Christmas, Hollywood, Music, Pop Culture, The Beatles

21 Top Grossing Songs of All Time.

Original Publish Date September 21, 2023.

https://weeklyview.net/2023/09/21/21-top-grossing-songs-of-all-time/

So, I’m down in Florida celebrating my 34th wedding anniversary with my bride, Rhonda, who is still the prettiest girl I’ve ever seen. Down here, I’m a thousand miles away from cutting the lawn, watering the flowers, and a honey-do list as long as my arm. So what better time to write about music? I wondered what a list of the top twenty-one money-making songs of all time would look like. Not best-selling albums. Not best-selling song catalogs. Not even best-selling singles. Rather, what songs have made the most money? So, here’s a list for you to ponder. There will be obvious titles, obscure titles, and some surprises, and by the end, I’ll throw some sand in the Vaseline. Only then will you understand what put the thought in my mind.

Dick Clark counting down American Bandstand hits August 5, 1957.

Many songs have made over $10 million including The Village People “YMCA,” Gene Autry’s “Rudolph the Red-Nosed Reindeer,” The Beatles “I Want to Hold Your Hand,” and, should you consult that black hole that is the Internet, names like Taylor Swift, Justin Bieber, Ed Sheehan, and a liturgy of mysterious electronic dance will muddy the issue. But for the purposes of this article, I have consulted more reputable sources for the numbers: Billboard, Music Grotto, Rolling Stone, and the Guinness Book of World Records.

Number 21: “You’re The One That I Want,” by John Travolta and Olivia Newton-John from the 1978 film Grease. Estimated earnings: $15 million. The song featuring Travolta’s greaser Danny Zuko and Olivia’s good girl temporarily gone bad, Sandy Dombrowski, propelled the film into one of the highest-grossing musical films of all time and the soundtrack became a worldwide hit. Fun fact, Richard Gere and Barry Bostwick portrayed the Travolta character on Broadway in 1972/1973.

Number 20: “(Everything I Do) I Do It For You” by Bryan Adams (1991). Estimated earnings: $15 million. The song appeared on the soundtrack for the film Robin Hood: Prince of Thieves and on the Canadian singer’s sixth studio album, Waking Up the Neighbours.

Number 19: “All I Want For Christmas Is You” by Mariah Carey (1994). Estimated earnings: $16 million. This holiday standard (or earworm depending on your point of view) is the most loved and hated song on the list by a longshot. Every holiday season it returns to the number one spot on the Billboard charts, much to the dismay of seasonal retail workers. Love it or hate it, you gotta give Mariah a tip of the cap for her skimpy Santa suit: an homage to Ronnie Spector and the Ronettes.

Number 18: “My Heart Will Go On” by Céline Dion (1997). Estimated earnings: $18 million. Better known as the theme song for the film Titanic, it has become Dion’s signature song and is the second-best-selling single by a woman in music history.

Number 17: “The Christmas Song” by Mel Torme (1944). Estimated earnings: $19 million. While the title may not ring a bell, when you hear Torme (a.k.a. “The Velvet Fog”) croon “chestnuts roasting on an open fire,” you know what time it is. The song is ironic in a couple of different ways. First Torme is Jewish. Second, Torme wrote the Christmas song “Jack Frost Nipping at Your Nose” in 45 minutes on a blistering hot California day.

Number 16: “If I Didn’t Care” by The Ink Spots (1939). Estimated earnings: $19.75 million. The Ink Spots were one of the first all-black bands to be widely accepted in both the white and black communities. The group traces its origin to Indianapolis and in 1989 they were inducted into the Rock ‘n Roll Hall of Fame.

Number 15: “Oh Pretty Woman” by Roy Orbison and Bill Dees (1964). Estimated earnings: $19.75 million. Most movies form the song but this song formed the movie. The song was released as a single in August 1964 and the movie didn’t come along until 1980. The Richard Gere and Julia Roberts movie was originally intended to be a dark cautionary tale about class and prostitution in Los Angeles but the film was re-imagined as a romantic comedy and was mostly shot at Walt Disney studios. As for Orbison’s original song? It was inspired when his wife, Claudette, interrupted a conversation to announce she was going out. When Orbison asked if she had enough cash, his co-writer Bill Dees interjected, “A pretty woman never needs any money.”

