#Homer and Jethro

[oldshowbiz]

who says comedy becomes dated...

[oskarlevant]

When Giants Meet: Spike Jones w/Homer & Jethro - "Pal-Yat-Chee"

[fathersonholygore]

Lucky McKee's OLD MAN: A Fable of Bad Men

Lucky McKee’s OLD MAN: A Fable of Bad Men

Old Man (2022) Directed by Lucky McKee Screenplay by Joel Veach Starring Stephen Lang & Marc Senter Thriller ★★★★ (out of ★★★★★) DISCLAIMER: The following essay contains SPOILERS! Turn away, lest ye be spoiled. Lucky McKee’s Old Man begins with the eponymous character (Stephen Lang) waking up unable to locate his dog Rascal. The old man lives in a cabin out in the woods; an isolated existence.…

[all-action-all-picture]

Put Your Hand in the Hand. They don't write or sing them like this anymore. Written by Gene MacLellan and first recorded by Anne Murray in 1970. It's performed here on The Johnny Cash Show (probably in '70 or '71) with an all star cast featuring Johnny Cash, Anne Murray, Merle Haggard, Bonnie Owens, the Carter Family, The Statler Brothers and Homer & Jethro. There are likely a few other well known names among the backing musicians.

Elvis Presley was known to be a fan of Murray, who had a distinctive 'contralto' voice, and recorded a version of both this song and her earlier hit Snowbird, which again had been written by MacLellan.

[gameraboy2]

The Humorous Side Of Country Music with Homer and Jethro

[ereborne]

Song of the Day: September 7

“I Think He Knows” by Camila Cabello & Lil Nas X (music video here)

[music-crush]

Jethro Burns

Happy birthday, Kenneth Charles "Jethro" Burns!

[shefanispeculator]

For every new star on the recording scene, there is at least one unheralded industry drone without whom that star might never have shone. In the case of Blake Shelton, who is about to receive his well-deserved Hollywood Walk of Fame star after more than two decades as one of country music’s best, there are probably more like a dozen heroes who made Blake’s incredible career possible.

One of those heroes is your humble Nashville correspondent, me. No, that’s the truth. Once or twice in your life the impossible hits you between the eyes and you need to be prepared if you want to turn it into pure sunshine before the inevitable eclipse drifts in.

One day in 1995 or 1996 I got a call from Jim Sharpe, then publisher of American Songwriter magazine.  He had found this big kid from Oklahoma, best singer he’d ever heard, would I like to come by the office to hear him sing?  “Why?” I asked. You see, I was trying to dodge what the gods were hurling at me.  I was done with the music business. I would just be a waste of this kid’s time.

But a week or two later found me in Sharpe’s office shaking hands with this kid, six-foot-four, great looking, with a big, black cowboy hat, big black Takamine guitar, a voice so huge it shook the walls of Sharpe’s office, and a laugh to match.

I was hooked, and soon we were writing songs together every Tuesday.

But nothing further happened until a couple from California hired me to run their music publishing company. We signed Shelton to a publishing deal. And then nothing more happened. I learned that he’d already been turned down by labels all over Music Row, talent be damned.

Now comes the big twist in the story.

I’m not the hero, after all.  The hero is a guy I’m about to call. Bobby Braddock has written or co-written many of country music’s biggest hits, including “He Stopped Loving Her Today,” “I Wanna Talk About Me,” “People Are Crazy,” “Golden Ring,” “Time Marches On” and “D-I-V-O-R-C-E.”  He also produces terrific demos and he’s always wanted to produce records.

The call goes like this:

“Hello, Homer (his phone name is Homer, and mine is Jethro). I’ve got something I want you to hear.” I’m holding an old microcassette tape recorder in my right hand, and a telephone receiver in my left. This phone call is high-tech. I push the recorder flush against my telephone mouthpiece and press the start button. Homer listens to Blake sing for a little more than two minutes.  When the tape has finished playing, Bobby speaks.

“The song is OK, but who’s that singer?”

“He’s 20 years old and we signed him a couple of months ago,” I reply.

“He sounds like a young Hank Jr. Can I meet him?”

The three of us met at Braddock’s house and Braddock and Shelton hit it off immediately. Braddock agreed to produce Shelton, and Braddock persuaded his publishing company, Sony/ATV Music, to pay for the session. That’s a big deal, to get a producer and publisher to put time and money into a session.  But the hard part is not cutting the session — it’s getting a record company to love the session and sign the artist.

Armed with the fresh recording, Braddock hit the pavement. One label at a time. Fortunately, in 1998, there were still a lot of record labels left in Nashville.

“I took Blake’s CD all over town,” says Braddock. “RCA showed some interest, but they passed. Arista Records showed enough interest to request a showcase, and we gave it to them, then they passed. I was running out of record labels. The last label I went to was Giant Records, an affiliate of Warner Bros. Doug Johnson listened hard. And he said yes.”

