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Welcome to FANGASMS Spring 2025 Edition. Space, Ruby, & Byx read 17 emails from our listeners and discuss/answer questions. Parental Resources regarding Angora's email:Moms of Furries:Website: https://mofurries.com/Instagram: https://www.instagram.com/momsoffurriesYouTube: https://www.youtube.com/c/MomsofFurriesFacebook: https://www.facebook.com/TheMomsOfFurries/FurScience:Website & Resource for Parents: https://furscience.com/resources/Anthrocon:Website & What is a Furry?: https://www.anthrocon.org/what-is-furry/Intro & Outro music was created by Rare Ear Candy.Follow Rare Ear Candy:Twitter: https://x.com/rare_ear_candyYouTube: https://www.youtube.com/@RareEarCandy
Drengene fra Angora indtog i 2004 den danske satireflade, og skrev historie med landeplager som Jul i Angora og Rejsesangen. På Radio IIII fortæller Esben Pretzmann nu, at programmet aldrig ville kunne lade sig gøre i dag. Vi spørger en humorekspert, om det kan være rigtigt. En ny modreaktion på feminismen har vokset sig stærk - og denne gang kommer den fra kvinderne. Med samme værktøjskasse som den såkaldte 'manosfære' fører en ny bølge af hyperkonservative kvindelige influencere sig frem under parolen om, at den liberale feminisme har spillet fallit, og at der ikke er andet for end at vende tilbage de traditionelle kønsroller. Vi får en ekspert i studiet, som vil udlægge begrebet 'womanosfære' for os. Vi skal også fejre Pippi Langstrømpes fødselsdag, vende fejden mellem Bruce Springsteen og Donald Trump og meget mere. Værter: Adam Holm, Gitte Løkkegaard og Mikael Jalving. Redaktør: Thomas Vinther Larsen. I redaktionen: Clara Faust Spies, Josephine Gaïa Utoft, Harald Toksværd og Nanna Sloth Skardhamar.
I Drengene fra Angora er der et mønster i, at Esben Pretzmann oftest ender i rollen som den kuede part. Derfor nyder Pretzmann især at spille rollen som pianisten Henrik Solgård, en karakter, der tager styringen.See omnystudio.com/listener for privacy information.
I 2004 ændrer Esben Pretzmanns liv sig for altid, da han bliver en del af Drengene fra Angora. Den voldsomme og pludselige succes stiger dem til hovedet. Da trioen er i gang med Angora by Night bliver presset blevet for stort. De kan ikke længere blive enige om, hvad der er sjovt og til sidst giver de op. De kan ikke lave mere. En coach bliver ansat for at redde trådene ud.See omnystudio.com/listener for privacy information.
Esben Pretzmann har fået nok af Angora og København og flygter til Berlin. I de næste 13 år flakker han rundt mellem Tyskland og Danmark. Hans liv har ikke længere nogen retning, og han har for alvor mistet sit kompas. I flere år isolerer han sig ude i en skov, hvor det meste af dagen går med at se videoer med konspirationsteorier på YouTube, og han ender med at kappe forbindelsen til sin familie og sine gamle venner. Først da han tager til Spanien og skriver på en selvbiografi, kan han se, hvor langt ude han er kommet.Vært: Anne Sofie Kragh. Klipper: Leo Peter Larsen. Redaktør: Michelle Mølgaard Andersen.See omnystudio.com/listener for privacy information.
Die Kurden gelten vielen Studien als die weltweit größte Ethnie ohne eigenes unabhängiges Staatsgebiet. Nachrichten über ihre Unterdrückung insbesondere in der Türkei und ihr Aufbegehren dagegen kennen die meisten von uns, seitdem sie politisch sozialisiert sind. Dass dieser Konflikt mindestens bis an den Anfang der Türkischen Republik zurückreicht, belegt unser heutiger Artikel aus dem Hamburger Echo vom 15. März 1925, der zwar durchaus einige Klischees ventiliert, die vermutlich noch von Karl May inspiriert sind, sich insgesamt aber um eine ausgewogene Berichterstattung über die ausgebrochenen Kämpfe in Südostanatolien bemüht. Aus welchen Quellen der namentlich nicht genannte Autor seine Informationen bezog und wie seriös diese waren, lässt sich nicht wirklich ermitteln. Dass, wie er glauben macht, manche Positionen in Bezug auf Fragen von politischer Kultur und Religion in den letzten Jahrhunderten, eher die Seiten gewechselt haben, macht ihn in jeden Fall zu einem interessanten Fundstück. Frank Riede hat es sich für uns angesehen.
This week on Fresh Hop Cinema: Beers from South Lake Brewing (South Lake Tahoe, CA) Beer 1 - "Angora" // WCIPA // 6.7% // Max - 9 Jonny - 8.3 Beer 2 - "Sendtaur" // BA Stout // 11% // Max - 10 Jonny - 10 Film : "Sing Sing" (2024) directed by Greg Kwedar. Ratings: Jonny - 9.8, Max - 9. Inside Hot & Bothered: - Max: "A Simple Favor" (2018) directed by Paul Feig - Jonny: Venom: The Last Dance, Anora -------- Episode Timeline: 0:00 - Intro, Ads, & Shout Outs 7:35 - Beer 1 21:35 - Film (No Spoilers) 35:25 - Film (DANGER ZONE) 57:55 - Beer 2 1:12:15 - Hot & Bothered
La Palme d'Or Paris, Texas est notamment mythique pour ses costumes qui ont marqué nos rétines : le cowboy moderne à la casquette rouge, la femme fatale en robe pull d'angora rose.Mais saviez-vous que cette robe était originalement blanche, jusqu'à ce qu'un lavage la réduise à la taille d'un timbre poste ? Et que la créatrice des costumes, Birgitta Bjerke, était avant sa carrière dans le cinéma la reine du crochet, et que ses créations étaient notamment portées par Eric Clapton ?Je suis Céleste Durante, et dans ce nouvel épisode de Profession : Costumière, je vous raconte l'histoire d'une des robes les plus iconiques de l'histoire du cinéma.