Number 14: “I Will Always Love You” by Dolly Parton (1972). Estimated earnings: $20.5 million. Dolly wrote the song to honor her early mentor, Porter Wagoner. The song helped Dolly win CMA’s Female Vocalist of the Year in 1975 but had its biggest impact in 1992 when Whitney Houston covered it for her 1992 movie, The Bodyguard. Houston’s version is the best-selling single by a woman in music history. The song has earned Dolly over $10 million which she famously donated to charities serving black communities. 

Number 13: “We Are The World” by USA For Africa (1985). Estimated earnings: $20.5 million. This charity single was written by Michael Jackson and Lionel Richie. The song featured some of the biggest musicians of the time, including Stevie Wonder, Billy Joel, Paul Simon, Kenny Rogers, Tina Turner, Diana Ross, Willie Nelson, Bruce Springsteen, Kenny Loggins, Steve Perry, Daryl Hall, Huey Lewis, Cyndi Lauper, Ray Charles, and Bob Dylan (who, when chastised by Producer Quincy Jones for singing “off-key”, responded, “That’s my style, man.”) .The chorus was equally notable: Dan Aykroyd, Harry Belafonte, Lindsey Buckingham, Sheila E., Waylon Jennings, Bette Midler, Smokey Robinson, the Pointer Sisters, and the other 4 members of the Jackson Five. The album raised a whopping $63 million in relief funds.

Number 12: “Every Breath You Take” by Sting (1983). Estimated earnings: $20.5 million. Although officially a song by The Police, it has become Sting’s signature song and was, for many years, a popular wedding song until it was revealed to be about a stalker with an unhealthy obsession. In 2010, Sting’s former business manager claimed that the song “is responsible for more than 1/4 of all the singer’s lifetime publishing income and today still produces $2,000 a day ($730,000 per year) in royalties income for Sting.” The songwriting for “Every Breath You Take” is credited 100% to Sting (AKA Gordon Sumner).

Number 11: “It’s Now Or Never” by Elvis Presley (1960). Estimated earnings: $22 million. I know, I know, why THIS Elvis song in particular? Elvis had so many great ones. When Presley wrote the song, he was serving in the military, stationed in Germany. When he returned to the States after his stint, “Now or Never” became one of his first releases, so fans raided the record stores by the millions in search of it.

Number 10: “Rock Around The Clock” by Bill Haley & His Comets (1954). Estimated earnings: $25 million. Most of us remember it as the theme song for the Happy Days TV show, “Rock Around the Clock” was one of the earliest successful mainstream records of the rock ‘n roll era. It was the first rock and roll record to hit number one on the U.S. pop charts. Here’s a mind-bender for you: “Rock Around The Clock” was written to the tune of Hank Williams’ “Move It On Over.”

Number 9: “Santa Claus Is Coming To Town” by Haven Gillespie And Fred J. Coots (1934).  Estimated earnings: $27 million. Another head-scratcher, but as they say, timing is everything. Although the original artist who recorded it is long forgotten (Harry Reser and His Band), in November 1934 when it was covered by Eddie Cantor on his radio show, within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold and it just kept selling. The song has been recorded by over 200 artists including Bing Crosby, Neil Diamond, Fred Astaire, Bruce Springsteen, Mariah Carey, Frank Sinatra, the Temptations, the Carpenters, and the Jackson 5.

Number 8: “Stand By Me” by Ben E. King, Jerry Leiber, and Mike Stoller (1961).  Estimated earnings: $27 million. According to King, the title was inspired by a spiritual written by Sam Cooke and J. W. Alexander called “Stand by Me Father.” “Stand By Me” was successful on its own, but it shot to prominence when it was used in the Stephen King blockbuster movie of the same name twenty years later and found itself at the top of the charts in 1986. In March of 1974, John Lennon recorded two takes of the song with former Beatles bandmate Paul McCartney on the drums and Lennon on guitar. The unreleased recordings would eventually be included in a bootleg album A Toot and a Snore in ‘74.

Number 7: “Unchained Melody” by Alex North And Hy Zaret (1955). Estimated earnings: $27.5 million. The song was written for a movie, Unchained, which was not a success and is remembered ONLY for starring football Hall of Famer Elroy “Crazylegs” Hirsch, Perry Mason’s Barabara Hale and Dick Van Dyke’s dentist neighbor Jerry Paris. However, the song would go on to be one of the most covered songs in recorded history; more than 650 artists at last count. The 1965 version by the Righteous Brothers is the most famous version, but the song re-emerged after it was used in the 1990 Oscar-winning movie Ghost starring Demi Moore and Patrick Swayze.

