English art rock band
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10CC var et af de mest originale engelske bands mellem 72 og 78. De skubbede grænserne for, hvad en almindelig popsang kunne være, de havde nok i sig selv og var på ingen måde interesseret i, at blive berømte eller rockstjerne, faktisk ville de helst bare være i deres studie. De fire, Eric Stewart, Graham … Læs videre "10CC"
“If we did something that was too drab, too normal, too obvious, we'd say, ‘Nah, let's give it a kick in the ass.'” That's how Kevin Godley describes the approach of his former band, 10cc, and his drive for creativity and art has not abated. Godley was 10cc's angelic-voiced drummer who would go on to make inventive music and groundbreaking videos with Godley & Creme. In Pt. 1 of this illuminating conversation, Godley explains how Lol Creme, Graham Gouldman, Eric Stewart and he—all strong songwriters and singers—formed 10cc near Manchester, England, and figured out who would do what. They stretched out on such Godley-Creme songs as “Somewhere in Hollywood” and "Une Nuit a Paris" (which perhaps inspired Queen's “Bohemian Rhapsody”), but the popularity of “I'm Not in Love” had unintended consequences. What was it about the new song that Stewart and Gouldman played for Godley and Creme that blew apart the songwriting teams for good?
Canciones que cumplen medio siglo. La confirmación del country rock y del rock sureño que avanza hacia el género “americana” y de la hornada de cantantes compositores; la explosión global del rock progresivo o sinfónico; el brote imparable del funk que devendrá en música disco y del mismo modo la fusión del jazz, el rock y la electrónica; el año dorado de la música popular española. Séptimo capítulo de la serie de disco magistrales publicados en el Reino Unido y Australia. ¿Os suenan “Love Is The Drug” de Roxy Music, “Evil Woman” de ELO, “I’m Not In Love” de 10cc o “Baby I Love Your Way” de Peter Frampton?.. Y ¿quién representó a los británicos en Eurovisión?DISCO 1 MIKE OLDFIELD In Dulce JubiloDISCO 2 ROXY MUSIC Love is The DrugDISCO 3 PAUL McCARTNEY/WINGS Listen To What The Man SaidDISCO 4 ELECTRIC LIGHT ORCHESTRA Evil WomanDIDISC 5 DAVE MASON All Along The WatchtowerDISCO 6 PETER FRAMPTON y Dolly Parton??? Baby I Love Your WayDISCO 7 FAIRPORT CONVENTION Rising for the moonDISCO 8 10CC I’m Not In LoveDISCO 9 THE WHO Squeeze BoxDISOC 10 JEFF BECK Cause We Ended As LoversDISCO 11 ERIC CLAPTON HighDISCO 12 THE SHADOWS Let Me Be The OneEscuchar audio
A selection of their greatest hits
Vijftig jaar geleden kwam 'I'm Not In Love' van 10CC uit. Het is een geniaal nummer dat nog altijd tot de verbeelding spreekt. In deze podcast reconstrueert Blokhuis de oorsprong van deze razendcreatieve band.
"The highways jammed with broken heroesOn a last chance power driveEverybody's out on the run tonightBut there's no place left to hide"Avoid the jammed highways and join me on this week's Super Sounds Of The 70's. Coming along are David Bowie, 10CC, Sugarloaf, The Stooges, Grass Roots, Doobie Brothers, Guess Who, Hollies, Rolling Stones, Spooky Tooth, Boz Scaggs, Ten Years After, The Pretenders, Elvin Bishop, Tom Petty, Elvis Costello, The Eagles and Bruce Springsteen.
Welcome to the Backlog Busters, Season 8 - Episode 6. Mathman, SkinnyMatt, and Mike talk about delicious potato dishes, retro arcades, and "The Last Ronin." We also handed out secret tips and tactics for the classic Sega Genesis games Burning Force, Arrow Flash, and Castle of Illusion.Mike - Triangle Strategy, Super Mario RPG, FF XI BraverMatt - Dave the Diver, Blood Bowl 2, Mario Party, Mario Kart 8 Deluxe and the board games Flame Craft and Greetings from GrandvilleRyan - Citizen Sleeper 2, Prince of PersiaIf you were a patron, you would hear all the stuff we talk about before and after the theme music. You never what you'll hear!If you would like to have more of the Backlog Busters in your life, head on over to the socials and follow these fine folks:Blue SkyBacklog BustersMathman1024BlazeKnightSkinnyMattAlso, don't forget to join the Discord and be part of the fun.Patreon link -->patreon.com/BacklogBustersSkinnyMatt's Extra Life page --> here
Send us a textCharles and Grham interview 10cc's Graham Gouldman ahead of his latest tour with his band, Heart Full of Songs.The band line-up comprises Graham, 10cc live band members Iain Hornal and Keith Hayman, and Dave Cobby.In 2014 Graham was inducted into the Songwriter's Hall of Fame – an arm of America's National Academy of Music. Fellow inductees include Noel Coward, Burt Bacharach, John Lennon, Paul McCartney, Bob Dylan, Elton John and Sting.Graham's songwriting credits over the last 60 years include The Yardbirds, The Hollies, Herman's Hermits and 10cc. In 2024 Graham released a new solo album called I Have Notes which includes collaborations with Brian May, Ringo Starr, Hank Marvin and Albert Lee.Charles and Graham round off the episode with a quick discussion about the recent BAFTA Awards and the latest news about the planned National Poetry Centre.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos
Die Leiden des Kleinanlegers Matussek stehen diesmal im Mittelpunkt, eine satirische Erinnerung an sein wechselndes Glück am Roulettetisch der Börse, hochaktuell, denn selbst den Gewinnern droht der grüne Staatsraffke Robert Habeck das für ein sorgenfreies Alter Errungene wegzunehmen. Betrachtungen über Michelangelo, den „göttlichen Künstler“, und dessen tumultuöse Zeiten voller Tugendterroristen (Savonarolas Kindersoldaten, die Grüne Jugend von einst), den deutschen Sonderweg (Martin Luther), nicht erfundene Seuchen (Pest) – und die unvergängliche Schönheit des christlichen Abendlandes (Pietà, David, Sistina). Ein Austausch mit Jordan Peterson über das Pharisäertum falsch verstandener christlicher Nächstenliebe. Die Rückkehr des Faschismus unter verkehrten Vorzeichen. Briefe. Dazu Erinnerungen an die Kultband der 70er-Jahre mit dem frivolen Namen 10cc, unter anderem mit „The Wall Street Shuffle“ und „I'm Not in Love“.
Dan enrolls in a sexual sociology class.By Quinn_McMullen. Listen to the Podcast at Steamy Stories.Prologue:It was Chicago, in the mid 1980s. Those were very different times. Fashion and language were different. Technology was quite different. We didn't have the internet, and cable television was just becoming widespread. Pubic hair was uncut & often not trimmed.. The only sexual fear for straight people was getting pregnant; and the pill mostly took care of that.I was a senior and I needed both a literature class and social science class to complete my general education requirements to graduate. Because of my class standing, I was finally going to be able to register early in the cycle. I filled out several possible registration cards, and waited dutifully in the line. When I got to the registration window, I was pleasantly surprised to find that S O C 3 69 Human Sexuality was still open. I registered for the class and hoped it was everything the rumors made it out to be.As the Spring Semester started, I tried to find out if I knew anyone in S O C 3 69. None of my engineering classmates were interested. And I was disappointed to find that none of my female friends had registered for it either. It had the potential to be less than fun. But I remembered the stories about the course lots of discussion of sex, sex, and sex. It couldn't be that bad.The class was scheduled for Tuesday and Thursday afternoons. The first class was on a Thursday and I arrived ten minutes early for the first class. The room was already packed. On the front desk were two piles of papers with a sign that said, "Take one of each." One was the syllabus and the other was a list of assignments with details and due dates.Thursday Pre-ClassI looked around the packed room and saw a seat next to a pretty blonde. "Is this seat taken?""It looks like it's perfect for you." She chuckled.I held out my hand, "Hi, I'm Dan."She smiled sweetly, "I'm Hannah."A woman in her forties entered the room and began walking around talking to students. I assumed this was the famous Dr. Miller. She was tall and thin with a nice figure. She was professionally dressed in a skirt, blouse, and blazer. The skirt came to just above the knee and showed some shapely, bare legs. She started working the room.When she got to us, she said, "Hannah, good to see you again. Did you have a good winter break?""I did Dr. Miller."Dr. Miller turned to me and extended her hand, "A new person in my class."I stuck out my hand, "Pleased to meet you Dr. Miller. Dan McDevitt.""A senior. Mechanical engineering major. Wow! I'm impressed." She chuckled at herself, "I try to learn about my students beforehand. It isn't hard if you actually care about people." She looked at her watch, "Show time."Dr. Miller walked to the front of the room, "Let's get started. My name is Dr. Shannon Miller. This class is S O C 3 69, Human Sexuality. If you aren't registered, you will have to leave. No auditing."Two guys got up and headed toward the door.She continued, "It isn't that I want to be a hard ass, but if I didn't have that limitation, this place would be standing room only. If you are curious how the course was numbered, I asked for it and there was no objection until I was teaching it for three semesters. By then it was too late to change it."There were some scattered laughs and giggles."We'll skip the usual introductions. I think I know everyone. If you don't know your classmates, I think you will quickly learn about them."Lecture Begins"As the title suggests, this is a course in human sexuality. I must tell you that this class will get very graphic at times. We will examine the wide range of human sexual activity, from straight sex to some of the kinkiest stuff you can imagine. This may be uncomfortable for some of you. As a class, we can overcome this discomfort by keeping our minds open, being respectful of each other, and sharing our thoughts. Given the number of smiles, that sounds like what a lot of you signed up for."I expect everyone to act as an adult. I don't want to hear titters and I don't want to hear anyone shaming anyone else. Respect is our watch word. If you cannot act as a mature adult and show respect to everyone in the room, then I will ask you to leave. If you do not voluntarily leave, I will have campus security remove you. I don't fuck around with any of that. And yes, I have a potty mouth. I want everyone to feel safe here. This class is like Las Vegas. If someone shares some intimate part of their life, I expect it to stay in this room. Am I clear?Dr. Miller looked each of us in the eye, "Good. Does anyone want to leave?" Again she looked around."Very well. I will also use a lot of visual aids photos and film. This is not pornography. Since this is a liberal arts college, I am a strong believer that this is a time for you to explore and learn about yourself. I cannot require that you engage in sexual activity. That would be unethical and for many people, immortal. I will provide alternative assignments that you are free to undertake. In the assignment sheet I provide details on how you can fulfill both regular and alternative assignments. For example, after today's class, you may decide to experiment with self-love. Essentially, in the privacy of your room you can masturbate and then report on your observations. If you would like to have an observer present, that is also an option. Any questions?""Seeing none, we'll get started." She went to the front of the class and pulled down a screen. She flipped on an overhead projector and placed a slide on it, "So here is a very simple question: Why do we want to have sex? Danielle.""Because it makes us feel good.""Yes, it does. Brian.""We have a drive to reproduce."Dr. Miller walked to the side of the room, "One of our strongest instincts. Sarah.""Because we are attracted to the other person and we want to be intimate with them.""Ah. Intimacy. Another strong drive. Hannah.""Orgasms."Dr. Miller laughed, "Yes. The elephant in the room. Today we will discuss orgasms." She put up another slide, "So what is the average time it takes for a man to reach orgasm if he is masturbating? Dan.""Five minutes.""Not that long. Greg?""Four?""Almost. Rich?"He laughed, "Maybe three?""Good guess! Three minutes. So how long does it take a woman to reach orgasm