Podcasts about woman soon

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Wouldn't It Be Nice (vocals only) by The Beach Boys (1966)Song 1: Girl, You'll Be a Woman Soon by Neil Diamond (1967)Song 2: Whenever You're Ready by Dinosaur Jr. (2009)Song 3: Before You Start Your Day by twenty one pilots (2009)Song 4: Bitchin' Camaro by The Dead Milkmen (1985)Song 5: The Sails of Charon by Scorpions (1977)Song 6: Mars, the Bringer of War by Gustav Holst (1916)Song 7: Lay It Own Down by Kenny Wayne Shepherd (2017)Song 8: Sweet Home Chicago by Robert Johnson (1936)Song 9: Paid in Full by Eric B. & Rakim (1987)Song 10: Kokola Blues by Madlyn Davis (1927)

Twitter: @podgaverockInsta: @podgaverock1The Weeknd 2019  “Blinding Lights”  from "After Hours" released on XO/Republic. Written by Able Tesfaye, Ahmad Balshi, Jason Queeneville, Max Martin, Oscar Holter. Produiced by Max Martin, Oscar Holter, and The Weeknd.Cover:Performed by Josh Bond and Neal Marsh2Tears for Fears 1984 “Shout” from the album "Songs From the Big Chair" released on Phonogram/Mercury. Written by Roland Orzabal and Ian Stanley and produced by Chris Hughes.Cover:Performed by Scot Lang, Neal Marsh, and Josh Bond3Billy Idol “White Wedding” from the 1982 album "Billy Idol" released on Chrysalis. Written by Billy Idol  and produced by Keith Forsey.Cover:Performed by Josh Bond and Neal Marsh4Sharon Van Etten "Seventeen" 2019 from "Remind Me Tomorrow" released on Jagjaguwar written by Sharon Van Etten/Kate David and produced by John CongletonCover:Performed by Josh Bond and Neal Marsh5Neil Diamond's 1967 “Girl, You'll Be a Woman Soon” from the album "Just for You" released on Bang. Written by Neil Diamond and produced by Jeff Barry and Ellie Greenwich.Cover:Performed by Josh Bond and Neal Marsh

Pat Angeli du 16-20 RFM vous raconte en quelques minutes l'histoire d'un titre, d'un album ou d'un artiste mythique !

We go into our archive to feature our 2005 interview with Neil Diamond. The new Broadway show A Beautiful Noise is based on his life and features his songs. Some of his most famous songs include Sweet Caroline, Solitary Man, and Girl, You'll be A Woman Soon. We'll also remember two-time Oscar-winner Glenda Jackson, who died June 15th. She was 87. Terry Gross spoke with her in 2019 when she was starring on Broadway in a production of King Lear, as Lear. Jackson also served in British Parliament for over two decades.

We go into our archive to feature our 2005 interview with Neil Diamond. The new Broadway show A Beautiful Noise is based on his life and features his songs. Some of his most famous songs include Sweet Caroline, Solitary Man, and Girl, You'll be A Woman Soon. We'll also remember two-time Oscar-winner Glenda Jackson, who died June 15th. She was 87. Terry Gross spoke with her in 2019 when she was starring on Broadway in a production of King Lear, as Lear. Jackson also served in British Parliament for over two decades.

The Urge Overkill singer/songwriter/bassist/guitarist spoke with Caropop on the 30th anniversary of the swaggering Chicago alt-rock band's breakthrough album, Saturation (and before the death of powerhouse drummer Blackie Onassis). Leaving behind Chicago's Touch & Go label (and prompting some hard feelings), Urge signed with Geffen, the label of Nirvana, with whom Urge was touring when that band exploded. Urge enlisted the Butcher Bros. production team known for its hip-hop work and came up with songs that burst from the speakers, such as “Sister Havana” and “Positive Bleeding.” They played with Paul Shaffer's band on The Late Show with David Letterman, and Quentin Tarantino featured Urge's cover of Neil Diamond's “Girl, You'll Be a Woman Soon” in Pulp Fiction. All was good, right? Roeser explains how everything played out.

Tracklist 1/ Demi Mondaine « It's a Man's Man's Man's World » 2/ Barry White « I'm Gonna Love You Just A Little More Baby » (Soulful French Touch Remix) 3/ E.Live, Devaun Bantu « Wise Up Rise Up » 4/ Al Green « I`m A Ram » (FF Edits) 5/ Roy Ayers « Boogie Down » 6/ Marvin Gaye « Where Are We Going » (V4YS Rework) 7/ Biddu Orchestra « Girl, You'll be a Woman Soon » 8/ Otis Redding « Sittin' On The Dock Of A Bay »(Dj Snatch edit) 9/ Bobby Womack « Across 110th Street » (Dj ''S'' Remix) 10/ Cymande « Brothers on the Slide »(V's On A Slide edit) 11/ Al Kent « Freedom To Express Yourself »(RLP Re-Edit) 12/ Bobby Thurston « You Got What It Takes » (The Reflex Revision) 13/ Blue Feather « Let's Funk Tonight »(beatgrid by mikeandtess) 14/ Catherine Ringer, Nile Rodgers & Chic « I Want Your Love »(Dimitri From Paris Remix) 15/ Delegation « Darlin ( i think about you) »( beatgrid by mikeandtess) 16/ The Trammps « Shout » 17/ Magnus Carlson « Beggin' » 18/ Aretha Franklin « I Say a little Prayer for You » (mikeandtess re-edit)

Segunda parte del soundtrack de Pulp Fiction preparado por Laura Algeri. You Never Can Tell y Girl, You'll Be a Woman Soon son las canciones elegidas para esta nueva entrega.

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

في هذه الحلقة، تكلمت عن الغضب كون انه اشياء متراكمة على بعض وممكن يخلينا نتصرف بتهور مثل "البنت" من فيلم كيل بيل. تكلمت بالتحديد عن غضبنا (البنات) وليش بعض الاحيان احس هذا الغضب يخليني اتصرف بطريقة معينة ويأثر على بعض قراراتي. نصير اصحاب؟ Instagram: @itsjustrahaf Email: letswhalepodcast@gmail.com - رهف ♡ Music background:CraneWhite Lightning.1 - Dusty Springfield, Son Of a Preacher Man - Twisted Nerve.1 - Girl, You'll Be a Woman Soon_1.1 لا امتلك اي من الموسيقى في هذا البودكاست ولا يوجد دخل نقدي للمقاطع الصوتية الموجودة في البودكاست I do not own any of the music in this podcast. All rights to the created owner. This episode is just for entertainment purposes.