Now life got tougher. Braddock produced an album by Shelton. Virtually everybody at the label loved it. Braddock, Shelton and a whole lot of other people waited for the album to be released. And they waited. People wondered why they waited.

Then Debbie Zavitson, a stalwart of Giant Records’ A&R department, received a CD from publisher Jana Talbot of a special song called “Austin,” written by David Kent and Kirsti Manna. Braddock, Shelton and a handful of great session players went to Sound Stage recording studio on Music Circle South and cut “Austin” and two other songs. Braddock recalls that the label had picked another song for the first single, but he had sent copies of the session to several friends and they felt that “Austin” was the hit. He took this new information from “the people,” and, he says, convinced the label to go with “Austin” instead. Then they waited, and while they waited, rumors circulated that Giant Records might soon be closing down.

“It took Giant three years to put out Blake’s record,” says Braddock, his brow furrowed in puzzlement over the memory. “And it never would have gotten out at all, if it hadn’t been for Fritz Kuhlman!”

Braddock would later refer to Kuhlman as “the promotion man who committed mutiny.” Kuhlman had heard the rumors about Giant, and while he was not a powerful executive at the label, he did have the ability to send out copies of “Austin” to country radio stations all over the country. And that’s just what he did, because he believed in “Austin.” 

Stations began to play “Austin,” but Giant closed its doors anyway. By this time it didn’t matter. “Austin” was hot with or without a label. Giant’s parent company, Warner Bros., picked up the record and ran with it, and thanks to Kuhlman, “Austin” became a multi-week No. 1 country smash. 

Country music had a brand new star. Over the next two decades, Shelton would pump out hit after hit, and become a national TV icon on the worldwide hit show “The Voice,” as well as a member of the venerable Grand Ole Opry. I can’t help but think of the many heroes it took to make it happen for Blake Shelton.

Of course there’s Shelton, with all that talent, heart and personality. Then there’s Bobby Braddock, one of Nashville’s greatest songwriters, listening to hundreds of other people’s songs in search of that special one for Shelton. And Braddock in the studio, hour after hour, with some of the world’s best studio musicians, background singers and studio engineers, pursuing the perfect record. Then cruising from label to label, determined to find a yes among all the inevitable no answers. And then there’s me, playing a cassette over the phone to my friend Braddock, who I thought was a genius in a recording studio.

And gutsy Kuhlman, on his own, mailing out CDs on a wing and a prayer.

Lots of other heroes, too, braving the stiff competition: promoters, publicists, A&R people, bookers, roadies, managers — and nobody outside the business knows their names. It took a lot of skill and experience to make a music industry in those days, and I like to think it still does.

[oldshowbiz]

Homer and Jethro: Breakfast in Yellowface

[oskarlevant]

[heldhram]

Song Tag

🎶✨when u get this u have to put 5 songs u actually listen to, and publish. then, send this ask/tag 10 of your favorite followers (non-negotiable, positivity is cool) ✨🎶

Thanks for tagging me @agnelid and @kevinvoncrastenburg :)

I don’t really listen to songs any more nowadays, but musics. All of my favourite artists/singers are either dead or... dead.

Don’t know what to comment on those songs, I just love the melodies and vibe to them... not sure if “vibe” is even the correct word to use here.

First song is in Swedish “Just a Rose”, second one in Hungarian “You are the Light in the Night”, guess I am a fan of retro melodies.

1. Blott en Ros (1972) - Jan Høiland

2. Te vagy a Fény az Éjszakában (1940) - Katalin Karády & Olivér Lantos

3. Travelin’ Man (1961) - Ricky Nelson

4. I Left My Heart in San Francisco (1963) - Perry Como

5. She Made Toothpicks of the Timber of My Heart (1952) - Homer & Jethro

Tagging some people who I don’t think has done and may like to do this (no pressure though, we all do this for funsies I hope):

@nocturnalazure @yorithesims @parystrange @john-ts-sh-ai @sim-songs @gaiahypothesims @unsimspirational @eternal-infamy @solori​  @neillesimstories​

[mechformers]

Request guidelines

Thank you so much for wanting to request something from me. That is so exciting! 😄As for the guideline or rules, I hadn't really made a post for that before, but here goes! I'm pretty versatile when it comes to writing, so I'll write pretty much anything, except for a few things in my DNW's. If you can't find it in the DNW's, there's a pretty good chance I will write it! So give it a try and I'll let you know if if I'm unable to fulfill the request 😊

DNW - Do not want:

Infidelity, Scat, Farts, Rubber/Latex/PVC fetish, Vore, Substance use (excluding alcohol, smoking and "aphrodisiacs"/pollen) Permanent death,

