December 25, 2025 • 59 mins
It’s Christmas — Let’s Dance! 🎄💃 | Karel Cast
No politics. No heavy headlines. No big debates.
It’s Christmas Day — a day for joy, memories, music, and movement. And today on The Karel Cast, we’re doing exactly that: dancing through decades of stories, songs, and survival.
I’ve been making music professionally since the late 1980s, and on this special Christmas episode, I’m sharing the stories behind the songs — and playing some of the music videos I’ve created over the years, including:
🎶 “Everybody Get On Up” — big hair, fake music, real dancing, and one unforgettable outfit straight from the hood.
🎶 My first “big” record with Jellybean Benitez — how we met, where it was recorded, and why we ended up in the desert… in a trailer… with 200 pieces of fried chicken.
🎶 “Don’t Stop” — my first Sylvester cover, featuring Thea Austin and Jeanie Tracy (who sang on the original), plus incredible studio stories.
🎶 “Stronger Together” — written after Michelle Obama’s “when they go low…” moment, and how Daniel, Thea, Morgan, and I came together in my TuffStudio.
🎶 “Married Men” — why that song had to be written.
🎶 “We’re Not Going Back” — an anthem that hit Top 4 in the UK.
🎶 “Do You Wanna Funk” — another Sylvester classic with a very unique backstory.
This episode is about music as memory, movement as survival, and dancing because we’re still here.
It’s Christmas.
Let’s dance. 🕺✨
The Karel Cast is supported by your donations at patreon.com/reallykarel.
Please watch, like, and subscribe at youtube.com/reallykarel.
The Karel Cast is heard on all major platforms from Apple Music to iHeart, Spotify to Spreaker.
Live Monday through Thursday at 10:30 AM PST, and also streaming on TikTok and Instagram.
Karel is a history-making broadcaster, songwriter, and entertainer, currently in Las Vegas with his little service girl, Ember.
#ItsChristmasLetsDance, #ChristmasDayPodcast, #DanceMusicHistory, #KarelCast, #HolidayMusicSpecial, #ClassicDanceMusic, #SylvesterTribute, #LGBTQMusicHistory, #ChristmasVibes, #MusicStorytelling, #HouseMusicRoots, #QueerJoy, #HolidayJoy, #DanceBecause, #MusicMemories, #LasVegasCreator, #ChristmasPodcast, #EmberTheServiceDog, #UKDanceCharts, #MusicAsSurvival
https://youtube.com/live/o2KdTIQHTlU
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-karel-cast--1368295/support.
The Karel Cast is supported by your donations at patreon.com/reallykarel and streams live Monday–Thursday at 10:30am PST. Available on YouTube, TikTok, Instagram, Apple Music, Spotify, iHeart Media, Spreaker, and all major platforms.
No politics. No heavy headlines. No big debates.
It’s Christmas Day — a day for joy, memories, music, and movement. And today on The Karel Cast, we’re doing exactly that: dancing through decades of stories, songs, and survival.
I’ve been making music professionally since the late 1980s, and on this special Christmas episode, I’m sharing the stories behind the songs — and playing some of the music videos I’ve created over the years, including:
🎶 “Everybody Get On Up” — big hair, fake music, real dancing, and one unforgettable outfit straight from the hood.
🎶 My first “big” record with Jellybean Benitez — how we met, where it was recorded, and why we ended up in the desert… in a trailer… with 200 pieces of fried chicken.
🎶 “Don’t Stop” — my first Sylvester cover, featuring Thea Austin and Jeanie Tracy (who sang on the original), plus incredible studio stories.
🎶 “Stronger Together” — written after Michelle Obama’s “when they go low…” moment, and how Daniel, Thea, Morgan, and I came together in my TuffStudio.
🎶 “Married Men” — why that song had to be written.
🎶 “We’re Not Going Back” — an anthem that hit Top 4 in the UK.
🎶 “Do You Wanna Funk” — another Sylvester classic with a very unique backstory.
This episode is about music as memory, movement as survival, and dancing because we’re still here.
It’s Christmas.
Let’s dance. 🕺✨
The Karel Cast is supported by your donations at patreon.com/reallykarel.
Please watch, like, and subscribe at youtube.com/reallykarel.
The Karel Cast is heard on all major platforms from Apple Music to iHeart, Spotify to Spreaker.
Live Monday through Thursday at 10:30 AM PST, and also streaming on TikTok and Instagram.
Karel is a history-making broadcaster, songwriter, and entertainer, currently in Las Vegas with his little service girl, Ember.
#ItsChristmasLetsDance, #ChristmasDayPodcast, #DanceMusicHistory, #KarelCast, #HolidayMusicSpecial, #ClassicDanceMusic, #SylvesterTribute, #LGBTQMusicHistory, #ChristmasVibes, #MusicStorytelling, #HouseMusicRoots, #QueerJoy, #HolidayJoy, #DanceBecause, #MusicMemories, #LasVegasCreator, #ChristmasPodcast, #EmberTheServiceDog, #UKDanceCharts, #MusicAsSurvival
https://youtube.com/live/o2KdTIQHTlU
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-karel-cast--1368295/support.
The Karel Cast is supported by your donations at patreon.com/reallykarel and streams live Monday–Thursday at 10:30am PST. Available on YouTube, TikTok, Instagram, Apple Music, Spotify, iHeart Media, Spreaker, and all major platforms.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Old time is here. No time to fear. Corella is
so near because.
Speaker 2 (00:05):
Show time is here. So on with the show. Let's
give it a go. Carella is the one that you
need to know. Now.
Speaker 3 (00:16):
It's show side.
Speaker 4 (00:29):
To all both that celebrate and absolutely Marry Marry Mary, Mary, Merry, merry,
Merry Christmas, Merry, merry, merry, Merry Christmas. Today. It's music
all day, my music. Gonna share it with you on
the Correll Cast.
Speaker 5 (00:45):
Uncensored, unfiltered, fun hinged.
Speaker 6 (00:49):
It's the Correll Cast. Listen daily on your favorite streaming service.
Speaker 4 (00:59):
Hello, Oh, it is the Carell Cast. I'm Carell and Mary.
Merry Christmas to each and every one of you that celebrates,
Happy Hanukkah, Happy Kwansa, first day of Kwansa, so many
different celebrations. I from my heart just want to tell
you what a gift each and every one of you
is to me. I can't thank you enough for being
(01:20):
here today and each and every day as we celebrate
the crazy thing called the Corell Cast. You know, I
was thinking a lot about what to do for today's show,
and I know that listenership is down because of the holiday,
but you know, Christmas is about wishes and about dreams.
Christmas is about hope and renewal. And one thing that
(01:46):
I will regret, I have regrets, is that I've never
taken my singing one billion percent serious. I always had
other things to do, talk, radio, live, comedy, writing, you know,
all these other things, and I never concentrated just on
my singing, and so many of my friends did. And
(02:09):
there have been times where I really doubted that I
had a great voice, because you know, maybe I didn't
have a number one single or whatever. And those self
doubt times, that imposter syndrome made it to where it
took me sixty three years of life to have songs
that are charting now today, as we today, as we
(02:34):
sit here, I have written a top five dance single
for thea Austin called We're Not Going Back, and my
new single I Dance because it is already reaching on
the year end charts of many record pools around the
country and around the world, naming it one of the
(02:56):
best dance singles of twenty twenty five. Took sixty three
years for that, because I finally stopped caring what people
thought about my voice. Yes, I sing in falsetto. I
was raised on R and B and in particular R
and B divas and the stylistics. I was raised on
(03:19):
music that my falsetto needed to sing, and then when
I met Well. I first heard Sylvester when I was
seventeen years old, sixteen years old, nineteen seventy eight, this big,
glamorous queen singing you make me feel mighty real or
disco heat. I knew. I just knew that I had
(03:43):
to sing like that. I had to have a bigger
than life PERSONA. Talk radio has been very good to me,
very look at this house. Talk radio has been very
good to me. But my heart of hearts, I always
wanted to be barbar sound. I wanted to be a
singer who acts. I wanted to be a singer who writes,
(04:08):
a singer who does now she always wanted to be
an actress who sings. I wanted to be a singer
who acted, and a singer who did television and had
a TV show like Dinah Shore. She is a singer.
So I always dreamed that I'd have a TV show
where I sang and then interviewed people and then wrote books.
(04:29):
And I've kind of mixed that up in my life.
But you know, and I'm doing this show today to
maybe inspire you all you know and show you the
evolution of where I came from musically. I've never done this.
I've never devoted a show to my music. Now, my
(04:51):
very first professional recordings I don't have anymore. I rented
a studio in Santa Anna, California, and I sang two
songs I shouldn't have. I sang Patty the Bells, kiss
Away the Pain, and I really I don't remember the
second song that I recorded. I do remember kiss Away
the Pain had notes I could have never hit at
that age, but I did it. And then I met
(05:15):
Vesta Williams, and I started working with Vesta as a publicist,
as an assistant, as whatever she needed, writer, whatever she needed,
and as a thank you. As a thank you for that,
Michael Eckhart, who I had interviewed and I introduced him
(05:36):
to Vesta and he did some songs with Vesta. To
thank me, he brought me into the studio and recorded
my very first real professional single that I then released
on my own record label or a bit record, and
it actually sold eighty thousand copies of a twelve month single.
Speaker 5 (05:58):
If you're not visiting really Corell dot com daily you're
missing out. Get the podcast videos in the blug including
recipes at really Correll dot com. That's really ka r
e l dot com.
Speaker 1 (06:13):
Show Time is here. No time to fear. Correll is
so near because show time is here. So on with
the show.