Lords: * Maxx * https://comicfury.com/comicprofile.php?url=mildreth * https://comicfury.com/comicprofile.php?url=delia * https://comicfury.com/comicprofile.php?url=cosmicfault * Chall Topics: * I love the steam deck * The puzzle of the Wikipedia did you know section * The neuroplasticity theory of why we dream * https://www.instagram.com/reel/DELHsgYRamy/ * https://en.wikipedia.org/wiki/Closed-eye_hallucination * https://www.mirror.co.uk/science/viral-image-unrecognisable-objects-creepy-14705067 * She Needed a Hobby, by Maxx Microtopics: * Comic Fury. * The most mediocre comic. * Mildreth of the Night. * Collage vs. ransom note. * A squirrel that finds a way to contact aliens. * Using Redbubble to host your webcomic. * Direct-to-cassette podcast episodes. * A co-op game that makes you raise your voice. * Overcooked but it's a train. * The part of the train that keeps you moist and warm. * How to run Pico-8 on the Steam Deck. * Not wanting to get a Steam Deck because you might drop it on your face. * How many liters a parrot is. * One of those massage beds where your face goes in a little hole and your hands dangle to reach the controls of the Steam Deck that's lying on the ground. * Waterproofing the Vive. * Games Done Pwick. * Sonic the Hedgehog looking like he ought to be a progress bar but he definitely isn't. * Emulators: you can do that! * Extremely intricate marble runs. * Retiring so you have enough time to configure the warping on your enormous loom. * The pleasant monotony of weaving vs. the meticulous craft of warping. * Tuning 1000 pianos at once. * Using a drop spindle to turn wool into thread. * Spinning wool straight from the rabbit. * Breeding for maximum stats on every axis. * Facts that are not particularly fun. * Seeing what the Wikipedia home page looks like on January 2nd, 2525. * Why is a mountain landscape? * Make-your-own-fun fun facts. * Who is this man? Why did he steal a horse? * Clicking on the nomination wizard. * Five Clicks to Jesus and other Wikipedia routing games. * Getting really into patterns and categories. * Shoehorning your favorite pop culture thing into everywhere you can fit it. * Mock Guffin. * Breaking down a story into a list of tropes. * Screen savers for the visual cortex. * Finding stories in the noise. * Different levels of the thing where you see patterns on the back of your eyelids. * How much can you see behind your eyes? * Running experiments on your own physiology. * New places on your body you haven't pressed yet. * Strobe lights for your ears. * Covering the speaker on your phone because you're too place to turn down the volume. * How text looks in your dreams. * Latching onto the idea of a story. * Tasting a lot of math problems before you go to sleep. * A gross crinkled dog texture. * Accidentally crocheting so much that you remake the universe. * The names of such unthinkable numbers. * A crochet pattern for an infinite Mobius strip. * Cool yarns from the local crafting store. * The ability to stick with a hobby. * Crocheting a functional internal combustion engine.
All the Wool A Podcast for Hand Spinners, Knitters, and Yarn lovers
Handspun: a podcast all about handspinning yarn, processing wool, knitting, owning a wool mill, farm life and everything in between.Link to the YouTube episode I referancehttps://youtu.be/HpXygSOPpx8Join Ewethful's Patreon Communityhttps://www.patreon.com/EwethfulFiberMillTo join the Ravelry discussion for the spin to knit alonghttps://www.ravelry.com/discuss/ewethful-fiber-farm--mill/topics/4342433To ask me a questionhttps://docs.google.com/forms/d/e/1FAIpQLSdkoshX7grvAiOcNxwAlUqFskm-opVlE1h_L6jmdO-CvGX8kg/viewform?usp=sf_linkFree hand spinning resources - " Ewethful's Wool School"https://www.ewethfulfiberfarm.com/pages/wool-educationFor details and to purchase the online course to learn to handspin on wheelhttps://www.ewethfulfiberfarm.com/pages/lets-make-yarn-landing-pageFor details and to purchase the online course to learn to spin longdrawhttps://www.ewethfulfiberfarm.com/products/2256545Shop for Ewethful handspinning fibershttps://www.ewethfulfiberfarm.com/collectionsAssociation sites I reference in this episodePygora Breeders AssociationCashmere Goat AssociationAmerican Breeders AssociationAffiliate link if would like to support me while buying from these companiesWooleryhttps://woolery.com/?aff=352Mission at Ewethful:My mission at Ewethful Fiber Mill is to fill making hands with small batch American grown yarns and fibers. I strive to produce lightly processed products that maintain their character, have low environmental impact and tell the stories of the animals and shepherds from whence they came.Find me at:https://www.ewethfulfiberfarm.com/Instagram@ewethfulfiberfarm https://www.instagram.com/ewethfulfibermill/FacebookEwethfulFiberFarmandMill https://www.facebook.com/ewethfulfiberfarmandmillRavelry group: Ewethful Fiber Farm & MillBlogging at http://www.beingewethful.com/
Erst vor wenigen Wochen hörten wir hier im Podcast vom angeblichen Verfall Konstantinopels, das in der Folge der Umwandlung der Türkei in eine Republik durch Kemal Pascha erstmals seit Jahrtausenden seine Hauptstadtfunktion verloren hatte und unter dieser Entwicklung anscheinend erheblich litt. Heute wagen wir mit den Harburger Anzeigen und Nachrichten vom 10. Januar 1925 den ‘Gegenbesuch‘ am neuen Regierungssitz Ankara, das hier im Artikel noch Angora heißt und gerade die entgegengesetzte Entwicklung durchlief. In osmanischer Zeit ein staubiges Provinznest im anatolischen Hochland mit kaum mehr als 25.000 Einwohnern, sollte es eine moderne Hauptstadt auf dem Reißbrett werden. Fürs erste galt es freilich zunächst, Grundstandards wie Energieversorgung, elektrische Straßenbeleuchtung, ein vernünftiges Hotelwesen und Treffpunkte für die höheren Beamten und die ausländischen Diplomaten einzurichten. Dass dies offensichtlich mit viel deutscher Unterstützung geschah, freute den namenlos bleibenden Harburger Berichterstatter besonders. Es liest Rosa Leu.