if she is masturbating? Bridget?""I'm guessing. Four minutes?""Yes, good guess. So what can we conclude from those two numbers. Elizabeth.""That men and women are pretty close to having the same sexual response if they are stimulated properly.""Excellent! If you are gay, lesbian, or a virgin, you don't have to answer this next question. By a show of hands, how many of you know that your partner reaches orgasm during straight sex? Penis in vagina sex."Of the 25 people in the room, about 18 hands went up."Please leave your hands up. We have ten men and eight women. Now, how many of You reach orgasm during straight sex?"All the men left their hands up, but only one woman left their hand up.""Very interesting. So ladies, the men think you are having an orgasm when you really aren't. Am I reading that correctly?"Several female heads were nodding."Why is that? Hannah.""We fake it."Dr. Miller shook her head, "We fake it. That's kind of sad. Why? Rich.""The woman doesn't want to make us feel bad.""Yeah. Studies have shown that men's egos are easily bruised when it comes to sex. Some women also want to boost their partner's ego. Why else? Anne.""To get it over with."There was laughter around the room.Dr. Miller continued, "You laugh, but I think Anne is not making that up." Anne shook her head. "I think you will find that sometimes straight sex is not pleasant for many women, mostly because their male partner doesn't know what they're doing.""Anyone else? Roxane.""To avoid being shamed and being thought to be frigid.""That is a big one. By the way, no woman is frigid. That is a myth developed by men to compensate for their poor sexual performance. One last item. Sometimes a woman fakes an orgasm for non-sexual reasons such as trying to cement a relationship, become someone's girlfriend or fiancée. Questions or comments?"Dr. Miller looked around the room, "I find all this very interesting. Gentlemen, do you know how to tell if your partner is actually having an orgasm or faking it?"I shook my head. I thought I knew, but now I had my doubts. I looked around and the other guys looked just as puzzled.Dr. Miller said, "Don't be embarrassed guys. You've taken the first step to becoming a much better lover. Carlos, are you ready?"I just realized that there was a guy at the back of the room manning a film projector, "Yes, Dr. Miller."Female Orgasm FilmShe pointed to a guy near the door, "Sam?" He nodded. "Yes, Sam. Can you hit the lights?"Sam killed the lights and a film began to roll.The title flashed up, "Orgasmic Response in Human Females." The first scene had a bunch of co-eds walking and talking on a college campus somewhere. A female narrator said, "One of the most misunderstood aspects of human sexuality is the orgasmic response of human females. This film will briefly examine this topic."The scene changed to a couple making out. "It should be noted that approximately five to ten percent of women are incapable of having an orgasm. This is often due to some physical limitation."A graphic came up, "There are two types of female orgasm: vaginal and clitoral. The first, vaginal orgasm, is described by women as starting deeper in their body and elicits a full body response. These types of orgasms are caused by objects in the vagina stimulating the walls, Gräfenberg spot or G spot, and cervix."An anatomical diagram came up. "The G spot is located on the anterior wall of the vagina. When a woman is standing, it can be thought of as the upper side of the vagina." A red arrow pointed to a spot on the diagram, "In its relaxed state, the G spot is smooth. As a woman becomes more aroused, it becomes wrinkled. The G spot is best stimulated digitally with one or two fingers using a 'come hither' motion."A photo of a woman's vulva came on the screen, "Clitoral orgasms have a more localized reaction and are caused by stimulation of the clitoris and clitoral hood area." Red arrows appeared on the screen, "Clitoral orgasms are more intense, but are shorter in duration than a vaginal orgasm."There are several signs that a woman is experiencing an orgasm. Please note that not all women display all these signs."A photo of a light skinned vulva was displayed, "First, blood will rush to a woman's skin and in light skinned women, this will be seen as flushed skin. Blood will also rush to a woman's clitoris, vulva, and vagina. Often the clitoris will become engorged with blood and may extend out of the clitoral hood."The screen shifted to a photo of a lovely pair of breasts with large, erect nipples, "Second, a woman's nipples will be erect. Most women experience pleasure when their nipples are stimulated either orally or manually. Although not all women experience hard nipples during an orgasm, most do. Typically a woman's nipples are hard, erect, and sensitive. In all cases, an orgasm will increase a woman's heart rate. Often to between 160 and 210 beats per minute."Let's observe an actual female orgasm. This will be a clitoral orgasm."The screen shifted to a camera angle that was directly between a young, naked woman's legs. She had a nice bush, but her labia were shaved. The focus was on her vulva, but the rest of her body was visible in soft focus. She was small-breasted and had applied a small vibrator directly to her clit. Her vagina was slightly open and juices ran across her perineum."This woman's orgasm is about to begin. I direct your attention to her vaginal opening, her anus, her nipples, and her face."The woman began panting, her eyes closed, and her mouth took on the classic O shape. Her pelvic muscles began rhythmically contracting and you could clearly see her vagina and anus pulsing out a steady rhythm. Her nipples were hard and she reached up and pulled hard on one of them."During her orgasm, all her focus is on the stimulation being directed to her clitoris. She is unaware that her breathing has increased and her eyes are closed. Most women are incapable of vocalizing anything during orgasm. It should be noted that after orgasm, a woman's clitoris is very sensitive.""Now let's observe a vaginal orgasm."Once again, the screen was filled with a woman's vulva. Someone was fucking her with a smooth dildo. The angle was upward, striking the top of her vagina. She was rolling both her nipples."Once again, this woman's orgasm is about to begin. Observe her vagina, nipples, and face."As the orgasm began, her eyes practically popped out of her head. She let out a long groan, mouth open. You could see her vagina contracting on the dildo. She came for probably about a half a minute. And then the film was over.Dr. Miller said, "Sam, can you flip on the lights? So what did we observe? Dan.""In both cases, the woman's vagina was contracting. On the first one, so was her anus.""Good observation. Actually, her anus was contracting on the second one, but your view was blocked. I don't want to say every time since life has no absolutes, but in at least 999 times out of a thousand, the woman's pelvic muscles will contract during orgasm. Those contractions affect both the vagina and the anus. What else? Sam."
Dan enrolls in a sexual sociology class.By Quinn_McMullen. Listen to the Podcast at Steamy Stories.Prologue:It was Chicago, in the mid 1980s. Those were very different times. Fashion and language were different. Technology was quite different. We didn't have the internet, and cable television was just becoming widespread. Pubic hair was uncut & often not trimmed.. The only sexual fear for straight people was getting pregnant; and the pill mostly took care of that.I was a senior and I needed both a literature class and social science class to complete my general education requirements to graduate. Because of my class standing, I was finally going to be able to register early in the cycle. I filled out several possible registration cards, and waited dutifully in the line. When I got to the registration window, I was pleasantly surprised to find that S O C 3 69 Human Sexuality was still open. I registered for the class and hoped it was everything the rumors made it out to be.As the Spring Semester started, I tried to find out if I knew anyone in S O C 3 69. None of my engineering classmates were interested. And I was disappointed to find that none of my female friends had registered for it either. It had the potential to be less than fun. But I remembered the stories about the course lots of discussion of sex, sex, and sex. It couldn't be that bad.The class was scheduled for Tuesday and Thursday afternoons. The first class was on a Thursday and I arrived ten minutes early for the first class. The room was already packed. On the front desk were two piles of papers with a sign that said, "Take one of each." One was the syllabus and the other was a list of assignments with details and due dates.Thursday Pre-ClassI looked around the packed room and saw a seat next to a pretty blonde. "Is this seat taken?""It looks like it's perfect for you." She chuckled.I held out my hand, "Hi, I'm Dan."She smiled sweetly, "I'm Hannah."A woman in her forties entered the room and began walking around talking to students. I assumed this was the famous Dr. Miller. She was tall and thin with a nice figure. She was professionally dressed in a skirt, blouse, and blazer. The skirt came to just above the knee and showed some shapely, bare legs. She started working the room.When she got to us, she said, "Hannah, good to see you again. Did you have a good winter break?""I did Dr. Miller."Dr. Miller turned to me and extended her hand, "A new person in my class."I stuck out my hand, "Pleased to meet you Dr. Miller. Dan McDevitt.""A senior. Mechanical engineering major. Wow! I'm impressed." She chuckled at herself, "I try to learn about my students beforehand. It isn't hard if you actually care about people." She looked at her watch, "Show time."Dr. Miller walked to the front of the room, "Let's get started. My name is Dr. Shannon Miller. This class is S O C 3 69, Human Sexuality. If you aren't registered, you will have to leave. No auditing."Two guys got up and headed toward the door.She continued, "It isn't that I want to be a hard ass, but if I didn't have that limitation, this place would be standing room only. If you are curious how the course was numbered, I asked for it and there was no objection until I was teaching it for three semesters. By then it was too late to change it."There were some scattered laughs and giggles."We'll skip the usual introductions. I think I know everyone. If you don't know your classmates, I think you will quickly learn about them."Lecture Begins"As the title suggests, this is a course in human sexuality. I must tell you that this class will get very graphic at times. We will examine the wide range of human sexual activity, from straight sex to some of the kinkiest stuff you can imagine. This may be uncomfortable for some of you. As a class, we can overcome this discomfort by keeping our minds open, being respectful of each other, and sharing our thoughts. Given the number of smiles, that sounds like what a lot of you signed up for."I expect everyone to act as an adult. I don't want to hear titters and I don't want to hear anyone shaming anyone else. Respect is our watch word. If you cannot act as a mature adult and show respect to everyone in the room, then I will ask you to leave. If you do not voluntarily leave, I will have campus security remove you. I don't fuck around with any of that. And yes, I have a potty mouth. I want everyone to feel safe here. This class is like Las Vegas. If someone shares some intimate part of their life, I expect it to stay in this room. Am I clear?Dr. Miller looked each of us in the eye, "Good. Does anyone want to leave?" Again she looked around."Very well. I will also use a lot of visual aids photos and film. This is not pornography. Since this is a liberal arts college, I am a strong believer that this is a time for you to explore and learn about yourself. I cannot require that you engage in sexual activity. That would be unethical and for many people, immortal. I will provide alternative assignments that you are free to undertake. In the assignment sheet I provide details on how you can fulfill both regular and alternative assignments. For example, after today's class, you may decide to experiment with self-love. Essentially, in the privacy