This week, we start out with a rousing round of Game of Pairs and then we move on to our three topics:PHILLY'S SCOTTISH COVID FLAPPhiladelphia Orchestra to chorus: Put on masks. Chorus to orchestra: We're out of here.VIVALDI'S WOMENhttps://open.spotify.com/album/7J5O8SUo6i75aN1ULdK2vQ?si=YNEqjzGBSryWXvLpnUTZKwRADIO QUOTASQuotas Should Be Introduced On Classical Music Radio Stations As Well As Concerts, Says BBC PresenterCLASSICAL MIXTAPEThe full playlistMaggieAdam Wakeman, A Handful of MemoriesTiffanyDvorak, Symphony No. 6WillHowells, Piano Quartet in A minorTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Tem episódio novo do Playlistando disponível em todas as plataformas digitais!Dessa vez o assunto era cinema, mais especificamente os filmes do Tarantino.Marcelo Braga e Marcos Vicca montaram uma playlist de 20 músicas que fizeram parte dos filmes do Tarantino.Já se lembrou de vários longas aí, né? Tem Kill Bill, Bastardos Inglórios, Jackie Brown, Cães de Aluguel, Pulp Fiction e por aí vai.Mas bora falar das trilhas dos filmes agora!Pra abrir a lista, eles escolheram “Girl, You'll Be a Woman Soon”, do Urge Overkill, que fez parte do filme “Pulp Fiction”.Na sequência veio “Bang Bang”, da Nancy Sinatra, que é uma das músicas do filme “Kill Bill”.No Playlistando #48: As melhores músicas dos filmes do Tarantino, ainda entraram as canções: “Let's Stay Together”, “Django”, “Mrs. Robinson”, “Jeepster”, e muito mais.Dá o play aí pra relembrar algumas das trilhas dos filmes desse ícone do cinema, o Tarantino!Confira a playlist no Spotify: https://spoti.fi/3Px7zLHE também no Apple Music: https://apple.co/3RFgblf

"Frenchtown" was written and produced by Jim Gatto. The principal readers are Daina Schatz and Jeffrey Anbinder The Technical Director is David Keith. Introductory and “playout” music was written and performed by Lisa “Spike" Norman. “Whoever You Are,” and “I'm Coming Home Again,” were written by Jim Gatto. “It's Almost Tomorrow” was written by Jim Gatto based on an idea from Lorraine Nelson. Additional musical recording was provided by Chrissy Gardner, Ryan Gardner, Gracie Price, and Megan Keith. The Frenchtown graphic design is courtesy of Carolyn Komerska. Special thanks go to associate producer, Kathy Keith, and to Lorraine Nelson, Stephanie Levine, and Elaine Bessette, also to Stephen and Madeline Anbinder. "Frenchtown" is a fictionalized memoir. Although some of the places mentioned existed at one time, they are either gone now or vastly different from what they were over 60 years ago, when Frenchtown takes place. The characters are composites of friends and relatives but they were not modeled on individuals who actually existed. Any resemblance to people or places is unintentional and coincidental. The entire contents of Frenchtown is copyrighted. For further information about Frenchtown and its contributors, please send inquiries to Frenchtowninfo@gmail.com

All hell breaks lose when a pack of undead ghouls attempts to seize a prize the heroes promised them long ago. *** If you enjoy the show, please leave us a rating and review at the podcast service of your choice, and find our social links at www.tabletopgold.com. Tabletop Gold is Lars Casteen, David Chernicoff, Zoe Chernicoff, R. Matt Humphreys, and Robin Lange. The Roots of Ruin is a production of the Pathfinder Adventure Path Abomination Vaults for Pathfinder Second Edition. Licensed music by Nicolas Jeudy / Dark Fantasy Studio and GameDev Market. Original music by Lars Casteen. The Roots of Ruin is a Tabletop Gold production, produced under the Paizo Incorporated Community Use policy.  The Roots of Ruin uses trademarks and/or copyrights owned by Paizo Inc., used under Paizo's Community Use Policy (paizo.com/communityuse).  We are expressly prohibited from charging you to use or access this content.  Paizo does not recognize, endorse, or sponsor this project in any way.  Original characters and content are the property of Tabletop Gold.  For more information about Paizo Inc. and Paizo products, visit paizo.com…

Zach and Sarah discuss the twentieth episode of Superman & Lois, "Girl...You'll Be A Woman, Soon." We talk quinceañeras, Ally and her Bizarro World, Jonathan vs. Jordan and the dilemma of to kill or not to kill when it comes to superheroes and supervillains! So journey with us back to Smallville for these new adventures of Lois & Clark and Always Hold On To Superman & Lois!This podcast contains SPOILERS. You've been warned!EPISODE ROUNDUPZach: LIKED IT, 5/5Sarah: LIKED IT, 4½/5Sophie Watch: 3/5Artwork by Matt Truex: https://dailyknockoff.com/PATREON: https://www.patreon.com/alwaysmallvilleTWITTER: https://twitter.com/alwaysmallville FACEBOOK: https://www.facebook.com/alwaysmallvilleEMAIL: alwaysmallville@gmail.com 

Zach and Sarah discuss the twentieth episode of Superman & Lois, "Girl...You'll Be A Woman, Soon." We talk quinceañeras, Ally and her Bizarro World, Jonathan vs. Jordan and the dilemma of to kill or not to kill when it comes to superheroes and supervillains! So journey with us back to Smallville for these new adventures of Lois & Clark and Always Hold On To Superman & Lois! This podcast contains SPOILERS. You've been warned! EPISODE ROUNDUP Zach: LIKED IT, 5/5 Sarah: LIKED IT, 4½/5 Sophie Watch: 3/5 Always Hold On To Superman & Lois artwork by Matt Truex: dailyknockoff.com PATREON: patreon.com/alwaysmallville TWITTER: twitter.com/alwaysmallville  FACEBOOK: facebook.com/alwaysmallville  EMAIL: alwaysmallville@gmail.com  ITUNES: itunes.apple.com/us/podcast/always-hold-on-to-smallville/id1080260981

Welcome to DC on RMD. In this episode: Michael, David and Steve discuss Superman & Lois 2.05 ‘Girl... You'll Be a Woman Soon'. Get more content from DC on RMD by pledging to our Patreon!

Welcome to DC on RMD. In this episode: Michael, David and Steve discuss Superman & Lois 2.05 ‘Girl... You'll Be a Woman Soon'. Get more content from DC on RMD by pledging to our Patreon!