We zien een portret van maar liefst elf mensen in Europese én Turkse kleding. De rijkdom spat ervan af: zijde, bont, goud en parels, en aan hun voeten een Turks tapijt. Het zijn Anna Maria Leidstar en haar man David van Lennep en hun familie, die in Izmir woonden. Ze zijn een voorbeeld van 18de-eeuwse emigratie. Wie waren deze mensen en wat deden ze in Turkije?
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden?
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden?
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden?
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden?
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden?
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden?
Simon vågner ved lyden af nogen, der råber hans navn. Fra sit vindue kan han se en gruppe piger, der hopper på køleren af hans gamle Mazda. Her i 2004 er han Danmarks måske mest kendte mand, der både fylder på fredagens sendeflade med Drengene fra Angora og i ungdommens øregange med Nephew. For den jyske knægt, der var bange for at træde ved siden af, er det en underlig blanding af drøm og mareridt. Presset stiller ham over for et dilemma: Hvilken hest skal han sætte pengene på? Vært: Pelle Peter Jencel. Klipper: Mads Bjørn Lundsgaard. Lyddesign: Jakob Franck Jensen. Produktionsleder: Line Enggaard Fejer. Redaktør: Morten Narvedsen. Redaktionsleder: Anders Stegger.
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden? Du kan allerede høre alle afsnit lige nu i DR Lyd. Download DR Lyd-appen, og hør hele serien Hvem er Simon Kvamm?
Simon vågner ved lyden af nogen, der råber hans navn. Fra sit vindue kan han se en gruppe piger, der hopper på køleren af hans gamle Mazda. Her i 2004 er han Danmarks måske mest kendte mand, der både fylder på fredagens sendeflade med Drengene fra Angora og i ungdommens øregange med Nephew. For den jyske knægt, der var bange for at træde ved siden af, er det en underlig blanding af drøm og mareridt. Presset stiller ham over for et dilemma: Hvilken hest skal han sætte pengene på? Vært: Pelle Peter Jencel. Klipper: Mads Bjørn Lundsgaard. Lyddesign: Jakob Franck Jensen. Produktionsleder: Line Enggaard Fejer. Redaktør: Morten Narvedsen. Redaktionsleder: Anders Stegger.
Nephew, Drengene fra Angora, De Eneste To, Guru, Hugorm, X Factor - Simon Kvamms CV er længere end de flestes. Men hvor kommer det kompromisløse drive fra? Og hvordan har vejen gennem showbiz formet knallertbøllen, der hver gang han åbner døren til et nyt projekt, må lukke en anden? Du kan allerede høre alle afsnit lige nu i DR Lyd. Download DR Lyd-appen, og hør hele serien Hvem er Simon Kvamm?
DR og TV2 burde lave flere programmer som Drengene fra Angora, Brian Mørk Show, Mr Poxycat og Danish Dynamite. Men det tør de ikke længere, for komikere skal blot agere statister i bløde og ufarlige familieunderholdningsprogrammer. Det mener komiker Brian Mørk, som mener, at de to store tv-stationer bevidst fravælger programmer lavet af komikerne. Værter: Mathias Wissing og Nicolai DandanellSee omnystudio.com/listener for privacy information.
Around 1910, Black farmers collectively owned over 16 million acres of farmland. A century later, over 90% of that land is no longer owned by Black farmers. In Lee's own family, the acquisition and loss of land has been a contentious issue for nearly every generation, sometimes leading to tragic circumstances. In this episode, Lee heads back to Alabama to meet his cousin Zollie, a longtime steward of the family land, to learn more.Lee is later joined by Jillian Hishaw, an agricultural lawyer and author, who has devoted her life to helping Black families keep their land. They discuss the tumultuous history of Black land ownership and what Black families should do to keep land in the family.TranscriptLee Hawkins (host): We wanted to give a heads up that this episode includes talk of abuse and acts of violence. You can find resources on our website whathappenedinalabama.org. Listener discretion is advised. Hi, this is Lee Hawkins, and we're about to dive into episode four of What Happened In Alabama. It's an important conversation about the history of land in Black communities – how it was acquired, how it was taken, lost, and sometimes given away, over the past century – but you'll get a lot more out of it if you go back and listen to the prologue first. That'll give you some context for putting the whole series in perspective. Do that, and then join us back here. Thank you so much. [music starts]Around 1910, Black farmers collectively owned over 16 million acres of farmland. A century later, 90% of that land is no longer in the hands of Black farmers. Economists estimate that the value of land lost is upwards of 300 billion dollars.This is an issue that's personal for me. There were large successful farms on both sides of my family that we no longer own, or only own a fraction of now. How we became separated from our land is part of the trauma and fear that influenced how my parents raised me. I want to get to the heart of what happened and why. That's the goal of this episode. I'm Lee Hawkins, and this is conversation number four, What Happened In Alabama: The Land.Zollie: I may not have money in my pocket. But if I have that land, that is of value. That is my – my kids can fall back on this land, they'll have something.That's Zollie Owens. He's my cousin on my dad's side, and Uncle Ike's great-grandson. Zollie lives in Georgiana, Alabama, not far from Uncle Ike's farm. Uncle Ike is a legend in my family. He was my Grandma Opie's brother, and very much the patriarch of the family until he passed in 1992. I only met him once, back in 1991 when my family drove down to Alabama. But his name and presence have held a larger-than-life place in my psyche ever since.Zollie: And so that was instilled in me back then from watching Uncle Ike and my uncles, his sons, do all that work on that land.For the first time since my visit with my family in 1991, we're headed back there. Zollie's lived his whole life in this town. It's where he played and worked on the farm as a kid, where he got married, and where he raised his family. And because Uncle Ike had such an influence on him, he's made working and farming the land his life. I would say that out of all my cousins, the land is the most important to him. And that was instilled in him through Uncle Ike. Zollie: This man. I don't know if he was perfect, but he was perfect to me. I didn't see him do anything wrong from my understanding. And reason being, because whenever he said something, it generally come to pass.He was extremely respected and well-liked. So much so that years after his death, his impact is still felt.Zollie: I have favor off of his name now today. When they found out that I'm his grandson, I get favor off of his name because of who he was. And that's not for me to just go out and tear his name down, but it's to help keep up his name.Lee: Oh, that was one thing that was mentioned about credit – that way back in the day he had incredible credit around the town. That even his kids, that they would say, “Oh, you're Ike's kids. You don't have to pay. Pay me tomorrow,” or whatever, [laughter] which was a big deal then, because Black people didn't get credit a lot of times. Black people were denied credit just based on the color of their skin. But he seems to have been a very legendary figure around this town. Zollie: Being amenable, being polite, speaking to people, talking to 'em about my granddad and everything. And so once I do that, they get the joy back, remembering, reminiscing how good he was to them – Black and white.