recorded, at least to my ears. The most likely song for a follow-up was another one by Brian and Mike. This one was very much a rewrite of “Surfin'”, but this time the verses were a more normal eight bars, and the choruses were a compromise between the standard twelve-bar blues and “Surfin'”s fourteen, landing on an unusual thirteen bars. With the electric guitars the group decided to bring in a Chuck Berry influence, and you can hear a certain similarity to songs like “Brown-Eyed Handsome Man” in the rhythm and phrasing: [Excerpt: The Beach Boys, “Surfin’ Safari [early version]”] Around this time, Brian also wrote another song — the song he generally describes as being the first song he ever wrote. Presumably, given that he’d already co-written “Surfin'”, he means that it was the first song he wrote on his own, words and music. The song was inspired, melodically, by the song “When You Wish Upon A Star” from the Disney film Pinocchio: [Excerpt: Cliff Edwards “When You Wish Upon a Star”] The song came to Brian in the car, and he challenged himself to write the whole thing in his head without going to the piano until he’d finished it. The result was a doo-wop ballad with Four Freshmen-like block harmonies, with lyrics inspired by Brian’s then girlfriend Judy Bowles, which they recorded at the same session as that version of “Surfin’ Safari”: [Excerpt: The Beach Boys, “Surfer Girl [early version]”] At the same session, they also recorded two more songs — a song by Brian called Judy, and a surf instrumental written by Carl called “Karate”. However, shortly after that session, Al left the group. As the group had started playing electric instruments, they’d also started performing songs that were more suitable for those instruments, like “What’d I Say” and “The Twist”. Al wasn’t a fan of that kind of music, and he wanted to be singing “Tom Dooley” and “Wreck of the John B”, not “Come on baby, let’s do the Twist”. He was also quite keen on completing his university studies — he was planning on becoming a dentist — and didn’t want to spend time playing tons of small gigs when he could be working towards his degree. This was especially the case since Murry Wilson, who had by this point installed himself as the group’s manager, was booking them on all sorts of cheap dates to get them exposure. As far as Al could see, being a Beach Boy was never going to make anyone any real money, and it wasn’t worth disrupting his studies to keep playing music that he didn’t even particularly like. His place was taken by David Marks, Carl’s young friend who lived nearby. Marks was only thirteen when he joined, and apparently it caused raised eyebrows among some of the other musicians who knew the group, because he was so much younger and less experienced than the rest. Unlike Al, he was never much of a singer — he can hold a tune, and has a pleasant enough voice, but he wasn’t the exceptional harmony singer that Al was — but he was a competent rhythm player, and he and Carl had been jamming together since they’d both got guitars, and knew each other’s playing style. However, while Al was gone from the group, he wasn’t totally out of the picture, and he remained close enough that he was a part of the first ever Beach Boys spin-off side project a couple of months later. Dorinda Morgan had written a song inspired by the new children’s doll, Barbie, that had come out a couple of years before and which, like the Beach Boys, was from Hawthorne. She wanted to put together a studio group to record it, under the name Kenny and the Cadets, and Brian rounded up Carl, Al, Val Poliuto, and his mother Audree, to sing on the record for Mrs Morgan: [Excerpt: Kenny and the Cadets, “Barbie”] But after that, Al Jardine was out of the group for the moment — though he would be back sooner than anyone expected. Shortly after Al left, the new lineup went into a different studio, Western Studios, to record a new demo. Ostensibly produced by Murry Wilson, the session was actually produced by Brian and his new friend Gary Usher, who took charge in the studio and spent most of his time trying to stop Murry interfering. Gary Usher is someone about whom several books have been written, and who would have a huge influence on West Coast music in the sixties. But at this point he was an aspiring singer, songwriter, and record producer, who had been making records for a few months longer than Brian and was therefore a veteran. He’d put out his first single, “Driven Insane”, in March 1961: [Excerpt: Gary Usher, “Driven Insane”] Usher was still far from a success, but he was very good at networking, and had all sorts of minor connections within the music business. As one example, his girlfriend, Sandra Glanz, who performed under the name Ginger Blake, had just written “You Are My Answer” for Carol Connors, who had been the lead singer of the Teddy Bears but was now going solo: [Excerpt: Carol Connors, “You Are My Answer”] Connors, too, would soon become important in vocal surf music, while Ginger would play a significant part in Brian’s life. Brian had started writing songs with Gary, and they were in the studio to record some demos by Gary, and some demos by the Beach Boys of songs that Brian and Gary had written together, along with a new version of “Surfin’ Safari”. Of the two Wilson/Usher songs recorded in the session, one was a slow doo-wop styled ballad called “The Lonely Sea”, which would later become an album track, but the song that they were most interested in recording was one called “409”, which had been inspired by a new, larger, engine that Chevrolet had introduced for top-of-the-line vehicles. Musically, “409” was another song that followed the “Surfin’ Safari” formula, but it was regularised even more, lopping off the extra bar from “Surfin’ Safari”‘s chorus, and making the verses as well as the choruses into twelve-bar blues. But it still started with the hook, still had Mike sing his tenor lead in the verses, and still had him move to sing a boogie-ish bassline in the chorus while the rest of the group chanted in block harmonies over the top. But it introduced a new lyrical theme to the group — now, as well as singing about surfing and the beach, they could also sing about cars and car racing — Love credits this as being one of the main reasons for the group’s success in landlocked areas, because while there were many places in the US where you couldn’t surf, there was nowhere where people didn’t have cars. It’s also the earliest Beach Boys song over which there is an ongoing question of credit. For the first thirty years of the song’s existence, it was credited solely to Wilson and Usher, but in the early nineties Love won a share of the songwriting credit in a lawsuit in which he won credit on many, many songs he’d not been credited for. Love claims that he came up with the “She’s real fine, my 409” hook, and the “giddy up” bass vocal he sang. Usher always claimed that Love had nothing to do with the song, and that Love was always trying to take credit for things he didn’t do. It’s difficult to tell who was telling the truth, because both obviously had a financial stake in the credit (though Usher was dead by the time of the lawsuit). Usher was always very dismissive of all of the Beach Boys with the exception of Brian, and wouldn’t credit them for making any real contributions, Love’s name was definitely missed off the credits of a large number of songs to which he did make substantial contributions, including some where he wrote the whole lyric, and the bits of the song Love claims *do* sound like the kind of thing he contributed to other songs which have no credit disputes. On the other hand, Love also overreached in his claims of credit in that lawsuit, claiming to have co-written songs that were written when he wasn’t even in the same country as the writers. Where you stand on the question of whether Love deserves that credit usually depends on your views of Wilson, Love and Usher as people, and it’s not a question I’m going to get into, but I thought I should acknowledge that the question is there. While “409” was still following the same pattern as the other songs, it’s head and shoulders ahead of the Hite Morgan productions both in terms of performance and in terms of the sound. A great deal of that clearly owes to Usher, who was experimenting with things like sound effects, and so “409” starts with a recording that Brian and Usher made of Usher’s car driving up and down the street: [Excerpt: The Beach Boys, “409”] Meanwhile the new version of “Surfin’ Safari” was vastly superior to the recording from a couple of months earlier, with changed lyrics and a tighter performance: [Excerpt: The Beach Boys, “Surfin’ Safari (second version)”] So at the end of the session, the group had a tape of three new songs, and Murry WIlson wanted them to take it somewhere better than Candix Records. He had a contact somewhere much better — at Capitol Records. He was going to phone Ken Nelson. Or at least, Murry *thought* he had a contact at Capitol. He phoned Ken Nelson and told him “Years ago, you did me a favour, and now I’m doing one for you. My sons have formed a group and you have the chance to sign them!” Now, setting aside the question of whether that would actually count as Murry doing Nelson a favour, there was another problem with this — Nelson had absolutely no idea who Murry Wilson was, and no recollection of ever doing him a favour. It turned out that the favour he’d done, in Murry’s eyes, was recording one of Murry’s songs — except that there’s no record of Nelson ever having been involved in a recording of a Murry Wilson song. By this time, Capitol had three A&R people, in charge of different areas. There was Voyle Gilmore, who recorded soft pop — people like Nat “King” Cole. There was Nelson, who as we’ve seen in past episodes had some rockabilly experience but was mostly country — he’d produced Gene Vincent and Wanda Jackson, but he was mostly working at this point with people like Buck Owens and the Louvin Brothers, producing some of the best country music ever recorded, but not really doing the kind of thing that the Beach Boys were doing. But the third, and youngest, A&R man was doing precisely the kind of thing the Beach Boys did. That was Nik Venet, who we met back in the episode on “LSD-25”, and who was one of the people who had been involved with the very first surf music recordings. Nelson suggested that Murry go and see Venet, and Venet was immediately impressed with the tape Murry played him — so impressed that he decided to offer the group a contract, and to release “Surfin’ Safari” backed with “409”, buying the masters from Murry rather than rerecording them. Venet also tried to get the publishing rights for the songs for Beechwood Music, a publishing company owned by Capitol’s parent company EMI (and known in the UK as Ardmore & Beechwood) but Gary Usher, who knew a bit about the business, said that he and Brian were going to set up their own publishing companies — a decision which Murry Wilson screamed at him for, but which made millions of dollars for Brian over the next few years. The single came out, and was a big hit, making number fourteen on the hot one hundred, and “409” as the B-side also scraped the lower reaches of the charts. Venet soon got the group into the studio to record an album to go with the single, with Usher adding extra backing vocals to fill out the harmonies in the absence of Al Jardine. While the Beach Boys were a self-contained group, Venet seems to have brought in his old friend Derry Weaver to add extra guitar, notably on Weaver’s song “Moon Dawg”: [Excerpt: The Beach Boys, “Moon Dawg”] It’s perhaps unsurprising that the Beach Boys recorded that, because not only was it written by Venet’s friend, but Venet owned the publishing on the song. The group also recorded “Summertime Blues”, which was co-written by Jerry Capehart, a friend of Venet and Weaver’s who also may have appeared on the album in some capacity. Both those songs fit the group, but their choice was clearly influenced by factors other than the purely musical, and very soon Brian Wilson would get sick of having his music interfered with by Venet.  The album came out on October 1, and a few days later the single was released in the UK, several months after its release in the US. And on the same day, a British group who *had* signed to have their single published by Ardmore & Beechwood put out their own single on another EMI label. And we’re going to look at that in the next episode…