#321 Tyler(@JTyPatrick)& James (@SupermanRed_Kr)& Levi (@roundsuperman) discuss #SupermanAndLois “Girl You'll be a Woman Soon”. Junia also returns to comment. #Superman #DCcomics #Superboy #Krypto #Krypton #YoungJustice #Batgirl #SUPERPETS #Batman #TheBatman  For all things Krypton Report: https://linktr.ee/Kryptonreport Our new TEE Public Store: http://tee.pub/lic/gJJ3wcW9NCE Help Keep Krypton from Exploding join the $1 a month Patreon: https://www.patreon.com/kryptonreportpod

Charles Skaggs & DJ Nik discuss "Girl...You'll Be a Woman, Soon", the fifth episode of Superman & Lois Season 2, featuring Tyler Hoechlin as Superman/Clark Kent, Elizabeth Tulloch as Lois Lane, Sofia Hasmik as Chrissy Beppo, and Inde Navarrette as Sarah Cushing! Find us here:Twitter: @FandomZoneCast @CharlesSkaggs @HiDarknesspod  Facebook: Facebook.com/FandomZonePodcast Instagram: @FandomZonePodcast Email: FandomZoneCast@gmail.com  Listen and subscribe to us in Apple Podcasts and leave us a review!

Season 2 of SUPERMAN AND LOIS continues and The BAM Crew (Bethany, Alison, and Michael) are back to discuss the fifth episode of S AND L Season 2 which was titled Girl...You'll Be A Woman Soon. The Crew talks about how Bethany feels bad for Jordan, Alison feels bad for Kyle, Mike has thoughts on journalistic integrity, thoughts on the set pictures that were circulating last week, and more! Plus, Bethany chooses The Most Punchable Face and Alison picks out who was The Most Aesthetically Pleasing! Plus, YOUR FEEDBACK!

Season 2 of SUPERMAN AND LOIS continues and The BAM Crew (Bethany, Alison, and Michael) are back to discuss the fourth episode of S AND L Season 2 which was titled The Inverse Method. The Crew talks about how Bethany feels bad for Jordan, Alison feels bad for Kyle, Mike has thoughts on journalistic integrity, thoughts on the set pictures that were circulating last week, and more! Plus, Bethany chooses The Most Punchable Face and Alison picks out who was The Most Aesthetically Pleasing! Plus, YOUR FEEDBACK!

We're back for more of Superman and Lois Radio! This time around  Lizzie and Lyra, reviewed “Girl… You'll Be a Woman, Soon.” In this episode, Sarah is about to have her quinceañera with zero planning, Lois and Clark are on the hunt for the truth, and Jordan somehow becomes our favorite child. Sorry, not sorry, Jonathan. Tune in and find out what they thought about the latest episode of Superman & Lois titled “Girl… You'll Be a Woman, Soon”! “The Thing in the Mines” — (8:00-9:00 p.m. ET) (TV-PG, D) (HDTV) THINGS TAKE A TURN ON SARAH'S (INDE NAVARETTE) BIG DAY – Lana (Emmanuelle Chriqui), Kyle (Erik Valdez) and Sarah (Inde Navarette) prepare for Sarah's quinceañera, but things don't end up going as smoothly as they had hoped. Clark (Tyler Hoechlin) finds himself struggling with feelings of guilt about what happened to John Irons (Wole Parks) and Lois (Elizabeth Tulloch) worries that she might have been wrong about Ally (guest star Rya Kihlstedt). Meanwhile, Jonathan (Jordan Elsass) learns that Ret. General Samuel Lane (Dylan Walsh) is planning to train Jordan (Alex Garfin). Lastly, Chrissy (Sofia Hasmik) goes searching for the truth about Lois. Tayler Buck also stars. The episode was directed by Diana Valentine and written by Rina Mimoun & Adam Mallinger. Find Superman & Lois Radio on: Social Media: Facebook – @SupermanRadio – Instagram Subscribe: Apple Podcasts – Stitcher Radio – YouTube – DC TV Podcasts – Google Podcasts – Spotify – Amazon Music (Coming Soon) – Podchaser – TuneIn (Coming Soon) – Podcast Index Contact: SupermanRadio@gmail.com Support: TeePublic Store

Superman and Lois 2x05 "Girl… You'll Be a Woman, Soon" sees us shifted our allegiances on who we love and are done with. The post Superman and Lois Radio Season 2 – Episode 5: “Girl… You’ll Be a Woman, Soon” appeared first on Multiverse Of Color.

We're back for more of Superman and Lois Radio! This time around  Lizzie and Lyra, reviewed “Girl… You'll Be a Woman, Soon.” In this episode, Sarah is about to have her quinceañera with zero planning, Lois and Clark are on the hunt for the truth, and Jordan somehow becomes our favorite child. Sorry, not sorry, Jonathan. Tune in and find out what they thought about the latest episode of Superman & Lois titled “Girl… You'll Be a Woman, Soon”! “The Thing in the Mines” — (8:00-9:00 p.m. ET) (TV-PG, D) (HDTV) THINGS TAKE A TURN ON SARAH'S (INDE NAVARETTE) BIG DAY – Lana (Emmanuelle Chriqui), Kyle (Erik Valdez) and Sarah (Inde Navarette) prepare for Sarah's quinceañera, but things don't end up going as smoothly as they had hoped. Clark (Tyler Hoechlin) finds himself struggling with feelings of guilt about what happened to John Irons (Wole Parks) and Lois (Elizabeth Tulloch) worries that she might have been wrong about Ally (guest star Rya Kihlstedt). Meanwhile, Jonathan (Jordan Elsass) learns that Ret. General Samuel Lane (Dylan Walsh) is planning to train Jordan (Alex Garfin). Lastly, Chrissy (Sofia Hasmik) goes searching for the truth about Lois. Tayler Buck also stars. The episode was directed by Diana Valentine and written by Rina Mimoun & Adam Mallinger. Find Superman & Lois Radio on: Social Media: Facebook – @SupermanRadio – Instagram Subscribe: Apple Podcasts – Stitcher Radio – YouTube – DC TV Podcasts – Google Podcasts – Spotify – Amazon Music (Coming Soon) – Podchaser – TuneIn (Coming Soon) – Podcast Index Contact: SupermanRadio@gmail.com Support: TeePublic Store

The Waverider is parked in Smallville. Kyle's affair and coverup with the bartender has come to a head when Jordan & Sarah see the confrontation. But Lana manages to save Sarah's quinceañera. Sam begins to train Jordan and enlists Jonathan to help. But this pushes Jon to take XK and his powers are outted to Jordan. Lois is chasing Ally's story and finds her ties to the mines. Bizarro is standing over a murdered Dr. Faulkner and has his sights set on Ally. Superman & Lois save Ally. With the help of Lara, Superman discovers that Bizarro is there to stop Ally from destroying both their worlds. Chrissy is drugged by Ally and discovers that Bizarro's world is bleak and ruled by Ally. Contact Information If you want to join in the discussion, you can submit feedback via email to TomorrowsLegendsPodcast@gmail.com. Please submit all feedback by 7:00 pm eastern on Thursdays. You can also join the Facebook group at facebook.com/groups/tomorrowslegends. Answer all the questions and agree to the group rules to be accepted. You can follow us on Twitter @tomorowslegends. 