Fandoms:

- Avatar (Miles Quaritch, Tsu'tey, Jake Sully, Tonowari - ask about other characters and I will see what I can do about it! 😊)

- Criminal Minds (Aaron Hotchner)

- DC comics (Batman/Superman +)

- Detroit: Become Human

- Dragon Age: Inquisition

- Hades (game)

- Iliad (Homer)

- NCIS (Leroy Jethro Gibbs)

- Overwatch

- Teen Wolf

- The Witcher

- Transformers

- Voltron: Legendary Defender

Please let me know if there's any information missing that should have been here. I'm not very good at this rules/guidelines thing 😅😇

[coffee-n-bagels-comic-universe]

Self-Indulgent Series December: Granite Hills

It's December, and that means I get to be self-indulgent and give myself gifts, mainly the gift of looking at actors I like.

I give you my series of self-indulgence, Granite Hills (1990):

~~💀💀~~

Set in 1980 in the fictional town of Mudslide, Wisconsin, mainly at the Granite Hills university. This cast will be a mix of actors who would and wouldn't be available at the time.

The Show's Cast Includes:

Alfred Molina as Angel Ramon Vega [Age: 24]

Anjelica Huston as Sandy Cherry Lawson [Age: 26]

Billy Connolly as Professor Darwin Derryl Rigby [Age: 40]

Billy Crystal as Jethro Mephisto Butcher [Age: 25]

Brendan Fraser as Dallas Nathaniel Gray [Age: 23]

Carrie Fisher as Veronica Beverly Chambers [Age: 21]

Cary Elwes as Easton Markos White [Age: 27]

Chris Barrie as Douglass Wilfred Bernard [Age: 20]

Christina Applegate as Storm Hekla Jóhannsson [Age: 18]

Christopher Walken as Professor Karl Cai Lowell [Age: 40]

Craig Charles as Chuck Vance Sheppard [Age: 21]

Dan Aykroyd as Cesar Clay Leon [Age: 23]

Danny John-Jules as Quentin Kingston Hollister [Age: 21]

Daryl Hannah as Bernadette Daphne Jordan [Age: 24]

Diane Lane as Saffron Elouise Mason [Age: 19]

Fran Drescher as Monique Joanne Curtis [Age: 22]

Geena Davis as Erin Kermit Cantrell [Age: 28]

Gunnar Hansen as Thor Hjörtur Jóhannsson [Age: 48]

Harold Ramis as Edmund Morgan Blackburn [Age: 29]

Jack Black as Odin Hrafn Jóhannsson [Age: 21]

Jeff Bridges as Professor Kennedy Troy Gill [Age: 40]

Joe Pesci as Professor Jeremiah Emmit Jekyll [Age: 40]

John Belushi as Julian Noel Hood [Age: 25]

John Candy as Dale Randall Newman [Age: 26]

John Cusack as Andrew Simon Garfield [Age: 23]

John Goodman as Cyrus Lars Nielsen [Age: 27]

John Leguizamo as Alijah Mrlon Cross [Age: 29}

Judd Nelson as Colton Kenelm Coy [Age: 19]

Katey Sagal as Ramona Adrienne Dunn [Age: 25]

Kevin Bacon as Brad Nathan Hardy [Age: 25]

Kiefer Sutherland as Trenton Homer Abbey [Age: 21]

Luis Guzmán as Jaxxon Garrett Flores [Age: 29]

Mandy Patinkin as Elishua Saul Zebedaios [Age: 28]

Matt Dillon as Dennis Waylon Marley [Age: 20]

Matthew Lillard as Alexander Buddy Jones [Age: 19]

Oliver Platt as Ruben Manuel Valdez [Age: 22]

O'Shea Jackson (Sr.) as Tyrese Jordan Maxwell [Age: 18]

Philip Seymour Hoffman as Parris Hayes Grant [Age: 19]

Raul Julia as Professor Marcel Gomez Agua [Age: 40]

Ray Winstone as Holden Montgomery Lynn [Age: 27]

River Phoenix as Kent Horace Woodward [Age: 18]

Robin Williams as Jaycee Aramis Ellis [Age: 26]

Sean Young as Maxine Jade Upton [Age: 26]

Stanley Tucci as Luke Robin Flynn [Age: 22]

Steve Buscemi as Hugh Chester Sweeney [Age: 25]

Tom Hanks as Mark Everett Shaw [Age: 20]

Tony Shalhoub as Orlando Jaime Guerrero [Age: 25]

Val Kilmer as Earl Blue Dior [Age: 29]

Wayne Knight as Osborne Finnegan Jarvis [Age: 28]

William Baldwin as Theodore Joshua Ball [Age: 20]

Willem Dafoe as Terry Roosevelt Jepson [Age: 27]