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode ninety-nine, is on "Surfin' Safari" by the Beach Boys, and the group's roots in LA, and is fifty minutes long. 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 "Misirlou" by Dick Dale and the Deltones. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-three years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. The Beach Boys: Inception and Creation is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. The Surfin' Safari album is now in the public domain, and so can be found cheaply, but the best version to get is still the twofer CD with the Surfin' USA album. *But*, those two albums are fairly weak, the Beach Boys in their early years were not really an album band, and you will want to investigate them further. I would recommend, rather than the two albums linked above, starting with this budget-priced three-CD set, which has a surprisingly good selection of their material on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, there are going to be two podcast episodes. This one, episode ninety-nine, will be a normal-length episode, or maybe slightly longer than normal, and episode one hundred, which will follow straight after it, will be a super-length one that's at least three times the normal length of one of these podcasts. I'm releasing them together, because the two episodes really do go together. We've talked recently about how we're getting into the sixties of the popular imagination, and those 1960s began, specifically, in October 1962. That was the month of the Cuban Missile Crisis, which saw the world almost end. It was the month that James Brown released Live at the Apollo -- an album we'll talk about in a few weeks' time. And if you want one specific date that the 1960s started, it was October the fifth, 1962. On that date, a film came out that we mentioned last week -- Doctor No, the first ever James Bond film. It was also the date that two records were released on EMI in Britain. One was a new release by a British band, the other a record originally released a few months earlier in the USA, by an American band. Both bands had previously released records on much smaller labels, to no success other than very locally, but this was their first to be released on a major label, and had a slightly different lineup from those earlier releases. Both bands would influence each other, and go on to be the most successful band from their respective country in the next decade. Both bands would revolutionise popular music. And the two bands would even be filed next to each other alphabetically, both starting "the Bea". In episode one hundred, we're going to look at "Love Me Do" by the Beatles, but right now, in episode ninety-nine, we're going to look at "Surfin' Safari" by the Beach Boys: [Excerpt: The Beach Boys, "Surfin' Safari"] Before I start this story properly, I just want to say something -- there are a lot of different accounts of the formation of the Beach Boys, and those accounts are all different. What I've tried to do here is take one plausible account of how the group formed and tell it in a reasonable length of time. If you read the books I link in the show notes, you might find some disagreements about the precise order of some of these events, or some details I've glossed over. This episode is already running long, and I didn't want to get into that stuff, but it's important that I stress that this is just as accurate as I can get in the length of an episode. The Beach Boys really were boys when they made their first records. David Marks, their youngest member, was only thirteen when "Surfin' Safari" came out, and Mike Love, the group's oldest member, was twenty-one.  So, as you might imagine when we're talking about children, the story really starts with the older generation. In particular, we want to start with Hite and Dorinda Morgan. The Morgans were part-time music business people in Los Angeles in the fifties. Hite Morgan owned an industrial flooring company, and that was his main source of income -- putting in floors at warehouses and factories that could withstand the particular stresses that such industrial sites faced. But while that work was hard, it was well-paying and didn't take too much time. The company would take on two or three expensive jobs a year, and for the rest of the year Hite would have the money and time to help his wife with her work as a songwriter. She'd collaborated with Spade Cooley, one of the most famous Western Swing musicians of the forties, and she'd also co-written "Don't Put All Your Dreams in One Basket" for Ray Charles in 1948: [Excerpt: Ray Charles, "Don't Put All Your Dreams in One Basket"] Hite and Dorinda's son, Bruce, was also a songwriter, though I've seen some claims that often the songs credited to him were actually written by his mother, who gave him credits in order to encourage him. One of Bruce Morgan's earliest songs was a piece called "Proverb Boogie", which was actually credited under his father's name, and which Louis Jordan retitled to "Heed My Warning" and took a co-writing credit on: [Excerpt: Louis Jordan, "Heed My Warning"] Eventually the Morgans also started their own publishing company, and built their own small demo studio, which they used to use to record cheap demos for many other songwriters and performers. The Morgans were only very minor players in the music industry, but they were friendly with many of the big names on the LA R&B scene, and knew people like John Dolphin, Bumps Blackwell, Sam Cooke, and the Hollywood Flames. Bruce Morgan would talk in interviews about Bumps Blackwell calling round to see his father and telling him about this new song "You Send Me" he was going to record with Cooke. But although nobody could have realised it at the time, or for many years later, the Morgans' place in music history would be cemented in 1952, when Hite Morgan, working at his day job, met a man named Murry Wilson, who ran a machine-tool company based in Hawthorne, a small town in southwestern Los Angeles County. It turned out that Wilson, like Dorinda Morgan, was an aspiring songwriter, and Hite Morgan signed him up to their publishing company, Guild Music. Wilson's tastes in music were already becoming old-fashioned even in the very early 1950s, but given the style of music he was working in he was a moderately talented writer. His proudest moment was writing a song called "Two Step Side Step" for the Morgans, which was performed on TV by Lawrence Welk -- Murry gathered the whole family round the television to watch his song being performed.  That song was a moderate success – it was never a hit for anyone, but it was recorded by several country artists, including the rockabilly singer Bonnie Lou, and most interestingly for our purposes by Johnny Lee Wills, Bob Wills' brother: [Excerpt: Johnny Lee Wills, "Two Step Side Step"] Wilson wrote a few other songs for the Morgans, of which the most successful was "Tabarin", which was recorded by the Tangiers -- one of the several names under which the Hollywood Flames performed. Gaynel Hodge would later speak fondly of Murry Wilson, and how he was always bragging about his talented kids: [Excerpt: The Tangiers, "Tabarin"] But as the fifties progressed, the Morgans published fewer and fewer of Wilson's songs, and none of them were hits. But the Morgans and Wilson stayed in touch, and around 1958 he heard from them about an opportunity for one of those talented kids. Dorinda Morgan had written a song called "Chapel of Love" -- not the same song as the famous one by the Dixie Cups -- and Art Laboe had decided that that song would be perfect as the first record for his new label, Original Sound. Laboe was putting together a new group to sing it, called the Hitmakers, which was based around Val Poliuto. Poliuto had been the tenor singer of an integrated vocal group -- two Black members, one white, and one Hispanic -- which had gone by the names The Shadows and The Miracles before dismissing both names as being unlikely to lead to any success and taking the name The Jaguars at the suggestion of, of all people, Stan Freberg, the comedian and voice actor. The Jaguars had never had much commercial success, but they'd recorded a version of "The Way You Look Tonight" which became a classic when Laboe included it on the massively successful "Oldies But Goodies", the first doo-wop nostalgia album: [Excerpt: The Jaguars, "The Way You Look Tonight"] The Jaguars continued for many years, and at one point had Richard Berry guest as an extra vocalist on some of their tracks, but as with so many of the LA vocal groups we've looked at from the fifties, they all had their fingers in multiple pies, and so Poliuto was to be in this new group, along with Bobby Adams of the Calvanes, who had been taught to sing R&B by Cornell Gunter and who had recorded for Dootsie Williams: [Excerpt: The Calvanes, "Crazy Over You"] Those two were to be joined by two other singers, who nobody involved can remember much about except that their first names were Don and Duke, but Art Laboe also wanted a new young singer to sing the lead, and was auditioning singers. Murry Wilson suggested to the Morgans that his young son Brian might be suitable for the role, and he auditioned, but Laboe thought he was too young, and the role went to a singer called Rodney Goodens instead: [Excerpt: The Hitmakers, "Chapel of Love"] So the audition was a failure, but it was a first contact between Brian Wilson and the Morgans, and also introduced Brian to Val Poliuto, from whom he would learn a lot about music for the next few years. Brian was a very sensitive kid, the oldest of three brothers, and someone who seemed to have some difficulty dealing with other people -- possibly because his father was abusive towards him and his brothers, leaving him frightened of many aspects of life. He did, though, share with his father a love of music, and he had a remarkable ear -- singular, as he's deaf in one ear. He had perfect pitch, a great recollection for melodies -- play him something once and it would stay in his brain -- and from a very young age he gravitated towards sweet-sounding music. He particularly loved Glenn Miller's version of "Rhapsody in Blue" as a child: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] But his big musical love was a modern harmony group called the Four Freshmen -- a group made up of two brothers, their cousin, and a college friend. Modern harmony is an outdated term, but it basically meant that they were singing chords that went beyond the normal simple triads of most pop music. While there were four, obviously, of the Four Freshmen, they often achieved an effect that would normally be five-part harmony, by having the group members sing all the parts of the chord *except* the root note -- they'd leave the root note to a bass instrument. So while Brian was listening to four singers, he was learning five-part harmonies. The group would also sing their harmonies in unusual inversions -- they'd take one of the notes from the middle of the chord and sing it an octave lower. There was another trick that the Four Freshmen used -- they varied their vocals from equal temperament.  To explain this a little bit -- musical notes are based on frequencies, and the ratio between them matters. If you double the frequency of a note, you get the same note an octave up -- so if you take an A at 440hz, and double the frequency to 880, you get another A, an octave up. If you go down to 220hz, you get the A an octave below. You get all the different notes by multiplying or dividing a note, so A# is A multiplied by a tiny bit more than one, and A flat is A multiplied by a tiny bit less than one. But in the middle ages, this hit a snag -- A#. which is A multiplied by one and a bit, is very very slightly different from B flat, which is B multiplied by 0.9 something. And if you double those, so you go to the A# and B flat the next octave up, the difference between A# and B flat gets bigger. And this means that if you play a melody in the key of C, but then decide you want to play it in the key of B flat, you need to retune your instrument -- or have instruments with separate notes for A# and B flat -- or everything will sound out of tune. It's very very hard to retune some instruments, especially ones like the piano, and also sometimes you want to play in different keys in the same piece. If you're playing a song in C, but it goes into C# in the last chorus to give it a bit of extra momentum, you lose that extra momentum if you stop the song to retune the piano. So a different system was invented, and popularised in the Baroque era, called "equal temperament". In that system, every note is very very slightly out of tune, but those tiny errors cancel out rather than multiply like they do in the old system. You're sort of taking the average of A# and B flat, and calling them the same note. And to most people's ears that sounds good enough, and it means you can have a piano without a thousand keys.  