Number 6: “In The Summertime” by Mungo Jerry (1970). Estimated earnings: $30 million. I guess we should think of this as the seasonal song for summer. Just like Christmas, summer comes around every year. Impressive when you consider it was Mungo Jerry’s debut single and that lead singer Ray Dorset said it only took him 10 minutes to write. Dorset later recalled writing it “on a second-hand Fender Stratocaster while I was on break from my day job, working in a lab for Timex.” Initially, the song was only two minutes long; to make it longer, the sound of a motorcycle was added in the middle. But they didn’t have a motorcycle, so “the engineer had a Triumph sports car, which he drove past the studio microphone. So he got the stereo effects from left to right or right to left, whatever. And that was it.” That scene is made even more comical when you watch the music video for the song (one of the earliest such videos you’re likely to find) and see one of the musicians pretend to create the sound by blowing into a water jug.

Number 5: “Yesterday” by John Lennon and Paul McCartney (1965). Estimated earnings: $30 million. Although Paul McCartney was 100% responsible for the writing and singing of the song, the songwriting credit goes to both men. From the start the duo agreed to share equal credit for their songs, no matter how much either of them contributed to the song. “Yesterday” would become the second-most-played song in the history of radio. It has been covered by more than 2200 different artists. Yoko Ono, John Lennon’s sole heir, has received millions in royalties from the song. BMI asserts that it was performed over seven million times in the 20th century.

Number 4: “You’ve Lost That Feeling” by Barry Mann, Cynthia Weil, and Phil Spector (1964). Estimated earnings: $32 million. Notable as the ONLY song to crack the top 21 that was written by a convicted murderer: Phil Spector. Ironically, Spector’s sole contribution to the songwriting was the line, “and he is gone, gone, gone, Whoa, whoa, whoa.” This Spector-produced song is cited by music critics as the ultimate example of his Wall of Sound recording technique. The song became a massive hit after it was recorded by The Righteous Brothers but resurfaced in a big way in 1986 after it was included in the soundtrack for Top Gun, starring Tom Cruise. The song has been covered by over 2200 different artists and went on to become one of the most-played songs in radio history.

Number 3: “Candle In The Wind” by Elton John and Bernie Taupin (1973). Estimated earnings: $32 million. The song was originally written about the death of Marilyn Monroe, but, in 1997, Elton did a rewrite as a memorial for his close friend Princess Diana. The rewritten version had greater success than the original version. During a concert on April 7, 1990, at Farm Aid IV, Elton dedicated the song to Cicero, Indiana AIDS patient Ryan White, who died of AIDS complications the next day.

Number 2: “White Christmas” by Irving Berlin (1940). Estimated earnings: $36 million. Ironically, this standard of all Christmas songs was written by a Jewish immigrant from Russia: Irving Berlin. Though the song has been covered by countless artists, the most famous version will always be Bing Crosby’s version which sold over 100 million copies worldwide. According to Crosby’s nephew, Howard Crosby, “I once asked Uncle Bing about the most difficult thing he ever had to do during his entertainment career…He said in December 1944, he was in an outdoor USO show in northern France… he had to stand there and sing ‘White Christmas’ with 100,000 G.I.s in tears without breaking down himself. Of course, a lot of those boys were killed in the Battle of the Bulge a few days later.” Think of that the next time you hear this song.

Mildred (left) and Patty (right) Hill.

Number 1: “Happy Birthday” by The Hill Sisters (1893). Estimated earnings: $50 million. The ONLY song on the list that has been sung by every generation of your family you ever knew. You know the song, but do you know the story? Mildred Jane Hill was a musicologist from Louisville, Kentucky. Born two years before the start of the Civil War in 1859, Mildred studied music, teaching, composing, and performing, specializing in the study of Negro spirituals. Hill and her sister Patty were honored at the 1893 Chicago World’s Fair for their work in the progressive education program at the experimental Louisville Experimental Kindergarten School. Her progressive 1892 article, “Negro Music,” suggested that the existing body of black music would be the basis of a distinctive American musical style in the years to come. In 1893, the Hill sisters found themselves in need of a song for their kindergarten class to sing on birthdays. 130 years later, we are still singing the Hill sisters song. Today, “Happy Birthday” brings in a reported $5,000 a day, and $2 million a year in royalties. The cost of using the song in a movie or on TV is $25,000. It is actually against the law to sing “Happy Birthday” in a large group of unrelated people, but good luck trying to enforce that one.