Speaker 2 (06:22):
Let's give it a go. Correll is the one that
you need to know.
Speaker 4 (06:29):
So Michael Eckhart, thanking me for introducing him to Vesta,
brought me into the studio and we recorded a song
called Everybody Get On Up, and it ended up on this,
my first album called Correl Dancer. Else Andrew did this
album cover. I call it My Meryl Streep Days with
(06:50):
the little hood around it, and on the back I
had an age ribbon because remember this was when nineteen
ninety five is when this kate, when I finally did
an album. I worked with not just Michael Ecord on this,
but I worked with let's see Andrew Sonic. I worked
with Sabby Sebastian Reyes, and then Michael Eckhart. There were
(07:15):
two songs off of here that I did videos for,
and the album contains Hipster Lipstein Martin, which I love.
You can find that online. My version of live to
tell which you're gonna see Get It Up, which was
a great song, Turn Up the House by Saby, keep
On Doing It, Free Love, Everybody, Get On Up l
(07:36):
O v Er a song about having a gay partner
in the nineties. And by the way, get It Up
on here was written by Holland Doser Holland. That's right,
Eddie Holland from Holland Doser Holland of the Supremes wrote
a song for me on this record. This record took
two years to create, gather all the songs. We recorded
(07:59):
it in garages and major studios. Oh my god. And
when I went in to record get On Up, Oh
my god, all I'm sorry, Yeah, get on Up, Get
it Up. I'm sorry. There's two songs, Everybody get on
Up and then get it Up. When I recorded Get
It Up with Eddie Holland and a full choir, I
(08:21):
was so scared by the way I recorded Everybody Get
On Up. In the eighties and I needed to do
a music video, so I went to a gay bar
in Buena Park, California, owned by Body Kohler, who owned
the DK West, and they let me film in there
and we shot on a cannon high eight I had
(08:42):
Karen be my keyboardist, and she had a student from
her class be my drummer. I stopped on a street
corner in south central LA on my way home from
working with Vesta and bought an outfit that was hanging
on a fence from a street purveyor. I had no money,
(09:02):
you know. We had to just do this video anyway
we could, and it ended up being my very first
music video. It's called Everybody get on Up, and here
it is.
Speaker 3 (09:37):
Out. Everyone can do up what we don't done? Something
world don't count and make it clup? Why didn't can
be wro? What about that.
Speaker 7 (10:04):
Joe coming and in that holloway.
Speaker 8 (10:45):
The fool with the face n everybody shirt?
Speaker 3 (10:48):
I not to hold.
Speaker 9 (10:55):
Them, don't want you, don't do trun up, don't bot
(11:47):
you don't do trunhold up, hyeh.
Speaker 10 (12:28):
Yeh yeh held up.
Speaker 4 (12:58):
Oh my gosh, that is everybody get on up. By
the way, some of these videos are gonna be bad.
I had to download him from the internet. I don't
even have copies of my own video. So that big hair,
all that makeup, I was fat, but there I was
my very first music video with Karen Dittman. In it
as my keyboardist one of her students as my drummer
(13:18):
at a gay club in Buena Park. The song did well,
It charted, It charted on some dance club around the country,
and it actually sold eighty thousand copies, and it sold
enough so I could do another song. I met a
producer named Larry Larry Pace, I believe, and he wanted
me to do a cover of Madonna's Live to Tell.
(13:41):
And I really felt that song was about HIV AIDS
in my own mind, and I wanted to do a
video that reflected what I was seeing at the clubs,
people literally washing down their AIDS medication with alcohol. I
didn't understand it at the time. I condemned it at
the time, but now I get it. They were in
pain and they were trying to medicate. We got permission
(14:05):
from you know, we got a license, it's called a
mechanical license to do the song, and we did it,
and I was just so amazed that, you know, I
was doing another video. Now, I cut myself viciously. There's
a scene in the video where I throw out, very
(14:25):
dramatically smash all of these bottles. We didn't use Hollywood
bottles because we couldn't afford them. We used real empty bottles,
and the bar that I was doing it on had
a lip, and the bottles caught and my hands went
all across the broken. There's a scene in here where
I'm singing in a black velvet top with my arm
(14:45):
off to the side, and that someone was holding pressure
on a four inch wound on my hand. So we
could finish the video at Newport Station in Newport Beach,
Californi Newport Station. So let's say Bertie was in it,
a local hottie that and Bert my departed friend, Bert Critchfield.
(15:11):
He plays a bartender in it, So he is in it,
a departed friend of mine, Bert Cridgefield. And Bertie that
was what we called him, Birdie b r Dieu. He
plays the AIDS patient. Again, the video is going to
be choppy, it's not going to be the best quality.
Oh and there's two actual prostitutes behind a glass in
(15:35):
a steamy shower scene and they actually had sex on
my I found out later they they actually had sex
with each other after my video, and and I didn't.
I was like, wait a minute, it's my video, what
the hell? All right? So we'll play that when we
come back Live to Tell by Madonna, and I can't
(15:57):
wait for you to see it. So we'll be Are
we taking a break? I think we're taking a break.
Uh maybe not. I think we are. We should well
maybe not. Well, I guess my time is wrong. Well
we'll go to the video and if it if it
cuts out, uh, then well we'll finish the video afterwards.
(16:17):
But this is my version of Madonna's Live to Tell,
which I did about aids uh. And you know I
try to be topical uh in in these things.
Speaker 8 (16:37):
If I ran away, I never have to drink to
go over from? How could they.
Speaker 10 (16:49):
Mile? Will then? How will they?
Speaker 8 (17:02):
When will they?
Speaker 2 (17:03):
When will they?
Speaker 11 (17:10):
They hooking talker, they head taker. They hug your day
cooking Tucker. They hug your day cooking Tucker. They hug
your day hooking Tako. They hug your day cooking Tucker.
They hug your day cooking Tucker. They hugger day comb Tucker.
They come you Tucker, they hoping, They up and talking.
They they come and Tucker.
Speaker 3 (17:31):
They hop you.
Speaker 11 (17:31):
They up and Tupper. They they humming Tucker. They hunt
and they Copingnooker, They coming Nupper, They.
Speaker 10 (17:39):
Home you ny.
Speaker 8 (17:41):
Okay, sometimes so hard had.
Speaker 2 (17:56):
I the ball.
Speaker 8 (18:02):
To bad to the writing on.
Speaker 11 (18:06):
The wall.
Speaker 3 (18:12):
Thousand listen.
Speaker 8 (18:18):
To show by until then they open inside me.
Speaker 10 (18:46):
To the.
Speaker 12 (18:50):
Pass one side of your game that you could never seen,
they shine inside.
Speaker 8 (19:07):
I can't take that for me.
Speaker 2 (19:15):
Never Bobby did well.
Speaker 1 (19:20):
But if you know.
Speaker 10 (19:23):
I have will.
Speaker 8 (19:27):
Ever have a chance again? I rana where never? How
could they? Being of my.
Speaker 10 (19:53):
Will?
Speaker 2 (19:54):
Wrote?
Speaker 10 (20:01):
How will?
Speaker 2 (20:03):
When will that?
Speaker 10 (20:12):
Tucker day? And they come and Tucker?
Speaker 9 (20:16):
Don't know how cover.
Speaker 10 (20:23):
Other thing?
Speaker 3 (20:24):
They and Hooker.
Speaker 11 (20:40):
Coper? Can they come in couker thing? How can they
come in?
Speaker 10 (20:44):
Hunka the can they come in?
Speaker 4 (20:46):
Coup thing?
Speaker 11 (20:47):
And they come and Tucker?
Speaker 10 (20:49):
And they come in?
Speaker 11 (20:50):
Tucker?
Speaker 3 (20:50):
Thank How can they.
Speaker 11 (20:51):
Come and Tucker?
Speaker 13 (20:52):
They can they come?
Speaker 6 (20:54):
And Tucker?
Speaker 11 (20:54):
They can they come in?
Speaker 8 (20:57):
That's problem.
Speaker 3 (21:10):
In ways? Swat day you day?
Speaker 9 (21:36):
Keep the street.
Speaker 3 (21:44):
Now it's show side.
Speaker 4 (21:59):
Okay. Well you got to see most of it, and
I gotta tell you a lot of that footage we
had to reshoot. It was one of those horrible, horrible
situations where we shot it on film and the film
got destroyed in processing, and so we went back with
a video camera and reshot a lot of that film.
(22:20):
Both those dancers are now gay once said he wasn't
for a long time, then came out. And of course
that's the Austin in there that led me to Jellyban Benicez.
I was starting to do public gigs touring. Billboard magazine,
very supportive, named this album the number one dance album
(22:41):
or one of the top ten dance albums of the
year for nineteen ninety five. Larry Flick, who is still
my friend, had me perform around the country, and one
of the things he had me do was the Dance
Music Summit in Chicago. Jelly Bean Benicez saw me and
in a fairy tale moment. When I got back to
my hotel room, which had fax machine, there was a
(23:01):
fax contract from Jellybean Records, Jellybean, of course the person
behind Madonna and so many others, asking if I wanted
to do a single or a couple singles on his label.
The first one we did was I Am Andrew did
all the catering for the video. They flew me to
New York. I recorded with Brinsley Evans and others. We
(23:22):
stayed at the Mayflower Hotel. It was a dream come
true for me and Andrew. I was finally in New
York for me, not for somebody else riding in limos
being taken to parties, but with jelly Bean, hanging out
with Jellybean and all of his friends, very famous friends.
It was a fantasy, of course. We recorded in Brooklyn
(23:44):
in a studio apartment, but we did it. And then
I talked jelly Bean into helping me with the video.