But the Four Freshmen didn't stick to that -- because you don't need to retune your throat to hit different notes (unless you're as bad a singer as me, anyway). They would sing B flat slightly differently than they would sing A#, and so they would get a purer vocal blend, with stronger harmonic overtones than singers who were singing the notes as placed on a piano: [Excerpt: the Four Freshmen, "It's a Blue World"] Please note by the way that I'm taking the fact that they used those non-equal temperaments somewhat on trust -- Ross Barbour of the group said they did in interviews, and he would know, but I have relatively poor pitch so if you listened to that and thought "Hang on, they're all singing dead-on equal tempered concert pitch, what's he talking about?", then that's on him. When Brian heard them singing, he instantly fell for them, and became a major, major fan of their work, especially their falsetto singer Bob Flanigan, whose voice he decided to emulate. He decided that he was going to learn how they got that sound. Every day when he got home from school, he would go to the family's music room, where he had a piano and a record player. He would then play just a second or so of one of their records, and figure out on the piano what notes they were singing in that one second, and duplicating them himself. Then he would learn the next second of the song. He would spend hours every day on this, learning every vocal part, until he had the Four Freshmen's entire repertoire burned into his brain, and could sing all four vocal parts to every song. Indeed, at one point when he was about sixteen -- around the same time as the Art Laboe audition -- Brian decided to go and visit the Four Freshmen's manager, to find out how to form a successful vocal group of his own, and to find out more about the group themselves. After telling the manager that he could sing every part of every one of their songs, the manager challenged him with "The Day Isn't Long Enough", a song that they apparently had trouble with: [Excerpt: The Four Freshmen, "The Day Isn't Long Enough"] And Brian demonstrated every harmony part perfectly. He had a couple of tape recorders at home, and he would experiment with overdubbing his own voice -- recording on one tape recorder, playing it back and singing along while recording on the other. Doing this he could do his own imitations of the Four Freshmen, and even as a teenager he could sound spookily like them: [Excerpt: The Beach Boys [Brian Wilson solo recording released on a Beach Boys CD], "Happy Birthday Four Freshmen"] While Brian shared his love for this kind of sweet music with his father, he also liked the rock and roll music that was making its way onto the radio during his teen years -- though again, he would gravitate towards the sweet vocal harmonies of the Everly Brothers rather than to more raucous music. He shared his love of the Everlys with his cousin Mike Love, whose tastes otherwise went more in the direction of R&B and doo-wop. Unlike Brian and his brothers, Mike attended Dorsey High School, a predominantly Black school, and his tastes were shaped by that -- other graduates of the school include Billy Preston, Eric Dolphy, and Arthur Lee, to give some idea of the kind of atmosphere that Dorsey High had. He loved the Robins, and later the Coasters, and he's been quoted as saying he "worshipped" Johnny Otis -- as did every R&B lover in LA at the time. He would listen to Otis' show on KFOX, and to Huggy Boy on KRKD. His favourite records were things like "Smokey Joe's Cafe" by the Robins, which combined an R&B groove with witty lyrics: [Excerpt: The Robins, "Smokey Joe's Cafe"] He also loved the music of Chuck Berry, a passion he shared with Brian's youngest brother Carl, who also listened to Otis' show and got Brian listening to it. While Mike was most attracted to Berry's witty lyrics, Carl loved the guitar part -- he'd loved string instruments since he was a tiny child, and he and a neighbour, David Marks, started taking guitar lessons from another neighbour, John Maus. Maus had been friends with Ritchie Valens, and had been a pallbearer at Valens' funeral. John was recording at the time with his sister Judy, as the imaginatively-named duo "John & Judy": [Excerpt: John & Judy, "Why This Feeling?"] John and Judy later took on a bass player called Scott Engel, and a few years after that John and Scott changed their surnames to Walker and became two thirds of The Walker Brothers. But at this time, John was still just a local guitar player, and teaching two enthusiastic kids to play guitar. Carl and David learned how to play Chuck Berry licks, and also started to learn some of the guitar instrumentals that were becoming popular at the time. At the same time, Mike would sing with Brian to pass the time, Mike singing in a bass voice while Brian took a high tenor lead. Other times, Brian would test his vocal arranging out by teaching Carl and his mother Audree vocal parts -- Carl got so he could learn parts very quickly, so his big brother wouldn't keep him around all day and he could go out and play. And sometimes their middle brother Dennis would join in -- though he was more interested in going out and having fun at the beach than he was in making music. Brian was interested in nothing *but* making music -- at least once he'd quit the school football team (American football, for those of you like me who parse the word to mean what it does in Britain), after he'd got hurt for the first time. But before he did that, he had managed to hurt someone else -- a much smaller teammate named Alan Jardine, whose leg Brian broke in a game. Despite that, the two became friends, and would occasionally sing together -- like Brian, Alan loved to sing harmonies, and they found that they had an extraordinarily good vocal blend. While Brian mostly sang with his brothers and his cousin, all of whom had a family vocal resemblance, Jardine could sound spookily similar to that family, and especially to Brian. Jardine's voice was a little stronger and more resonant, Brian's a little sweeter, with a fuller falsetto, but they had the kind of vocal similarity one normally only gets in family singers. However,  they didn't start performing together properly, because they had different tastes in music -- while Brian was most interested in the modern jazz harmonies of the Four Freshman, Jardine was a fan of the new folk revival groups, especially the Kingston Trio. Alan had a group called the Tikis when he was at high school, which would play Kingston Trio style material like "The Wreck of the John B", a song that like much of the Kingston Trio's material had been popularised by the Weavers, but which the Trio had recorded for their first album: [Excerpt: The Kingston Trio, "The Wreck of the John B"] Jardine was inspired by that to write his own song, "The Wreck of the Hesperus", putting Longfellow's poem to music. One of the other Tikis had a tape recorder, and they made a few stabs at recording it. They thought that they sounded pretty good, and they decided to go round to Brian Wilson's house to see if he could help them -- depending on who you ask, they either wanted him to join the band, or knew that his dad had some connection with the music business and wanted to pick his brains. When they turned up, Brian was actually out, but Audree Wilson basically had an open-door policy for local teenagers, and she told the boys about Hite and Dorinda Morgan. The Tikis took their tape to the Morgans, and the Morgans responded politely, saying that they did sound good -- but they sounded like the Kingston Trio, and there were a million groups that sounded like the Kingston Trio. They needed to get an original sound. The Tikis broke up, as Alan went off to Michigan to college. But then a year later, he came back to Hawthorne and enrolled in the same community college that Brian was enrolled in. Meanwhile, the Morgans had got in touch with Gary Winfrey, Alan's Tikis bandmate, and asked him if the Tikis would record a demo of one of Bruce Morgan's songs. As the Tikis no longer existed, Alan and Gary formed a new group along the same lines, and invited Brian to be part of one of these sessions. That group, The Islanders made a couple of attempts at Morgan's song, but nothing worked out. But this brought Brian back to the Morgans' attention -- at this point they'd not seen him in three years. Alan still wanted to record folk music with Brian, and at some point Brian suggested that they get his brother Carl and cousin Mike involved -- and then Brian's mother made him let his other brother Dennis join in.  The group went to see the Morgans, who once again told them that they needed some original material. Dennis piped up that the group had been fooling around with a song about surfing, and while the Morgans had never heard of the sport, they said it would be worth the group's while finishing off the song and coming back to them. At this point, the idea of a song about surfing was something that was only in Dennis' head, though he may have mentioned the idea to Mike at some point. Mike and the Wilsons went home and started working out the song, without Al being involved at this time -- some of the rehearsal recordings we have seem to suggest that they thought Al was a little overbearing and thought of himself as a bit more professional than the others, and they didn't want him in the group at first. While surf music was definitely already a thing, there were very few vocal surf records. Brian and Mike wrote the song together, with Mike writing most of the lyrics and coming up with his own bass vocal line, while Brian wrote the rest of the music: [Excerpt: The Beach Boys, "Surfin' (Rehearsal)"] None of the group other than Dennis surfed -- though Mike would later start surfing a little -- and so Dennis provided Mike with some surfing terms that they could add into the song. This led to what would be the first of many, many arguments about songwriting credit among the group, as Dennis claimed that he should get some credit for his contribution, while Mike disagreed: [Excerpt: The Beach Boys, “Surfin' (Rehearsal)”] The credit was eventually assigned to Brian Wilson and Mike Love. Eventually, they finished the song, and decided that they *would* get Al Jardine back into the group after all. When Murry and Audree Wilson went away for a long weekend and left their boys some money for emergencies, the group saw their chance. They took that money, along with some more they borrowed from Al's mother, and rented some instruments -- a drum kit and a stand-up bass. They had a party at the Wilsons' house where they played their new song and a few others, in front of their friends, before going back to the Morgans with their new song completed. For their recording session, they used that stand-up bass, which Al played, along with Carl on an acoustic guitar, giving it that Kingston Trio sound that Al liked. Dennis was the group's drummer, but he wasn't yet very good and instead of drums the record has Brian thumping a dustbin lid as its percussion. As well as being the lead vocalist, Mike Love was meant to be the group's saxophone player, but he never progressed more than honking out a couple of notes, and he doesn't play on the session. The song they came up with was oddly structured -- it had a nine-bar verse and a fourteen-bar chorus, the latter of which was based around a twelve-bar blues, but extended to allow the "surf, surf with me" hook. But other than the unusual bar counts it followed the structure that the group would set up most of their early singles. The song seems at least in part to have been inspired by the song "Bermuda Shorts" by the Delroys, which is a song the group have often cited and would play in their earliest live shows: [Excerpt: The Delroys, "Bermuda Shorts"] They messed around with the structure in various ways in rehearsal, and those can be heard on the rehearsal recordings, but by the time they came into the studio they'd settled on starting with a brief statement of the chorus hook: [Excerpt: The Beach Boys, "Surfin'"] It then goes into a verse with Mike singing a tenor lead, with the rest of the group doing block harmonies and then joining him on the last line of the verse: [Excerpt: The Beach Boys, "Surfin'"] And then we have Mike switching down into the bass register to sing wordless doo-wop bass during the blues-based chorus, while the rest of the group again sing in block harmony: [Excerpt: The Beach Boys, "Surfin'"] That formula would be the one that the Beach Boys would stick with for several singles to follow -- the major change that would be made would be that Brian would soon start singing an independent falsetto line over the top of the choruses, rather than being in the block harmonies.  The single was licensed to Candix Records, along with a B-side written by Bruce Morgan, and it became a minor hit record, reaching number seventy-five on the national charts. But what surprised the group about the record was the name on it. They'd been calling themselves the Pendletones, because there was a brand of thick woollen shirt called Pendletons which was popular among surfers, and which the group wore.  