Jimmy Buffett.

There you have it. Those numbers will change in the years to come. No doubt, by scanning the list, you have deduced that all it takes for a song to make (or jump up on) the list is for a movie or TV show to pick it up as a theme song. But, as I told you earlier, I am in Florida as I write this, and for that reason, I would like to submit a song that is not on anyone’s list. Governor DeSantis of Florida has ordered that flags be lowered to half-staff from Thursday, Sept. 7, to Friday, Sept. 8th to commemorate the ‘life and legacy’ of Jimmy Buffett, the “Margaritaville” singer who died on Sept. 1st.

Buffet’s 1977 “Margaritaville” song was on his album Changes in Latitudes, Changes in Attitudes. Buffet claimed that the lyrics were taken directly from a bad day at the beach and that he really lost a flip-flop, stepped on a pop top, and cut his heel on the way back home. And, oh yes, he lost his salt shaker that day too. The song has a “lost verse” which he sometimes added when performing in concert but was cut from the original song. “Old men in tank tops, Cruisin’ the gift shops, Checkin’ out chiquitas, down by the shore. They dream about weight loss, Wish they could be their own boss, Those three-day vacations can become such a bore.” Although Buffet’s Margaritaville earned him millions, by itself, it never could have cracked the top 21.

However, Buffet’s song about life in this euphoric place has morphed into a global brand that has earned more than $4.8 billion and sees $1.5 billion in annual sales. Buffet’s Margaritaville Holdings company began in 1985 with the opening of a string of Margaritaville-themed stores and restaurants, the first of which was a store in Key West, Florida, that was followed in 1987 with the first Margaritaville Café nearby. Over the course of the next two decades, several more of each opened throughout Florida, New Orleans, and California.  In 2002, Buffet partnered with Outback Steakhouse to develop the first Cheeseburger in Paradise Restaurant in Southport, Indiana. Margaritaville resorts by Wyndham have sprouted up all over the place and most recently, a plan to develop Latitude Margaritaville: new active adult communities for those “55 and better.” At the time of his death, Buffet had amassed a personal fortune of $1 billion. That’s BILLION with a “B”, a figure that cannot be surpassed, even if you added all of the top 21 together. Apparently, Margaritaville was a pretty good place to be.

Indianapolis, Music, Pop Culture

“PeeWee the Piccolo” born in Indianapolis

Original publish date January 30, 2025.

https://weeklyview.net/2025/01/30/peewee-the-piccolo-born-in-indianapolis/

Okay all you Irvington audiophiles, quick, name the first song ever released on a 45 record. If you said it was the “Texarkana Baby” by Eddy Arnold, pat yourself on the back for remembering that lost gem. But you’re wrong. The first commercial 45rpm was “PeeWee the Piccolo” by Russ Case and his Orchestra on RCA Victor records (#47-0146 and b-side #47-0147) released on Feb. 1st, 1949. And it was born right here on the eastside of Indianapolis. Ironically Russ Case (1912-1964), a trumpet player and bandleader, led a few jazz and light music orchestras, including Eddy Arnold’s.

RCA Magazine ad for their new 45 record player.

RCA introduced the 45 rpm single to the world on December 7th, 1948 (seven years to the day after the Pearl Harbor attack), at the Sherman Avenue plant in Indianapolis. The confusion among the public comes from the fact that RCA released several commercial 45 singles on March 31st, 1949, including Arnold’s “Texarkana Baby.” The irony is that while “Pee Wee the Piccolo” is largely forgotten, “Texarkana Baby” topped Billboard’s country chart for three weeks, reaching #18 on the Best Selling Popular Retail Records chart. And it was the b-side of the single for Arnold’s standard hit “Bouquet of Roses.”

Pee Wee The Piccolo record.
Paul Wing.