Superman and Lois 2x05 "Girl… You'll Be a Woman, Soon" sees us shifted our allegiances on who we love and are done with. The post Superman and Lois Radio Season 2 – Episode 5: “Girl… You'll Be a Woman, Soon” appeared first on DC TV Podcasts.

Lana, Kyle and Sarah prepare for Sarah's quinceañera, but things don't end up going as smoothly as they had hoped. Clark finds himself struggling with feelings of guilt about what happened to John Irons and Lois worries that she might have been wrong about Ally. Meanwhile, Jonathan learns that Ret. General Samuel Lane is planning to train Jordan. Lastly, Chrissy goes searching for the truth about Lois.

Greetings Super friends! Welcome to Superman & Lois & Pals. I'm Henry Bernstein and alongside me is my favorite super pal, Professor Sam Brody.  Sam and Henry are back after a 2 week break to talk Superman & Lois. In this episode the pals discuss if the Bizarro/Ally storyline is a ripoff of Legend of Zelda, they speculate on why are the Mayor and Christy Beppo at the quinceanera and of course some judgement over Lana's parenting and Sam Lane's grand parenting. Enjoy! Please subscribe and give us a rating on Apple Podcasts. It's the best way for us to get the word out! Give us a follow on Twitter and start a conversation with us!  

2nd annual Critics Choice Super Awards – Variety Nominated for “Best Superhero Series” Tyler Hoechlin has been nominated for “Best Actor in a Superhero Series”  2.5 Girl…You'll Be A Woman, Soon After a 2-week Olympic break, The CW's Superman & Lois has returned with new episodes. We break down Season 2, Episode 5 on this […]

2nd annual Critics Choice Super Awards – Variety Nominated for “Best Superhero Series” Tyler Hoechlin has been nominated for “Best Actor in a Superhero Series”  2.5 Girl…You'll Be A Woman, Soon After a 2-week Olympic break, The CW's Superman & Lois has returned with new episodes. We break down Season 2, Episode 5 on this […]

David Ballantyne of The Vinyl Score YouTube Channel stops by to chat with Ryan and Nicole about the 1994 Quentin Tarantino blockbuster Pulp Fiction and its triple platinum soundtrack. It's a soundtrack that seemed to be everywhere in 1994 and it opened up a lot of ears to a bunch of different genres of music including surf rock, R&B and classic rock. We start with "Pumpkin and Hunny Bunny" / "Misirlou" and go through our favorite tracks from the soundtrack as well as how Tarantino wanted to license The Knack's "My Sharona" for an iconic scene in the film, but was ultimately rebuffed by the band. We also talk about Urge Overkill and their surprise hit, a cover of Neil Diamond's "Girl, You'll be a Woman Soon", and how they had two women in Chicago intensely troll them back in the late 80/early 90s.  Check out David's channel, The Vinyl Score at: https://www.youtube.com/thevinylscore If you'd like to support our podcast, you can buy us a coffee at http://buymeacoffee.com/soundtrackcast --- Support this podcast: https://anchor.fm/soundtrackyourlife/support

 Urge Overkill began in 1980s Chicago and carved their own path over the past several decades. In the ‘90s, they toured with bands who are household names, and reached that status on their own with their cover of Neil Diamond's “Girl, You'll Be a Woman Soon” on the groundbreaking soundtrack to Quentin Tarantino's Pulp Fiction. On this episode, Urge Overkill founders Eddie “King” Roeser and Nash Kato join guest co-host Casey Bruce and me to talk about their new album “Oui,” loaning their suits to their tourmates Nirvana, the band's long hiatus following their two albums on Geffen Records, Nash's brief run as a solo artist, Jack Black's hand in resurrecting the group, and their admiration for other artists like Cheap Trick, Selena, and Wham! Recorded at TCTV Studios in Olympia, this episode is also available in a video format, which you can find on lowprofilepodcast.com .For more on UO, visit UrgeOverkill.comLow Profile is listener-supported, which means that your donations keep these engines cranking out new episodes. If you'd like to contribute, the best way to do that is by signing up for flexible monthly donations at http://www.patreon.com/LowProfile at whatever rate is in your budget. Venmo@lowpropodcastThis show also receives in-kind (non-monetary) from these independent Olympia, WA businesses:San Francisco Street BakerySchwartz's DeliRainy Day RecordsOld School Pizzeriaand Scherler Premium Shitty American Lager from Three Magnets Brewing Co.Thanks to Nathan Berko-Gibson who has donated the artwork for all the Season Five Episodes.

SAY "WHAT" AGAIN! I DARE YOU! Part 2 follows part 1, isn't that just easier Quentin? Part 2 of our breakdown of Pulp Fiction covers loads of songs: "Son of a Preacher Man", "Bullwinkle Part II", "You Never Can Tell", "Girl, You'll Be a Woman Soon", "If Love is a Red Dress", "Camanche", "Flowers on the Wall" and "Surf Rider". *breathes heavily*. Alex gets quietly awkward, Ben busts out his signature dance moves and Dietrich wants to know how he can help with your insurance needs. Follow us on Twitter: @TSFTMpod subscribe. Like, share and Please consider leaving us a 5 star review on Apple Podcasts/iTunes. It means a great deal to us and makes it easier for other potential listeners to find us: Apple Podcasts Want to support us further? You can do this on Patreon from £1 ($1.50) a month: https://Patreon.com/TSFTM or via our merch store: https://TeePublic.com/user/TSFTM Thank you! Timestamps: 00:01:50 - Direct Line's Ad Campaign 00:05:16 - "Son of a Preacher Man" Discussion 00:08:50 - "Bullwinkle Part 2" Discussion 00:11:08 - "You Never Can Tell" Discussion 00:17:03 - "Girl, You'll Be a Woman Soon" Discussion 00:20:41 - "If Love is a Red Dress" Discussion 00:23:22 - "Camanche" Discussion 00:25:49 - "Flowers on the Wall" Discussion 00:27:53 - "Surf Rider" Discussion 00:29:48 - Best Song

Twitter: @podgaverockInsta: @podgaverockNeil Diamond's 1967 “Girl, You'll Be a Woman Soon” from the album "Just for You" released on Bang. Written by Neil Diamond and produced by Jeff Barry and Ellie Greenwich.Personel:Neil Diamond - vocalsCover:Performed by Josh Bond and Neal MarshIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.