It might also have been intended as a pun on Dick Dale's Deltones, the preeminent surf music group of the time. But Hite Morgan had thought the name didn't work, and they needed something that was more descriptive of the music they were doing. He'd suggested The Surfers, but Russ Regan, a record promoter, had told him there was already a group called the Surfers, and suggested another name. So the first time the Wilsons realised they were now in the Beach Boys was when they saw the record label for the first time. The group started working on follow-ups -- and as they were now performing live shows to promote their records, they switched to using electric guitars when they went into the studio to record some demos in February 1962. By now, Al was playing rhythm guitar, while Brian took over on bass, now playing a bass guitar rather than the double bass Al had played. For that session, as Dennis was still not that great a drummer, Brian decided to bring in a session player, and Dennis stormed out of the studio. However, the session player was apparently flashy and overplayed, and got paid off. Brian persuaded Dennis to come back and take over on drums again, and the session resumed. Val Poliuto was also at the session, in case they needed some keyboards, but he's not audible on any of the tracks they recorded, at least to my ears. The most likely song for a follow-up was another one by Brian and Mike. This one was very much a rewrite of "Surfin'", but this time the verses were a more normal eight bars, and the choruses were a compromise between the standard twelve-bar blues and "Surfin'"s fourteen, landing on an unusual thirteen bars. With the electric guitars the group decided to bring in a Chuck Berry influence, and you can hear a certain similarity to songs like "Brown-Eyed Handsome Man" in the rhythm and phrasing: [Excerpt: The Beach Boys, "Surfin' Safari [early version]"] Around this time, Brian also wrote another song -- the song he generally describes as being the first song he ever wrote. Presumably, given that he'd already co-written "Surfin'", he means that it was the first song he wrote on his own, words and music. The song was inspired, melodically, by the song "When You Wish Upon A Star" from the Disney film Pinocchio: [Excerpt: Cliff Edwards "When You Wish Upon a Star"] The song came to Brian in the car, and he challenged himself to write the whole thing in his head without going to the piano until he'd finished it. The result was a doo-wop ballad with Four Freshmen-like block harmonies, with lyrics inspired by Brian's then girlfriend Judy Bowles, which they recorded at the same session as that version of “Surfin' Safari”: [Excerpt: The Beach Boys, "Surfer Girl [early version]"] At the same session, they also recorded two more songs -- a song by Brian called Judy, and a surf instrumental written by Carl called "Karate". However, shortly after that session, Al left the group. As the group had started playing electric instruments, they'd also started performing songs that were more suitable for those instruments, like "What'd I Say" and "The Twist". Al wasn't a fan of that kind of music, and he wanted to be singing "Tom Dooley" and "Wreck of the John B", not "Come on baby, let's do the Twist". He was also quite keen on completing his university studies -- he was planning on becoming a dentist -- and didn't want to spend time playing tons of small gigs when he could be working towards his degree. This was especially the case since Murry Wilson, who had by this point installed himself as the group's manager, was booking them on all sorts of cheap dates to get them exposure. As far as Al could see, being a Beach Boy was never going to make anyone any real money, and it wasn't worth disrupting his studies to keep playing music that he didn't even particularly like. His place was taken by David Marks, Carl's young friend who lived nearby. Marks was only thirteen when he joined, and apparently it caused raised eyebrows among some of the other musicians who knew the group, because he was so much younger and less experienced than the rest. Unlike Al, he was never much of a singer -- he can hold a tune, and has a pleasant enough voice, but he wasn't the exceptional harmony singer that Al was -- but he was a competent rhythm player, and he and Carl had been jamming together since they'd both got guitars, and knew each other's playing style. However, while Al was gone from the group, he wasn't totally out of the picture, and he remained close enough that he was a part of the first ever Beach Boys spin-off side project a couple of months later. Dorinda Morgan had written a song inspired by the new children's doll, Barbie, that had come out a couple of years before and which, like the Beach Boys, was from Hawthorne. She wanted to put together a studio group to record it, under the name Kenny and the Cadets, and Brian rounded up Carl, Al, Val Poliuto, and his mother Audree, to sing on the record for Mrs Morgan: [Excerpt: Kenny and the Cadets, "Barbie"] But after that, Al Jardine was out of the group for the moment -- though he would be back sooner than anyone expected. Shortly after Al left, the new lineup went into a different studio, Western Studios, to record a new demo. Ostensibly produced by Murry Wilson, the session was actually produced by Brian and his new friend Gary Usher, who took charge in the studio and spent most of his time trying to stop Murry interfering. Gary Usher is someone about whom several books have been written, and who would have a huge influence on West Coast music in the sixties. But at this point he was an aspiring singer, songwriter, and record producer, who had been making records for a few months longer than Brian and was therefore a veteran. He'd put out his first single, "Driven Insane", in March 1961: [Excerpt: Gary Usher, "Driven Insane"] Usher was still far from a success, but he was very good at networking, and had all sorts of minor connections within the music business. As one example, his girlfriend, Sandra Glanz, who performed under the name Ginger Blake, had just written "You Are My Answer" for Carol Connors, who had been the lead singer of the Teddy Bears but was now going solo: [Excerpt: Carol Connors, "You Are My Answer"] Connors, too, would soon become important in vocal surf music, while Ginger would play a significant part in Brian's life. Brian had started writing songs with Gary, and they were in the studio to record some demos by Gary, and some demos by the Beach Boys of songs that Brian and Gary had written together, along with a new version of "Surfin' Safari". Of the two Wilson/Usher songs recorded in the session, one was a slow doo-wop styled ballad called "The Lonely Sea", which would later become an album track, but the song that they were most interested in recording was one called "409", which had been inspired by a new, larger, engine that Chevrolet had introduced for top-of-the-line vehicles. Musically, "409" was another song that followed the "Surfin' Safari" formula, but it was regularised even more, lopping off the extra bar from "Surfin' Safari"'s chorus, and making the verses as well as the choruses into twelve-bar blues. But it still started with the hook, still had Mike sing his tenor lead in the verses, and still had him move to sing a boogie-ish bassline in the chorus while the rest of the group chanted in block harmonies over the top. But it introduced a new lyrical theme to the group -- now, as well as singing about surfing and the beach, they could also sing about cars and car racing -- Love credits this as being one of the main reasons for the group's success in landlocked areas, because while there were many places in the US where you couldn't surf, there was nowhere where people didn't have cars. It's also the earliest Beach Boys song over which there is an ongoing question of credit. For the first thirty years of the song's existence, it was credited solely to Wilson and Usher, but in the early nineties Love won a share of the songwriting credit in a lawsuit in which he won credit on many, many songs he'd not been credited for. Love claims that he came up with the "She's real fine, my 409" hook, and the "giddy up" bass vocal he sang. Usher always claimed that Love had nothing to do with the song, and that Love was always trying to take credit for things he didn't do. It's difficult to tell who was telling the truth, because both obviously had a financial stake in the credit (though Usher was dead by the time of the lawsuit). Usher was always very dismissive of all of the Beach Boys with the exception of Brian, and wouldn't credit them for making any real contributions, Love's name was definitely missed off the credits of a large number of songs to which he did make substantial contributions, including some where he wrote the whole lyric, and the bits of the song Love claims *do* sound like the kind of thing he contributed to other songs which have no credit disputes. On the other hand, Love also overreached in his claims of credit in that lawsuit, claiming to have co-written songs that were written when he wasn't even in the same country as the writers. Where you stand on the question of whether Love deserves that credit usually depends on your views of Wilson, Love and Usher as people, and it's not a question I'm going to get into, but I thought I should acknowledge that the question is there. While "409" was still following the same pattern as the other songs, it's head and shoulders ahead of the Hite Morgan productions both in terms of performance and in terms of the sound. A great deal of that clearly owes to Usher, who was experimenting with things like sound effects, and so "409" starts with a recording that Brian and Usher made of Usher's car driving up and down the street: [Excerpt: The Beach Boys, "409"] Meanwhile the new version of "Surfin' Safari" was vastly superior to the recording from a couple of months earlier, with changed lyrics and a tighter performance: [Excerpt: The Beach Boys, "Surfin' Safari (second version)"] So at the end of the session, the group had a tape of three new songs, and Murry WIlson wanted them to take it somewhere better than Candix Records. He had a contact somewhere much better -- at Capitol Records. He was going to phone Ken Nelson. Or at least, Murry *thought* he had a contact at Capitol. He phoned Ken Nelson and told him "Years ago, you did me a favour, and now I'm doing one for you. My sons have formed a group and you have the chance to sign them!" Now, setting aside the question of whether that would actually count as Murry doing Nelson a favour, there was another problem with this -- Nelson had absolutely no idea who Murry Wilson was, and no recollection of ever doing him a favour. It turned out that the favour he'd done, in Murry's eyes, was recording one of Murry's songs -- except that there's no record of Nelson ever having been involved in a recording of a Murry Wilson song. By this time, Capitol had three A&R people, in charge of different areas. There was Voyle Gilmore, who recorded soft pop -- people like Nat "King" Cole. There was Nelson, who as we've seen in past episodes had some rockabilly experience but was mostly country -- he'd produced Gene Vincent and Wanda Jackson, but he was mostly working at this point with people like Buck Owens and the Louvin Brothers, producing some of the best country music ever recorded, but not really doing the kind of thing that the Beach Boys were doing. But the third, and youngest, A&R man was doing precisely the kind of thing the Beach Boys did. That was Nik Venet, who we met back in the episode on "LSD-25", and who was one of the people who had been involved with the very first surf music recordings. Nelson suggested that Murry go and see Venet, and Venet was immediately impressed with the tape Murry played him -- so impressed that he decided to offer the group a contract, and to release "Surfin' Safari" backed with "409", buying the masters from Murry rather than rerecording them. Venet also tried to get the publishing rights for the songs for Beechwood Music, a publishing company owned by Capitol's parent company EMI (and known in the UK as Ardmore & Beechwood) but Gary Usher, who knew a bit about the business, said that he and Brian were going to set up their own publishing companies -- a decision which Murry Wilson screamed at him for, but which made millions of dollars for Brian over the next few years. The single came out, and was a big hit, making number fourteen on the hot one hundred, and "409" as the B-side also scraped the lower reaches of the charts. Venet soon got the group into the studio to record an album to go with the single, with Usher adding extra backing vocals to fill out the harmonies in the absence of Al Jardine. While the Beach Boys were a self-contained group, Venet seems to have brought in his old friend Derry Weaver to add extra guitar, notably on Weaver's song "Moon Dawg": [Excerpt: The Beach Boys, "Moon Dawg"] It's perhaps unsurprising that the Beach Boys recorded that, because not only was it written by Venet's friend, but Venet owned the publishing on the song. The group also recorded "Summertime Blues", which was co-written by Jerry Capehart, a friend of Venet and Weaver's who also may have appeared on the album in some capacity. Both those songs fit the group, but their choice was clearly influenced by factors other than the purely musical, and very soon Brian Wilson would get sick of having his music interfered with by Venet.  The album came out on October 1, and a few days later the single was released in the UK, several months after its release in the US. And on the same day, a British group who *had* signed to have their single published by Ardmore & Beechwood put out their own single on another EMI label. And we're going to look at that in the next episode...