He gave me twenty five hundred dollars. So we went
to the desert, me and THEA and my friend used
to take care of tour buses and he took care
of Sylvester Stallons, and we used Sylvester Stallone's tour bus
(24:06):
and we went up to the desert and we filmed
this video for I Am and out in the middle
of the desert, having no business whatsoever. The single did
very well. It charted as well. I don't know why
I did seven. I'm a charted single. I have it
charted in the dance pools and such. I just haven't
had one recently, but back in the nineties, I Am
(24:28):
did chart. The video got played on the box on
everything but MTV, every other video service, cash box, they
all played the video and it it really burst me
onto the scene. It got me more music coverage, more
magazine coverage. And it was an original song written by
(24:49):
Brinsley Evans and others, and I think Jellybean did some
part of it too. It's called I Am. And we
filmed this in the desert Andrew cooked like a hundred
chickens for the crew.
Speaker 10 (25:00):
Uh.
Speaker 4 (25:01):
And it was directed by Ricardo Martin and he was
this crazy European that I met and he was just
so European.
Speaker 14 (25:13):
Uh.
Speaker 4 (25:14):
It was something. But it's called I Am, and here
it is.
Speaker 14 (25:22):
You're not gonna go there, are you?
Speaker 15 (25:24):
Oh?
Speaker 4 (25:24):
Yes, I am.
Speaker 10 (26:01):
The same spot.
Speaker 14 (26:36):
Sup per la perla, pierola, pierola, perla perla.
Speaker 4 (28:56):
In that final shot of me walking in the road
with all that flowyes, if there's a truck coming, I
had to like jump out of the way. It was
so funny. Ricardo he edited that at the Dela Reente
Studios overnight for free with an editor who was working
on a movie with David Swimmer but had some downtime.
(29:17):
All of these videos were like for no money, called
in favors. That was me doing I Am by Jellybean Benitos.
Now all of this led to my biggest charting single
in the nineties, which was Don't Stop, a cover with
by Sylvester cover of Sylvester by being with Theia Austin
(29:38):
and Jeanie Tracy on background, Genie, who sang on the
original record, who still sings on my records.
Speaker 16 (29:44):
It's broadcasting from a completely different point of view yours.
Listen daily to the Corell cast on your favorite streaming service.
Speaker 2 (30:00):
Old time is here, no time to fear.
Speaker 1 (30:03):
Corrall is so near because show time is here, So
on with the show.
Speaker 2 (30:08):
Let's give it a go. Corella is the one that
you need to know.
Speaker 10 (30:15):
Now it's show time.
Speaker 4 (30:29):
I did a cover of Sylvester's Don't Stop. That's coming
up next. This is my musical journey. There are other
songs in between, but these are the highlights. I hope
you're enjoying it on this Christmas Day and having a
happy Christmas, just dancing away with me watching some of
these certainly.
Speaker 5 (30:45):
Uncensored, unfiltered, fun hinged.
Speaker 6 (30:49):
It's the Corral cast. Listen daily on your favorite streaming service.
Speaker 4 (30:59):
So I didn't have a video done for Don't Stop,
which is odd because it was my biggest charting single.
Was remixed by the Factory Team in Europe and Steve
Bronsky of Bronsky Beat because I opened for Bronsky Beat,
then they had me sing with them. It was a
dream come true. And then he remixed the single for
me along with the Factory Team in Europe, and all
(31:20):
of them became hits. It went to number ten in Europe. So, yeah,
I have charted before, haven't I guess? I say it
took me sixty three years to chart. I've actually charted.
Speaker 5 (31:30):
See.
Speaker 4 (31:30):
I take my music so not seriously that I forgot
that I charted with a lot of these things, and
Don't Stop certainly did chart a point of trivia. The cover,
which I don't have in front of me, was a
gallium scan that Andrew had because all this time Andrew
was fighting HIV AIDS and he went and had a
gallium scan and I thought it was such a cool
(31:50):
graphic that I used it as the cover. And there's
a dog hair on it and we left it there
because that was Owen's hair so immortalized on the Don't
Stop cover. Geenie Tracy, who did sing on the original
song for Sylvester and the Austin who was singing with me,
always did this now I didn't have a video, but
about two years ago, while bored here at the house,
(32:12):
I did a little performance video of it, and I'll
show you just a piece of that, and you can
go and find the actual song. It's out there. You
can find it on iTunes. It was a great honor
to sing this song. When Genie walked into the studio
she heard me singing, she thought it was Sylvester. She asked,
when are you going to take Sylvester off the track?
(32:33):
That was the biggest honor that anyone could ever pay me.
And you know, I've sung this song all over It
got me gigs all over the United States. Dallas, It's
where I opened with ru Paul and ended up not
liking him. All kinds of you know, different dates that
I got to do because of this song. And I
got to work more with Steve Bronsky because of this song.
(32:55):
So this song means a lot to me. It's called
don't Stop. Here's just a piece of it.
Speaker 17 (33:01):
Honnatty, don't know, don't Sun?
Speaker 10 (33:57):
You know?
Speaker 3 (33:59):
I thought, I come then, bat be sunny happening.
Speaker 4 (34:04):
One look and I gave you my heart?
Speaker 17 (34:11):
Have you there was an attraction?
Speaker 3 (34:14):
How why your reaction not up.
Speaker 4 (34:19):
Just a second to stop.
Speaker 3 (34:23):
The atop.
Speaker 18 (34:26):
Don't just stop, don't stop no more then your moment me,
don't stop.
Speaker 3 (34:43):
Babe, just stop your moment.
Speaker 9 (34:46):
Your moment made.
Speaker 18 (34:51):
Your eyes since no invititing your lips, you're so exciting.
Speaker 17 (34:57):
Your touch you what I are you.
Speaker 18 (35:04):
Morel it's your father taking mama's dreams?
Speaker 3 (35:08):
Is that yourbule drink? And Jesus I love before? Don't you.
Speaker 10 (35:20):
Go to die? Don't just.
Speaker 7 (35:25):
You'll go there.
Speaker 2 (35:26):
You're look at me.
Speaker 3 (35:33):
Don't you doing?
Speaker 10 (35:34):
No? No?
Speaker 4 (35:34):
No, maybe don't just stop no no, Then you're cooking me.
Speaker 3 (35:49):
Brus some of the movements.
Speaker 17 (35:54):
Stop stop.
Speaker 6 (35:59):
You really Corell dot com day you're missing out.
Speaker 5 (36:04):
Get the podcast videos in the blug, including recipes at
really Correll dot com.
Speaker 6 (36:09):
That's really K A R e l dot com.
Speaker 2 (36:13):
Show Time is here. No time to fear.
Speaker 1 (36:17):
Correll is so near because show time is here.
Speaker 2 (36:20):
So on with the show. Let's give it a go.
Carrell is the one that you need to know.
Speaker 4 (36:29):
So that was a little piece of don't stop. And
that song did did great for me and got me
more gigs and got me more notoriety. But then, just
as that song was happening, talk radio happened, Talk rate,
big talk radio happened, uh, and suddenly singing sort of
(36:51):
took a background. It really did. Right as that song
was taking off, I didn't do a follow up single
because all of a sudden we were doing different after dark,
we were doing Triangle broadcasting, and then of course KFI
and that just consumed everything, and I didn't do a
(37:13):
follow up single for a very very very long time.
I did parody songs, which a lot of you have
heard on the shows. I Lived to Walk My Dogs
and all of that, Medicated and songs like that. But
I didn't do a commercial single, and I regret that
(37:33):
I should have kept recording, especially on the heels of
a successful dance single like Don't Stop. So it took
me a long time to get inspired again to go
back into the studio, but I did. I heard Michelle
Obama say when they go low, we go high, and
I said, that's a song. And I called up Morgan Mallory,
(37:57):
Daniel Charleston who has now passed, and THEA and I said,
you know, I'm going to write a song about how
we shouldn't be all divided politically. We should be together,
We should be stronger together, Morgan wrote the music, Leo
Frapier did the remix, and Brandon Riley Miller did the video.
(38:19):
And again the song did okay. It didn't really chart,
didn't chart a lot, but it was well received and
got me a lot of media. And more importantly, the
video is an homage to Harvey Milk. And here is me, THEA,
the late Daniel Charleston and Morgan Mallory doing Stronger Together,
(38:42):
a song I wrote because of Michelle Obama saying when
they go low, we go high. Remember when she said
that I do.
Speaker 10 (39:00):
Stop talk sick gat.
Speaker 6 (39:06):
When they go along, we go.
Speaker 10 (39:11):
Strong.
Speaker 6 (39:14):
You start forcing to the sky.
Speaker 10 (39:19):
Strong.
Speaker 13 (39:22):
We must rem the Junie for strong, strong, even in
the docks and bust.
Speaker 10 (39:36):
Song strong sim game time with me.
Speaker 3 (39:45):
Strong, sim get strong, sim Ga to deal with the
(40:09):
well say.
Speaker 10 (40:13):
Please don't know me.
Speaker 13 (40:22):
Woice because it's the wist.
Speaker 2 (40:51):
If you went to.
Speaker 19 (41:00):
Ang ing aloud?
Speaker 3 (41:10):
Right? Song is that so Christ.
Speaker 10 (41:21):
Story?
Speaker 3 (41:24):
Chick Chick so song chick.