of your room you can masturbate and then report on your observations. If you would like to have an observer present, that is also an option. Any questions?""Seeing none, we'll get started." She went to the front of the class and pulled down a screen. She flipped on an overhead projector and placed a slide on it, "So here is a very simple question: Why do we want to have sex? Danielle.""Because it makes us feel good.""Yes, it does. Brian.""We have a drive to reproduce."Dr. Miller walked to the side of the room, "One of our strongest instincts. Sarah.""Because we are attracted to the other person and we want to be intimate with them.""Ah. Intimacy. Another strong drive. Hannah.""Orgasms."Dr. Miller laughed, "Yes. The elephant in the room. Today we will discuss orgasms." She put up another slide, "So what is the average time it takes for a man to reach orgasm if he is masturbating? Dan.""Five minutes.""Not that long. Greg?""Four?""Almost. Rich?"He laughed, "Maybe three?""Good guess! Three minutes. So how long does it take a woman to reach orgasm if she is masturbating? Bridget?""I'm guessing. Four minutes?""Yes, good guess. So what can we conclude from those two numbers. Elizabeth.""That men and women are pretty close to having the same sexual response if they are stimulated properly.""Excellent! If you are gay, lesbian, or a virgin, you don't have to answer this next question. By a show of hands, how many of you know that your partner reaches orgasm during straight sex? Penis in vagina sex."Of the 25 people in the room, about 18 hands went up."Please leave your hands up. We have ten men and eight women. Now, how many of You reach orgasm during straight sex?"All the men left their hands up, but only one woman left their hand up.""Very interesting. So ladies, the men think you are having an orgasm when you really aren't. Am I reading that correctly?"Several female heads were nodding."Why is that? Hannah.""We fake it."Dr. Miller shook her head, "We fake it. That's kind of sad. Why? Rich.""The woman doesn't want to make us feel bad.""Yeah. Studies have shown that men's egos are easily bruised when it comes to sex. Some women also want to boost their partner's ego. Why else? Anne.""To get it over with."There was laughter around the room.Dr. Miller continued, "You laugh, but I think Anne is not making that up." Anne shook her head. "I think you will find that sometimes straight sex is not pleasant for many women, mostly because their male partner doesn't know what they're doing.""Anyone else? Roxane.""To avoid being shamed and being thought to be frigid.""That is a big one. By the way, no woman is frigid. That is a myth developed by men to compensate for their poor sexual performance. One last item. Sometimes a woman fakes an orgasm for non-sexual reasons such as trying to cement a relationship, become someone's girlfriend or fiancée. Questions or comments?"Dr. Miller looked around the room, "I find all this very interesting. Gentlemen, do you know how to tell if your partner is actually having an orgasm or faking it?"I shook my head. I thought I knew, but now I had my doubts. I looked around and the other guys looked just as puzzled.Dr. Miller said, "Don't be embarrassed guys. You've taken the first step to becoming a much better lover. Carlos, are you ready?"I just realized that there was a guy at the back of the room manning a film projector, "Yes, Dr. Miller."Female Orgasm FilmShe pointed to a guy near the door, "Sam?" He nodded. "Yes, Sam. Can you hit the lights?"Sam killed the lights and a film began to roll.The title flashed up, "Orgasmic Response in Human Females." The first scene had a bunch of co-eds walking and talking on a college campus somewhere. A female narrator said, "One of the most misunderstood aspects of human sexuality is the orgasmic response of human females. This film will briefly examine this topic."The scene changed to a couple making out. "It should be noted that approximately five to ten percent of women are incapable of having an orgasm. This is often due to some physical limitation."A graphic came up, "There are two types of female orgasm: vaginal and clitoral. The first, vaginal orgasm, is described by women as starting deeper in their body and elicits a full body response. These types of orgasms are caused by objects in the vagina stimulating the walls, Gräfenberg spot or G spot, and cervix."An anatomical diagram came up. "The G spot is located on the anterior wall of the vagina. When a woman is standing, it can be thought of as the upper side of the vagina." A red arrow pointed to a spot on the diagram, "In its relaxed state, the G spot is smooth. As a woman becomes more aroused, it becomes wrinkled. The G spot is best stimulated digitally with one or two fingers using a 'come hither' motion."A photo of a woman's vulva came on the screen, "Clitoral orgasms have a more localized reaction and are caused by stimulation of the clitoris and clitoral hood area." Red arrows appeared on the screen, "Clitoral orgasms are more intense, but are shorter in duration than a vaginal orgasm."There are several signs that a woman is experiencing an orgasm. Please note that not all women display all these signs."A photo of a light skinned vulva was displayed, "First, blood will rush to a woman's skin and in light skinned women, this will be seen as flushed skin. Blood will also rush to a woman's clitoris, vulva, and vagina. Often the clitoris will become engorged with blood and may extend out of the clitoral hood."The screen shifted to a photo of a lovely pair of breasts with large, erect nipples, "Second, a woman's nipples will be erect. Most women experience pleasure when their nipples are stimulated either orally or manually. Although not all women experience hard nipples during an orgasm, most do. Typically a woman's nipples are hard, erect, and sensitive. In all cases, an orgasm will increase a woman's heart rate. Often to between 160 and 210 beats per minute."Let's observe an actual female orgasm. This will be a clitoral orgasm."The screen shifted to a camera angle that was directly between a young, naked woman's legs. She had a nice bush, but her labia were shaved. The focus was on her vulva, but the rest of her body was visible in soft focus. She was small-breasted and had applied a small vibrator directly to her clit. Her vagina was slightly open and juices ran across her perineum."This woman's orgasm is about to begin. I direct your attention to her vaginal opening, her anus, her nipples, and her face."The woman began panting, her eyes closed, and her mouth took on the classic O shape. Her pelvic muscles began rhythmically contracting and you could clearly see her vagina and anus pulsing out a steady rhythm. Her nipples were hard and she reached up and pulled hard on one of them."During her orgasm, all her focus is on the stimulation being directed to her clitoris. She is unaware that her breathing has increased and her eyes are closed. Most women are incapable of vocalizing anything during orgasm. It should be noted that after orgasm, a woman's clitoris is very sensitive.""Now let's observe a vaginal orgasm."Once again, the screen was filled with a woman's vulva. Someone was fucking her with a smooth dildo. The angle was upward, striking the top of her vagina. She was rolling both her nipples."Once again, this woman's orgasm is about to begin. Observe her vagina, nipples, and face."As the orgasm began, her eyes practically popped out of her head. She let out a long groan, mouth open. You could see her vagina contracting on the dildo. She came for probably about a half a minute. And then the film was over.Dr. Miller said, "Sam, can you flip on the lights? So what did we observe? Dan.""In both cases, the woman's vagina was contracting. On the first one, so was her anus.""Good observation. Actually, her anus was contracting on the second one, but your view was blocked. I don't want to say every time since life has no absolutes, but in at least 999 times out of a thousand, the woman's pelvic muscles will contract during orgasm. Those contractions affect both the vagina and the anus. What else? Sam."
Det er blevet Paul McCartney albummet Press To Play´s tur til at komme igennem Toppermost-maskinen. Først med denne forhistorie om albummet fra 1986, og i næste episode om de enkelte sange på pladen der i den grad deler vandende. Pladens persongalleri er spændende: Superproduceren Hugh Padgham og 10CC sanger, guitarist og komponist, Eric Stewart, var ved McCartneys side som det team der skulle rehabiltere Paul efter "Give My Regards To Broadstreet". Det gik ikke stille af. Der var uklarhed om HVEM der egentlig producerede, og hvilken rolle de enkelte aktører egentlig havde. Lad os bare sige det: Ikke alle kom over målstregen med albummet der havde det svært hos det pladekøbende publikum Og så var der jo voldsomme dramaer omkring produktionen: Hvem turde eksempelvis placere en laks i Linda McCartneys køleskab, og kunne man gemme skinke under osten i en "Cheese and Pickle" sandwich? Medvært i episoderne er Andreas Smedegaard, som guider dig igennem tiden omkring og sangene på et af Paul McCartneys mindre kendte albums. Men stadig et album som igen blev til på et helt afgørende tidspunkt i McCartneys karriere, og hvor en ny retning og frisk kunstnerisk identitet var bydende nødvendig. Om det projekt lykkedes, bliver du klogere på i den kommende tid. Andreas har gravet dybt i Beatles-arven siden sine helt unge år og har medvirket i en god håndfuld Elsker The Beatles-episoder.
Hvilke singleplader købte vi 50 år siden, eller kunne håbe på der lå under træet d. 24/12. Det var året, hvor Glamrocken stadig producerede gode singler, soul blev til disco, der udkom mængder af gode pop og rock singler. Lyt med til Nazareth, ABBA, Elton John, Slade, Sweet, 10CC og mange flere.
Efrain and David have a hard time proving they're not in love with Tori's cover of 10CC's I'm Not In Love. They may say it doesn't mean that much to them but then why are they taking the picture off the wall to uncover every nasty stain still lying there? You may want to at least consider making a fuss though as they conduct interviews with esteemed author Liam Newton (10CC: The Worst Band in The World); Ryan Crawford and Veronica Kay (I'm Not In Love super fans); and legendary prankster Elysia Fields. As always, go deep inside this Strange Little Girl's lore through the words of N*il GaI*an, the mind of Macy Rodman, and the art of Reggie Doherty. You'll also get a personalized song birth chart reading from our Resident Witch Amy K, and this one's shocking. As always a ton of sound clips, rare interviews, lost moments and more. When asked for comment, Efrain responded "I know you wait a long time for we, but still tell your friends about the two of us! And don't fooget it!"
Graham Gouldman already had written classic ‘60s hits—including the Yardbirds' “For Your Love” and “Heart Full of Soul,” the Hollies' “Bus Stop” and “Look Through Any Window” and Herman's Hermits' “No Milk Today”—by the time he and Manchester schoolmates Lol Creme and Kevin Godley plus ex-Mindbender Eric Stewart formed one of the '70s' most tuneful, innovative bands, 10cc. These four singer-songwriters made four distinct, head-spinning albums, with Stewart and Gouldman's hypnotic “I'm Not in Love” providing the commercial breakthrough. After Godley and Creme split off, Gouldman and Stewart continued on as 10cc, scoring hits with the ebullient earworm “The Things We Do for Love” and the island misadventure “Dreadlock Holiday,” on which Gouldman sings lead. Now Gouldman is the only original member touring under the 10cc banner, and he reflects here on songwriting, collaborating and relationships among ex-bandmates.
"I found me on a street and starin' at a wallIf it hadn't have been for MandyHer promise up above meWell I wouldn't be here at allSo if you're travellin' in the skyDon't be surprised if someone said HiI'm Mandy fly me"Please join me and Mandy on this weeks musical journey. Coming aboard with us are Be Bop Deluxe, David Bowie, Flash, Humble Pie, The Rolling Stones, Elvis Costello, Wings, The Pretenders, Bad Company, Pat Metheny, Kansas, Janis Ian, James Taylor, Emerson, Lake & Palmer, The Police, Joni Mitchell, Aerosmith, Cat Stevens, The B-52's, Gordon Lightfoot, Joe Jackson, The Faces and 10CC..