[music starts]Cousin Zollie spent a lot of time at Uncle Ike's when he was a kid. Like all my cousins who knew Uncle Ike, he had fond memories of him. Zollie: He passed when I was like 12 or 13, but I remember him sitting me in my lap or sitting on the shoulder of the chair and he would say, “Man, the Lord gonna use you one day, the Lord gonna use you. You smart, you're gonna be a preacher one day.” And like so many of the men in my family, Zollie is very active in the church. In fact, he became a preacher, and even started a gospel group. And he's preached at Friendship Baptist, where the funeral services for my Grandma Opie were held.We bonded over both growing up in the music ministry, listening to our elders singing those soul-stirring hymnals they'd sing every Sunday.Lee: And now, of course, they didn't even, I realize that a lot of times they weren't even singing words. They were just humming –Zollie: Just humming. Lee: You know? Zollie: Oh yes. Lee: And then the church would do the call and response. And the way that that worked, somebody would just say [singing], "One of these days, it won't be long," you know, and then –Zollie: [singing] “You're gonna look for me, and I'll be gone.” Lee: Yup. [laughter][Lee humming] [Zollie singing]Lee: Yeah. [Zollie singing]Lee: Yeah. [Lee laughs]Uncle Ike owned a 162-acre farm in Georgiana. Zollie and his wife took me back to visit it. The farm is no longer in the family, but the current owner, Brad Butler, stays in touch with Zollie, and he invited us to come and check out the property. Zollie: There was a lot of pecan trees, which he planted himself. Kyana: These are all pecans? Brad: Yup, these are pecans. These are, the big ones are pecans. That's a pear.Zollie's wife: And that's a pear, okay.Brad: Yeah.Lee: Did he plant that too? Zollie: Which one?Lee: The pecans? Zollie: Yes, he did. Yes, he did. Brad: But now, come here. Let me, let me show you this pear tree. This pear tree will put out more pears than any tree you've ever seen in your life. Lee: Oh, yeah?Brad: Yup, there'll be a thousand pears on this tree.These are all trees Uncle Ike planted decades ago. It was an active farm up to the 1980s – and a gathering place for family and so many other people in the region. The property is split up in two sides by a small road. One one side is where all the pecan and peach trees are. The other side has a large pond about twice the length of a pro basketball court. Beyond that, it's all woods. [walking sounds]As we walk, I look down at the ground beneath my feet at the red soil that many associate with Alabama and other parts of the deep south. It's a bright red rust color, and it's sticky. There's no way to avoid getting it all over and staining your shoes. Lee: Why is the dirt so red here? Zollie: It's been moved in. Lee: Okay.Zollie: The red dirt has been moved in for the road purpose – Lee: I see. Zollie: It get hardened. And it is hard like a brick, where you can drive on it. The black dirt doesn't get hard. It's more ground for growing, and it won't be hard like a brick. Zollie's referring to what's underneath this red clay that makes the land so valuable: the rich, fertile soil that makes up the Black Belt – a stretch of land across the state that was prime soil for cotton production. This land wasn't just valuable for all the ways it offered sustenance to the family, but also for everything it cost them, including their blood. When I was 19 years old, I found out that Uncle Ike's father, my great-great-grandfather, Isaac Pugh Senior, was murdered. Isaac Pugh Senior was born before emancipation in 1860, the son of an enslaved woman named Charity. His father remains a mystery, but since Isaac was very fair-skinned, we suspect he was a white man. And the genealogy experts I've worked with explained that the 18% of my DNA that's from whites from Europe, mainly Wales, traces back to him and Grandma Charity. The way it was told to me the one time I met Uncle Ike, is that Isaac Pugh Senior lived his life unapologetically. He thrived as a hunter and a trapper, and he owned his own farm, his own land, and his own destiny. And that pissed plenty of white folks off. In 1914, when he was 54 years old, Isaac was riding his mule when a white man named Jack Taylor shot him in the back. The mule rode his bleeding body back to his home. His young children were the first to see him. I called my dad after one of my Alabama trips, to share some of the oral history I'd gotten from family members.Lee: When he ran home, her and Uncle Ike and the brothers and sisters that were home, they ran out. And they saw their father shot full of buckshot in his back. Lee Sr.: Mm mm mm. Mm hm.Lee: They pulled him off the horse and he was 80% dead, and he died, he died later that night.Lee Sr.: With them? Wow. Lee: Yeah.Soon after Isaac died, the family was threatened by a mob of white people from around the area, and they left the land for their safety. Someone eventually seized it, and without their patriarch, the family never retrieved the land and just decided to start their lives over elsewhere. Knowing his father paid a steep price for daring to be an entrepreneur and a landowner, Uncle Ike never took land ownership for granted. He worked hard and eventually he bought his own 162-acre plot, flanked by beautiful ponds and acres upon acres of timber. [music]Over four years of interviews, Dad and I talked a lot about the murder of Isaac Pugh Senior. Uncle Ike told us about it during that visit in 1991, but years passed before I saw anything in writing about the murder.Before that, I'd just been interviewing family members about what they'd heard. And their accounts all matched up. For years, some family members interested in the story had even gone down to the courthouse in Greenville to find the records. On one visit, the clerk looked up at one of my cousins and said, “Y'all still lookin' into that Ike Pugh thing? Y'all need to leave that alone.” But they never gave up. Then, I found something in the newspaper archive that would infuse even more clarity into the circumstances surrounding the murder of my great-grandfather Ike Senior. It brought me deeper into What