Speaker 4 (42:27):
The end of that of course the funeral or the
memorial for Harvey Milk and now I'm on the wall
in his plaza. That Stronger Together, written by me and
Morgan Mallory, was the first song that I ever wrote
that got sung by other people. Absolutely incredible experience to
hear all of them singing that song, and I got
(42:48):
to tell you, to this day, I'm very, very proud
of that song. So then I remember the the you know,
fight for gay marriage and the sanctity of marriage and
all of that, and I saw these married men that
were well fooling around, including the then president Donald Trump,
(43:08):
you know who would Stormy Daniels that had just come out,
and of course the fall Wells and just everybody that
said that gay marriage would hurt people. But then they're
out there dorking around. And I remembered a very important
album to me that Bette Midler actually hates thighs and
whispers from Bette Midler, and there was a song on
there called married Men. And I was my first year
(43:29):
in Vegas, so this is seven years ago, almost eight
years ago, and Brandon came up and me and Stephen
Brandon had such a good time filming around Vegas, and
I did Bette Midler's Married Men to sort of show
the hypocrisy. You can see the pictures of the married
men who are hypocrites in the video if you watch closely.
(43:52):
Because the world is full of married men. The modest
(44:22):
soul of married men with wives never understand. They're looking
for someone.
Speaker 2 (44:30):
To share the upside.
Speaker 10 (44:33):
Then have a love, and just as.
Speaker 20 (44:36):
Soon as they find you, if they wind you in dying,
you fly on, hoping the romance or.
Speaker 8 (44:44):
The end of the world, just another girl like a
married man.
Speaker 20 (44:51):
Oh they too went, they too when they too were
They to wait again and again, Now they too w
They do.
Speaker 2 (45:00):
Well they do where they do it?
Speaker 4 (45:03):
The merry pen can we can feel so young?
Speaker 6 (45:10):
But why is still.
Speaker 4 (45:14):
He promises to marry you. Yeah, just as soon as
his divorce comes through.
Speaker 3 (45:21):
Well, you're not just playing.
Speaker 19 (45:23):
He's west, will find the love that will last side.
Speaker 20 (45:28):
But as he's driving away, you know it's true what
they say about it. They say they do when they
do well they do when they do wet again and again?
Speaker 4 (45:43):
Will they do when they do when they do?
Speaker 2 (45:46):
When they do it?
Speaker 8 (45:48):
The merry pan.
Speaker 20 (46:06):
Yeah, when the scandal it's too hot to handle, you'll.
Speaker 2 (46:10):
Say he just wants to be friends.
Speaker 4 (46:13):
Because that he'll walk out your line and go all
to his wife.
Speaker 3 (46:17):
God he then.
Speaker 10 (46:21):
Go.
Speaker 4 (46:21):
Your love is a secret. You've got to keep it
long and you can't.
Speaker 10 (46:29):
Don't cry for your love.
Speaker 4 (46:30):
There's always another.
Speaker 3 (46:33):
Marry man man man.
Speaker 8 (46:37):
They do, they do well, they do marry married man.
Speaker 20 (46:44):
Scroll they do when they do, when they do, when
they do it, the married man.
Speaker 2 (46:52):
The world is full of them.
Speaker 3 (46:55):
Girls and boys. Now listen, Come on.
Speaker 2 (47:01):
Then, don't you know?
Speaker 10 (47:05):
I know the wading them.
Speaker 3 (47:07):
They marry married man.
Speaker 19 (47:16):
They do when they do, where they do, when they
do it, we'll do it again.
Speaker 2 (47:28):
They'll love you, they'll leave you, they'll mind you.
Speaker 4 (47:30):
They're not when they do they do when they.
Speaker 10 (47:35):
Do, they can't tell me love it.
Speaker 4 (47:47):
And that is married Man, filmed right here in Las Vegas.
Then Kamala Harris came to Las Vegas and she said, America,
we're not going back. And you know what, I said,
that's a song. And I wrote it and I sent
the lyrics into AI and it gave me a tune
and Leo Frapier turned that tune into a song, and
then thea Austen sang it, and when they sent me
(48:10):
the vocals, I cried. I released it and then it
sat around and then it got remixed by very famous
remixers and as we speak it is number five in
the UK on the Music Music Week chart. My highest
charting single to date thea Austin We're not going back, but.
Speaker 3 (48:30):
America, we are not going back.
Speaker 15 (48:39):
We're a going there werenae wea though said, because I
will it we winna go in that we'rena get in.
Speaker 10 (48:53):
How you Joe so bad?
Speaker 3 (48:55):
So liais.
Speaker 15 (48:58):
You see the world so different, the very weird worldview.
You don't want to real progress for anyone, but you
you say we must go bad re chrishing to the past.
We say we must smok forward to make thy union
lest we're not going back.
Speaker 2 (49:19):
We're not getting it.
Speaker 15 (49:21):
We have thought side because well with thy went, Well,
we're not going back.
Speaker 2 (49:28):
We're not getting it.
Speaker 3 (49:30):
How are your.
Speaker 10 (49:31):
Jury is so right?
Speaker 11 (49:32):
So we fight and went.
Speaker 15 (49:36):
The past that you remember from then it wasn't afraid.
The past that you remember was not to fill with hate.
So we are look forward.
Speaker 3 (49:48):
The future is the keep just to one another another.
Speaker 15 (49:54):
We're not going that. We're not getting it. We have
gone like go with I went where we're not going back.
Speaker 6 (50:06):
We're a kid in.
Speaker 10 (50:08):
Ho you t is so bad?
Speaker 15 (50:10):
So we're spiling went so take away your pay are
(50:34):
your last contempt? Then hey, just smile your whole dead
business and let us strap coffee, a future, heathy bright
if we sing.
Speaker 3 (50:45):
As one loving care.
Speaker 15 (50:47):
That a song with me, so so take away your
kay us, take it away, your last contempt and hey,
you just smile your old day business staying your name.
Speaker 3 (51:05):
Let us craft.
Speaker 4 (51:06):
That's the Austin with You're not We're not going back.
My largest charting single to date, a song I love
in a door and it's very relevant. Now we'll finish
up this musical journey in just a moment. Merry Christmas.
I hope you're enjoying it. If you're not, so whatt
it one d out of the year that I'm being
self And so there we go. When we come back,
I only have one question. Do you want to do?
Speaker 3 (51:28):
You swat stay? No show side?
Speaker 4 (52:00):
So after we're not going back, I took a minute.
I concentrated on the show, and then I decided it
was time to do another Sylvester cover, one that I've
been wanting to do my entire life, and I couldn't
do it without Genie Tracy. The song was inspired by
Genie Tracy while back when Patrick Cally wrote it was
because Sylvester had said he heard her say something about
(52:23):
funk in a recording session she was having, and so
I said, Genie, you're the inspiration. You got to sing
it with me, and she said I'd love to, and
Leo Frapier did a mix, and suddenly I was singing
a song that I had sung on the dance floors
in the eighties with so many friends that had gone
on and just like I dance. Because my latest single,
(52:44):
which does not have a video yet, so you're not
going to hear it today, Do you want to Funk? Happened.
I recorded my vocals here in Vegas. They recorded the
backgrounds up in San Francisco with Leo Frapier and Genie Tracy.
We then mixed it. Matt Consola released did on Swishcraft
Records out of Portland, Oregon. I met Matt thirty years ago.
(53:04):
I interviewed him or no, he interviewed me for Dance
Music Authority when Don't Stop came out, That's when we
met uh and he ended up thirty years later releasing
this single do you Want to Funk? By Me, a
cover of the Sylvester song. Now, remember the word is
f U n K funk? Honey? Do you want to funk?
Speaker 9 (54:00):
You're so turn.
Speaker 3 (54:07):
What did you want to fuck.
Speaker 2 (54:16):
Whoa you tap?
Speaker 3 (54:20):
You wanna fucking let the show.
Speaker 10 (54:25):
With me?
Speaker 3 (54:28):
Fuck with me?
Speaker 10 (54:36):
No? So that.
Speaker 3 (54:45):
The reader?
Speaker 15 (54:49):
Oh where were you dying?
Speaker 10 (54:59):
Child?
Speaker 16 (55:02):
What what.
Speaker 3 (55:04):
You tek? You wanna fucking let the show? Who talk?
Speaker 10 (55:57):
There?
Speaker 3 (55:59):
Popping you? You let me show?
Speaker 15 (56:24):
You?
Speaker 3 (56:25):
Let her shot.
Speaker 16 (56:29):
For me?
Speaker 4 (56:32):
For I shot that video here in this room. I
(57:01):
edited it right out there at that desk. I was
the only person, the camera person, I was the sound person,
I was everything. But I got it done. I hope
you've enjoyed this little musical trip with me on this
Christmas Day. I hope you've had a great Christmas Day
so far or will continue to have a great Christmas Day.
I'll be back next week for the New Year's week.
And you know, music, it binds us, It's universal, it
(57:26):
is it replenishes our soul. And I have been so
lucky now that I've watched I've never sat down and
watched all of these and reflected, ever, never done it.
And now that I have, you know, I wasn't so bad.
I'm not so bad. I actually a little proud of
(57:49):
myself after watching all of this and watching the evolution.
And so if you have a dream, if you have
something that you love to do.
Speaker 16 (57:58):
Do it.
Speaker 4 (58:00):
Don't let the world tell you you're good enough or
bad enough, you know for married men. I had a
record pool person come back and say it's a great song.
You should have a woman singing. Thanks, guess you won't
be playing it. There's a lot of negative comments that
came in about all that music, but a lot of
positive ones too. I hope you were able to see this.
(58:21):
I hope YouTube didn't ban my video because of all
these other videos. It's done that before, but I own
them all. I mean, it's all me, but you know
who knows. So I hope you got to see this,
and I hope again that you've had a great Christmas Day,
because you are the gift that keeps me going all year,
particularly all you patrons at Patreon. You are the gift.