Playlist : COMMENT CA VA > SHORTS 1983 / WALLSTREET SHUFFLE > 10CC 1974 / LOVE'S WHAT I WANT >… The post Le Musée des Oubliés-02-11-2024 first appeared on Radio Campus Angers.
"The highways jammed with broken heroesOn a last chance power driveEverybody's out on the run tonightBut there's no place left to hide"Avoid the traffic and join me in my Wayback Machine for this weeks Musical journey on Super Sounds Of The 70's. Joinin us are Stanley Clarke, Dan Fogelberg w Tim Weisberg,Lee Michaels, Genesis, 10CC, Alan Parsons Project, Van Morrison, Crosby Stills, Nash & Young, Bonnie Raitt, Santana, The Cars, Steve Miller Band, Yes, Cat Stevens, Steely Dan, Marshall Tucker Band, Eric Clapton, Allman Brothrs Band, Meat Loaf, Moody Blues, John Cafferty & The Beaver Brown Band, Pink Floyd and Bruce Springsteen.
Cartas para a redação! Nesse episódio do Boia, Bruno Bocayuva e Júlio Adler fazem a leitura e respondem as recentes mensagens do boiapodcast.com Lembramos da final do Gunston 500 em 1989, Teco x Gerr, no Almanaque e olhamos, encantados (e sem fazer barulho!), para Caity Simmers adormecida, sonhando com tubos na Imagem Falada. Trilha por conta dos Queens Of The Stone Age com a arrebatadora, You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire, e os ingleses do 10CC com o balanço de Dreadlock Holiday.
Send us a textAll bands need a name, but the process of getting that name is different for each band. This episode, we look at how a bunch of well-known bands got their names. Some are amusing, some are horrifying, some are dark or seedy – be ready for surprises! Our “album you must listen to before you die” is Arc of a Diver, by Stevie Winwood (1980). This was a formative album during our youth, and with this million-selling album and its hit single “While You See a Chance”, Winwood was a major influence on other people we love, such as Marianne Faithfull. In Rock News, the major story is that the Gallagher brothers have agreed to reunite as Oasis for a UK tour in 2025. We don't like the odds of the brothers completing the tour without fighting and would like ringside seats! In other news, we look at Nick Cave's new album, Wild God, Bruce Springsteen back on tour, and Neil Young releasing Archives Vol. III, a 17-CD box set featuring 198 tracks. Wow! References: Oasis, Bruce Springsteen, Neil Young, Crosby, Stills, Nash and Young, INXS, Guns n Roses, Bee Gees, Bachman Turner Overdrive, Fleetwood Mac, Joy Division, Nazi camps, 10CC, The Lovin' Spoonful, Steely Dan, The Mothers of Invention, Frank Zappa, The Doobie Brothers, Rammstein, Ramstein air show tragedy, Husker Du, The Velvet Underground, Depeche Mode, AC/DC, Black Sabbath, Tony Iommi, Ozzy Osbourne, Geezer Butler, Boris Karloff, The Foo Fighters, The Angels, The Beatles, The Quarrymen, The Silver Beetles, Tony Sheridan & the Beat Brothers, Buddy Holly & The Crickets, Pink Floyd, Pink Anderson & Floyd Council, “Oh by the way, which one's Pink?”, Cheap Trick, Slade, ZZ Top, The Rolling Stones, Radiohead, Talking Heads, Shakespeare's Sister, The Bay City Rollers, Led Zeppelin, Queen, Tim Staffell, “Smile”, Freddie Mercury, The Band, The Hawks, Creedence Clearwater Revival, Barenaked Ladies, Jethro Tull, U2, The Hype, Beach Boys, The Pendeltons, "Surfin'", Blue Öyster Cult, “On Your Feet or on Your Knees” Playlist – Band names
Decoy Deloy is back with music news you need to know. Up first, dive into classic progressive pop band 10cc's new merch collection at Hello Merch; then, dig into the Desert Daze 2024 lineup, featuring Jack White, Cigarettes After Sex, Say She She, Molchat Doma, and so many more. Then, give the claymation video for Stephen Malkmus (Pavement, The Jicks), Matt Sweeney (Chavez, Guitar Moves), Emmett Kelly (Cairo Game), and Jim White (The Dirty Three). And then, settle in for an interview with Maxo of Phoenix indie rock band Thankyoumaxo. Let it rip, it's Friday and it's WASTOIDS.Find more at WASTOIDS.comCall us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.
David & Phil share stories with two amazing songwriters. Graham Gouldman wrote some of the greatest rock classics of The British Invasion as a teenager in The Sixties, before becoming a founding member of 10cc in The Seventies. Graham is currently leading 10cc on the Ultimate, Ultimate Greatest Hits Tour playing their first American dates in over three decades. Shelly Peiken is a major American songwriter, writing or co-writing smashes like "What A Girl Wants" and "Come On Over Baby" by Christina Aguilera, "Bitch" by Meredith Brooks, "Almost Doesn't Count" by Brandy, and one of David's favorite songs of all-time, "Human" recorded by The Pretenders. Shelly also wrote the 2016 book, "Confessions of a Serial Songwriter," Grammy nominated for Best Spoken Word Album. To learn more about Graham, go to https://www.grahamgouldman.info. To learn more about Shelly, go to https://www.shellypeiken.com. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.
Graham is an English singer, musician and songwriter, best known as the co-lead singer and bassist of the art rock band 10cc. He has been the band's only constant member since its formation. In 1972, along with Eric Stewart, Kevin Godley and Lol Creme, he formed 10cc and enjoyed a string of Top 10 hits, including three No 1s - Rubber Bullets, I'm Not In Love and Dreadlock Holiday – along with Donna (No 2), Art For Art's Sake and Good Morning Judge (both reaching No 5), The Things We Do For Love and I'm Mandy Fly Me, and The Wall Street Shuffle.
Did America ever fully "get" 10cc? Their mix of perfect tunes with a biting sense of humor flew over the heads of many of us. Luckily, that didn't stop them from having a long and legendary career back in the UK. The only original member these days is the great Graham Gouldman, but he's taking the band on their first US tour in ages soon. He joins us this week to discuss his partnership with Andrew Gold to form Wax, his wonderful solo career (and new album, I Have Notes) working with other legends like Ringo Starr and Brian May, doing the Animalympics soundtrack, and more. We're lucky he's still at it, carrying the torch, and better than ever! www.grahamgouldman.info www.patreon.com/thehustlepod
In this episode, we speak with founding member of 10cc, Graham Gouldman. We discuss their upcoming "Greatest Hits" Tour, Graham's great songs he wrote for other bands and artists, and his latest solo album, "I Have Notes".
Here we are for episode 722; in which Paul and Martin discuss the music stars of 1978! This time we discuss such acts as Kate Bush, Brian And Michael, The Bee Gees, Boney M, 10CC, The Boomtown Rats and Olivia Newton John - not to mention one or two more! We also join Paul on another occasion as he prepares to celebrate Harry's 50th birthday! Our next episode, #723 sees the return of Baby Grizzly... no, we're not being rude... but wait until you see how Grizzly ends up infant-sized this time! Do join us! Email us at shyyeti@yahoo.co.uk if you have any comments - you can even send me a sound-file and I'll include it. The music is by Shy Yeti, Muffleyontour, Udio and Luca. Sound effects by Paul C and Soundbible. Logo and artwork by Owen O, with some assistance and photos provided by Shy Yeti. All other content of this episode is Copyright Paul Chandler, 2024. Please note: this edition was recorded in early 2023, so one or two of the comments are now slightly dated and one of the singers discussed has since passed away. Episode 722 was recorded on the 22nd of March 2023, with Harry's birthday segment recorded on location in London on the 15th June 2024.
Nesta aula de inglês com música, você vai aprender inglês com a música "I'm Not in Love" da banda 10cc. E claro que uma aula completa como esta, você só encontra só aqui na série "Aprenda Inglês com música", que te ensina inglês de maneira divertida e eficaz (ah, e de graça!) desde 2016
This week we look at the NHS sees sense over Trans; THe NYT doesn't; Misgendering pets; Lord Winston banned on TikTok; Resignation of Humza Yousaf and persecution of Kate Forbes; Indian Council's Incredible Letter; Tracy Ullman; Frank Field; Domestic Violence in Australia; Pausing Biden; Seinfield on unfunny comedy; Cicadia one in a 200 year event; SEEK 33- Art; Rico Tice leaves the Church of England; Russell Brand gets baptised; with music from Del Amitri, Bach, Lindisfarne, Duane Eddy, 10CC; Vivaldi; and Handal
"Bottle of red, ooh bottle of whiteWhatever kind of mood you're in tonightI'll meet you anytime you wantIn our Italian restaurant"Without a doubt, Italian Food has always been my favorite so this tune always resonated with me. Es and I were newlyweds when this was released so it's especially meaningful to me. Please join me for some tasty morsels on this mornings Red Eye Edition of Whole 'Nuther Thing. Joining us are David Bowie, America, Dylan LeBlanc, The Beach Boys, Three Dog Night, Pink Floyd, Spirit, Carole King, Bob Dylan, The Doors, Steve Miller Band, 10CC, Crosby, Stills & Nash, Elton John, Ben Sidran, Gordon Lightfoot, Mamas & Papas, Turtles, Dave Mason, Chicago, Rolling Stones, Buffalo Springfield, Beatles and Billy Joel...