When you wish upon a Pod, doesn't matter which host you are. When you wish upon a Pod, your streams come true. That's right. We're celebrating the 80th anniversary of Pinocchio this month on Extra Milestone. But first, a quick word from our good friend, Willt—I mean Walt Disney. Also, be sure to stick around toward the end of the show for a major announcement concerning the Extra Milestone podcast! Show Notes: 00:00:00 – The Wonderful World of Color 00:06:50 – Intro & other movies we considered for this month 00:19:20 – The making of Pinocchio 00:43:40 – Our thoughts on Pinocchio all these years later 01:27:00 – Big announcement and what we're covering next month on Extra Milestone! Theme music: "When You Wish Upon a Star" by Cliff Edwards. Support the show.

Puff The Magic Dragon, How Much Is That Doggie, When You Wish Upon A Star and more

In this episode we talk about the 9 of Cups, wishes granted, dreams coming true, and getting your satisfaction with our friend, known to the world as the Oprah of Sex Coaches, Myisha Battle. Everybody likes to get the 9 of Cups because it’s known as the wish card - in other words, you hope for something, you say it out loud or visualize it or write it down and it comes true. This card is literally about what it means to get what you want emotionally, relationally, spiritually. What’s not to love about that?**********************************Find out more about our special guest, podcaster and Sex Coach Myisha Battle ...Website: http://www.myishabattle.com/IG: @myishabattlePsychology Today: https://www.psychologytoday.com/us/therapists/myisha-battle-san-francisco-ca/348716Maven Clinic: https://www.mavenclinic.com/for-individuals**********************************Quest of Cups 10-Week Online Workshop InformationJoin us for our last workshop of the season, The Quest of Cups: In Pursuit of Your Deepest Heart’s Desire.This 10-week course will help you deepen your knowledge of the tarot AND most importantly, figure out how to apply its lessons to your everyday life.This Course Includes:10 x  1-page (i.e. bite sized, 1 per week) PDFs to help you connect with the magic of each cup card in the suit.Spells you can used based on the cardMeditations to help you connect with the suit of cupsNumerological, herbal, crystal, and astrological correspondences to help you remember and work with the messages of each cardJournal prompts to help you integrate the lessons of the cardsBi-weekly ½ hour group video calls that include a brief meditation, discussion of that week’s card, and a Q&A sessionAltar strategiesA full “album” of the cups songs from the Between the Worlds episodes you can listen to just for fun, and practice to be able to call in the energy of the cardsCups movement gestures to kinesthetically call in the energy of each cardAnd more!TO SIGN UP FOR THE WORKSHOP OR FIND OUT MORE, CLICK HERE**********************************Amanda's References This Episode Include:“Keywords for the Crowley Tarot,” by Banzhaf and Theler“The Complete Book of Tarot Reversals” by Mary K. Greer“Modern Tarot” by Michelle TeaTo order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.**********************************Original MUSIC by Carolyn Pennypacker Riggs.Musical reference: "When You Wish Upon A Star" performed by Cliff Edwards. **********************************Get in touch with sponsorship inquiries for Between the Worlds at betweentheworldspodcast@gmail.com.Or, contact Amanda to book a session, or Carolyn just to find out more, below:*****Amanda Yates Garcia (art witch, healer, writer):www.oracleoflosangeles.comTo sign up for Amanda's newsletter, CLICK HERE.To order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.Amanda's InstagramAmanda's Facebook**Carolyn Pennypacker Riggs (musician, artist, producer):www.carolynpennypackerriggs.comCarolyn's Instagram**CONTRIBUTORS:Amanda Yates Garcia (host) & Carolyn Pennypacker Riggs (producer) & Ann Friedman (special guest). With editing help from Jiha Lee. The BTW image was created by Marian Minnis (tinyparsnip.com / instagram.com/tinyparsnip ) with text designed by Leah Hayes. 