Happened In Alabama, and the headline was as devastating as it was liberating.There it was, in big, block letters, in the Montgomery Advertiser: WHITE FARMER SHOOTS NEGRO IN THE BACK. The shooting happened in 1914, on the same day as my birthday.It read: “Ike Pew, a negro farmer living on the plantation of D. Sirmon, was shot and killed last night by a white farmer named Jack Taylor. An Angora goat belonging to Mr. Taylor got into the field of Pew and was killed by a child of Pew. This is said to be the reason Taylor shot the Negro. The Negro was riding a mule when he received a load of buckshot in his back.”My dad was surprised to hear all the new details. Grandma Opie herself only told Dad that he'd died in a hunting accident. Lee: Do you realize that when your mom's father was killed, she was nine?Lee Sr.: She was nine?Lee: She was nine. And she never told you that her dad was killed? Lee Sr.: Well, let me think about that. My sisters told me that. Not my mom. My mom didn't talk about anything bad to me.I asked Zollie about Isaac, and if he ever remembers Uncle Ike talking about his father's murder. Zollie: No, I never heard that story. No, no, never. Not that I can remember him mentioning it. No sir. I can't say that I'm surprised by this answer. By now, I've seen how so many of our elders kept secrets from the younger generations, because they really didn't want to burden us with their sorrow. But I couldn't help but think, “If these trees could talk.” Walking around the family property, I feel the weight of history in the air. To me, that history makes the land valuable beyond a deed or dollar amount.Uncle Ike's farm is no longer in the family. It wasn't taken violently the way his father's farm was, but it fell victim to something called Heir's Property, which as I realized talking to Zollie, can be just as heartbreaking and economically damaging to generations of Black landowners. Zollie: I may not have money in my pocket. But if I have that land that is of value, that is money. [music starts]When Zollie was younger, he lived on part of Uncle Ike's land and he paid lot rent every month. When Uncle Ike passed in 1992, he had a will. In it, he left the land to his living children, but it wasn't clear how it should be divided up. His son, Pip, was the only one living on the land, so that's who Zollie paid rent to. But when he died, there was no documentation to prove that Zollie had been paying rent. Zollie: And so when it came up in court, I did not have no documentation, no legal rights to it.After the death of a property owner, and without proper estate plans, land often becomes “heirs property,” which means that the law directs that the land is divided among descendents of the original owners. The law requires “heirs” to reach a group consensus on what to do with the land. They inherit the responsibility of legal fees to establish ownership, property fees, and any past debt.Zollie wanted to keep the land in the family. He was ready to continue farming on it as he had been for 17 years. But some other family members weren't interested. Many had long left Georgiana and the country life for Birmingham or larger cities up north, like my father and his sisters. Some didn't want to take on the responsibilities of maintaining the land.Zollie: The part of the land that I was living on, on the Pugh family estate, it got sold out from up under me. I could have never dreamt of anything like that was gonna happen to me. Where I would have to move off the family land. The family didn't come together. They couldn't even draw me up a deed to take over the spot I was on. In the South today, “heirs property” includes about 3.5 million acres of land – valued at 28 billion dollars. Heirs property laws have turned out to be one of the biggest factors contributing to the loss of Black family land in America. It's devastating not just for the loss of acreage but the loss of wealth, because when the court orders a sale of the land, it's not sold on the market, it's sold at auction, usually for much less than it's worth. Brad: When this thing sold at auction, Hudson Hines bought it, and they cut the timber. That's Brad Butler again. He bought Uncle Ike's farm at auction in 2015.Brad: And we were just gonna buy it, kind of fix it up a little bit and then sell it and go do something else. Towards the end of our tour, my cousin Zollie turns to Brad and makes him an offer. Zollie: You know, some of the family, like myself and Mr. Lee, want to get together and make you an offer. Would you be willing to sell? Brad shakes his head and points to his son, who's been hanging out with us on the tour of the land. Brad: Not right now. Now right now. This is, this is his. And we've done so much trying to get it ready.It's his land, he says. His son's. It's heartbreaking to hear, but I didn't expect any different. It makes me think about Uncle Ike and if he ever thought things would pan out this way. After the property tour with Brad, Zollie invited me over to his house, where I asked him how he thinks Uncle Ike would feel. Zollie: He would be disappointed. That just the way, my memories of it and the way he, he did, I believe he would be disappointed. I really would. Lee: And he did the right thing in his heart by leaving the land and putting everybody's name on it. But then that ended up making it harder –Zollie: Yes.Lee: Right, and I don't quite understand that, but, because everybody's name was on it, then everybody had to agree. If he would have left it to one person, then you could have all, that person could have worked it out. Is that how – Zollie: Yes, that is correct. Lee: The law works?Zollie: And then when the daughters and the sons, when they all passed, it went down to their children. And that meant more people had a hand in it now and everybody wanted their share, their portion of it. Because they're not used to the country living it, it didn't mean anything to 'em. It was just land. Lee: So it sounds like a generational thing. Zollie: Yes. Lee: And especially if you're, not only if you're not used to the country living, but if you didn't grow up there –Zollie: If you didn't grow up there.Lee: And you didn't really know Daddy Ike.Zollie: Mm hm. Lee: Is that also –Zollie: Yep.Lee: A factor?Zollie: I can see that. Yes.Lee: Okay. Zollie: Oh yes.Lee: Man, this is so interesting because it happens in so many families –Zollie: It does.Lee: Across the country. It really does. And this land out here more and more, it's getting more and more valuable.Zollie: Oh yes. It's just rich. Some parts of it is sand, but a lot of part – and it's, the stories that I've been told, Bowling is up under a lake. There's a lake flowing up under Bowling. Lee: Oh.Zollie: That's why it's so wet all the time in Bowling, and it is good for growing because the ground stays wet. That wet ground is fueling an agricultural economy that so