Twitter: @podgaverockInsta: @podgaverockNeil Diamond's 1967 “Girl, You'll Be a Woman Soon” from the album "Just for You" released on Bang. Written by Neil Diamond and produced by Jeff Barry and Ellie Greenwich.Personel:Neil Diamond - vocalsCover:Performed by Josh Bond and Neal MarshIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:No Time to DieAdeleBillie EilishDuran DuranBilly ReidFrank Sinatra “When I Was Seventeen”Bing CrosbyElvisThe Righteous BrothersRoy OrbisonBig Joe TurnerFats Domino “Blueberry Hill”Chris IsaakDavid BowieBobby DarinJim MorrisonEddie MoneyBilly JoelElton JohnRod StewartTom Jones “What's New Pussycat”Tom Jones “It's Not Unusual”Tom Jones “Sex Bomb”Wayne NewtonDavid ByrneFather John MistyArctic MonkeysJulian CasablancasLou Reed “PErfect Day”The Strokes “Someday”Neil Diamond “Red, Red Wine”Neil Diamond “I'm a Believer”Neil Diamond “Cherry, Cherry”Pulp FictionUrge Overkill   fun. “We Are Young”Robert DeNiroCape FearJuliette LewisUma ThurmanJennifer GreyDirty DancingNeil Diamond “Sweet Caroline”Chuck BerryWarrant “Seventeen”Kings of LeonJohn TravoltaThe Crystals  “Da Doo Ron Ron”The Ronettes “Be My Baby”Ennio MoriconeQuentin TarantinoDionRicky NelsonThe Crystals “Then He Kissed Me”Dean MartinLiberaceThe Wrecking CrewCarole KingPaul SimonUB40Mad MenWarren BeattyBarry ManiloweBeach Boys “Good Vibrations”Lord HuronBruce Springstein “I'm On Fire”Mazzy StarLeonard EllroyRaymond ChandlerKool and the Gang “Jungle Boogie”LolitaCliff RichardRaffertyColdplayImagine DragonsBidou OrchestraGroovy WatersTrue Detective

Las versiones musicales del amigo secreto de Javier del Pino y (un poco menos) Rafa Panadero.

Rebecca's latest album, Give Up Your Ghosts, is available on her website, and on all major listening platforms. Her new video series, featuring singer-songwriters talking about what it's like to be working musicians, is available on her YouTube channel. You can join "Team Loebe" on Patreon for as little as $1/month.Here's a link to the official Troubadours on Trek Spotify Playlist, where you can hear all the featured songs from every episode in one playlist (songs will be added as episodes air on Patreon):-Rebecca's song pairing for this episode: “Girl You'll Be a Woman Soon,” by Urge Overkill.-Grace's song pairings for this episode: “Changes” by David Bowie-Rebecca's featured song is "Growing Up," from her new album, Give Up Your Ghosts.Corrections:Yes, Star Trek IV (the one with the whales) is “The Voyage Home.”Many accept "Plato's Stepchildren" (TOS 03:10) as the "first interracial kiss on television" (there's debate on this point but it was certainly the first televised kiss between dark skinned and light skinned actors on American television). But that's only if we're talking about American television. Great Britain was ahead of the United States in this department by almost a decade. Rebecca asks when the "first consensualinterracial kiss" (kiss between dark skinned and light skinned actors) aired on American TV, since the Uhura/Kirk kiss was technically coerced by way of alien mind control in this particular episode. That's a harder question to answer. With these qualifiers, I couldn't find documentation of the "second interracial kiss" or the "first consensual interracial kiss." (If anyone out there has more on this, I'd be very interested to know the answer). Wikipedia has a fascinating entry on televised interracial kisses, documenting earlier examples (than the Uhura/Kirk kiss) of kisses between Asian and white actors and Hispanic and white actors (all light skinned actors) and examples on British television of kisses between actors with dark and light skin: https://en.wikipedia.org/wiki/First_interracial_kiss_on_televisionTribe of Creepy Children: It's interesting to note that the actor who plays Jahn, Michael J. Pollard, was 27 at the time. He was pretty short, so he was able to play a teenager throughout his 20s. He played a lot of memorable side characters, including CW Moss in Bonnie and Clyde (which came out in 1967). He was in lots of other movies and shows, like Dick Tracey and Scrooged and Roxanne, the Steve Martin movie. You can google him.  The other kids are mainly the children of actors in Star Trek: William Shatner's daughters Lisabeth and Melanie, Grace Lee Whitney's son Scott, Vincent McEveety's son Steven, and Gene Roddenberry's daughters, Darleen and Dawn. Two other children, Phil and Iona Morris, were the children of Mission Impossible actor Greg Morris, and they later appeared in other Star Trek shows. Phil Morris was in Star Trek III: The Search for Spock in a bit part and then was a guest star on Babylon 5, Star Trek: Deep Space Nine, and Star Trek: Voyager. Iona Morris was in a 2 part episode of Voyager but is mainly known as a voice actor. She was the voice for Storm in the animated X-Men series and in Spider Man: the Animated Series. 