(58:42):
And if you want to become a patron, hey it's
patreon dot com forward slash Early Correll. When you become
a patron, you don't just support me, you support the
music as well. I will leave you, however, today with
the graphic for I Dance Because and a little bit
of the song since it is the latest uh and
(59:04):
I would hope that you will stream as much of
my music as you can. All these videos are at
my YouTube YouTube dot com forward slash really Carrell uh
And you know who knows what I'm gonna do next musically,
Well I do. I'm doing a song called thank You.
Thank It's called it set Me Free. That's the name
of the song, and it's about a person that blocked
(59:24):
me and showed me the kind of person they really were,
that set me free. Happy, Happy Christmas and Holidays. I
am carell be who you want to be and let's
continue on our journey together, musical and otherwise. For the media,
shall we. I hope we do. I hope we can.
All right, thank you.
Speaker 16 (59:44):
It's broadcasting from a completely different point of view yours.
Listen daily to the CORELL cast on your favorite streaming service.
Old time is here. No time to fear. Corella is
so near because.
Speaker 2 (00:05):
Show time is here. So on with the show. Let's
give it a go. Carella is the one that you
need to know. Now.
Speaker 3 (00:16):
It's show side.
Speaker 4 (00:29):
To all both that celebrate and absolutely Marry Marry Mary, Mary, Merry, merry,
Merry Christmas, Merry, merry, merry, Merry Christmas. Today. It's music
all day, my music. Gonna share it with you on
the Correll Cast.
Speaker 5 (00:45):
Uncensored, unfiltered, fun hinged.
Speaker 6 (00:49):
It's the Correll Cast. Listen daily on your favorite streaming service.
Speaker 4 (00:59):
Hello, Oh, it is the Carell Cast. I'm Carell and Mary.
Merry Christmas to each and every one of you that celebrates,
Happy Hanukkah, Happy Kwansa, first day of Kwansa, so many
different celebrations. I from my heart just want to tell
you what a gift each and every one of you
is to me. I can't thank you enough for being
(01:20):
here today and each and every day as we celebrate
the crazy thing called the Corell Cast. You know, I
was thinking a lot about what to do for today's show,
and I know that listenership is down because of the holiday,
but you know, Christmas is about wishes and about dreams.
Christmas is about hope and renewal. And one thing that
(01:46):
I will regret, I have regrets, is that I've never
taken my singing one billion percent serious. I always had
other things to do, talk, radio, live, comedy, writing, you know,
all these other things, and I never concentrated just on
my singing, and so many of my friends did. And
(02:09):
there have been times where I really doubted that I
had a great voice, because you know, maybe I didn't
have a number one single or whatever. And those self
doubt times, that imposter syndrome made it to where it
took me sixty three years of life to have songs
that are charting now today, as we today, as we
(02:34):
sit here, I have written a top five dance single
for thea Austin called We're Not Going Back, and my
new single I Dance because it is already reaching on
the year end charts of many record pools around the
country and around the world, naming it one of the
(02:56):
best dance singles of twenty twenty five. Took sixty three
years for that, because I finally stopped caring what people
thought about my voice. Yes, I sing in falsetto. I
was raised on R and B and in particular R
and B divas and the stylistics. I was raised on
(03:19):
music that my falsetto needed to sing, and then when
I met Well. I first heard Sylvester when I was
seventeen years old, sixteen years old, nineteen seventy eight, this big,
glamorous queen singing you make me feel mighty real or
disco heat. I knew. I just knew that I had
(03:43):
to sing like that. I had to have a bigger
than life PERSONA. Talk radio has been very good to me,
very look at this house. Talk radio has been very
good to me. But my heart of hearts, I always
wanted to be barbar sound. I wanted to be a
singer who acts. I wanted to be a singer who writes,
(04:08):
a singer who does now she always wanted to be
an actress who sings. I wanted to be a singer
who acted, and a singer who did television and had
a TV show like Dinah Shore. She is a singer.
So I always dreamed that I'd have a TV show
where I sang and then interviewed people and then wrote books.
(04:29):
And I've kind of mixed that up in my life.
But you know, and I'm doing this show today to
maybe inspire you all you know and show you the
evolution of where I came from musically. I've never done this.
I've never devoted a show to my music. Now, my
(04:51):
very first professional recordings I don't have anymore. I rented
a studio in Santa Anna, California, and I sang two
songs I shouldn't have. I sang Patty the Bells, kiss
Away the Pain, and I really I don't remember the
second song that I recorded. I do remember kiss Away
the Pain had notes I could have never hit at
that age, but I did it. And then I met
(05:15):
Vesta Williams, and I started working with Vesta as a publicist,
as an assistant, as whatever she needed, writer, whatever she needed,
and as a thank you. As a thank you for that,
Michael Eckhart, who I had interviewed and I introduced him
(05:36):
to Vesta and he did some songs with Vesta. To
thank me, he brought me into the studio and recorded
my very first real professional single that I then released
on my own record label or a bit record, and
it actually sold eighty thousand copies of a twelve month single.
Speaker 5 (05:58):
If you're not visiting really Corell dot com daily you're
missing out. Get the podcast videos in the blug including
recipes at really Correll dot com. That's really ka r
e l dot com.
Speaker 1 (06:13):
Show Time is here. No time to fear. Correll is
so near because show time is here. So on with
the show.
Speaker 2 (06:22):
Let's give it a go. Correll is the one that
you need to know.
Speaker 4 (06:29):
So Michael Eckhart, thanking me for introducing him to Vesta,
brought me into the studio and we recorded a song
called Everybody Get On Up, and it ended up on this,
my first album called Correl Dancer. Else Andrew did this
album cover. I call it My Meryl Streep Days with
(06:50):
the little hood around it, and on the back I
had an age ribbon because remember this was when nineteen
ninety five is when this kate, when I finally did
an album. I worked with not just Michael Ecord on this,
but I worked with let's see Andrew Sonic. I worked
with Sabby Sebastian Reyes, and then Michael Eckhart. There were
(07:15):
two songs off of here that I did videos for,
and the album contains Hipster Lipstein Martin, which I love.
You can find that online. My version of live to
tell which you're gonna see Get It Up, which was
a great song, Turn Up the House by Saby, keep
On Doing It, Free Love, Everybody, Get On Up l
(07:36):
O v Er a song about having a gay partner
in the nineties. And by the way, get It Up
on here was written by Holland Doser Holland. That's right,
Eddie Holland from Holland Doser Holland of the Supremes wrote
a song for me on this record. This record took
two years to create, gather all the songs. We recorded
(07:59):
it in garages and major studios. Oh my god. And
when I went in to record get On Up, Oh
my god, all I'm sorry, Yeah, get on Up, Get
it Up. I'm sorry. There's two songs, Everybody get on
Up and then get it Up. When I recorded Get
It Up with Eddie Holland and a full choir, I
(08:21):
was so scared by the way I recorded Everybody Get
On Up. In the eighties and I needed to do
a music video, so I went to a gay bar
in Buena Park, California, owned by Body Kohler, who owned
the DK West, and they let me film in there
and we shot on a cannon high eight I had
(08:42):
Karen be my keyboardist, and she had a student from
her class be my drummer. I stopped on a street
corner in south central LA on my way home from
working with Vesta and bought an outfit that was hanging
on a fence from a street purveyor. I had no money,
(09:02):
you know. We had to just do this video anyway
we could, and it ended up being my very first
music video. It's called Everybody get on Up, and here
it is.
Speaker 3 (09:37):
Out. Everyone can do up what we don't done? Something
world don't count and make it clup? Why didn't can
be wro? What about that.
Speaker 7 (10:04):
Joe coming and in that holloway.
Speaker 8 (10:45):
The fool with the face n everybody shirt?
Speaker 3 (10:48):
I not to hold.
Speaker 9 (10:55):
Them, don't want you, don't do trun up, don't bot
(11:47):
you don't do trunhold up, hyeh.
Speaker 10 (12:28):
Yeh yeh held up.
Speaker 4 (12:58):
Oh my gosh, that is everybody get on up. By
the way, some of these videos are gonna be bad.
I had to download him from the internet. I don't
even have copies of my own video. So that big hair,
all that makeup, I was fat, but there I was
my very first music video with Karen Dittman. In it
as my keyboardist one of her students as my drummer
(13:18):
at a gay club in Buena Park. The song did well,
It charted, It charted on some dance club around the country,
and it actually sold eighty thousand copies, and it sold
enough so I could do another song. I met a
producer named Larry Larry Pace, I believe, and he wanted
me to do a cover of Madonna's Live to Tell.
(13:41):
And I really felt that song was about HIV AIDS
in my own mind, and I wanted to do a
video that reflected what I was seeing at the clubs,
people literally washing down their AIDS medication with alcohol. I
didn't understand it at the time. I condemned it at
the time, but now I get it. They were in
pain and they were trying to medicate. We got permission
(14:05):
from you know, we got a license, it's called a
mechanical license to do the song, and we did it,
and I was just so amazed that, you know, I
was doing another video. Now, I cut myself viciously. There's
a scene in the video where I throw out, very
(14:25):
dramatically smash all of these bottles. We didn't use Hollywood
bottles because we couldn't afford them. We used real empty bottles,
and the bar that I was doing it on had
a lip, and the bottles caught and my hands went
all across the broken. There's a scene in here where
I'm singing in a black velvet top with my arm
(14:45):
off to the side, and that someone was holding pressure
on a four inch wound on my hand. So we
could finish the video at Newport Station in Newport Beach,
Californi Newport Station. So let's say Bertie was in it,
a local hottie that and Bert my departed friend, Bert Critchfield.