many Black farmers – like my cousin – have been shut out of. It's enough to turn people away from farming altogether. I couldn't imagine being a farmer, but Zollie wasn't deterred. After leaving Uncle Ike's land, he and his wife purchased a plot and built a house on it in 2021. It's on the edge of Georgiana, six miles away from Uncle Ike's old farm. It's a four-bedroom, three-bath brick home which sits on three acres Zollie owns. He said it was important for him to own so that he could leave something behind – and he's already talked with his children in detail about succession planning. Lee: What I love about you is that you are one of the people who stayed. Zollie: Yes.Lee: And you are our connection to the past, which we desperately need. Because I think a lot of people feel like, ‘Well, where would I work in Georgiana,' ‘Where would I work in Greenville?' And then they end up leaving and then they lose that connection. And I think a lot of us have lost the connection, but you're still here with a farm. What does it mean to have land and to have a farm? What does it mean to you? What's the significance to you?Zollie: My kids can fall back on this land. They'll have something. Like when it comes to getting this house. My land helped me get my house built this way. And so I thank God for that. [music starts]I'm so glad that I was able to sit with my cousin Zollie and hear his story. Growing up in a suburb outside of a major city, the importance of land was never really impressed upon me. In some ways it felt regressive to make your living with your hands, but I understand so much clearer now how powerful it is to be connected to the land in that way. Imagine how independent you must feel to be so directly tied to the fruits of your labor – there's no middleman, no big corporation, and no one lording over you. When you have land, you have freedom. What must that freedom have felt like for the newly emancipated in the late 1800s? And how did it become such a threat that in the past century, Black people would lose over 90% of the farmland they once owned?Jillian: Land is power, because you not only own the soil, but, it's mineral rights, you know, which is what my family have, you know, is airspace. You know, you own everything when you, when you own acreage. These are some of the questions that led me to Jillian Hishaw. She's an agricultural lawyer with over 20 years of experience helping Black families retain their land. She previously worked in the civil rights enforcement office of the US Department of Agriculture, or USDA, and she founded a non-profit called FARMS that provides technical and legal assistance to small farmers. She's also the author of four books including Systematic Land Theft which was released in 2021. In our wide-ranging conversation, we talked about the history of Black farmland, how it was gained and how it was lost, and what people misunderstand about Black farmers in this country. Lee: I mean, you've done so much. What drew you to this work? Jillian: My family history. My grandfather was raised on a farm in Muskogee, Oklahoma. And when they relocated to Kansas City, Missouri, which is where I was born and raised, my great-grandmother moved up several years later, and they hired a lawyer to pay the property tax on our 160-acre farm. Our land was sold in a tax lien sale without notice being given to my grandfather or my great-grandmother. And so where my grandfather's house is, there's an oil pump going up and down because the land had known oil deposits. So that's why I do what I do. Lee: Okay. And I mean, wow, that, that is just such a familiar narrative. It sounds like this is a pervasive issue across the Black community –Jillian: Yes. Lee: How did Black people come to acquire farmland in this country? And when was the peak of Black land ownership? Jillian: Yes. So the peak was definitely in 1910. According to census data and USDA census data, we owned upwards to 16 to 19 million acres, and we acquired it through sharecropping. Some families that I've worked with were actually given land by their former slaveholders and some purchased land. Lee: Wow. Okay. And that dovetails with an interview that I did with my uncle in 1991 who told me that in his area of Alabama, Black people owned 10 to 15,000 acres of land. And when he told us that, we thought, ‘Well, he's old, and he probably just got the number wrong.' But it sounds that that's true. It sounds like Black people in various parts of the country could own tens of thousands of acres of land collectively. Jillian: Yes, yes, I know that for a fact in Alabama because I finished up school at Tuskegee University. So yes that is accurate. Your uncle was correct. Lee: Okay. And when and how did many of these families lose the land? Jillian: So the majority of land was lost after 1950. So between 1950 and 1975, we lost about half a million Black farms during that time. The primary reason why it was lost in the past was due to census data and then also record keeping. With the census data, they would state, ‘Oh, well, this farmer stated in his census paperwork that he owned 100 acres.' But then the recorder would drop a zero. Things of that nature. And so also courthouses would be burned. So let's take Texas, for example. There were over 106 courthouse fires. And a lot of those records, you know, were destroyed. Now, ironically, often during those courthouse burnings, the white landowners' records were preserved and, you know, magically found. But the Black landowners' records were completely destroyed, and they have no record of them to this day. Now, the primary reasons for the present land loss is predatory lending practices by US Department of Agriculture. Also, lack of estate planning. Lee: So for our family in particular, I mean, I never really understood the heirs property and how that ended up causing our family to have to, you know, get rid of the land or sell the land. Can you tell me about heirs property? What is it and why has it disproportionately affected Black landowners? Jillian: So over 60% of Black-owned land is heirs property, and the legal term is “tenants in common.” But, you know, most Black folk call it heirs property. And heirs property begins when a, traditionally a married couple will own the land outright in their names. And so it'll be Mr. and Mrs. Wilson. And if they don't have a will and they die, what's called intestate, and they die without a will, the state takes over your “estate distribution.” And when I say estate, that's all of your assets that make up your estate. So your property, your house, your car, your jewelry, your clothes, everything. And the state will basically say, ‘Okay, well, since you died without a will, then all of your living heirs will share equally,' you know, ‘ownership in whatever you left' in, you know, with Black farm families, that was the land, that was the