One of the last British Invasion groups of the 1960s, and one of the few grroups that never disbanded, was Manchester's own The Hollies.  Alan Clarke and Graham Nash founded the group, and after a few iterations joined with Vic Steele (lead guitar), Eric Haydock (bass), and Don Rathbone (drums) in a group known as the Deltas.  They would first be known as The Hollies at a Manchester gig in December 1962, taking the name from both the Christmas season and in admiration of Buddy Holly.  By 1967, Steele had been replaced by Tony Hicks, and Rathbone by Bobby Elliott.  Eric Haydock would be replaced by Ernie Calvert in 1966.The Hollies' Greatest Hits was released in May 1967 after their fifth studio album, though they had only achieved major U.S. success in 1966.  This album showcases their three-part harmonies and the sound reminiscent of many early 60's British Invasion bands.  They did covers and songs from other writers at first - a common practice in bands at the time - before becoming comfortable writing their own material.  Though The Hollies had many decades more music and hits to come, Graham Nash would depart a few months after this Greatest Hits collection was released to join his new band, Crosby, Stills & Nash.  This collection is a good representation of the early days of this iconic band. Bus StopThis was the first U.S. top 10 hit by the group, released in June 1966.  Songwriter Graham Gouldman wrote this piece using opening lyrics first written by his father, playwright Hyme Gouldman.  Graham Gouldman would later be a member of the band 10cc.On a CarouselClarke, Nash, and Hicks penned this song.  These three would form the core of the songwriting for The Hollies after they began writing on their own.  Previous hits were from Graham Gouldman or covers.  It was originally released in February 1967 as a single, and captures the spirit of young love.Look Through Any WindowThis one hit the charts as a single in the US in September 1965, and was their first top 40 hit. “Look through any window, yeah, what do you see?  Smiling faces all around, rushin' through the busy town.”Stop, Stop, StopReleased in the US by Imperial records in October 1966, this track has a distinctive sound with a banjo as lead instrument and employing a tape delay to give it an eastern feel.  It was inspired when the band was taken to a strip club for the first time.  “Stop, stop stop all the dancing.  Give me time to breathe.” ENTERTAINMENT TRACK:Theme from the motion picture “To Sir With Love”Sidney Poitier stars and singer Lulu contributes this song (and makes her film debut) in this drama about social and racial issues in an inner city school. STAFF PICKS:“Creeque Alley” by The Mamas & The PapasRob kicks off the staff picks with an autobiographical piece on how The Mamas & The Papas formed.  The line “and no one's getting fat 'cept Mama Cass” could refer to Cass Elliott's weight, ...or to her financial situation, as she was making more money than the rest of the band!“I Got Rhythm” by The HappeningsBruce takes us way back with a show tune originally composed by George and Ira Gershwin in 1930.  The Happenings were known for playing classic songs in a sunshine pop style.  “I Got Rhythm” would make it to number 3 on the US charts with this version.“From the Underworld” by The HerdWayne's staff pick features a 17 year old Peter Frampton!  This song was the first UK hit by the group, and was inspired by the story of Orpheus and his flight from Hades.  The psychedelic tune was payed on Pirate Radio in the UK, where radio broadcasts were conducted from ship to avoid the BBC.“Girl, You’ll Be a Woman Soon” by Neil DiamondBrian's pick is a hit from Neil Diamond addressing the female fans at his concerts directly.  Diamond was a sex symbol at the time, and his audience skewed female, as demonstrated by the apparel thrown up on stage.   LAUGH TRACK:“Ding Dong the Witch Is Dead” by The Fifth EstateThis may be more novelty than comedy, but your ears do no deceive you.  That's right, this song from "The Wizard of Oz" made it into the charts this month via this cover by The Fifth Estate.

Quando uma música se torna hiper famosa por conta de um filme, ou mesmo uma cena, ela se torna uma imagem com som. Saiba a história por trás dessa música neste episódio. Texto e Voz : Leo Daflon Gravação : Mordazes Estúdios Janeiro 2021

The magic of three; life as a rock mom and the loud majesty of Urge Overkill and Big Muff distortion pedals...Songs in this episode:Down At The Texaco - early unreleased Shams demoAlmost Had Me Convinced - early 90s demo, A One Way Ticket To My LifeThat Tone Of Voice - Diary Of A Mod Housewife

From a couple of armchairs in front of the woodburner on a rainy morning we discuss old age, eco militarism, and Prince Andrew's passport.  Paul, as an expert, comes up with a working definition of the verb 'to party'.  We then pass via Isadora Duncan's scarf and castration onto the subject of transgender people, which in our characteristic manner we gave a considered and balanced ragging.

Nesse episódio os participantes; André Figaro (twitter.com/figaroandre), José Fernando Simão (twitter.com/professorsimao) e Paulo Baccarat (twitter.com/paulobaccarat) falam sobre os melhores lugares para viajar no Brasil. De norte a sul. Escute para saber quais são essas boas indicações. colabore: app.picpay.com/user/tafazendodireito padrim.com.br/tafazendodireito Siga-nos no Twitter pelo twitter.com/DireitoFazendo Edição: Emerson Oliveira (twitter.com/EmersonOSheik) Musicas usadas: Dave Brubeck - Take Five (Indicações) www.youtube.com/watch?v=vmDDOFXSgAs Law' - Des espoirs www.youtube.com/watch?v=W5H-NxdKVsw Urge Overkill - Girl You'll Be a Woman Soon (musica final) https://www.youtube.com/watch?v=JAHA4Jh5jkw

Mark Kramer in conversation talking about his life in music with David Eastaugh  Mark Kramer  known professionally as Kramer, is a musician, composer, record producer and founder of the New York City record label Shimmy-Disc. He was a full-time member of the bands New York Gong, Shockabilly, Bongwater and Dogbowl & Kramer, has played on tour (usually on bass guitar) with bands such as Butthole Surfers, B.A.L.L., Ween, Half Japanese and The Fugs(1984 reunion tour), and has also performed regularly with John Zorn and other improvising musicians of New York City's so-called "downtown scene" of the 1980s. Kramer's most notable work as a producer has been with bands such as Galaxie 500 (whose entire oeuvre he produced), Low (whom he discovered and produced), Half Japanese, White Zombie, GWAR, King Missile, Danielson Famile, Will Oldham, Daniel Johnston, and Urge Overkill, including their hit cover of "Girl, You'll Be a Woman Soon".

Curta todos os dias..... Tradução Musical!

--- yup, you read that right, ...Neil Diamond In defense of.... a new kind of episode. A 20 or so minute discussion about a musician / band who 'might' be misrepresented and/or misunderstood by most. In some cases there's a good reason - in others, maybe not. In our premier of this new installment, Steve tries to convince Mike that Neil Diamond is no joke. Mike is a huge fan of the movie Saving Silverman so...Steve's got his work cut out for him. Give it a listen and let us know what you think. Are you convinced? Be on the lookout for other "In defense of..." episodes from time to time. Have an artist who fits the mold? Send 'em our way and we'll take a look! Also....Steve wanted to add that he forgot to mention that Mr. Diamond was also responsible for the brilliance that is, "Girl, You'll be a Woman Soon." A song, like many others, initially written by Neil Diamond and covered by countless musicians- some of which may surprise you. Listen in for the rest. Feedback (Love and/or Hate mail): musicandtheorypodcast@gmail.com Follow us on: Instagram (musicandtheorypodcastofficial) Facebook (@themusicandtheorypodcast)