Credits:  1. Movie Magic Opening Theme Produced, Composed & Performed by Corey Gomez. 2. Shazam! theme, composed by Benjamin Wallfisch. From Shazam! OSTLabel: Warner Bros & Water Tower Music 3. When You Wish Upon A Star, performed by Cliff Edwards / Disney Studio Chorus. Written by Leigh Harline and Ned Washington. From Pinnochio OST, Label: Disney Records

I hope everyone is having a nice new year so far. We have some updates to start the episode and then one solid story throughout the entire episode. This is the story of a girl — who complained about life so much she got haunted as fuck. I know, it’s not how you expected me to finish that sentence. But hey, let’s keep it our little secret. It is, just you and me, after all. Let’s call it a date. When you Wish Upon a Star(22:44)Check out our merch at: https://www.redbubble.com/people/elcapitanmuerte/portfolioCheck out our episodes on Youtube! www.youtube.com/channel/UCxoqIN-fkfdlmGEjWujypxwFeaturing wonderful ambient music from our fam in Sweden: CryoChamber, givin' us all the ooky-spooky tunage. Follow: @cryo-chamber Thank you! p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; min-height: 14.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #dca10d} span.s1 {color: #000000} span.s2 {color: #dca10d} "Spooky Skeletons REMIX," and "You Reposted in the Wrong Neighborhood" are not my songs. Credit and All rights are reserved by the owners.”

In one of our few direct sequel episodes, AJ and Ben The Movie Buff are re-joined by Ms. Dis to follow up on our previous conversation about the Disney princesses. Which virtue best represents each of the official Disney princesses? Who is the most virtuous princess? Who is the least virtuous? How much agreement is there among the hosts about who should be associated with what virtue? The song "When You Wish Upon A Star" is the property of Leigh Harline, Ned Washington, and The Walt Disney Company. Music and audio from "Beauty and the Beast (1991)" is the property of Alan Menkin, Don Hahn, Walt Disney Pictures, Walt Disney Feature Animation, and Silver Screen Partners IV. Music and audio from "Moana" is the property of of Mark Mancina, Osnat Shurer, Walt Disney Pictures, and Walt Disney Animation Studios. Music and audio from "Cinderella (2015)" is the property of Patrick Doyle, Simon Kinberg, Alison Shearmur, David Barron, Walt Disney Pictures, Kinberg Genre, Allison Shearmur Productions, and Beagle Pug Films. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com.

We pay tribute to Fathers with a list of some of my favorite movies featuring Fathers.   Credits: 1. Movie Magic Opening Theme Produced, Composed & Performed by Corey Gomez 2. Shiny Jermaine Clement. Taken from the Moana OST Label: Disney Records 3. When You Wish Upon A Star. Performed by Chris Edwards and the Disney Studio Chorus. Taken from Pinocchio (The Legacy Collection) Label: Disney Records

This week we are joined by Disney expert Ms. Dis to explore the magical realm of the Disney Princess franchise. How does one become a Disney princess? Who qualifies and who doesn't? Why is there a discrepancy between the theme park rules and the toy line rules? The song "When You Wish Upon A Star" is the property of Leigh Harline, Ned Washington, and The Walt Disney Company. Music and audio from "Ralph Breaks The Internet" is the property of Henry Jackman, Clark Spencer, Dorothy McKim, Walt Disney Pictures, and Walt Disney Animation Studios. Music and audio from "Tangled" is the property of Alan Menken, Roy Conli, Walt Disney Pictures, and Walt Disney Animation Studios. Music and audio from "Cinderalla III: A Twist in Time" is the property of Joel McNeely, Margot Pipkin, Walt Disney Pictures, DisneyToon Studios, DisneyToon Studios Australia, and Toon City Animations. Music and audio from "Robin Hood (1973)" is the property of George Bruns, Wolfgang Reitherman, and Walt Disney Productions. Music and audio from "Moana" is the property of of Mark Mancina, Osnat Shurer, Walt Disney Pictures, and Walt Disney Animation Studios. Music and audio from "Black Panther" is the property of of Ludwig Goransson, Kevin Feige, and Marvel Studios. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com. 

Blúspíanistinn Champion Jack Dupree og hljómsveit leika lögin Give Me Flowers While I'm Livin', Bad Blood, School Days, You Can Make It, Drinkin' Wine Spoo-dee-o-dee og Early In The Morning. Kvartett Sigurðar Flosasonar leikur lögin Þú varst ástin mín, Leynigestir, Bankablús, Einn fyrir alla og allir fyrir einn, Þegar neyðin er stærst og Bankaleynd. Kvintett Bill Evans leikur lögin When You Wish Upon A Star, You Go To My Head, Wrap Your Troubles In Dreams, You And The Night And The Music og I'll Never Smile Atain.

The World of Disney Music Start Name Artist Album Year Comments Mickey Mouse March George Wright Chicago Two [Banda CD] 1979 4-27 Wurlitzer, Chicago Theatre 1:56 Bella Notte Rob Richards Now Playing - Rob Richards at the Mighty Wurlitzer Organ 4-37 Wurlitzer, El Capitan Theatre, Hollywood, CA 5:11 I Wanna Be Like You Chris McPhee Polished Pipes 1994 4-24 Wurlitzer Hybrid, Capri Theatre, Adelaide 7:45 A Dream Is A Wish Your Heart Makes Jim Orcutt In The Round [Concert Recording CR-0041-T] 3-10 Robert Morton, Christian Crusade Auditorium, Tulsa, OK; ex-suburban theatre, Steubenville, OH 12:21 Pinocchio Selection, Pt 1: I've Got No Strings; Little Wooden Head; Give A Little Whistle; Turn On The Old Music Box Reginald Foort Plays The Möller Theatre Organ [Piping Hot CD] 1940? 5-27 Travelling Möller 16:03 Pinocchio Selection, Pt 2: When You Wish Upon A Star; Three Cheers For Everything; Hi Diddle Dee Dee Reginald Foort Plays The Möller Theatre Organ [Piping Hot CD] 1940? 5-27 Travelling Möller 19:17 Baia Ed Gress Concert: Metropolitan Theatre, Boston 1958 1958 4-26 Wurlitzer, Metropolitan Theatre, Boston, MA 22:34 Snow White and The Seven Dwarves Pt 1: Whistle While You Work; I'm Wishing; Heigh-Ho Dudley Beaven Dudley Beaven at Clapham Junction [Hot Pipes HP3002] 1938 3-8 Wurlitzer, Granada Theatre, Clapham Junction; rec 1938-39 26:13 Sooner Or Later [Song Of The South website] Bill Vlasak An Hour With Bill [WJV CD] 2002 4-42 Wurlitzer, Paramount Music Palace, Indianapolis, IN; then to Roaring 20s Pizza & Pipes, Ellenton, FL (Original 4-20, Paramount Oakland) 29:58 Chim Chim Cher-ee Byron Melcher Pipe Power [Concert Recording CR-0099] 1972 4-27 Wurlitzer, Harvey Heck Residence, Tarzana, CA; based on 3-14 Wurlitzer, Egyptian Theatre, Hollywood 33:29 Can You Feel The Love Tonight? Robert Wolfe Everything's In Rhythm [Grasmere GRCD 69] 1995 3-19 Wurlitzer, Thursford Collection, Thursford Green, Norfolk 37:57 Just Can't Wait To Be King Len Rawle Magische Melodien 2007 3-11 Moller, Organbuilders Laukhuff, Weikersheim, Germany; Opus 7432 (1947); originally residence of Leslie Wenman, Westcliff, South Africa 40:54 I See The Light Tom Horton Strike Up The Band 2013 2-11 Wurlitzer, Mechanical Musical Museum, Cotton, Suffolk 45:39 Let's Go Fly a Kite Dick Leibert Highlights From The Sound Of Music-Mary Poppins-My Fair Lady [RCA Victor LSP-3406] 1965 4-58 Wurlitzer, Radio City Music Hall, NYC; 2 identical consoles, 4 manuals 48:21 Scales and Arpeggios Tom Hazleton Ragtime's Greatest Hits [Pro-Arte CD] 1989 4-48 Wurlitzer, Wilcox Residence, Gig Harbor, Seattle, WA; ex Ramish Theatre, LA (some ranks from Million Dollar Wurlitzer) 52:10 Lavender Blue (Dilly Dilly) Jesse Crawford The Sound Of Jesse Crawford At The Majestic Pipe Organ [Decca DL 74028] 1961 4-24 Robert Morton, Lorin Whitney Studio, Glendale, CA (late 1950s) 55:05 Cruella De Vil John Ledwon Magic! The Music Of The Mouse 2005 4-52 Wurlitzer, Ledwon Residence, Agoura, CA 58:23 When She Loved Me Nathan Avakian ATOS Convention 2016 (Cleveland) [ATOS 2-CD] 2016 3-11 Kilgen, Palace Theatre, Canton, OH 63:28 The Bare Necessities Lance Luce ATOS Convention 2015 (Philadelphia) [ATOS 2-CD] 2015 Allen Digital, Octave Hall, Macungie, PA