Tuesday on the Run Home and the boys have their love for Pearl Jam and 10CC. Plus. Joel and Fletch go over the latest NRL news including the suspension for Spencer Leniu, the confirmed injury for Jai Arrow and Zac Lomax has not been granted release from the Dragons. And a Sportsbet Market Update with Sean Ormerod. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tuesday on the Run Home and the boys have their love for Pearl Jam and 10CC. Plus. Joel and Fletch go over the latest NRL news including the suspension for Spencer Leniu, the confirmed injury for Jai Arrow and Zac Lomax has not been granted release from the Dragons. And a Sportsbet Market Update with Sean Ormerod. Round 2 of the NRL season and the boys on the Run Home have all the In's and Outs for this week! Joel and Fletch review all the latest sport news including the surfing in Portugal and Premier League action over night. Plus free agency has begun in the NFL and Russell Wilson and Kirk Cousin are on the move. Plus, all the Teams for round 2 of the NRL. Dragons five-eighth Kyle Flanagan joins the Run Home to chat about the opening round 1 win, playing next to Ben Hunt and under his dad Shane. Learn more about your ad choices. Visit megaphone.fm/adchoices
In 2024, Pop Screen is spending a month in Jamaica, hailing the island's mighty presence in the field of music. And to kick off, we're talking about... er, 10cc? Yes, when they said they don't like reggae, they love it, few could have expected that love would manifest itself in multi-instrumentalist Lol Creme directing a 1991 Jamaican comedy about a small-town eccentric who thinks he can talk to trees, cows and cricket balls becoming involved with a lusty German photographer. As you do. The Lunatic is, as you can probably tell from the above synopsis, a weird old thing. Fortunately Graham and Mark Cunliffe have re-teamed in order to make it even weirder, with digressions about the original TV version of The Hitchhiker's Guide to the Galaxy, how Small Axe got Graham through the first lockdown year, and the film's tonal similarity to the saucy seaside postcards of Donald McGill. We're not in love - but we did enjoy it. If you'd like to throw a bit of spare change at your local village idiots, we've got a Patreon which is just about to drop an episode on the Neil Young/Devo collaboration Human Highway. We've also been covering everything from Mr. Vampire to Neighbours in our other podcasts Last Night... and From the Video Aisle, as well as writing reviews of Doctor Who, classic Asian genre films, The X-Files and Red Dwarf. Follow us on Facebook, Twitter or Instagram to find out more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pop-screen/message
This week on Prog-Watch I'm digging through the vaults and doing an entire show of classics from the halcyon days of the 1970s! With music from Manfred Mann's Earth Band, The Alan Parson Project, Pink Floyd, Spring, Jethro Tull, Ambrosia, Genesis, England, 10CC, Nektar, Renaissance, and Kaipa!
Sandy Kaye brings us news on 10CC's 14 CD Box Set Average White Band's 50th Anniversary Celebration Documentary - Janis Ian and the Art of Song The Colour Purple - The Musical Netflix release "Griselda" Prime release "Expats" New Film May December Wendy Matthews at Sooki Lounge in Belgrave See omnystudio.com/listener for privacy information.
In March Graham Gouldman and 10cc are coming your way and here he talks to David Hepworth about:- seeing Cliff and the original Shadows at his first live show- playing live in the sixties, when a band would plug all three guitars into the same amp- where he keeps his fifty guitars- what's going on when it all goes quiet on the 10.c.c. tour bus- the songs you have to play for the audience- the ones you play for yourself- what goes through his head every night when he's standing in the wings- the proper place to put 10 cc in an alphabetical record collectionFull tour dates here: https://www.10cc.world/eventsSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, and much more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In March Graham Gouldman and 10cc are coming your way and here he talks to David Hepworth about:- seeing Cliff and the original Shadows at his first live show- playing live in the sixties, when a band would plug all three guitars into the same amp- where he keeps his fifty guitars- what's going on when it all goes quiet on the 10.c.c. tour bus- the songs you have to play for the audience- the ones you play for yourself- what goes through his head every night when he's standing in the wings- the proper place to put 10 cc in an alphabetical record collectionFull tour dates here: https://www.10cc.world/eventsSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, and much more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In March Graham Gouldman and 10cc are coming your way and here he talks to David Hepworth about:- seeing Cliff and the original Shadows at his first live show- playing live in the sixties, when a band would plug all three guitars into the same amp- where he keeps his fifty guitars- what's going on when it all goes quiet on the 10.c.c. tour bus- the songs you have to play for the audience- the ones you play for yourself- what goes through his head every night when he's standing in the wings- the proper place to put 10 cc in an alphabetical record collectionFull tour dates here: https://www.10cc.world/eventsSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, and much more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Dan enrolls in a sexual sociology class.By Quinn_McMullen. Listen to the Podcast at Steamy Stories.Prologue:It was Chicago, in the mid 1980s. Those were very different times. Fashion and language were different. Technology was quite different. We didn’t have the internet, and cable television was just becoming widespread. Pubic hair was uncut & often not trimmed.. The only sexual fear for straight people was getting pregnant; and the pill mostly took care of that.I was a senior and I needed both a literature class and social science class to complete my general education requirements to graduate. Because of my class standing, I was finally going to be able to register early in the cycle. I filled out several possible registration cards, and waited dutifully in the line. When I got to the registration window, I was pleasantly surprised to find that S O C 3 69 Human Sexuality was still open. I registered for the class and hoped it was everything the rumors made it out to be.As the Spring Semester started, I tried to find out if I knew anyone in S O C 3 69. None of my engineering classmates were interested. And I was disappointed to find that none of my female friends had registered for it either. It had the potential to be less than fun. But I remembered the stories about the course lots of discussion of sex, sex, and sex. It couldn’t be that bad.The class was scheduled for Tuesday and Thursday afternoons. The first class was on a Thursday and I arrived ten minutes early for the first class. The room was already packed. On the front desk were two piles of papers with a sign that said, “Take one of each.” One was the syllabus and the other was a list of assignments with details and due dates.Thursday Pre-ClassI looked around the packed room and saw a seat next to a pretty blonde. “Is this seat taken?”“It looks like it’s perfect for you.” She chuckled.I held out my hand, “Hi, I’m Dan.”She smiled sweetly, “I’m Hannah.”A woman in her forties entered the room and began walking around talking to students. I assumed this was the famous Dr. Miller. She was tall and thin with a nice figure. She was professionally dressed in a skirt, blouse, and blazer. The skirt came to just above the knee and showed some shapely, bare legs. She started working the room.When she got to us, she said, “Hannah, good to see you again. Did you have a good winter break?”“I did Dr. Miller.”Dr. Miller turned to me and extended her hand, “A new person in my class.”I stuck out my hand, “Pleased to meet you Dr. Miller. Dan McDevitt.”“A senior. Mechanical engineering major. Wow! I’m impressed.” She chuckled at herself, “I try to learn about my students beforehand. It isn’t hard if you actually care about people.” She looked at her watch, “Show time.”Dr. Miller walked to the front of the room, “Let’s get started. My name is Dr. Shannon Miller. This class is S O C 3 69, Human Sexuality. If you aren’t registered, you will have to leave. No auditing.”Two guys got up and headed toward the door.She continued, “It isn’t that I want to be a hard ass, but if I didn’t have that limitation, this place would be standing room only. If you are curious how the course was numbered, I asked for it and there was no objection until I was teaching it for three semesters. By then it was too late to change it.”There were some scattered laughs and giggles.“We’ll skip the usual introductions. I think I know everyone. If you don’t know your classmates, I think you will quickly learn about them.”Lecture Begins“As the title suggests, this is a course in human sexuality. I must tell you that this class will get very graphic at times. We will examine the wide range of human sexual activity, from straight sex to some of the kinkiest stuff you can imagine. This may be uncomfortable for some of you. As a class, we can overcome this discomfort by keeping our minds open, being respectful of each other, and sharing our thoughts. Given the number of smiles, that sounds like what a lot of you signed up for."I expect everyone to act as an adult. I don’t want to hear titters and I don’t want to hear anyone shaming anyone else. Respect is our watch word. If you cannot act as a mature adult and show respect to everyone in the room, then I will ask you to leave. If you do not voluntarily leave, I will have campus security remove you. I don’t fuck around with any of that. And yes, I have a potty mouth. I want everyone to feel safe here. This class is like Las Vegas. If someone shares some intimate part of their life, I expect it to stay in this room. Am I clear?Dr. Miller looked each of us in the eye, "Good. Does anyone want to leave?” Again she looked around.“Very well. I will also use a lot of visual aids photos and film. This is not pornography. Since this is a liberal arts college, I am a strong believer that this is a time for you to explore and learn about yourself. I cannot require that you engage in sexual activity. That would be unethical and for many people, immortal. I will provide alternative assignments that you are free to undertake. In the assignment sheet I provide details on how you can fulfill both regular and alternative assignments. For example, after today’s class, you may decide to experiment with self-love. Essentially, in the privacy of your room you can masturbate and then report on your observations. If you would like to have an observer present, that is also an option. Any questions?”“Seeing none, we’ll get started.” She went to the front of the class and pulled down a screen. She flipped on an overhead projector and placed a slide on it, “So here is a very simple question: Why do we want to have sex? Danielle.”“Because it makes us feel good.”“Yes, it does. Brian.”“We have a drive to reproduce.”Dr. Miller walked to the side of the room, “One of our strongest instincts. Sarah.”“Because we are attracted to the other person and we want to be intimate with them.”“Ah. Intimacy. Another strong drive. Hannah.”“Orgasms.”Dr. Miller laughed, “Yes. The elephant in the room. Today we will discuss orgasms.” She put up another slide, “So what is the average time it takes for a man to reach orgasm if he is masturbating? Dan.”“Five minutes.”“Not that long. Greg?”“Four?”“Almost. Rich?”He laughed, “Maybe three?”“Good guess! Three minutes. So how long does it take a woman to reach orgasm if she is masturbating? Bridget?”“I’m guessing. Four minutes?”“Yes, good guess. So what can we conclude from those two numbers. Elizabeth.”“That men and women are pretty close to having the same sexual response if they are stimulated properly.”“Excellent! If you are gay, lesbian, or a virgin, you don’t have to answer this next question. By a show of hands, how many of you know that your partner reaches orgasm during straight sex? Penis in vagina sex.”Of the 25 people in the room, about 18 hands went up.“Please leave your hands up. We have ten men and eight women. Now, how many of You reach orgasm during straight sex?”All the men left their hands up, but only one woman left their hand up.“"Very interesting. So ladies, the men think you are having an orgasm when you really aren’t. Am I reading that correctly?”Several female heads were nodding.“Why is that? Hannah.”“We fake it.”Dr. Miller shook her head, “We fake it. That’s kind of sad. Why? Rich.”“The woman doesn’t want to make us feel bad.”“Yeah. Studies have shown that men’s egos are easily bruised when it comes to sex. Some women also want to boost their partner’s ego. Why else? Anne.”“To get it over with.”There was laughter around the room.Dr. Miller continued, “You laugh, but I think Anne is not making that up.” Anne shook her head. “I think you will find that sometimes straight sex is not pleasant for many women, mostly because their male partner doesn’t know what they’re doing.”“Anyone else? Roxane.”“To avoid being shamed and being thought to be frigid.”