We're all about the history of rock & roll at BoomtownAmerica.com!

Every week, we present “ROCK REMEMBERED,” a deep dive into the hidden history of rock & roll, the stories behind the artists and songs that changed the world. Join host, “Boomtown Bill” Cross each Wednesday at 7 pm (Eastern) with an encore broadcast on Saturday at noon (Eastern).

Join us this Wednesday as we relive the musical glory that was "The British Invasion!"

Return with us to the days when the circus was still a major entertainment attraction, when clowns were funny, not scary and small boys were allowed to roam TV’s vast wasteland years before finding lasting fame as rock stars!

Of course, we’re talking about that TV treasure, Circus Boy, which ran for many a Saturday morning during our youth, but actually began life as a for-real prime-time series. Circus Boy was set in the 1890s which allowed it to cast itself as a sort-of Western (back when that genre ruled the airwaves). Because the circus changes very little from generation to generation, the only way you’d know we were back in the 19^th century is the folksy outfits worn by the audiences who gather under the big top as well as the old-fashioned circus wagons and horses we glimpse in those scenes when the show is moving from town to town.

Circus Boy is primarily remembered today as the launching pad for Mickey Dolenz’s show biz career. Using the stage name Mickey Braddock, the future Monkee starred as Corky, the son of circus trapeze artists who died while performing. In the true spirit of 1950s television, Corky is adopted by the entire circus family and in particular, by Joey the Clown, played by a pre-Rockford Files Noah Beery, Jr. Rounding out the rest of the regular cast were Robert Lowery as “Big Tim” Champion, owner and manager of the circus and Guinn Williams as Pete, billed as the circus’ advance man, but always exactly where the circus is playing, never in the next town, where a real advance man would be.

While most shows featured a boy and his dog, Circus Boy featured a boy and his elephant as Corky was paired with the unfortunately named Bimbo the Elephant.

Typically, the plots involved trouble with one of the circus’ acts (a lion tamer who lost his nerve, a high-wire artist whose vanity is ruining the harmony of the troupe, etc.) or trouble in one of the towns they’re playing. Corky is always at the center of the action, frequently receiving the patented fatherly advice most shows of the era were overrun with from Beery’s character, Joey.

The show ran on NBC during the 1956-57 season, then transferred to ABC for a second season. After that, reruns began on Saturday mornings back on NBC in 1958 and eventually on local stations through syndication.

The show was popular with the Boomers, spawning the usual raft of comics books, toys and other merchandise. Today, outside of the connection to the Monkees, the show has been mostly forgotten. It’s a shame because, thanks to its initial run in prime-time, the scripts and production values are higher than the typical Saturday morning fare of that era.

During the early part of the 1960s, the absolute, “must-have” piece of jewelry for young men was the I.D. bracelet, most famously made by Speidel. They were relatively inexpensive as jewelry goes and came in silver or gold.

The purpose of the bracelet was not really to be worn by the male who purchased it and had his first name engraved boldly on it. It was to be given away to his girlfriend, who would then wear it as a symbol that the particular male in question was “taken.” It also provided something concrete that the girl could give back to the guy to establish in physical terms that she was breaking up with him.

The bracelets were large and clunky. They fit on guys’ wrists rather loosely, so you can imagine the trouble some females had keeping them on their arms. But it didn’t matter. Your boyfriend’s letterman jacket could only be worn outdoors (and then only in cooler weather and only if your boyfriend had a letterman jacket), the I.D. bracelet would announce your relationship status no matter where you were or how athletic your boyfriend was.

There is no record of where the fad started, but it faded as the decade wore on. Yet, those bracelets are still available from multiple sources today (including Speidel), so somebody must still be wearing them.

His work has been recorded by artists all over the musical map – from Perry Como to the Beatles, from roots rocker Gene Vincent to Neil Diamond, from Nat King Cole to Elvis Costello. Next to Lennon & McCartney, he may be the most successful composer of the latter half of the 20^th century. Along the way he penned 73 songs that hit the Top 40 on Billboard’s Hot 100 and earned 6 Grammys, 3 Oscars and 1 Emmy.

He is, of course, Burt Bacharach. Over 1,000 different artists have recorded his compositions. His collaboration with lyricist Hal David, produced a string of hits for 60s pop icons like Dionne Warwick, Gene Pitney and Dusty Springfield. Along the way he also composed the title tune for the schlock teenage sci-fi film that became a cult classic, The Blob, while also building a surprisingly successful career as a live performer, playing his hit compositions on piano while backed by a full orchestra.

While primarily seen as a “pop” composer, Bacharach’s ability to work with rock acts like Vincent, the Drifters, Elvis Costello and others make him an undeniable part of rock history.

Born in Kansas City, but raised in New York City, Bacharach used a fake ID, not to drink, but to sneak into New York’s jazz nightclubs where he soaked up the music Charlie Parker, Dizzy Gillespie and others. Trained by his mother to be a classical pianist, Bacharach much preferred the jazz and pop he heard on his nightly sojourns.

Following a stint in the army, Bacharach started the 1950s as arranger and pianist for singer Vic Damone. From there, he served in similar capacity for a variety of other singers until he finally wound up leading the back-up band for Marlene Dietrich in 1956. While touring the world with Dietrich, he also began working as a songwriter, teaming with Hal David in 1957. They sold their first song, “I Cry More,” to the motion picture, Don’t Knock the Rock. The song went nowhere. They finally broke through with a song they wrote for Marty Robbins, “The Story of My Life,” which hit #1 on the Billboard country chart. They next scored a top 10 hit with Perry Como and “Magic Moments” (in the days before rock came to dominate the charts).

As the 60s began, Bacharach’s success as a songwriter led to him taking a more active role in the studio. He was first listed as arranger & conductor on Jerry Butler’s 1962 recording of the Bacharach-David tune “Make It Easy on Yourself.” That same year, Bacharach thought one of the backup singers doing session work showed some potential. Her name was Dionne Warwick. He and David wrote a tune specifically crafted for her, “Don’t Make Me Over.” That recording launched a long and successful collaboration that lasted into the 1980s.

Among the many artists who have found success with Bacharach tunes are the Drifters, the Beatles (a cover of the Shirelles’ “Baby, It’s You”), Tom Jones, Frankie Avalon, Manfred Mann, B.J. Thomas, Bobby Vinton and dozens more.

Elvis Costello had a father who was a cabaret singer in the UK, so Elvis had developed a fondness for Bacharach-David compositions from childhood. He used to sneak one or two into his early sets (particularly “I Just Don’t Know What to Do with Myself”). Ultimately, he became one of Bachrach’s later collaborations, co-writing the album Painted from Memory.

In addition to writing specifically for the movies (two of his most acclaimed movie tunes being “The Look of Love” and “Raindrops Keep Falling on My Head”), his work has also been found lightening up such later films as Austin Powers and My Best Friend’s Wedding.

A composer whose versatility is unmatched, Bacharach passed away in February of 2023 at the age of 94. His music lives on.

As we age, our bones lose some of their density. But there are some exercises that can help your bones maintain their health.

If running isn’t the right fit for you, experts say go for a walk and stomp your foot 2 or 3 times every 10 steps (alternating feet, naturally).Pretend like you're trying to crush an empty soda can. That can actually help stimulate and protect your bones.

BTW – walking on real ground rather than a treadmill is also better for your legs.