“Pee-Wee The Piccolo” is a children’s record narrated by Academy Award winner Paul Wing (1892-1957). Wing was captured by the Japanese in the Philippines in 1942, survived the Bataan Death March, and was held prisoner in the World War II prisoner of war camp portrayed in the 2005 film The Great Raid. “Pee-Wee The Piccolo” was written by Paul Tripp and George Kleinsinger, who also created Tubby The Tuba. RCA color-coded their singles, pressing children’s 45-rpm records on yellow vinyl, popular music on black vinyl, country on green vinyl, classical on red vinyl, instrumental music on blue vinyl, and R&B and gospel on orange vinyl, international music was light blue, and musicals midnight blue. Eventually, they would all be pressed in black.

The 45′s tie-in to World War II is not without purpose. The 45 rpm single can trace its earliest origins to that conflict. Like many fields, World War II put a major dent in the music industry. Most homefront record and phonograph makers retooled their factories for the manufacture of products for the war effort. A wartime blockade stopped the import of shellac, the material from which .78 records were made. With that supply cut off, manufacturers scrambled for a new material to make records. The industry had been experimenting with synthetic PVC (polyvinyl chloride) since the 1930s, but it was more expensive to produce than shellac. CBS (Columbia Broadcasting System) engineers realized that PVC’s material properties meant that a vinyl record could be made thinner and stronger than a shellac record and that the grooves could be cut thinner, allowing more music to fit on each side. More music meant more money, outweighing the cost of the more expensive material. So the 33 rpm format was born.

William Paley of CBS.

Around September of ’48, William Paley at CBS offered RCA’s David Sarnoff the rights to the 33 technology at no cost. Paley thought that sharing his secret with his chief competitor would help boost the 33 format record sales for both companies. Sarnoff adroitly thanked Paley and told him he would think about it. Paley hadn’t realized that RCA had already perfected it’s secret 45 project. Paley was shocked and CBS miffed when RCA rolled out the 45 a few months later. The 45 rpm record became RCA’s answer to Columbia’s 33 1/3 rpm long-playing disc. The two systems directly competed with each other to replace 78 rpm records, bewildering consumers, and causing a drop in record sales. In media the period from ’49 to ’51 was referred to as “the war of the speeds” years.

David Sarnoff of RCA-Victor.

A myth persists that the single’s designation of “45″ came from subtracting Columbia’s new 33 rpm format speed from the old 78: equaling 45. According to “Vinyl: A History of the Analogue Record” by Richard Osborne, “the speed was based upon calculations made by the best balance between playing time and signal-to-noise ratio given by a groove density of 3 minutes per radial inch, and also that the innermost groove of a disc should be half the diameter of the outermost groove. Given the 6 7/8 diameter of the record it was found that 45 rpm provided the desired playing time within the designated bandwidth.” No wonder the 78 minus 33 urban legend remains so persistent — it’s easier to remember.

The sprawling campus of RCA at Michigan & Sherman.

Engineers from both companies had been working on a replacement for the 78 since before the war, experimenting with speeds ranging from 30 to 50 RPM. They were balancing the playing time (5 minutes – the same as a 12″ 78) with disk diameter, to get the most compact format that would have a surface velocity and lack of “pinch effect” so that the sound would not degrade as the stylus reached the inner diameter. In fact, for all but the outer inch or so, the 45 has a higher surface velocity than a 12″ LP. Both Edison and Victor had tried to introduce long-playing records in the 1920s and failed. In 1949 Capitol and Decca started issuing the new LP format, and RCA relented and issued its first LP in January 1950. While the LP could comfortably hold a large selection of music on each side, the 45, with its large central hole, worked better on automatic changers (like jukeboxes).

Wurlitzer Jukebox Model 1700.

However the 45 rpm was gaining in popularity, and Columbia issued its first 45s in February 1951. Soon, other record companies saw the mass consumer appeal the new format allowed. By 1954 more than 200 million 45s had been sold. According to the New York Times, the peak year for the seven-inch single was 1974, when 250 million were sold. In the end, the war of the speeds ended without a decisive winner. By the early Eighties, the 45 began dying a slow, humiliating death. The number of jukeboxes in the country declined, stadium rock fans increasingly gravitated toward albums, and the cassette format (and even the wasteful “cassette single” and “mini-CD” format) began overtaking vinyl 45s.

The RCA label.