“That is a big one. By the way, no woman is frigid. That is a myth developed by men to compensate for their poor sexual performance. One last item. Sometimes a woman fakes an orgasm for non-sexual reasons such as trying to cement a relationship, become someone’s girlfriend or fiancée. Questions or comments?”Dr. Miller looked around the room, “I find all this very interesting. Gentlemen, do you know how to tell if your partner is actually having an orgasm or faking it?”I shook my head. I thought I knew, but now I had my doubts. I looked around and the other guys looked just as puzzled.Dr. Miller said, “Don’t be embarrassed guys. You’ve taken the first step to becoming a much better lover. Carlos, are you ready?”I just realized that there was a guy at the back of the room manning a film projector, “Yes, Dr. Miller.”Female Orgasm FilmShe pointed to a guy near the door, “Sam?” He nodded. “Yes, Sam. Can you hit the lights?”Sam killed the lights and a film began to roll.The title flashed up, “Orgasmic Response in Human Females.” The first scene had a bunch of co-eds walking and talking on a college campus somewhere. A female narrator said, “One of the most misunderstood aspects of human sexuality is the orgasmic response of human females. This film will briefly examine this topic.”The scene changed to a couple making out. “It should be noted that approximately five to ten percent of women are incapable of having an orgasm. This is often due to some physical limitation.”A graphic came up, “There are two types of female orgasm: vaginal and clitoral. The first, vaginal orgasm, is described by women as starting deeper in their body and elicits a full body response. These types of orgasms are caused by objects in the vagina stimulating the walls, Gräfenberg spot or G spot, and cervix.”An anatomical diagram came up. “The G spot is located on the anterior wall of the vagina. When a woman is standing, it can be thought of as the upper side of the vagina.” A red arrow pointed to a spot on the diagram, “In its relaxed state, the G spot is smooth. As a woman becomes more aroused, it becomes wrinkled. The G spot is best stimulated digitally with one or two fingers using a ‘come hither’ motion.”A photo of a woman’s vulva came on the screen, “Clitoral orgasms have a more localized reaction and are caused by stimulation of the clitoris and clitoral hood area.” Red arrows appeared on the screen, “Clitoral orgasms are more intense, but are shorter in duration than a vaginal orgasm."There are several signs that a woman is experiencing an orgasm. Please note that not all women display all these signs.”A photo of a light skinned vulva was displayed, “First, blood will rush to a woman’s skin and in light skinned women, this will be seen as flushed skin. Blood will also rush to a woman’s clitoris, vulva, and vagina. Often the clitoris will become engorged with blood and may extend out of the clitoral hood.”The screen shifted to a photo of a lovely pair of breasts with large, erect nipples, “Second, a woman’s nipples will be erect. Most women experience pleasure when their nipples are stimulated either orally or manually. Although not all women experience hard nipples during an orgasm, most do. Typically a woman’s nipples are hard, erect, and sensitive. In all cases, an orgasm will increase a woman’s heart rate. Often to between 160 and 210 beats per minute."Let’s observe an actual female orgasm. This will be a clitoral orgasm.”The screen shifted to a camera angle that was directly between a young, naked woman’s legs. She had a nice bush, but her labia were shaved. The focus was on her vulva, but the rest of her body was visible in soft focus. She was small-breasted and had applied a small vibrator directly to her clit. Her vagina was slightly open and juices ran across her perineum.“This woman’s orgasm is about to begin. I direct your attention to her vaginal opening, her anus, her nipples, and her face.”The woman began panting, her eyes closed, and her mouth took on the classic O shape. Her pelvic muscles began rhythmically contracting and you could clearly see her vagina and anus pulsing out a steady rhythm. Her nipples were hard and she reached up and pulled hard on one of them.“During her orgasm, all her focus is on the stimulation being directed to her clitoris. She is unaware that her breathing has increased and her eyes are closed. Most women are incapable of vocalizing anything during orgasm. It should be noted that after orgasm, a woman’s clitoris is very sensitive.”“Now let’s observe a vaginal orgasm.”Once again, the screen was filled with a woman’s vulva. Someone was fucking her with a smooth dildo. The angle was upward, striking the top of her vagina. She was rolling both her nipples.“Once again, this woman’s orgasm is about to begin. Observe her vagina, nipples, and face.”As the orgasm began, her eyes practically popped out of her head. She let out a long groan, mouth open. You could see her vagina contracting on the dildo. She came for probably about a half a minute. And then the film was over.Dr. Miller said, “Sam, can you flip on the lights? So what did we observe? Dan.”“In both cases, the woman’s vagina was contracting. On the first one, so was her anus.”“Good observation. Actually, her anus was contracting on the second one, but your view was blocked. I don’t want to say every time since life has no absolutes, but in at least 999 times out of a thousand, the woman’s pelvic muscles will contract during orgasm. Those contractions affect both the vagina and the anus. What else? Sam.”“Neither woman was talking or saying anything.”“Let me ask one of our female colleagues why. Hannah.”“Because you are completely focused on the pleasure. When you’re cumming, you don’t have to or want to say a thing.”“Great point. A sure-fire way to know a woman is faking an orgasm is that she is very vocal. Some of you look surprised. Gents, how many of you say something when you’re ejaculating?” She looked around, “No one. Why is that? Dave.”“My mind focuses on what’s happening with my cock.”There was some laughter.Dr. Miller said, “A little crude, but I like that term cock.” She said it again with emphasis, “Cock. What else did you observe about the orgasms? Brian.”“Dr. Miller, with the second one, I think that was a dildo, the dildo was at a different angle like it was hitting the top of her vagina instead of going all the way in.”“Excellent. The narrator mentioned something called the Gräfenberg spot or G spot. That is on the roof of the vagina and the dildo was striking it. Is anyone familiar with the g spot? Roxane.”“My boyfriend took your class last semester. He loves to rub mine.”“Who’s your boyfriend?”“Andy.”“I’m glad to hear my class has had a positive impact on your life.”“Life changing Dr. Miller. Mind-blowing.”Male Orgasm FilmDr. Miller chuckled, “We’ll learn more about the g spot next class. Carlos, are you ready with the next film?”“Yes, ma'am.”“Sam, if you please.”The lights went out and the screen lit up. “Orgasmic Response in Human Males”.The screen was filled with four guys in athletic attire walking across a field. A man began narrating, “This film will examine the orgasmic response in human males. Ejaculation is often associated with orgasm in males. While these events often occur simultaneously, they are distinct and separate events. Orgasm is characterized by pelvic contractions, intense pleasure, and release. Ejaculation is the expulsion of semen from the penis. While rare, some men can experience non-ejaculatory orgasms.”The screen was filled with side-by-side pictures of penises, one uncircumcised and the other circumcised. “While each penis is different, they come in two distinct varieties, circumcised and uncircumcised. A circumcised penis has had the foreskin surgically removed. The absence of the foreskin has no impact on a male’s ability to reach orgasm.”There was a close-up of a penis head. “The glans is the most sensitive area.” A red arrow appeared, “The crown of the glans or the edge is filled with countless nerve endings.” Another arrow appeared, “The frenulum is another sensitive area.”Now there was an anatomy diagram, “The prostate gland is another source of pleasure. It can be accessed directly through the anus or massaged by pressing on the perineum.”“Let’s observe an ejaculatory orgasm brought on by masturbation.”The screen was filled with a guy stroking his erection. He had his legs up so that his ass was visible. I was surprised that they selected a smaller than average cock. Then I remembered that this was an academic film and not pornography.“This man has been manually stimulating his penis. His orgasm is about to begin. Observe the pelvic contractions seen at the base of his shaft and at the anus.”Sure enough, there were the contractions and almost simultaneously he let loose a string of cum that shot out of the picture.“Oh!” Several of my classmates responded.Two more shots of lesser amounts came forth. He stopped stroking, “The penis becomes very sensitive after orgasm and often cannot be touched.”The screen shifted to another erection. This time a man was prone with his feet either side of his ass, “This man has manually brought himself to the edge of orgasm. A partner will now digitally stimulate his prostate.”The guy stopped stroking and what looked like a female hand probed his asshole. She slipped two lubed fingers in and began moving.“The prostate is a walnut sized gland located on the anterior wall of the rectum. This man’s orgasm is about to begin. Once again, observe the contractions at the base of his penile shaft and anus.”The contractions began and this time the guy shot his load onto his chest. Four shots total. I was really surprised to learn that you could cum by not touching your cock.Dr. Miller said, “Lights, please.”The lights came back on, “So what did we observe? Elizabeth.”“Both men and women have pelvic contractions when they come.”“That’s interesting, isn’t it. Later in class we will examine how to extend orgasmic response in both men and women. Brad.”“Dr. Miller, the whole prostate thing is cool. I didn’t know I had that.’She laughed, "All part of the price of admission. Roxane.”“The cut versus uncut part. My boyfriend is uncut and he says it gives him a distinct advantage.”“Tell Andy to stop by my office and I’ll reduce his grade from last semester.” Everybody laughed. “He knows better than that. Anything else? Sarah.”“Do we know how much a guy shoots when he cums?”“I direct your attention to two rock bands the Loving Spoonful and 10CC. Both named after the amount of fluid a man ejaculates. That makes it easy to remember. Our time is almost up. For homework, you have two options. You can do an analysis of today’s class and provide reading notes from the textbook. There is an outline on what that entails in the assignment sheet. If you would like to submit an alternative assignment in lieu of an analysis, also see the assignment sheet. Remember, I can’t require you to do anything sexual. If you choose the alternative assignment, I would like you to masturbate and write a short essay answering the questions in the prompt. You should review the questions before you masturbate so you will be looking for the answers. If you choose to have an observer with you, you will want to include their observations with yours. See you next Tuesday.”Lab Partners After ClassThe woman next to me, Hannah, turned to me, “What do you think?” She had a very pretty face. Her blonde hair framed her face. Her big, blue eyes were warm and kind.I smiled at her, “I’ve already learned so much.”“Did you look at these assignments?”“No.”“Several of them require a partner. Do you have a girlfriend?”Cool. “No. Would you like to be my partner for some of these?”Hannah blushed, “If you told me yesterday that I would be having this conversation with a total stranger I wouldn’t have believed you. Yes, Dan the total stranger, I would like to be your partner.” She smiled.I decided I needed to keep this conversation going, “Hannah, do you have anything after this?”“No.”“Maybe you’d like to do something together so we aren’t total strangers.”Hannah smiled, “That’s a good idea. Are you hungry?”“Sure. A little. Where would you like to go?”“Cafeteria is closed. Maybe get some coffee at the coffee shop?”I nodded, “Can I drop off my books?”“Good idea. Where’s your dorm?”“Carroll Hall.”“That’s cool. I’m in Caroline Hall on the same block. Maybe I can leave my stuff in your room and we can come back and get it later.”“Good idea.”I followed Hannah out the door, checking out her figure on the way. She wasn’t a knockout, but she had a very balanced body. Her breasts provided a lovely curve to her t-shirt and her hips had just the right amount of flare. Her ass had that classic feminine curve that I adored.She turned and waited for me outside the door, “What are you majoring in, Dan?”“Mechanical engineering. You?”We started bundling up for the frigid weather, “Sociology. I’ve had Dr. Miller twice before. That’s how I got into the class. I’d bet that Roxane and I are the only juniors.”It was a clear, brisk, January day with a biting north wind. There was an inch or so of snow on the grass. We both bundled up and headed toward my dorm. I tried to talk, but the wind took my breath away. Hannah looked to have the same problem.A Dorm DateFinally, we tucked inside my residence hall.I said, “I’m on the second floor.”“Maybe we should just make coffee here rather than brave that wind again.”I shook my head, “Don’t have a coffee maker.”Hannah smiled, “I have one. We can go to my room.”We dropped off my books and then proceeded to Hannah’s room, cutting through a building along the way to cut down our outside time. Hannah’s room was on the third floor. Like me, she had a single occupancy.I sat down at her desk while she made coffee.“So Dan, you don’t have a girlfriend now, but you’ve had one.”“Oh, yes. I went with Lisa McDonald for most of the fall semester. Do you know her?”“No. What happened?”“She graduated in December and got a job out in California. Haven’t heard from her since finals.”Since there was only one chair, Hannah came over and sat on the bed across from me, “That sucks.”I shrugged, “It’s okay. It probably wasn’t going to last anyway. How about you? Anyone special?”“I went with Jeff Blankenship for a week, back in November.”“I know Jeff. He’s a mechanical engineer too.”“Well, he had a very mechanical approach to our relationship. No pun intended. He’s pretty demanding too. Wanted me to wear skimpy outfits. Wanted to fuck all the time. I usually told him no, no, and no. The one time we had sex, it was very mechanical. We didn’t last long. Not exactly a very caring guy.”“Sorry about that.”She looked at me funny, “You didn’t do anything.”“It was a sympathy gesture. But, I’m a man and I feel like I need to apologize for my entire sex. Especially after what I learned today.”“Class was pretty interesting.” Hannah agreed; “I kept thinking about being the woman having an orgasm on camera. To have my lady parts being seen in all of Dr. Miller’s classes.”