homestead, that was the house. And so say Mr. and Mrs. Wilson pass away without a will, and they have 10 kids, and then those 10 have 100 kids and so forth and so on. And so, you know, five generations later, there's 300, you know, people that own, you know, 100-acre, you know, or 200-acre farm outright. And if one of those 200 heirs sells to a third party, oftentimes it's some distant cousin in LA or Pennsylvania for whatever reason, and they just sell their rights, to a developer often, that developer basically takes the place of that, you know, third cousin in LA. And they'll go around, like in the, you know, the Bessemer case in South Carolina, and they'll, you know, get another third cousin in San Francisco and in, you know, Arizona and in Houston and then they'll go to the court and they'll force the sale of the remaining, you know, 195 heirs because 200 were owners in what's called a court partition sale. And that's how we lose 30,000 acres each year so fast, so quick. Lee: Wow. And this is exactly, very similar to what happened to my cousin Zollie. I mean he was just heartbroken, because he didn't have the money to do it himself. And so he ended up getting some other land, but it was really hard for him. People talk about this in the context of saying, “We lost the land.” But there are others who might say, “Well, you didn't lose the land. You sold the land because you couldn't come to an agreement.” Is this a strategic way to wrestle land away from families? Jillian: Yes. In, in part. But, you know, Black people also have to accept responsibility. You know, I, I've tried years to get families to agree. I mean, you know, you have to come to some agreement. You can't just, you know, bicker about stuff that happened in 1979. I mean, you have to get past your own differences within your family. And that's part of the problem. And the families need to come together to conserve their land. Because, you know, I'll tell you right now, if my family had it any other way, we would come together to get our land back. I have taught workshops and written books. You know, I've written about four or five different books, and families have taken those books, you know, attended the workshops, and they've cleared their deed, you know, and it's heirs property. And so what I'm saying is that it can work. And I wish more families would, would do that because I've seen it work. Lee: We definitely don't want to take a victim mentality, but the legacy of white supremacy in this country sort of positions us to have tense relationships, because there's a lot of unaddressed things that happen, and there are a lot of secrets that are kept. [music]Lee: Tell me about the clashes over land between whites and Blacks. What did they look like, especially in the period following the Civil War? Jillian: So during Reconstruction and post-Reconstruction, we all know about the “40 acres and a mule” program and how, you know, within a year the land was given and then taken back. But there were landowners, particularly Black, of course, that got to keep the land, and some were located in South Carolina, primarily South Carolina, Georgia, and a few areas in Alabama. Of course, there were clashes with, particularly when the patriarch passed away, similar to to your ancestors. Whites would go to the land and force the Black mother and wife off of the land, and they would set the house on fire and just force them to, to get off the land. When she shared those details, I thought back to the family members who told me about Isaac Pugh's wife and my great-grandmother, Ella Pugh, and the horrifying situation she found herself in, with more than a dozen kids, a murdered husband, and a mob of men on horses coming by every night, screaming for them to leave. That's the part of this story that the newspaper article didn't contain. Uncle Ike said, “They were jealous of him.” He talked about Taylor, too, but also about a band of whites that he believed were working with him. The news reports said the murder was about livestock, but according to Uncle Ike, it was about land. The assaults on my family and many others were orchestrated, and institutional. And the attacks on Black landowners wasn't just about one white man resenting a Black man. The damage was often done by groups of people, and institutions, including government agencies like the United States Department of Agriculture. Lee: What was the impact of Jim Crow on Black land loss? Jillian: Well, it was definitely impactful. You know, again, going back to the, 1950 to 1975, half a million farms were lost during that time, and the equivalent now is 90%. We've lost 90% of the 19 million acres that we owned. You know, according to the 1910 census data. And, a lot of that is due to, you know, Jim Crow and, you know, various other factors. But, you know, this was predatory lending, particularly by USDA. And so you also need to look at USDA. And the reason why you need to look at USDA is because it's “the lender of last resort.” And that's basically the hierarchy and the present foundation of the USDA regulations right now. And it's admitted guilt. They, they've admitted it, you know, from the 1965 civil rights report, you know, to the CRAT report to the, you know, the Jackson Lewis report, you know, 10 years ago, that they purposely discriminate, particularly against Black farmers. And it's due to predatory lending. You look at the fact that between 2006 and 2016, Black farmers made up 13%, the highest foreclosure rate out of all demographics. But we own the least amount of land. And so, you know, that right there is a problem. Lee: What is the state of Black land ownership today and where is it really trending?Jillian: To me it's trending down. The '22, '22 USDA census just came out last month, and the demographic information will be out, I believe, June 26th. But, we own, you know, less than 2% according to the USDA census, but I believe it's like at 1%, because they include gardeners in that, in that number to inflate the numbers. But, but yeah. So it's, it's trending down, not up. Lee: Okay. And what do people get wrong about Black land ownership in this specific history? I mean, I know that there are everyday folks who have opinions that they speak about freely, as if they're experts, but also educators and journalists and policy makers and lawmakers. I mean, what do they get wrong about this history? Jillian: They portray the Black farmer as poor, illiterate, and basically don't know anything, but that's for, you know, that's far from the truth. I know families – five-generation, four-generation cotton farmers that own thousands of acres and are very, you know, lucrative. And so the, this portrayal of the, you know, the poor Black farmer, you know, dirt poor, land rich, cash poor is just a constant. And a lot of my clients don't even like talking to reporters because of that