IN: "Ode to Billie Joe" is a 1967 song written and recorded by Bobbie Gentry, a singer-songwriter from Chickasaw County, Mississippi. The single, released in late July, was a number-one hit in the United States, and became a big international seller. Billboard ranked the record as the No. 3 song for 1967 (the other two were #2 "The Letter" by the Box Tops and #1 "To Sir With Love" by Lulu). The song is ranked #412 on Rolling Stone's list of "the 500 Greatest Songs of All Time" and at #144 in Pitchfork's 200 Best Songs of the 1960s.

Questions arose among listeners: what did Billie Joe and his girlfriend throw off the Tallahatchie Bridge, and why did Billie Joe commit suicide? Speculation ran rampant after the song hit the airwaves. Gentry said in a November 1967 interview that it was the question most asked of her by everyone she met. She named flowers, an engagement ring, a draft card, a bottle of LSD pills, and an aborted baby as the most often guessed items. Although she knew definitely what the item was, she would not reveal it, saying only "Suppose it was a wedding ring."  "It's in there for two reasons," she said. "First, it locks up a definite relationship between Billie Joe and the girl telling the story, the girl at the table. Second, the fact that Billie Joe was seen throwing something off the bridge - no matter what it was - provides a possible motivation as to why he jumped off the bridge the next day."  When Herman Raucher met Gentry in preparation for writing a novel and screenplay based on the song, she said that she had no idea why Billie Joe killed himself. Gentry has, however, commented elsewhere on the song, saying that its real theme was indifference:  Those questions are of secondary importance in my mind. The story of Billie Joe has two more interesting underlying themes. First, the illustration of a group of people's reactions to the life and death of Billie Joe, and its subsequent effect on their lives, is made. Second, the obvious gap between the girl and her mother is shown when both women experience a common loss (first Billie Joe, and later, Papa), and yet Mama and the girl are unable to recognize their mutual loss or share their grief.  The bridge mentioned in this song collapsed in June 1972. It crossed the Tallahatchie River at Money, about ten miles (16 km) north of Greenwood, Mississippi, and has since been replaced. The November 10, 1967, issue of Life Magazine contained a photo of Gentry crossing the original bridge.

what was the second theme?

OUT: Second, the obvious gap between the girl and her mother is shown when both women experience a common loss (


IN: The Four Seasons is an American rock and pop band that became internationally successful in the 1960s and 1970s. Since 1970, they have also been known at times as Frankie Valli and the Four Seasons. In 1960, the band known as the Four Lovers evolved into the Four Seasons, with Frankie Valli as the lead singer, Bob Gaudio (formerly of the Royal Teens) on keyboards and tenor vocals, Tommy DeVito on lead guitar and baritone vocals, and Nick Massi on electric bass and bass vocals. The legal name of the organization is the Four Seasons Partnership, formed by Gaudio and Valli taken after a failed audition in 1960.

The Four Seasons signed as artists to Crewe's production company, and they released their first Crewe-produced single under their new name in 1961 ("Bermuda"/"Spanish Lace" on Gone Records). The single did not chart. The band continued working with producer Bob Crewe as background vocalists, and sometimes leads under different band names, for productions on Crewe's own Topix label. As a follow-up, Bob Gaudio wrote a song that, after some discussion between Crewe and Gaudio, was titled "Sherry". After the song was recorded, Crewe and the members of the band solicited record labels to release it. It was Frankie Valli who spoke with Randy Wood, West Coast sales manager for Vee-Jay Records (not the founder of Dot Records) who, in turn, suggested the release of "Sherry" to the decision makers at Vee-Jay. "Sherry" made enough of an impression that Crewe was able to sign a deal between his production company and Vee-Jay for its release. They were the first white artists to sign with Vee-Jay.  In 1962, the band released their first album, featuring the single "Sherry", which was not only their first charted hit but also their first number-one song. Under the guidance of Bob Crewe, the Four Seasons followed up "Sherry" with several million-selling hits, generally composed by Crewe and Gaudio, including "Big Girls Don't Cry" (their second #1 hit), "Walk Like a Man" (their third #1), "Candy Girl", "Ain't That a Shame", and several others. In addition, they released a Christmas album in December 1962 and charted with a unique rendition of "Santa Claus Is Coming to Town".  From 1962 to early 1964, the Beach Boys were the only band to match the Four Seasons in record sales in the United States, and their first three Vee-Jay non-holiday single releases (i.e., ignoring their version of "Santa Claus Is Coming to Town") marked the first time that a rock band hit #1 on the Billboard singles charts with three consecutive entries.  In 1962, they were invited to perform their hit "Big Girls Don't Cry" on the show American Bandstand.

Was that a success?

OUT: 


IN: Mario Lanza (born Alfredo Arnold Cocozza; January 31, 1921 - October 7, 1959) was an American tenor of Italian ancestry, and an actor and Hollywood film star of the late 1940s and the 1950s. Lanza began studying to be a professional singer at the age of 16. After appearing at the Hollywood Bowl in 1947, Lanza signed a seven-year film contract with Louis B. Mayer, the head of Metro-Goldwyn-Mayer, who saw his performance and was impressed by his singing.

Lanza was the first RCA Victor Red Seal artist to win a gold disc and the first artist to sell 2 1/2 million albums  Lanza was referred to by some sources as the "new Caruso" after his "instant success" in Hollywood films, while MGM hoped he would become the movie studio's "singing Clark Gable" for his good looks and powerful voice.  In 1994, outstanding tenor Jose Carreras paid tribute to Lanza during a worldwide concert tour, saying of him, "If I'm an opera singer, it's thanks to Mario Lanza." His equally outstanding colleague Placido Domingo echoed these comments in a 2009 CBS interview with, "Lanza's passion and the way his voice sounds are what made me sing opera. I actually owe my love for opera ... to a kid from Philadelphia."  Even today "the magnitude of his contribution to popular music is still hotly debated," and because he appeared on the operatic stage only twice, many critics feel that he needed to have had more "operatic quality time" in major theaters before he could be considered a star of that art form. His films, especially The Great Caruso, influenced numerous future opera stars, including Joseph Calleja, Jose Carreras, Placido Domingo and Luciano Pavarotti. According to opera historian Clyde McCants, "Of all the Hollywood singers who performed operatic music ... the one who made the greatest impact was Mario Lanza." Hollywood gossip columnist Hedda Hopper concluded that "there had never been anyone like Mario, and I doubt whether we shall ever see his like again".

What opera stars did it influence?

OUT:
influenced numerous future opera stars, including Joseph Calleja, Jose Carreras, Placido Domingo and Luciano Pavarotti.