“It’s more than just Dr. Miller.” I surmised. “That film looked like it was produced somewhere else and she just happens to have a copy.”“Wow! Even better.” Hannah squeezed her knees together as she said.“So, you wouldn't like to have been the woman in the film?”“Part of me would,” She admitted with a giggle. ”I think I have a little bit of an exhibitionist streak. Seems so naughty. Do you think that’s bad?”“No. You probably wear bikinis in the summer, right?”“Oh, yeah. I have some very small bikinis. It is a real turn on to watch how guys react to me. I’m such a tease and I enjoy being a tease. I hope you don’t hate me for that.”I laughed, “Some guys might, but I enjoy looking.”Hannah got up, “What do you put in your coffee?”“Just milk, or creamer.”She poured the coffee and prepped mine, “Dan?”“Yes, Hannah.”“I think you and I have to agree that everything we share is just between us. And just like in the class, we are going to treat each other with respect and not shame each other.”I took the coffee cup from her, “I absolutely agree. I imagine some of the things we share may be kinky.”She nodded, “Here’s the first soul-baring moment. Ready?”I nodded.“Having the guys at the beach or at the pool see me in my tiny bikini, gets me wet. Sometimes I go to the ladies room so I can rub an orgasm out.”I nodded, “Will I get to see you in a bikini some day?”She smiled coyly, “I hope so, but let’s get some warmer weather first. Did you read this first alternative assignment?”“No. What’s it say?” My interest perked up.“It says you can either masturbate alone, or have an observer. Would you like to be my observer?” She said, coyly.“I assume you would observe me as well,” I suspected."Seems only fair.” She grinned.I nodded, “Okay. That’s a deal. What else?”“We have to comment on how we got ourselves aroused, how we brought ourselves to orgasm, what we felt during the orgasm, what did the observer see, and what happened afterwards. Doesn’t sound that hard.” She said with perhaps more confidence than I had.“No. Sounds very fun.” I bluffed.Hannah had gotten up and moved to her closet, for no apparent reason. She paused, then with her back to me, she asked; “Here’s a very private question that you don’t have to answer if you don’t want to.” She paused then asked; “How do you get yourself aroused before masturbating?”I chuckled, “No laughing now. I have a Playboy magazine I look at. I look at the naked women. I know that really women aren’t like that, but it gets me hard. How about you?”Hannah came and sat on the bed again with her coffee. She blushed a deep red.Sensing her discomfort, I assured her again; “I will never tell anyone. Promise.”“Have you seen Breakfast Club?”I nodded.“I imagine being with John Bender, the Judd Nelson character.”“So, you like the bad boys.”“I imagine being Molly Ringwald when she kisses him. Then I imagine taking him home with me. Getting naked with him. Running my fingers through his chest hair. Touching his penis. Sucking his penis. God, that makes me wet just thinking about it.” Hannah averted her eyes, “I would never want to be with a bad boy, but it is so damn titillating to me.”We both fell silent for several moments. Hannah looked up at me, “Rather than looking at a Playboy, would you prefer to look at a real live naked girl? I’m not Playboy material, but I’m real.”“You?” I was shocked.She nodded, “I can’t believe I’m offering that.”I went for it. “Hannah, I’m not Judd Nelson, but you could kiss me. You already took me home with you. I’m real too. You can get me naked. I’ve got a lot of chest hair. I have a penis too!“We both laughed.Hannah took a sip of her coffee, "Is that a deal. Dan?”“Yes. Hell yes.” I said with a beet red face.“I’m scared to death.” Hannah admitted.“I understand that, Hannah, but aren't you also a bit uh, well; horny, just talking about it? We don’t have to do anything. We can call the whole thing off if you want.”“That’s not it. This just seems so clinical.”Silence hung between us for a while. We continued drinking our coffee.I had a thought, “We just need to get comfortable being around each other. I have some homework to do. It isn’t due until Monday, but how about if I go get my work and we could study together.”“That’s a good idea. I’ll bring my stuff and we can study in your room.”“Okay.”I finished my coffee and we got bundled up again.As we were walking down the hall, Hannah took my hand, “I hope you don’t mind.”I looked over at her and smiled, “That’s a very good start.”We went down the stairs holding hands. As we emerged into the lobby, Hannah asked, “Do you think I’m pretty?”I stopped, took both her hands, and looked down into her eyes, “No.” I hesitated for effect, “I think you’re beautiful.”“Really?”I nodded, resolutely. Hannah grabbed both sides of my face, went on tiptoes, and kissed me.She eased off and looked up into my eyes, “That was nice. Not like Molly and Judd, but that was nice. Maybe better since it’s real and not acting.”Hannah started walking again, and took my hand again. We passed through the door and into the cold.She looked over at me, “Just to be fair, I think you’re a really cute guy. I’ve never really known a redheaded guy. Redheaded girls, but not guys. When we’d shower in high school, I’d be jealous of their red pubic hair.”I laughed, “For some reason, in high school, the guys thought I should have dark pubes. They were typically pretty crude about my red pubes.”Hannah looked over at me, “As I was sitting there in the classroom before you came in, I was checking out the other guys. A couple of them seemed nice. Roxane had told me what was going to happen in the class, so I was checking all the guys out for partner potential. When you sat down next to me, I knew I wanted to ask you to be my partner.”“Wow! I’m honored.”“Roxane said she would lend me her boyfriend if I didn’t like anyone, but that seemed really yucky.”“That does seem yucky.” I agreed.She pulled her hand away and stuffed it into her pocket, “No offense, but it’s just so cold.”“No offense taken.”We cut through a dining hall and came through the other side.“Sorry, it’s too cold.” Hannah ran ahead and waited for me inside the main door. She had a very cute way of running. I was enjoying being with this woman more and more.When we got to my room she asked, “What do you need to work on?”“I can read for my lit class or do thermo problems.”“Can we sit on your bed and read together?” She plotted.“Sure.” I grabbed a book from my desk, propped up a pillow, and sat slouching at the head of the bed. I left room so she could sit next to me.“What are you reading?” She eventually asked.“Pride and Prejudice.” I admitted.“I Love that story. Maybe we can talk about it as you get further into it.”“Love to.” I accepted.Hannah sat next to me shoulder-to-shoulder, and started reading.After a few minutes, I realized she was looking at me and I turned to her, “What?”She swung herself onto my lap, straddling me, “I’m being very forward, but I want to kiss you again.” She was perched directly on top of my cock.I set the book down and put my arms around her. Hannah brought her hands up and held my face. She started gently kissing me. I luxuriated in her soft lips.Hannah spoke into my mouth, “I wouldn’t be offended if you were to place your hands on my ass.”“Good to know.”I slid my hands down and cupped her ass cheeks. She groaned a little, then probed with her tongue. Soon we were exploring each other’s mouth. I felt myself stiffening.“I just realized that the way I’m sitting might be awkward. Am I hurting you?” She asked."I’m okay with it, if you’re okay.” This babe was really getting horny & fun.“I feel something on my crotch. Something nice.” She grinned.“Yes. You are having that effect on me. Sometimes I would get embarrassed, but right now I hope you're taking it as a sincere compliment?”Hannah nodded and kept kissing. She ran her fingers through my hair and occasionally wiggled her hips. I soon had a solid erection.She eased off and whispered into my mouth, "Are you hot? I’m hot.”She sat up and pulled her tee shirt over her head, then threw it across the room. She wore a white, underwire bra. She looked down at me with a shit-eating grin. The bra hooked in front and she quickly released it. In an instant her bare breasts were before me. They were well-shaped and not particularly large, but pert. Not a bit of sag. Quarter-sized areolae surrounded two erect nipples.“Would you like to touch them?” She almost begged.I put my hands up and cupped her breasts. I gently rolled her nipples and she closed her eyes.“Would you like to suck on them?” She directed more than asked.I leaned forward, with both arms around her waist, and took one nipple then the other into my mouth, gently sucking each one in turn. I continued moving back and forth. Hannah’s head leaned back and she wrapped her hands behind my head, pressing my face to her breast.“This is so nice.” Hannah climbed off the bed. She kicked her shoes off and pulled her jeans off.She stood there in a pair of white panties, “Can I take off your jeans?” She was definitely horny and moving things along.I unbuckled my belt and had barely got my zipper down when she grabbed & started pulling them off me. I lifted my ass and my boxers ended up at my knees. Flat on my back, now; my erection hanging out for her viewing pleasure.Hannah straddled my legs and got very close to my cock. She ran her fingers through my curly red pubic bush, “Oh, you’re so nice! I love your red pubic hair. As a social scientist I note that you are circumcised and are probably slightly larger than average. Certainly larger than those two guys in the movie today.”She held my shaft up, leaned down some more, and took a long suck, “Oh, that’s nice. I taste something.”“Probably some pre-cum.” I surmised.She looked closely at the head and milked a little fluid from me.She scooped it up with a finger and rolled it between her thumb and forefinger, “That’s right. This stuff is supposed to act as a lubricant. Slippery.” She sucked her fingers, “Maybe a little sweet.”“Hannah, would you bring yourself up here, straddle my face, and let me lick you?”“Only if you lose your shirt.” She bargained. She really wanted us both buck naked right now!I pulled my shirt off and Hannah stripped off her panties. I put a pillow under my head and her silky thighs landed on either side of my face. She had a trimmed blonde bush, shaped like a fan. Her clit was prominent at the top of her slit and her inner labia extended out a little. She had shaved her labia.She looked down at me, “Sounds like you agree that we can save the homework assignment for later.”“Fully agree.” I said. “Absolutely!”Hannah lowered her cunt onto my mouth and I began lapping at her opening, sucking in every drop of her nectar. When I touched my tongue to her clit, her hips started moving. I decided to just keep my tongue extended and let her pleasure herself. I reached up and started rolling her nipples. Hannah entwined her fingers in my hair, her eyes locked in on mine.Back and forth she moved across my tongue. Her soft thighs moved against my cheeks. I made a note that I should make sure I shave off my scruffy beard, so I don’t irritate her sensitive skin. I heard her begin to pant and I placed my finger at her opening. Vaginal contractions! I slipped my finger all the way in and found what I thought could be her g spot. I began rubbing itHannah fell forward, "Ah. Ah.” Her bush pressed into my forehead.After several moments of rubbing, I rolled her onto her back. Her head was crammed against the headboard, so I pulled her body down away from it.I climbed on top of her and she spread her legs for me, “Can I?”She nodded and I placed my erection at her opening. I slowly pressed into her contracting womanhood. Oh my god she was tight! I bottomed out and Hannah’s eyes were wild. She wrapped her legs around me and grabbed my ass as I began slowly swinging my hips, driving my full length into her. Nice steady strokes.My mind was racing. ‘How did that dildo in the movie move? Need to hit the top of her vagina. How to do that? Need a better angle. Pillow!'I rolled off Hannah and placed a pillow under her ass. I kept my body more upright as I reentered her. I intentionally tried to hit the roof of her vagina. The effect was immediate. Hannah’s eyes went wide as my cock struck her g spot. She reached up and pulled on her nipples as her vagina continued contracting on me.“I’m going to cum, Hannah.”She nodded and I thrust up into her as I shot my load. Two, three times. Finally, I fell forward and kissed her. I could still feel her contractions on my cock. She grasped the sides of my face and kissed me, leading with her tongue.I pushed her legs flat and rolled onto my back, pulling her on top of me, my erection still inside her. My hands cupping her ass.Finally, she whispered into my mouth, “Wow.”Asleep In HannahAs I emerged from sleep, I felt Hannah’s breath on my chest. She was sleeping too. I was still in her vagina. My hands were on her ass. I decided to lie there and enjoy the moment. My outside window was still light so we couldn’t have been sleeping too long.I must have drifted back to sleep because when I opened my eyes, Hannah was inches away from my face. The room was darker.She gently kissed me, “That was really nice. That was the first time I had an orgasm with a guy.”“Dr. Miller’s class already paid off.” I observed.“Did you know I still have you inside me?” She whispered.“Yes. Very nice.” I rubbed her hips.“The sun looks like it went down, given how dark it is getting in here.”I looked at my watch, “About twenty to five.”“We have twenty minutes before the cafeteria opens. Any suggestions?”“I absolutely love being here with you.” I admitted.“Dan, you should know that I’m a pretty practical person. Do you have an extra towel?”I nodded.“Let’s both go take a shower. That way we’ll be clean for our actual masturbation exercises later. Then we can go have dinner. Maybe study a little, then masturbate for each other. You might need to recover.”“Okay,” I smiled.To be continued.By Quinn_McMullen for Literotica.