(15:11):
He plays a bartender in it, So he is in it,
a departed friend of mine, Bert Cridgefield. And Bertie that
was what we called him, Birdie b r Dieu. He
plays the AIDS patient. Again, the video is going to
be choppy, it's not going to be the best quality.
Oh and there's two actual prostitutes behind a glass in
(15:35):
a steamy shower scene and they actually had sex on
my I found out later they they actually had sex
with each other after my video, and and I didn't.
I was like, wait a minute, it's my video, what
the hell? All right? So we'll play that when we
come back Live to Tell by Madonna, and I can't
(15:57):
wait for you to see it. So we'll be Are
we taking a break? I think we're taking a break.
Uh maybe not. I think we are. We should well
maybe not. Well, I guess my time is wrong. Well
we'll go to the video and if it if it
cuts out, uh, then well we'll finish the video afterwards.
(16:17):
But this is my version of Madonna's Live to Tell,
which I did about aids uh. And you know I
try to be topical uh in in these things.
Speaker 8 (16:37):
If I ran away, I never have to drink to
go over from? How could they.
Speaker 10 (16:49):
Mile? Will then? How will they?
Speaker 8 (17:02):
When will they?
Speaker 2 (17:03):
When will they?
Speaker 11 (17:10):
They hooking talker, they head taker. They hug your day
cooking Tucker. They hug your day cooking Tucker. They hug
your day hooking Tako. They hug your day cooking Tucker.
They hug your day cooking Tucker. They hugger day comb Tucker.
They come you Tucker, they hoping, They up and talking.
They they come and Tucker.
Speaker 3 (17:31):
They hop you.
Speaker 11 (17:31):
They up and Tupper. They they humming Tucker. They hunt
and they Copingnooker, They coming Nupper, They.
Speaker 10 (17:39):
Home you ny.
Speaker 8 (17:41):
Okay, sometimes so hard had.
Speaker 2 (17:56):
I the ball.
Speaker 8 (18:02):
To bad to the writing on.
Speaker 11 (18:06):
The wall.
Speaker 3 (18:12):
Thousand listen.
Speaker 8 (18:18):
To show by until then they open inside me.
Speaker 10 (18:46):
To the.
Speaker 12 (18:50):
Pass one side of your game that you could never seen,
they shine inside.
Speaker 8 (19:07):
I can't take that for me.
Speaker 2 (19:15):
Never Bobby did well.
Speaker 1 (19:20):
But if you know.
Speaker 10 (19:23):
I have will.
Speaker 8 (19:27):
Ever have a chance again? I rana where never? How
could they? Being of my.
Speaker 10 (19:53):
Will?
Speaker 2 (19:54):
Wrote?
Speaker 10 (20:01):
How will?
Speaker 2 (20:03):
When will that?
Speaker 10 (20:12):
Tucker day? And they come and Tucker?
Speaker 9 (20:16):
Don't know how cover.
Speaker 10 (20:23):
Other thing?
Speaker 3 (20:24):
They and Hooker.
Speaker 11 (20:40):
Coper? Can they come in couker thing? How can they
come in?
Speaker 10 (20:44):
Hunka the can they come in?
Speaker 4 (20:46):
Coup thing?
Speaker 11 (20:47):
And they come and Tucker?
Speaker 10 (20:49):
And they come in?
Speaker 11 (20:50):
Tucker?
Speaker 3 (20:50):
Thank How can they.
Speaker 11 (20:51):
Come and Tucker?
Speaker 13 (20:52):
They can they come?
Speaker 6 (20:54):
And Tucker?
Speaker 11 (20:54):
They can they come in?
Speaker 8 (20:57):
That's problem.
Speaker 3 (21:10):
In ways? Swat day you day?
Speaker 9 (21:36):
Keep the street.
Speaker 3 (21:44):
Now it's show side.
Speaker 4 (21:59):
Okay. Well you got to see most of it, and
I gotta tell you a lot of that footage we
had to reshoot. It was one of those horrible, horrible
situations where we shot it on film and the film
got destroyed in processing, and so we went back with
a video camera and reshot a lot of that film.
(22:20):
Both those dancers are now gay once said he wasn't
for a long time, then came out. And of course
that's the Austin in there that led me to Jellyban Benicez.
I was starting to do public gigs touring. Billboard magazine,
very supportive, named this album the number one dance album
(22:41):
or one of the top ten dance albums of the
year for nineteen ninety five. Larry Flick, who is still
my friend, had me perform around the country, and one
of the things he had me do was the Dance
Music Summit in Chicago. Jelly Bean Benicez saw me and
in a fairy tale moment. When I got back to
my hotel room, which had fax machine, there was a
(23:01):
fax contract from Jellybean Records, Jellybean, of course the person
behind Madonna and so many others, asking if I wanted
to do a single or a couple singles on his label.
The first one we did was I Am Andrew did
all the catering for the video. They flew me to
New York. I recorded with Brinsley Evans and others. We
(23:22):
stayed at the Mayflower Hotel. It was a dream come
true for me and Andrew. I was finally in New
York for me, not for somebody else riding in limos
being taken to parties, but with jelly Bean, hanging out
with Jellybean and all of his friends, very famous friends.
It was a fantasy, of course. We recorded in Brooklyn
(23:44):
in a studio apartment, but we did it. And then
I talked jelly Bean into helping me with the video.
He gave me twenty five hundred dollars. So we went
to the desert, me and THEA and my friend used
to take care of tour buses and he took care
of Sylvester Stallons, and we used Sylvester Stallone's tour bus
(24:06):
and we went up to the desert and we filmed
this video for I Am and out in the middle
of the desert, having no business whatsoever. The single did
very well. It charted as well. I don't know why
I did seven. I'm a charted single. I have it
charted in the dance pools and such. I just haven't
had one recently, but back in the nineties, I Am
(24:28):
did chart. The video got played on the box on
everything but MTV, every other video service, cash box, they
all played the video and it it really burst me
onto the scene. It got me more music coverage, more
magazine coverage. And it was an original song written by
(24:49):
Brinsley Evans and others, and I think Jellybean did some
part of it too. It's called I Am. And we
filmed this in the desert Andrew cooked like a hundred
chickens for the crew.
Speaker 10 (25:00):
Uh.
Speaker 4 (25:01):
And it was directed by Ricardo Martin and he was
this crazy European that I met and he was just
so European.
Speaker 14 (25:13):
Uh.
Speaker 4 (25:14):
It was something. But it's called I Am, and here
it is.
Speaker 14 (25:22):
You're not gonna go there, are you?
Speaker 15 (25:24):
Oh?
Speaker 4 (25:24):
Yes, I am.
Speaker 10 (26:01):
The same spot.
Speaker 14 (26:36):
Sup per la perla, pierola, pierola, perla perla.
Speaker 4 (28:56):
In that final shot of me walking in the road
with all that flowyes, if there's a truck coming, I
had to like jump out of the way. It was
so funny. Ricardo he edited that at the Dela Reente
Studios overnight for free with an editor who was working
on a movie with David Swimmer but had some downtime.
(29:17):
All of these videos were like for no money, called
in favors. That was me doing I Am by Jellybean Benitos.
Now all of this led to my biggest charting single
in the nineties, which was Don't Stop, a cover with
by Sylvester cover of Sylvester by being with Theia Austin
(29:38):
and Jeanie Tracy on background, Genie, who sang on the
original record, who still sings on my records.
Speaker 16 (29:44):
It's broadcasting from a completely different point of view yours.
Listen daily to the Corell cast on your favorite streaming service.
Speaker 2 (30:00):
Old time is here, no time to fear.
Speaker 1 (30:03):
Corrall is so near because show time is here, So
on with the show.
Speaker 2 (30:08):
Let's give it a go. Corella is the one that
you need to know.
Speaker 10 (30:15):
Now it's show time.
Speaker 4 (30:29):
I did a cover of Sylvester's Don't Stop. That's coming
up next. This is my musical journey. There are other
songs in between, but these are the highlights. I hope
you're enjoying it on this Christmas Day and having a
happy Christmas, just dancing away with me watching some of
these certainly.
Speaker 5 (30:45):
Uncensored, unfiltered, fun hinged.
Speaker 6 (30:49):
It's the Corral cast. Listen daily on your favorite streaming service.
Speaker 4 (30:59):
So I didn't have a video done for Don't Stop,
which is odd because it was my biggest charting single.
Was remixed by the Factory Team in Europe and Steve
Bronsky of Bronsky Beat because I opened for Bronsky Beat,
then they had me sing with them. It was a
dream come true. And then he remixed the single for
me along with the Factory Team in Europe, and all
(31:20):
of them became hits. It went to number ten in Europe. So, yeah,
I have charted before, haven't I guess? I say it
took me sixty three years to chart. I've actually charted.
Speaker 5 (31:30):
See.
Speaker 4 (31:30):
I take my music so not seriously that I forgot
that I charted with a lot of these things, and
Don't Stop certainly did chart a point of trivia. The cover,
which I don't have in front of me, was a
gallium scan that Andrew had because all this time Andrew
was fighting HIV AIDS and he went and had a
gallium scan and I thought it was such a cool
(31:50):
graphic that I used it as the cover. And there's
a dog hair on it and we left it there
because that was Owen's hair so immortalized on the Don't
Stop cover. Geenie Tracy, who did sing on the original
song for Sylvester and the Austin who was singing with me,
always did this now I didn't have a video, but
about two years ago, while bored here at the house,
(32:12):
I did a little performance video of it, and I'll
show you just a piece of that, and you can
go and find the actual song. It's out there. You
can find it on iTunes. It was a great honor
to sing this song. When Genie walked into the studio
she heard me singing, she thought it was Sylvester. She asked,
when are you going to take Sylvester off the track?