Welcome to lucky number 13! In this episode Shelly talks about that very special time when she blossomed into womanhood. Warning: this description gets a bit graphic (as usual, Shelly's mouth filter is on the fritz). We also continue the saga of the big church exit, which gets her a bit riled up (breathe, Shelly). Buckle up kids, this ride is bumpy! Music provided by Purple Planet: https://www.purple-planet.com --- This episode is sponsored by · Zhou Nutrition: At Zhou Nutrition, we believe greatness comes from within. We make supplements in our own facilities in the heart of Utah with carefully crafted formulations to support essential wellness, mind, mood, beauty, and the keto lifestyle. https://www.zhounutrition.com/ · Anchor: The easiest way to make a podcast. https://anchor.fm/app

他，“轰动日本的国漫《镖人》作者”、“国漫之光”、“国漫先锋人物……无数个标签足以证明他如今在国内漫画圈的地位——这个人就是许先哲。许先哲的武侠漫画作品《镖人》以隋末民乱前夕的江湖为背景，细致刻画了各路人马的恩怨情仇。自开始连载以来，《镖人》以其冷厉硬派、韵味十足的画风和张弛有度的剧情吸引了大批阅读者。《镖人》在2017年间三次登上日本NHK电视台新闻报道节目，被日本媒体赞誉为“世界级的中国漫画佳作”。最近，相爷专门跑到厦门跟许先哲畅聊了一番，快听听今天的节目或者前往“大内密谈”公主号了解更多哦！song list/Urge Overkill - Girl, You'll Be a Woman Soon大内密谈的帐号“大内密谈”大内密谈的帐号“大内密谈”欢迎加入 欢迎互动：）

他，“轰动日本的国漫《镖人》作者”、“国漫之光”、“国漫先锋人物……无数个标签足以证明他如今在国内漫画圈的地位——这个人就是许先哲。许先哲的武侠漫画作品《镖人》以隋末民乱前夕的江湖为背景，细致刻画了各路人马的恩怨情仇。自开始连载以来，《镖人》以其冷厉硬派、韵味十足的画风和张弛有度的剧情吸引了大批阅读者。《镖人》在2017年间三次登上日本NHK电视台新闻报道节目，被日本媒体赞誉为“世界级的中国漫画佳作”。最近，相爷专门跑到厦门跟许先哲畅聊了一番，快听听今天的节目或者前往“大内密谈”公主号了解更多哦！song list/Urge Overkill - Girl, You'll Be a Woman Soon大内密谈的帐号“大内密谈”大内密谈的帐号“大内密谈”欢迎加入 欢迎互动：）

他，“轰动日本的国漫《镖人》作者”、“国漫之光”、“国漫先锋人物……无数个标签足以证明他如今在国内漫画圈的地位——这个人就是许先哲。许先哲的武侠漫画作品《镖人》以隋末民乱前夕的江湖为背景，细致刻画了各路人马的恩怨情仇。自开始连载以来，《镖人》以其冷厉硬派、韵味十足的画风和张弛有度的剧情吸引了大批阅读者。《镖人》在2017年间三次登上日本NHK电视台新闻报道节目，被日本媒体赞誉为“世界级的中国漫画佳作”。最近，相爷专门跑到厦门跟许先哲畅聊了一番，快听听今天的节目或者前往“大内密谈”公主号了解更多哦！song list/Urge Overkill - Girl, You'll Be a Woman Soon大内密谈的帐号“大内密谈”大内密谈的帐号“大内密谈”欢迎加入 欢迎互动：）

Playlist: 1. CAKE Perhaps Perhaps Perhaps..2. URGE OVERKILL Girl you’ll be a Woman Soon..3. KULA SHAKER Govinda..4. THE VERVE Bitter Sweet Symphonie..dEUS Hotelllunge..5. PAVEMENT Range life..6. SONIC YOUTH Bull in the Heater..7. SUBSONICA Disco Labirinto

Playlist: 1. CAKE Perhaps Perhaps Perhaps..2. URGE OVERKILL Girl you’ll be a Woman Soon..3. KULA SHAKER Govinda..4. THE VERVE Bitter Sweet Symphonie..dEUS Hotelllunge..5. PAVEMENT Range life..6. SONIC YOUTH Bull in the Heater..7. SUBSONICA Disco Labirinto

In minute 52 of Pulp Fiction, Mia begins her solo of "Girl, You'll Be a Woman Soon" and Vince gives himself a pep talk in the bathroom. Special guest Chrysanthe Tan! http://www.chrysanthetan.com/ A Too Old Media podcast

Hello Frequent Flyers and Welcome aboard our 57th Flight, Lizzie McGuire. We've all been there, perched awkwardly on the end of our beds as our parents try to explain the magical mysteries of puberty. And if those mysteries happen to come attached to scrunchies and a million tarantula braids and Judge Judy reference, well, so be it. And so what if your mom won't let you go to THE pool party of the closest thing you'll ever get to Brad Pitt?  Growing up is hard, but it gets a bit easier with friends, and tie-dye

Japes, buffoonery and falsehoods dominate the news this week, with beloved entertainer and Deadite murderer Bruce Campbell claiming he’ll be the next Doctor..all in service of April Fool’s Day. What a card! And bless him for trying because there’s almost nothing else happening as the Year of No Who limps along. However, we at RFS are doing our part to fill the gap with our Series 9 commentaries, including this week’s look at “The Girl Who Died” with Alyssa from Whovian Feminism! Check out the show notes at http://www.radiofreeskaro.com

Rolling Stones, Sid Vicious, Elvis Presley, Robert Plant, Urge Overkill, The Clash, U2, Nick Cave & Shane McGowan, Yardbirds, The White Stripes e várias outras bandas tocando as suas versões das músicas que apareceram na Mixtape 32 “Originais”. Confira se a versão que você escolheu está na mixtape. Clique aqui com o botão direito do mouse e faça o download agora. Para ouvir outras músicas do artista clique nos links. 01 – Whiskey In The Jar – Thin Lizzy 02 – Hound Dog – Elvis Presley 03 – Little Red Rooster – Howling Wolf & Yardbirds 04 – What a Wonderful World – Nick Cave & Shane McGowan 05 – My Way – Sid Vicious 06 – Thats Life – The Peddlers 07 – Sea of Love – Robert Plant & The Honeydrippers 08 – Christmas (Baby, Please Come Home) – U2 09 – Baby, I love you- CJ Ramone 10 – Jolene – The White Stripes 11 – Girl You’ll Be a Woman Soon – Urge Overkill 12 – Guitarman – The Jesus And Mary Chain 13 – Higher Ground – Red Hot Chili Peppers 14 – Hitch Hike – The Rolling Stones 15 – Police & Thieves – The Clash 16 – Twist And Shout – BackBeat Band (Dave Pirner, Greg Dulli, Thurston Moore, Don Fleming, Mike Mills, Dave Grohl) 17 – Police on my Back – Joe Strummer & The Mescaleros 18 – Sunshine Superman – Hüsker Dü 19 – I Don’t Want To Grow Up – Ramones A próxima mixtape vai pro ar no dia 10/01/2016