Like most people my age, I fell in love with 45s in the early 1970s. Mostly because they fit into my limited allowance budget as a kid. That was, until about 1975 when the companies all raised the price of a 45 from $0.99 to $1.49! Then I had to be choosy. In most cases, the best song from an album would make it onto the 45 and, if I was lucky, there could be a b-side that was an unexpected bonus, sometimes a song not even on the album. Bingo, bonus track! Many of those 45s were made right here in Indianapolis. What’s more, back in the late 1960s/early 1970s it seemed like everyone in my family worked at that RCA plant on Sherman Ave. I remember that Mom and Dad got to pick out 2 or 3 free records every quarter, so I had a leg up on the competition (my sisters).

The R.C.A. manufacturing plant located at 3324 East Michigan Street. Courtesy Indiana State Library Photograph Collections.

Built in the 1920s, the RCA plant on the near eastside was a massive site that, during its heyday in the 1950s, employed over 8,000 people. RCA featured over 20 buildings on its 50-acre site, and aside from making records, the plant produced electronics like televisions, stereos, and radios. A gradual decline in business began in the 1970s, eventually leading to RCA being sold to GE in 1986. The Sherman Ave. plant operated for a few more years before closing in 1995. A heavy machinery and storage company operated in a small portion of the plant and a recycling nonprofit operated in the main building along Michigan St. for years before leaving in 2012. The RCA Sherman Plant was ultimately demolished in late January/early February 2017.

Elvis Presley on stage at Market Square Arena 8.30pm June 26, 1977.

Elvis Presley and Dolly Parton were two of the bigger names that toured the plant, although many bands and artists made the trip to the RCA plant to see how their records were made. One of the more famous records made there was Elvis Presley’s “Moody Blue” record, a special presentation copy of which was given to Elvis during his final concert at Market Square Arena on June 26, 1977. As it happens, the stage where Elvis stood when he received that gold record now rests inside the Irving Theatre.

Robert E. Hunter. My dad.

Dad, who was trained as a draftsman in the service, worked in the relatively new computer processing area at the Sherman Ave. facility. He would take a sweater or zipper-pull fleece with him every day regardless of the season because back then the computers ran pretty hot and the room was kept so cold. They let employees smoke back in those days in the computer room and Dad smoked a pipe. I remember he worked with IBM cards back then. Those punchcards sorted all the info for the RCA record club members, which numbered in the hundreds of thousands.

Nipper “His Master’s Voice”in wrecked interior of the abandoned RCA factory.

My father lived for many years across the street from the plant on Sherman Avenue. He relished the idea of walking to and from work and eating lunches at home. The plant was an awesome sight to see when it was still standing. After it was vacated in the early 2000s, it became the largest abandoned place in Indy (besides the coke plant). There were some reminders of its former life throughout the building (the RCA dog could still be found in the main building) and leftover remnants from the other companies that operated there.

During those derelict years, I may (or may not) have surreptitiously ventured into the empty building. It was pretty sketch back then and you were likely to run into other people, mostly vagrants, scrappers, and other neighborhood kids. The attics had catwalks from which one could access various rooms/areas throughout the building via small doors. I remember one door in the back of the men’s room. There were muddy raccoon footprints all over the bathroom tile floors: proof that the critters would come in at night to drink out of the toilets. Some rooms were lined with meshed steel Faraday cages. The level beneath the main offices had large mounds of dirt reportedly earmarked for a BMX track that never materialized. When Thomson Consumer Electronics moved north to their new sparkling aqua green and blue paneled building at I-465 and Meridian, RCA left a ton of office furniture and obsolete audio-visual equipment behind in the building.

The RCA plant coming down.

My dad worked in that building for over three decades. He died in 1997 just months away from retirement. My grandparents and my mother worked there in the 1960s. And it was in that lobby where I saw my stepmother Bonnie for the last time in 1997 before she left for Tennessee never to return. Back then RCA had a notary public in residence just inside the door. Tens of thousands of Hoosiers worked at that plant during its 75-year lifespan. Now, the vacant space is just a large patch of overgrown weeds and wild grass. My dad’s house sits empty, the doors and windows boarded up. Life goes on, the world still turns, and soon anyone with memories of working in that plant will fade away as well. Like phone booths, inspection stations, long-distance operators, and most of the products made in that building, RCA is just a distant memory now.