The World of Disney Music Start Name Artist Album Year Comments Mickey Mouse March George Wright Chicago Two [Banda CD] 1979 4-27 Wurlitzer, Chicago Theatre 1:56 Bella Notte Rob Richards Now Playing - Rob Richards at the Mighty Wurlitzer Organ 4-37 Wurlitzer, El Capitan Theatre, Hollywood, CA 5:11 I Wanna Be Like You Chris McPhee Polished Pipes 1994 4-24 Wurlitzer Hybrid, Capri Theatre, Adelaide 7:45 A Dream Is A Wish Your Heart Makes Jim Orcutt In The Round [Concert Recording CR-0041-T] 3-10 Robert Morton, Christian Crusade Auditorium, Tulsa, OK; ex-suburban theatre, Steubenville, OH 12:21 Pinocchio Selection, Pt 1: I've Got No Strings; Little Wooden Head; Give A Little Whistle; Turn On The Old Music Box Reginald Foort Plays The Möller Theatre Organ [Piping Hot CD] 1940? 5-27 Travelling Möller 16:03 Pinocchio Selection, Pt 2: When You Wish Upon A Star; Three Cheers For Everything; Hi Diddle Dee Dee Reginald Foort Plays The Möller Theatre Organ [Piping Hot CD] 1940? 5-27 Travelling Möller 19:17 Baia Ed Gress Concert: Metropolitan Theatre, Boston 1958 1958 4-26 Wurlitzer, Metropolitan Theatre, Boston, MA 22:34 Snow White and The Seven Dwarves Pt 1: Whistle While You Work; I'm Wishing; Heigh-Ho Dudley Beaven Dudley Beaven at Clapham Junction [Hot Pipes HP3002] 1938 3-8 Wurlitzer, Granada Theatre, Clapham Junction; rec 1938-39 26:13 Sooner Or Later [Song Of The South website] Bill Vlasak An Hour With Bill [WJV CD] 2002 4-42 Wurlitzer, Paramount Music Palace, Indianapolis, IN; then to Roaring 20s Pizza & Pipes, Ellenton, FL (Original 4-20, Paramount Oakland) 29:58 Chim Chim Cher-ee Byron Melcher Pipe Power [Concert Recording CR-0099] 1972 4-27 Wurlitzer, Harvey Heck Residence, Tarzana, CA; based on 3-14 Wurlitzer, Egyptian Theatre, Hollywood 33:29 Can You Feel The Love Tonight? Robert Wolfe Everything's In Rhythm [Grasmere GRCD 69] 1995 3-19 Wurlitzer, Thursford Collection, Thursford Green, Norfolk 37:57 Just Can't Wait To Be King Len Rawle Magische Melodien 2007 3-11 Moller, Organbuilders Laukhuff, Weikersheim, Germany; Opus 7432 (1947); originally residence of Leslie Wenman, Westcliff, South Africa 40:54 I See The Light Tom Horton Strike Up The Band 2013 2-11 Wurlitzer, Mechanical Musical Museum, Cotton, Suffolk 45:39 Let's Go Fly a Kite Dick Leibert Highlights From The Sound Of Music-Mary Poppins-My Fair Lady [RCA Victor LSP-3406] 1965 4-58 Wurlitzer, Radio City Music Hall, NYC; 2 identical consoles, 4 manuals 48:21 Scales and Arpeggios Tom Hazleton Ragtime's Greatest Hits [Pro-Arte CD] 1989 4-48 Wurlitzer, Wilcox Residence, Gig Harbor, Seattle, WA; ex Ramish Theatre, LA (some ranks from Million Dollar Wurlitzer) 52:10 Lavender Blue (Dilly Dilly) Jesse Crawford The Sound Of Jesse Crawford At The Majestic Pipe Organ [Decca DL 74028] 1961 4-24 Robert Morton, Lorin Whitney Studio, Glendale, CA (late 1950s) 55:05 Cruella De Vil John Ledwon Magic! The Music Of The Mouse 2005 4-52 Wurlitzer, Ledwon Residence, Agoura, CA 58:23 When She Loved Me Nathan Avakian ATOS Convention 2016 (Cleveland) [ATOS 2-CD] 2016 3-11 Kilgen, Palace Theatre, Canton, OH 63:28 The Bare Necessities Lance Luce ATOS Convention 2015 (Philadelphia) [ATOS 2-CD] 2015 Allen Digital, Octave Hall, Macungie, PA

Cary Burkett is an American radio broadcaster and former comic book writer best known for co-creating the DC Comics character Nemesis with artist Dan Spiegle. Recently Cary founded Red Bird Visions. On today's episode Cary shares about the world of comics, NPR, Acting, Story & Story telling, integrity in story, faith, faith past the dream, grey seasons of life, recapturing passion, and life after retirement.Redbird Visions is a company dedicated to creative expression from a Christian perspective in a variety of forms. The major online project is a superhero graphic novel titled Those Who Walk in Darkness, presented in animated episodes. The creator of Those who Walk in Darkness is Cary Burkett, who has been a radio and television broadcaster and producer for over 30 years. He has also been a professional actor, voiceover artist and writer. He was a writer and editor at DC Comics, where he created the character Nemesis with artist Dan Spiegel. He has also written for Marvel Comics and Red Circle Comics.Cary Burkett attended the University of Texas at Austin and earned a BFA degree in theater. He moved to New York City and performed in Off-Broadway productions and wrote comic books for DC Comics. His first credits for DC were writing text articles and responses to readers' letters in the letter columns of various titles. Burkett's first published comic book story was titled "When You Wish Upon A Star" and appeared in House of Mystery #255 (November–December 1977). His best known comics work is the character Nemesis. The character's civilian secret identity of Thomas Tresser was created by Burkett in 1979 and named for an actor with whom he was rooming with in New Hampshire. The character debuted in an eight-page backup story in The Brave and the Bold #166 (September 1980) written by Burkett and drawn by Dan Spiegle. The "Nemesis" feature ran in issues #166 through 192, and the character teamed-up with the Batman in #170 and #193. Another Burkett-created character, the Swashbuckler, debuted in Detective Comics #493 (Aug. 1980) but never appeared again.In 1983, artist Rich Buckler recruited Burkett to write the Mighty Crusaders title for Archie Comics. That same year saw Burkett begin a two-year run on DC's The Warlord title. He wrote for Marvel Comics as well, scripting an adaptation of the Sheena film and stories for Marvel Team-Up and The Spectacular Spider-Man. Upon finishing his run on The Warlord with issue #99 (November 1985), Burkett left the comics industry.Following his departure from comics, Burkett relocated to Pennsylvania and became a radio broadcaster for WITF-FM in Harrisburg, Pennsylvania. He hosted Classical Air, a classical music program. In 2011, he was a poetry reader for the Sunderman Conservatory of Music at Gettysburg College.Interview Segments - This is where you can find each section of the interview.Intro / About Cary: 1:22 minutesInterview: 9:57 minutesRapid Rire Questions: 43:20 minutesWebsite: http://redbirdvisions.com/ Youtube: https://www.youtube.com/channel/UC_7moCf3zODOY1Hvsa4GzSg