Shrunken Head Lounge Surf Radio Show Running Time: 29 minutes 30 seconds Three Cheers For The Girls 1. Annette Funicello - A Girl needs a Boy (2:54)2. Beach Boys 01 The Girl From New York City (2:00)3. California Girls - The Fendertones (3:12)4. Ice Cream Girl-George Royale 1(Master) (2:46)5. The Cherry Drops - Little Girl (2:27)6. The Clams - Music-to-Watch-Girls-By (2:58)7. The Concussions - How To Strip For Your Girlfriend's Girlfriend (2:30)8. The Girls On The Beach - The Beach Boys (2:30)9. The Rip Chords - Red Light Girl (2:40)10. Urge Overkill - Girl You'll Be a Woman Soon (3:09)11. The Berries - Little Miata (2:04)  

Big and Rish both saw the "Supergirl" pilot, and want to talk about it. Warning: the S-word may be spoken . . . just don't tell the lawyers. You can Right Click HERE and select Save Link As, to save the file to your hard drive.

Canciones rockeras de amor. Excelente para dedicar a la pareja ruda. 40 minutos de rock mezclado por Dj Jag. Incluye Cant Stop Lovin You y Shes The Woman de Van Halen, A girl like you de Edwin Collins, Sweet Child of Mine de Guns n Roses, Cradle Of Love de Billy Idol, Love Me Two Times de The Doors pero interpretada por Aerosmith, When the Girl Gets Hot de Airbourne, Until The End Of The Worl de U2, I Believe in a thing Called Love de The Darkness, Round and Round de Ratt, My Girl de Aerosmith, Girl Youll be a Woman Soon de Urgeoverkill, Lyla y Roll With it de Oasis, China Girl de David Bowie, She Likes Rock and Roll de AC DC, About a Girl de Nirvana, Crazy Little Thing Called Love de Queen, You Really Got Me de The Kinks y Waiting for a Girl Like You de Foreigner. Enjoy it!

Canciones rockeras de amor. Excelente para dedicar a la pareja ruda. 40 minutos de rock mezclado por Dj Jag. Incluye Cant Stop Lovin You y Shes The Woman de Van Halen, A girl like you de Edwin Collins, Sweet Child of Mine de Guns n Roses, Cradle Of Love de Billy Idol, Love Me Two Times de The Doors pero interpretada por Aerosmith, When the Girl Gets Hot de Airbourne, Until The End Of The Worl de U2, I Believe in a thing Called Love de The Darkness, Round and Round de Ratt, My Girl de Aerosmith, Girl Youll be a Woman Soon de Urgeoverkill, Lyla y Roll With it de Oasis, China Girl de David Bowie, She Likes Rock and Roll de AC DC, About a Girl de Nirvana, Crazy Little Thing Called Love de Queen, You Really Got Me de The Kinks y Waiting for a Girl Like You de Foreigner. Enjoy it!

Your host for this edition is René ClairIt is entitled More RealistFirst Sequence:Lillian Briggs - I Want You to Be My BabyThe Chantels - He's GoneThe Elektras - All I Want to Do is RunThe Starlets - Better Tell Him NoLittle Eva - Keep Your Hands Off My BabySecond Sequence:Wild Man Fischer - The TasterSandy Hurwitz - WomanThe GTOs - Do Me in Once and I'll Be Sad, Do Me in Twice and I'll Know Better (Circular Circulation)Judy Henske & Jerry Yester - Horses on a StickJeff Simmons - Appian WayThird Sequence:Jackie Wilson - We Have LoveThe Solitaires - Thrill of LoveThe Gaylords - Magic SongThe Cute-Teens - From This Day ForwardAl Kent - That's Why I Love You SoFourth Sequence:Jackie Edwards - Girl, You'll Be a Woman SoonThe Monkees - A Little Bit Me, a Little Bit YouJay & The Americans - Sunday and MeShane MacGowan & The Popes - Cracklin' RosieNeil Diamond - Red, Red WineSummation:Marlena Shaw - Woman of the Ghetto

It’s that time of the month! In this episode, Alex and Andrea get a visit from their Aunt Flo to talk about the most natural of all curses: womanhood. Listen as they bleed poetic about Ginger Snaps and Carrie. REQUIRED READING Carrie. Dir. Brian De Palma. (1976) [DVD] [Blu-ray] Ginger Snaps. Dir. John Fawcett. (2000) […]

DanyCast Pedidos! Especial Trilhas sonoras! Músicas deste episódio Tema de Holocausto Canibal Tema de Nekromantik(pedido da Julia Fontenele) Non Je Ne Regrette Rien – Edith Piaf(pedido da Mariane Gaspareto) A Real Hero – College(pedido do Fábio Casanova) Girl, You´ll Be a Woman Soon – Urge Overkill(pedido do João Paulo) Hold Me, Thrill Me, Kiss Me, […] Lista completa das músicas no blog do Danycast!

On Episode 12, I am joined by two lovely ladies, Gracyn and Tracy, in the home studio to hash out why its so hard for guys and girls to just be climbing buds. Gracyn thinks every guy wants her, I cop to being in love with every climbing partner I've ever had- male or female, … Continue reading "Episode 12: Girl, you'll be a woman soon (remix)."

On Episode 12, I am joined by two lovely ladies, Gracyn and Tracy, in the home studio to hash out why its so hard for guys and girls to just be climbing buds. Gracyn thinks every guy wants her, I cop to being in love with every climbing partner I’ve ever had- male or female, … Continue reading "Episode 12: Girl, you'll be a woman soon (remix)."

Can a band take 16 years off and return like they never left? YesUrge Overkill scored an alternative smash in 1993 with “Sister Havana,” from the album Saturation. Then, director Quentin Tarantino used their version of the Neil Diamond nugget “Girl, You’ll Be a Woman Soon” for his surprise hit movie Pulp Fiction a year later. After their next LP, Exit the Dragon, failed to match their previous record’s dizzying heights, the band broke up. Now, they’re back with their first new record in 16 years, Rock n’ Roll Submarine. Icon Fetch talks with co-leaders Eddie “King” Roeser and Nash Kato about picking up right where they left off, playing a star-studded roast to Tarantino, and some of the cool features of their Rock n’ Roll Submarine.