Teddy Pendergrass and Harold Melvin and the Blue Notes give a little nudge to that body fast asleep Monday morning.
Thanks to YouTuber TT V-rus 1138
About eight of us were crushed together in my cousin’s small bedroom watching the 45 RPM seven-inch record revolve. It was the song we had heard the week before on Sunday’s Ed Sullivan Show. Monday morning, the world would be different.
Thanks to YouTuber Racheldr
Monday morning, you jump out of bed onto a lamppost for the opportunity to make a splash.
The wonderful title song from the movie, performed and choreographed by the effortless Gene Kelly, and brilliant direction by Stanley Donen.
Favorite part: the explanation to the cop at the end.
Thanks to YouTuber ozabbavo77
The “bench scene” from Carousel, “If I Loved You,” with the original Broadway cast, John Raitt (father of Bonnie) and Jan Clayton. In my opinion, the best love scene and music that Rodgers and Hammerstein ever wrote. And stay until the end to catch the amazing Jan Clayton in the final clinch.
Thanks to YouTuber fvydt
Monday morning you wake up in a panic and realize it’s been more than a year since you posted another version of “All The Things You Are.” (For other versions I’ve posted, see here, here, here, and here)
So, another great take here:
Sonny Stitt – alto & tenor saxophone
Joe Newman – trumpet
Duke Jordan – piano
Sam Jones – bass
Roy Brooks – drum
Last year, Penn & Teller performed this little stunt from their classic repertoire on their television series, Fool Us; it’s still a knuckle-biting performance.
But for the purists who remember the original version, here’s a clip from twenty-five years ago, back when Teller took a few more hair-raising chances . . .
Thanks to YouTuber secretSociety40
“Every one leaving the Palace was searched, no matter on what side he was. There were priceless treasures all about and it was a great temptation to pick up souvenirs…”
A hundred years ago this month, The Russian Winter Palace was taken over by the Bolsheviks as the culminating act of the Russian Revolution. American journalist Louise Bryant was an eyewitness to these events, and wrote about them in her exciting memoir of the period, Six Red Months in Russia.
Mary Murphy and I produced this 10-minute radio segment featuring readings from Bryant’s memoir, broadcast yesterday on the Arts Express program on WBAI-FM.
Click on the grey triangle above to listen.
I recently had the pleasure of seeing Harrison Greenbaum’s comedy magic act at two different venues, and he killed at both of them. His philosophy of performing comedy magic is that the comedy has to be good enough to stand alone without the magic—and indeed that is what he has done for a good deal of his career; that is, he often performs hilarious stand-up comedy only, without the magic. But don’t underestimate his magic chops either—his routining and performance of the venerable magic Baby Gag is a standing ovation wonder.
Here’s Greenbaum with one my favorite comedy routines of his—no magic—“Lightning Roy,” the man who defied lightning.
Though David Roth first introduced his coin magic showpieces some forty years ago, they are still fresher, more original, and more creative than just about anything seen since in coin magic. Here he performs one of my favorites, the inexplicable Funnel effect.
And…we’re nearing last call for my third annual Contest. It’s a fun contest, with lots of prizes, and should not take you much time to complete. You can’t win it if you’re not in it, and everybody who enters gets a free prize. Click on the link for details.
Thanks to YouTuber SpaghettiMagic
Pit Hartling has amusing presentations for card magic, along with some of the most clever methods. His book In Order to Amaze should delight most card workers. Here is a fairly recent performance from The Magic Castle.
More Pit Hartling at Pit Hartling
And…time is running out to enter a dead easy contest. Magicians and hobbyists, spend a little time today to get in your entries. Read the details here.
Here’s a song that’s been performed by many duos, but It’s hard to get better than Ray Charles and Dionne Warwick. The song was written by Broadway composer Frank Loesser as a party novelty song, but it went on to become a standard despite its never appearing in any of Loesser’s Broadway shows.
Thanks to YouTuber Lennart Ljung