(32:33):
That was the biggest honor that anyone could ever pay me.
And you know, I've sung this song all over It
got me gigs all over the United States. Dallas, It's
where I opened with ru Paul and ended up not
liking him. All kinds of you know, different dates that
I got to do because of this song. And I
got to work more with Steve Bronsky because of this song.
(32:55):
So this song means a lot to me. It's called
don't Stop. Here's just a piece of it.
Speaker 17 (33:01):
Honnatty, don't know, don't Sun?
Speaker 10 (33:57):
You know?
Speaker 3 (33:59):
I thought, I come then, bat be sunny happening.
Speaker 4 (34:04):
One look and I gave you my heart?
Speaker 17 (34:11):
Have you there was an attraction?
Speaker 3 (34:14):
How why your reaction not up.
Speaker 4 (34:19):
Just a second to stop.
Speaker 3 (34:23):
The atop.
Speaker 18 (34:26):
Don't just stop, don't stop no more then your moment me,
don't stop.
Speaker 3 (34:43):
Babe, just stop your moment.
Speaker 9 (34:46):
Your moment made.
Speaker 18 (34:51):
Your eyes since no invititing your lips, you're so exciting.
Speaker 17 (34:57):
Your touch you what I are you.
Speaker 18 (35:04):
Morel it's your father taking mama's dreams?
Speaker 3 (35:08):
Is that yourbule drink? And Jesus I love before? Don't you.
Speaker 10 (35:20):
Go to die? Don't just.
Speaker 7 (35:25):
You'll go there.
Speaker 2 (35:26):
You're look at me.
Speaker 3 (35:33):
Don't you doing?
Speaker 10 (35:34):
No? No?
Speaker 4 (35:34):
No, maybe don't just stop no no, Then you're cooking me.
Speaker 3 (35:49):
Brus some of the movements.
Speaker 17 (35:54):
Stop stop.
Speaker 6 (35:59):
You really Corell dot com day you're missing out.
Speaker 5 (36:04):
Get the podcast videos in the blug, including recipes at
really Correll dot com.
Speaker 6 (36:09):
That's really K A R e l dot com.
Speaker 2 (36:13):
Show Time is here. No time to fear.
Speaker 1 (36:17):
Correll is so near because show time is here.
Speaker 2 (36:20):
So on with the show. Let's give it a go.
Carrell is the one that you need to know.
Speaker 4 (36:29):
So that was a little piece of don't stop. And
that song did did great for me and got me
more gigs and got me more notoriety. But then, just
as that song was happening, talk radio happened, Talk rate,
big talk radio happened, uh, and suddenly singing sort of
(36:51):
took a background. It really did. Right as that song
was taking off, I didn't do a follow up single
because all of a sudden we were doing different after dark,
we were doing Triangle broadcasting, and then of course KFI
and that just consumed everything, and I didn't do a
(37:13):
follow up single for a very very very long time.
I did parody songs, which a lot of you have
heard on the shows. I Lived to Walk My Dogs
and all of that, Medicated and songs like that. But
I didn't do a commercial single, and I regret that
(37:33):
I should have kept recording, especially on the heels of
a successful dance single like Don't Stop. So it took
me a long time to get inspired again to go
back into the studio, but I did. I heard Michelle
Obama say when they go low, we go high, and
I said, that's a song. And I called up Morgan Mallory,
(37:57):
Daniel Charleston who has now passed, and THEA and I said,
you know, I'm going to write a song about how
we shouldn't be all divided politically. We should be together,
We should be stronger together, Morgan wrote the music, Leo
Frapier did the remix, and Brandon Riley Miller did the video.
(38:19):
And again the song did okay. It didn't really chart,
didn't chart a lot, but it was well received and
got me a lot of media. And more importantly, the
video is an homage to Harvey Milk. And here is me, THEA,
the late Daniel Charleston and Morgan Mallory doing Stronger Together,
(38:42):
a song I wrote because of Michelle Obama saying when
they go low, we go high. Remember when she said
that I do.
Speaker 10 (39:00):
Stop talk sick gat.
Speaker 6 (39:06):
When they go along, we go.
Speaker 10 (39:11):
Strong.
Speaker 6 (39:14):
You start forcing to the sky.
Speaker 10 (39:19):
Strong.
Speaker 13 (39:22):
We must rem the Junie for strong, strong, even in
the docks and bust.
Speaker 10 (39:36):
Song strong sim game time with me.
Speaker 3 (39:45):
Strong, sim get strong, sim Ga to deal with the
(40:09):
well say.
Speaker 10 (40:13):
Please don't know me.
Speaker 13 (40:22):
Woice because it's the wist.
Speaker 2 (40:51):
If you went to.
Speaker 19 (41:00):
Ang ing aloud?
Speaker 3 (41:10):
Right? Song is that so Christ.
Speaker 10 (41:21):
Story?
Speaker 3 (41:24):
Chick Chick so song chick.
Speaker 4 (42:27):
The end of that of course the funeral or the
memorial for Harvey Milk and now I'm on the wall
in his plaza. That Stronger Together, written by me and
Morgan Mallory, was the first song that I ever wrote
that got sung by other people. Absolutely incredible experience to
hear all of them singing that song, and I got
(42:48):
to tell you, to this day, I'm very, very proud
of that song. So then I remember the the you know,
fight for gay marriage and the sanctity of marriage and
all of that, and I saw these married men that
were well fooling around, including the then president Donald Trump,
(43:08):
you know who would Stormy Daniels that had just come out,
and of course the fall Wells and just everybody that
said that gay marriage would hurt people. But then they're
out there dorking around. And I remembered a very important
album to me that Bette Midler actually hates thighs and
whispers from Bette Midler, and there was a song on
there called married Men. And I was my first year
(43:29):
in Vegas, so this is seven years ago, almost eight
years ago, and Brandon came up and me and Stephen
Brandon had such a good time filming around Vegas, and
I did Bette Midler's Married Men to sort of show
the hypocrisy. You can see the pictures of the married
men who are hypocrites in the video if you watch closely.
(43:52):
Because the world is full of married men. The modest
(44:22):
soul of married men with wives never understand. They're looking
for someone.
Speaker 2 (44:30):
To share the upside.
Speaker 10 (44:33):
Then have a love, and just as.
Speaker 20 (44:36):
Soon as they find you, if they wind you in dying,
you fly on, hoping the romance or.
Speaker 8 (44:44):
The end of the world, just another girl like a
married man.
Speaker 20 (44:51):
Oh they too went, they too when they too were
They to wait again and again, Now they too w
They do.
Speaker 2 (45:00):
Well they do where they do it?
Speaker 4 (45:03):
The merry pen can we can feel so young?
Speaker 6 (45:10):
But why is still.
Speaker 4 (45:14):
He promises to marry you. Yeah, just as soon as
his divorce comes through.
Speaker 3 (45:21):
Well, you're not just playing.
Speaker 19 (45:23):
He's west, will find the love that will last side.
Speaker 20 (45:28):
But as he's driving away, you know it's true what
they say about it. They say they do when they
do well they do when they do wet again and again?
Speaker 4 (45:43):
Will they do when they do when they do?
Speaker 2 (45:46):
When they do it?
Speaker 8 (45:48):
The merry pan.
Speaker 20 (46:06):
Yeah, when the scandal it's too hot to handle, you'll.
Speaker 2 (46:10):
Say he just wants to be friends.
Speaker 4 (46:13):
Because that he'll walk out your line and go all
to his wife.
Speaker 3 (46:17):
God he then.
Speaker 10 (46:21):
Go.
Speaker 4 (46:21):
Your love is a secret. You've got to keep it
long and you can't.
Speaker 10 (46:29):
Don't cry for your love.
Speaker 4 (46:30):
There's always another.
Speaker 3 (46:33):
Marry man man man.
Speaker 8 (46:37):
They do, they do well, they do marry married man.
Speaker 20 (46:44):
Scroll they do when they do, when they do, when
they do it, the married man.
Speaker 2 (46:52):
The world is full of them.
Speaker 3 (46:55):
Girls and boys. Now listen, Come on.
Speaker 2 (47:01):
Then, don't you know?
Speaker 10 (47:05):
I know the wading them.
Speaker 3 (47:07):
They marry married man.
Speaker 19 (47:16):
They do when they do, where they do, when they
do it, we'll do it again.
Speaker 2 (47:28):
They'll love you, they'll leave you, they'll mind you.
Speaker 4 (47:30):
They're not when they do they do when they.
Speaker 10 (47:35):
Do, they can't tell me love it.
Speaker 4 (47:47):
And that is married Man, filmed right here in Las Vegas.
Then Kamala Harris came to Las Vegas and she said, America,
we're not going back. And you know what, I said,
that's a song. And I wrote it and I sent
the lyrics into AI and it gave me a tune
and Leo Frapier turned that tune into a song, and
then thea Austen sang it, and when they sent me
(48:10):
the vocals, I cried. I released it and then it
sat around and then it got remixed by very famous
remixers and as we speak it is number five in
the UK on the Music Music Week chart. My highest
charting single to date thea Austin We're not going back, but.
Speaker 3 (48:30):
America, we are not going back.
Speaker 15 (48:39):
We're a going there werenae wea though said, because I
will it we winna go in that we'rena get in.
Speaker 10 (48:53):
How you Joe so bad?