MAKE MOVES Season 2 Ep.1 feat. Bill Frisell, guitar icon and genre defying human.  Bill discusses: Searching for new musical ideas after playing guitar for over five decades. Motivations -- not fame or money -- for playing music. The cool part about getting old. His new album, "When You Wish Upon A Star." Living in Seattle and moving back to NY. His desire to try new things but preference for feeling safe.   Knowing when a piece of music is "done." With permission, this episode features a bit of the classic tune Moon River, off of Bill's recent album "When You Wish Upon a Star." MM S2 Ep.1 Blogpost:  http://bit.ly/2wheeFk  MM S2 Ep.1 on iTunes:  http://apple.co/2ibLCHb  MM S2 Ep.1 on Stitcher: http://bit.ly/2w987Cx  MM S2 Ep.1 Download: http://bit.ly/2w7Qi6R  MAKE MOVES website: www.makemoveswithjohn.com  MAKE MOVES Facebook Page: @makemoveswithjohn MAKE MOVES EXCLUSIVES Group: http://bit.ly/2t75JqK  MAKE MOVES on Instagram @makemoveswithjohn

It’s a the meanest, most rotten-tempered simian in all the Caribbean and a fitting end to season 1 of Pirates of the Caribbean Minute. Join us for minute 143 of The Curse of the Black Pearl as we announce the future of an expanded show with weekly episodes starting in September 2017 covering all things Pirates of the Caribbean – rides, movies, and expanded universe, Disney pirates, and pirate history, the return of our minute breakdown format on November 6th with Dead Man’s Chest, and discuss the post-credit scene and origins of this cinematic segment, the use of corporations to limit the risk of filmmaking, specifically in the Pirates of the Caribbean franchise, a new theory that Jack the monkey has been alive since the Aztecs delivered the cursed gold to Cortes, the meaning behind the Jerry Bruckheimer Films and Walt Disney Pictures logos including the accompanying song “When You Wish Upon A Star,” and a THANKS to everyone who inspired the show and helped make the first season a success. Pirates of the Caribbean Minute returns in September 2017 with weekly or bi-weekly general discussion episodes, and returns with a movies by minute format on November 6, 2017 covering Dead Man’s Chest. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Instagram: https://instagram.com/blackpearlshow Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/

It was superhero day at the tower and Dad's Hour had some very special guests joining them. David Adams and son Henry joined the Dad's in the studio to tell them about the amazing work that When You Wish Upon A Star has done for them and for Henry with his illness. Plus - how many boxes of cereal do you get through in your family? And do you have a bromance with a fellow dad? Iain and Mick discuss that and more on this week's show.

When You Wish Upon A Star by The Rock of York

Sorry for the late episode - Mat's computer exploded! Today's word is "Wish" sent to us by Princess Jasmine! On today's show, Andrew gets three wishes to use as he sees fit, Dan tries to defend Walt Disney by comparing him to Hitler, Mélissa wants all the food with none of the effort, and Mat tries to find a loophole in Genie's 3 rules. Next week's word is "retail"! Get your stories to us by leaving a comment below, calling in to the voicemail line at 1-844-OWG-SHOW (1-844-694-7469), or post in our Facebook group! The song at the end of today's show is called When You Wish Upon A Star by Cliff Edwards - and our overlords the Wonderful World of Disney! (Please don't sue us, Walt.) --- Submit your word! - Onewordgoshow.com Merchandise - Onewordgo.storenvy.com Voicemail Line - 1-844-OWG-SHOW // (1-844-694-7469) Twitter - Twitter.com/onewordgo Facebook - Facebook.com/groups/onewordgo Share:FacebookTwitterDiggRedditTumblrPinterestStumbleUpon

It's Kesha vs Dr. Luke in a battle for the very soul of the music industry...maybe.Animal Collective is back with their latest consciousness expanding opus, Painting With. But is it a blissed out journey of enlightenment, or just a bad trip to bummerville.Bill Frisell's latest, When You Wish Upon A Star, is a sonic ode to television and movie themes beloved by everyone.Marcus Dowling is in the house. Like a BOSS. Accept. No. Substitutes. Show Notes"Kesha and Dr. Luke: Everything You Need to Know to Understand the Case" [Rolling Stone]"Why Kesha Lost Her Court Battle, But Not Necessarily the War" [Pitchfork]RAINN National Sexual Assault Online Hotline [link]Learn more about Bill FrisellOfficial Site | Facebook | Twitter | SpotifyCheck out "You Only Live Twice" off of Bill Frisell's latest, When You Wish Upon A Star. Painting WithAnimal CollectiveKevin: Stream ItMarcus: Stream ItOfficial Site | Facebook | Twitter | Spotify Upcoming Tour Dates See acast.com/privacy for privacy and opt-out information.

Ugh! I had to replace my "Black Legacy" playlist, originally meant for today's webcast (Sept. 3rd, 2011 2pm - 4pm @ www.killradio.org). Why? After the implosion of last week's CSC ("Beats, Breakbeats, Scratches and Bass"), I found the "Black Legacy" show to be as implosion-possible as the "BBSB" show was. Frakkin' heavy handed DJing if ya' ask me...and now I'm scared that I've lost my playlist-making powers. So fine, let's jump to my "Children's Show" with music that was a part of my youth as well as music made for children from the 40's - 70's. No way to misstep with kiddie music, right?!! Right?!! Answer ME!!! Many tracks played throughout today's show I was happy to find thanks to the magic of the Internet. Perfect examples are all the tracks by the Record Guild of America, Inc., that during the 1940's produced a number of children's music records on 45rpm. I was lucky enough to find them available in .mp3 format along with the original artwork. (Check out the link which proves I'm tellin' the truth). One of the tracks that I was practically raised on was "Frankenstein" by the Edgar Winter Group, as it was played (by my brother and I mostly) on my parents' jukebox growing up. Actually it was my Mom's jukebox, an anniversary present my Dad gave to her back in the early 70's. It looks just like the one linked and I just saw a similar one for sale at a vintage clothing store in Echo Park, although someone painted red paint all over what was originally silver metal and stained wood. Also Nikolai Rimsky-Korsakov's Sheherezade was another track that I have my Mom to thank for. I can remember "The Young Prince and the Young Princess" being played while my family and I did housework and yardwork on the weekends. For that reason, this show is very much dedicated, with much love and affection, to my Mom and all the great music that she exposed me to growing up. 1. Al "Jazzbo" Collins - Jack and the Beanstalk 2. The Record Guild of America, Inc. - Old Chisolm Trail 3. Ernest Tomlinson - Domestic Fun (a) 4. Sun Ra and the Blues Project - The Bat Cave 5. Fanny Brice - Kindness to Animals 6. Richard B. Sherman & Richard M. Sherman - The Enchanted Tiki Room 7. Claude Debussey - La Mer 8. The Record Guild of America, Inc. - Twinkle, Twinkle Little Star 9. Bob and Cathy Gibbons - Calliope Music 10. Helen Kane - That's My Weakness Now 11. Rosicrucian Record - Preparation for Sleep 12. Saint-Saëns - Aquarium 13. Gene Autry - Peter Cottontail 14. Albert Elms - Carnival 15. Van Phillips - Merry as a Grig 16. Disneyland - The Monorail Song 17. Cliff "Ukelele Ike" Edwards - When You Wish Upon A Star 18. Sid & Marty Krofft - The H.R. Pufnstuf Theme 19. The Edgar Winter Group - Frankenstein 20. Cliff Edwards - Stop, Look and Listen 21. The Beau Hunks - Your Piktur 22. The Record Guild of America - Pretty Polly 23. The Electric Moog Orchestra - Cantina Band 24. Marty Robbins - El Paso 25. Aaron Copland - Billy The Kid - Introduction, The Open Prarie 26. Gilbert Vinter - The Mists of Illusion 27. Nikolai Rimsky-Korsakov - Sheherazade - The Young Prince and the Young Princess 28. Al "Jazzbo" Collins - Snow White and the Seven Dwarfs 29. Circus - Entry of the Gladiators 30. Jack Beaver - Workaday World 31. Henry Hall - Hush Hush Hush Here Comes the Bogey Man 32. Giacomo Puccini - Turandot - Perche tarda la luna 33. Jumbo Military Band - The Whistler and His Dog 34. The Record Guild of America, Inc. - Alphabet Song 35. Pogo - Alice Thank you so much for listening live on Saturdays between 2pm and 4pm Pacfic Time on killradio.org and thank you for listening to the podcast. Lust, DJ Jean-Luc Turbo