Heute bei Musikradio360: 10cc. Eine Band, deren Name heute erheblich weniger bekannt ist, als zumindest drei ihrer großen Hits aus den Siebzigern. Aber 10cc waren mehr als nur ein paar große Hits. Kaum jemand sonst hat es geschafft, derartig ausgeklügelte, abwechslungsreiche Popmusik zu komponieren, und trotzdem ein großes Publikum zu erreichen.
Spike Edney has numerous links to Queen, to the extent that he was often described as the fifth member. Born on 11 December 1951, he has worked with Ben E King, Edwin Starr, The Boomtown Rats, Dexy's Midnight Runners, Duran Duran, Bon Jovi, Eric Clapton, The Rolling Stones, Ian Hunter, Manic Street Preachers, Beautiful South, Gary Barlow, Peter Green, Joe Cocker, 10CC, and countless more.Spike's connections with Queen began in 1984, when he appeared on the European leg of 'The Works' tour, providing additional guitar and keyboards. From then onwards he appeared at almost every show until Queen stopped touring in 1986, appearing on the 'Live In Rio', 'Live In Budapest' and 'Live At Wembley' videos, as well as the 'Live At Wembley 1986' and 'Live Magic' albums. He also appeared on Queen's 1986 studio album, 'A Kind Of Magic'.Spike can be seen playing keyboards Queen's historic 1985 Live Aid performance at Wembley StadiumThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5351305/advertisement
Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear. They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --
Aged 21 in 1963, Harvey Lisberg wanted to be the next Brian Epstein and ended up managing Herman's Hermits and 10cc, among others, before relaunching the snooker stars Jimmy White and Hurricane Higgins. We thoroughly recommend his just-published memoir ‘I'm Into Something Good' and this wide-ranging encounter takes in … ... the unique division of labour in 10cc and the magnificently doomed invention of ‘the Gizmo'. … the perils of $100,000's credit in Las Vegas casinos. … life for the wives of rock stars “in love with music”. … his friendship with Colonel Tom Parker and a day spent with Elvis in Honolulu. … a prickly relationship with Mickie Most. … why America fell in love with Peter Noone. … Herman's Hermits' US tours with the Stones and the Who. … and how he changed the snooker world by remodelling the “Artful Dodger” Jimmy White. Buy Harvey's memoir here …https://www.amazon.co.uk/Im-Into-Something-Good-Managing-ebook/dp/B0BSHGRN5VSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Aged 21 in 1963, Harvey Lisberg wanted to be the next Brian Epstein and ended up managing Herman's Hermits and 10cc, among others, before relaunching the snooker stars Jimmy White and Hurricane Higgins. We thoroughly recommend his just-published memoir ‘I'm Into Something Good' and this wide-ranging encounter takes in … ... the unique division of labour in 10cc and the magnificently doomed invention of ‘the Gizmo'. … the perils of $100,000's credit in Las Vegas casinos. … life for the wives of rock stars “in love with music”. … his friendship with Colonel Tom Parker and a day spent with Elvis in Honolulu. … a prickly relationship with Mickie Most. … why America fell in love with Peter Noone. … Herman's Hermits' US tours with the Stones and the Who. … and how he changed the snooker world by remodelling the “Artful Dodger” Jimmy White. Buy Harvey's memoir here …https://www.amazon.co.uk/Im-Into-Something-Good-Managing-ebook/dp/B0BSHGRN5VSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Happy unofficial start of summer to the fine folks in the northern hemisphere, aka the right-side-up part of the world, no offense to you Upsidedowners down south. It's time to hit the open water in your craft of choice! Might we suggest sailing off in a $300 million super yacht? You supply one and we'll be there! In the meantime, please make yourself a mai tai and listen up to Top Ten Yacht Rock Bands/Artists Part 1. ATTT is delighted to be joined by a couple of lecherous but lovable troublemakers in Giovanny Blanco and Jeremy Fleener, aka Sweet Lou Montague and Harry LeDjangles of LA's premiere yacht rock party band The Dirty Lowdown. The bands and artists that made the best Smooth Music of the 70s and early 80s are represented here, and picks 10-6 get things off to a fine start.We're still somehow cooking up bonus episodes for you guys every month at our Patreon. Find out more here:https://www.patreon.com/alltimetoptenLA area residents! Do you want FM classics for your booty, and AM gold for your soul? It's The Dirty Lowdown! Make your way out to see these guys next time you get a chance. You just might dance your pants off! Find out more at their website:http://thedirtylowdown.com/wordpress/
The Strange Brew - artist stories behind the greatest music ever recorded
Manchester's answer to Brian Epstein, Harvey Lisberg had a musical ear, a knack for numbers and within a The post Harvey Lisberg – managing Herman's Hermits and 10cc appeared first on The Strange Brew .
Harvey Lisberg is a Legendary Rock Manager for Herman's Hermits and 10cc. I'm Into Something Good: My Life Managing 10cc, Herman's Hermits and Many More!
He managed Herman's Hermits, 10cc and more.. Pags has a great conversation with Harvey Lisberg! Learn more about your ad choices. Visit megaphone.fm/adchoices
Dave Dawson is the author of “Dear Mr Pop Star”, a book written with his father under the pen name D&D Philpott. They write crazy, silly, funny tongue-in-cheek letters to various rock stars, goofing on their songs, lyrics and meanings. The surprising part is that the artists write back and join in the fun with hilarious responses. The book is already a hit on Amazon. Dave and I read excerpts from the book involving Starship, The Knack, Supertramp, Herman's Hermits and 10cc.My featured song is “The Pardners” from the album East Side Sessions by my band, Project Grand Slam. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!TOP 10 COUNTRIES:1 USA 2 Canada3 Australia4 Iran5 Germany6 Ireland7 France8 UK9 Morocco10 NetherlandsFor more information and other episodes of The Follow Your Dream Podcast click here. “Dream With Robert”. Click here.If you enjoyed the show please Subscribe. To Rate and Review click here.—----------------------------------------Dave and I discuss the following:Background of the bookStarship - “We Built This City”The Knack - “My Sharona”SupertrampHerman's Hermits - “No Milk Today”10cc“BOBBY M AND THE PAISLEY PARADE” is Robert's new album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here. Other releases by Robert and Project Grand Slam:“LIVE AT STEELSTACKS” is the 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. “Captivating!” Elliott Randall (Steely Dan) “PGS burns down the house!” Tony Carey (Rainbow)“Full of life!” Alan Hewitt (The Moody Blues) “Virtuoso musicians!” (Melody Maker) “Such a great band!” (Hollywood Digest) The album can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.“ALL OF THE TIME” is Robert's single by his band Project Grand Slam. It's a playful, whimsical love song that's light and airy and exudes the happiness and joy of being in love. “Pure bliss…An intimate sound with abundant melodic riches!” Melody Maker/5 Stars) “Ecstasy…One of the best all-around bands working today!” (Pop Icon/5 Stars) “Excellence…A band in full command of their powers!” (Mob York City)Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.“THE SHAKESPEARE CONCERT” is the album by Robert's band, Project Grand Slam, recorded "live" in the studio. It's been praised by Mark Farner (Grand Funk Railroad), Jim Peterik (Ides Of March), Joey Dee (Peppermint Twist), Elliott Randall (Steely Dan) and Sarah Class (British composer). Reviews: “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. “THE FALL OF WINTER” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.FOLLOW YOUR DREAM HANDBOOK is Robert's Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Audio production:Jimmy RavenscroftKymera Films Dear Mr Pop StarAmazon Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFacebook - www.facebook.com/followyourdreampodcastEmail Robert - robert@followyourdreampodcast.com Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comInstagramPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Welcome to Live From Progzilla Towers Edition 468. In this edition we heard music by 10CC, Henge, Ange, Masal, Godley & Creme, Zopp, Android, Isbjörg, Cardiacs, Jaime Rosas, Joni Mitchell, Peter Gabriel, Garden Of Live Flowers, Depeche Mode, The Bond Ft Geoff Mann, Jade Warrior, Yacobs, Overhead, Porcupine Tree, The Flower Kings, Sigur Rós, The Moody Blues & Unitopia.
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