Speaker 3 (48:55):
So liais.
Speaker 15 (48:58):
You see the world so different, the very weird worldview.
You don't want to real progress for anyone, but you
you say we must go bad re chrishing to the past.
We say we must smok forward to make thy union
lest we're not going back.
Speaker 2 (49:19):
We're not getting it.
Speaker 15 (49:21):
We have thought side because well with thy went, Well,
we're not going back.
Speaker 2 (49:28):
We're not getting it.
Speaker 3 (49:30):
How are your.
Speaker 10 (49:31):
Jury is so right?
Speaker 11 (49:32):
So we fight and went.
Speaker 15 (49:36):
The past that you remember from then it wasn't afraid.
The past that you remember was not to fill with hate.
So we are look forward.
Speaker 3 (49:48):
The future is the keep just to one another another.
Speaker 15 (49:54):
We're not going that. We're not getting it. We have
gone like go with I went where we're not going back.
Speaker 6 (50:06):
We're a kid in.
Speaker 10 (50:08):
Ho you t is so bad?
Speaker 15 (50:10):
So we're spiling went so take away your pay are
(50:34):
your last contempt? Then hey, just smile your whole dead
business and let us strap coffee, a future, heathy bright
if we sing.
Speaker 3 (50:45):
As one loving care.
Speaker 15 (50:47):
That a song with me, so so take away your
kay us, take it away, your last contempt and hey,
you just smile your old day business staying your name.
Speaker 3 (51:05):
Let us craft.
Speaker 4 (51:06):
That's the Austin with You're not We're not going back.
My largest charting single to date, a song I love
in a door and it's very relevant. Now we'll finish
up this musical journey in just a moment. Merry Christmas.
I hope you're enjoying it. If you're not, so whatt
it one d out of the year that I'm being
self And so there we go. When we come back,
I only have one question. Do you want to do?
Speaker 3 (51:28):
You swat stay? No show side?
Speaker 4 (52:00):
So after we're not going back, I took a minute.
I concentrated on the show, and then I decided it
was time to do another Sylvester cover, one that I've
been wanting to do my entire life, and I couldn't
do it without Genie Tracy. The song was inspired by
Genie Tracy while back when Patrick Cally wrote it was
because Sylvester had said he heard her say something about
(52:23):
funk in a recording session she was having, and so
I said, Genie, you're the inspiration. You got to sing
it with me, and she said I'd love to, and
Leo Frapier did a mix, and suddenly I was singing
a song that I had sung on the dance floors
in the eighties with so many friends that had gone
on and just like I dance. Because my latest single,
(52:44):
which does not have a video yet, so you're not
going to hear it today, Do you want to Funk? Happened.
I recorded my vocals here in Vegas. They recorded the
backgrounds up in San Francisco with Leo Frapier and Genie Tracy.
We then mixed it. Matt Consola released did on Swishcraft
Records out of Portland, Oregon. I met Matt thirty years ago.
(53:04):
I interviewed him or no, he interviewed me for Dance
Music Authority when Don't Stop came out, That's when we
met uh and he ended up thirty years later releasing
this single do you Want to Funk? By Me, a
cover of the Sylvester song. Now, remember the word is
f U n K funk? Honey? Do you want to funk?
Speaker 9 (54:00):
You're so turn.
Speaker 3 (54:07):
What did you want to fuck.
Speaker 2 (54:16):
Whoa you tap?
Speaker 3 (54:20):
You wanna fucking let the show.
Speaker 10 (54:25):
With me?
Speaker 3 (54:28):
Fuck with me?
Speaker 10 (54:36):
No? So that.
Speaker 3 (54:45):
The reader?
Speaker 15 (54:49):
Oh where were you dying?
Speaker 10 (54:59):
Child?
Speaker 16 (55:02):
What what.
Speaker 3 (55:04):
You tek? You wanna fucking let the show? Who talk?
Speaker 10 (55:57):
There?
Speaker 3 (55:59):
Popping you? You let me show?
Speaker 15 (56:24):
You?
Speaker 3 (56:25):
Let her shot.
Speaker 16 (56:29):
For me?
Speaker 4 (56:32):
For I shot that video here in this room. I
(57:01):
edited it right out there at that desk. I was
the only person, the camera person, I was the sound person,
I was everything. But I got it done. I hope
you've enjoyed this little musical trip with me on this
Christmas Day. I hope you've had a great Christmas Day
so far or will continue to have a great Christmas Day.
I'll be back next week for the New Year's week.
And you know, music, it binds us, It's universal, it
(57:26):
is it replenishes our soul. And I have been so
lucky now that I've watched I've never sat down and
watched all of these and reflected, ever, never done it.
And now that I have, you know, I wasn't so bad.
I'm not so bad. I actually a little proud of
(57:49):
myself after watching all of this and watching the evolution.
And so if you have a dream, if you have
something that you love to do.
Speaker 16 (57:58):
Do it.
Speaker 4 (58:00):
Don't let the world tell you you're good enough or
bad enough, you know for married men. I had a
record pool person come back and say it's a great song.
You should have a woman singing. Thanks, guess you won't
be playing it. There's a lot of negative comments that
came in about all that music, but a lot of
positive ones too. I hope you were able to see this.
(58:21):
I hope YouTube didn't ban my video because of all
these other videos. It's done that before, but I own
them all. I mean, it's all me, but you know
who knows. So I hope you got to see this,
and I hope again that you've had a great Christmas Day,
because you are the gift that keeps me going all year,
particularly all you patrons at Patreon. You are the gift.
(58:42):
And if you want to become a patron, hey it's
patreon dot com forward slash Early Correll. When you become
a patron, you don't just support me, you support the
music as well. I will leave you, however, today with
the graphic for I Dance Because and a little bit
of the song since it is the latest uh and
(59:04):
I would hope that you will stream as much of
my music as you can. All these videos are at
my YouTube YouTube dot com forward slash really Carrell uh
And you know who knows what I'm gonna do next musically,
Well I do. I'm doing a song called thank You.
Thank It's called it set Me Free. That's the name
of the song, and it's about a person that blocked
(59:24):
me and showed me the kind of person they really were,
that set me free. Happy, Happy Christmas and Holidays. I
am carell be who you want to be and let's
continue on our journey together, musical and otherwise. For the media,
shall we. I hope we do. I hope we can.
All right, thank you.
Speaker 16 (59:44):
It's broadcasting from a completely different point of view yours.
Listen daily to the CORELL cast on your favorite streaming service.
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If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
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The Burden
The Burden is a documentary series that takes listeners into the hidden places where justice is done (and undone). It dives deep into the lives of heroes and villains. And it focuses a spotlight on those who triumph even when the odds are against them. Season 5 - The Burden: Death & Deceit in Alliance On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder, and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.” David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David’s claim of innocence credible? In Death and Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.” The results will shock the listener and reduce Maggie to tears and self-doubt. This is not your typical wrongful conviction story. In fact, it turns the genre on its head. It asks the question: What if our champions are foolish? Season 4 - The Burden: Get the Money and Run “Trying to murder my father, this was the thing that put me on the path.” That’s Joe Loya and that path was bank robbery. Bank, bank, bank, bank, bank. In season 4 of The Burden: Get the Money and Run, we hear from Joe who was once the most prolific bank robber in Southern California, and beyond. He used disguises, body doubles, proxies. He leaped over counters, grabbed the money and ran. Even as the FBI was closing in. It was a showdown between a daring bank robber, and a patient FBI agent. Joe was no ordinary bank robber. He was bright, articulate, charismatic, and driven by a dark rage that he summoned up at will. In seven episodes, Joe tells all: the what, the how… and the why. Including why he tried to murder his father. Season 3 - The Burden: Avenger Miriam Lewin is one of Argentina’s leading journalists today. At 19 years old, she was kidnapped off the streets of Buenos Aires for her political activism and thrown into a concentration camp. Thousands of her fellow inmates were executed, tossed alive from a cargo plane into the ocean. Miriam, along with a handful of others, will survive the camp. Then as a journalist, she will wage a decades long campaign to bring her tormentors to justice. Avenger is about one woman’s triumphant battle against unbelievable odds to survive torture, claim justice for the crimes done against her and others like her, and change the future of her country. Season 2 - The Burden: Empire on Blood Empire on Blood is set in the Bronx, NY, in the early 90s, when two young drug dealers ruled an intersection known as “The Corner on Blood.” The boss, Calvin Buari, lived large. He and a protege swore they would build an empire on blood. Then the relationship frayed and the protege accused Calvin of a double homicide which he claimed he didn’t do. But did he? Award-winning journalist Steve Fishman spent seven years to answer that question. This is the story of one man’s last chance to overturn his life sentence. He may prevail, but someone’s gotta pay. The Burden: Empire on Blood is the director’s cut of the true crime classic which reached #1 on the charts when it was first released half a dozen years ago. Season 1 - The Burden In the 1990s, Detective Louis N. Scarcella was legendary. In a city overrun by violent crime, he cracked the toughest cases and put away the worst criminals. “The Hulk” was his nickname. Then the story changed. Scarcella ran into a group of convicted murderers who all say they are innocent. They turned themselves into jailhouse-lawyers and in prison founded a lway firm. When they realized Scarcella helped put many of them away, they set their sights on taking him down. And with the help of a NY Times reporter they have a chance. For years, Scarcella insisted he did nothing wrong. But that’s all he’d say. Until we tracked Scarcella to a sauna in a Russian bathhouse, where he started to talk..and talk and talk. “The guilty have gone free,” he whispered. And then agreed to take us into the belly of the beast. Welcome to The Burden.