narrative. And it's, it's not true. Lee: I feel like it's missing that the majority of this land in this country was acquired unfairly. And on the foundation of violence and on the foundation of trickery – Jillian: Yes.Lee: And legal maneuvering. And I don't see that really as something that is known in the masses. Jillian: Correct. Lee: Or acknowledged. Is that true or –Jillian: That's true. Lee: Or am I off?Jillian: Yes. That's true. But with Black folk it wasn't, it's not true. So Black people earned the land. They, they worked, they paid, you know, for it. It wasn't acquired through trickery and things like that compared to the majority. You know, the 2022 USDA census, you know, 95% of US farmland are owned by whites. You know, as you know, similar to the 2017, you know, USDA census. And so that is often, you know, the case in history. That it was acquired through violence. Lee: Mm hm. And how would you like for the conversation around Black land ownership to grow and evolve? Where's the nuance needed?Jillian: I believe the nuance is through – like you referenced – financial literacy. We need to retain what we already have, and that's the mission of my work, is to retain it. And so we've saved about 10 million in Black farmland assets, you know, over the 11 years that I've been in operation through my non-profit. And it's important that we focus on retention. You know a lot of people call me asking, ‘Oh, can you help me, you know, find land, buy land,' but that's not my job. My job is to retain what we have. In my family's case, I wonder if the inability to reach an agreement on whether to keep Uncle Ike's land in the family would have been different if the younger generations would have had a chance to talk with Uncle Ike about the hell he went through to acquire it. Or maybe if they'd all had the opportunity to learn about the history of Black land loss and theft even in more detail. I just don't know. But what's clear is, though I don't hold any resentment about the decision, I do think it's just another example of how important studying genealogy can be. Not just the birth dates and the death dates, but the dash in between. Learning about our ancestors, and what they believed in, what they went through, and what they wanted for us. I know that's what a will was intended for; but in Uncle Ike's will, he thought he was doing the right thing by leaving the land to his children equally. I don't know if he knew about heirs property law. But even if he did, I suppose he never dreamed that the future generations would see any reason to let that land go. Not in a million years. [music starts] Lee: And what do you think about the debate around reparations, especially as it relates to land? I know that there was a really hyper visible case of a family in California that got significant land back. Do you think justice for Black farmers is achievable through reparations? Jillian: I believe it is, but I don't know if it's realistic because it's based on the common law. It's based on European law and colonial law. And so how are we supposed to get reparations when, you know, we can't even get, you know, fair adjudication within, you know, US Department of Agriculture. And so we're basing it, and we're trying to maneuver through a system that is the foundation of colonial law. And, I think that that will be very hard. And I think that we should take the approach of purchasing land collectively. Where are the Black land back initiatives? When are we gonna come together, you know, collective purchasing agreements? Lee: You're blowing me away. Jillian: Thank you. Lee: And I just really want to thank you for this work that you're doing. I believe that as a Christian, I'll say that I believe that what you're doing is God's work. And I just hope that you know that. And I just wanted to, to really just thank you. On behalf of my family, I thank you so much. Jillian: Thank you.Talking with Jillian Hishaw helped me clearly see that the racial terrorism and violence against my Black American family and countless others under Jim Crow was not solely physical but also economic. Hordes of white supremacists throughout America felt divinely and rightfully entitled to Black land, just as their forefathers did a century before with native land. They exploited unjust policies and the complacency of an American, Jim Crow government that often failed to hold them accountable for their murders and other crimes. Before Malcolm X yelled out for justice “by any means necessary,” Jim Crow epitomized injustice by any means necessary. This conversation deepened my understanding of the deadly penalty Black Americans paid for our determination, for daring to burst out of slavery and take our piece of the American Dream through working hard and acquiring land. Since 1837, I've had a family member killed every generation, and this reporting helped me understand why so many of them were killed over land and the audacity to move ahead in the society. So to see the deadly price family members paid only to see it lost or sold off by subsequent generations that are split as to how important the land is to them is truly eye-opening, something I see more clearly now.To understand part of the root of this violence, I have to travel back to uncover a part of my history I never thought about until I started researching my family. It's time to meet the Pughs – my white ancestors from across the Atlantic. Next time on What Happened in Alabama. What Happened In Alabama is a production of American Public Media. It's written, produced, and hosted by me, Lee Hawkins.Our executive producer is Erica Kraus. Our senior producer is Kyana Moghadam.Our story editor is Martina Abrahams Ilunga. Our producers are Marcel Malekebu and Jessica Kariisa. This episode was sound designed by Marcel Malekebu. Our technical director is Derek Ramirez. Our soundtrack was composed by Ronen Landa. Our fact checker is Erika Janik.And Nick Ryan is our director of operations.Special thanks to the O'Brien Fellowship for Public Service Journalism at Marquette University; Dave Umhoefer, John Leuzzi, Andrew Amouzou, and Ziyang Fu; and also thank you to our producer in Alabama, Cody Short. The executives in charge at APM are Joanne Griffith and Chandra Kavati.You can follow us on our website, whathappenedinalabama.org or on Instagram at APM Studios.Thank you for listening.
Venner, hvordan ville verdenen se ud, hvis Simon Kvamm, Esben Pretzmann og Rune Tolsgaard røg i fængsel? Det kan være at vi snart ved det
Esben Pretzmann er komiker, kunstmaler og en af Drengene fra Angora. I dag er han med i podcasten, hvor du blandt andet kan glæde dig til at høre om tilblivelsen af Angora, den efterfølgende jagt på noget endnu større og hvordan Esben fandt et nyt kald som maler.Go' lytter!Hop ind og se Kronisk Sjov på YouTube: https://youtu.be/lUtZ_0RKAScVært: Oliver StanescuKlip: Martin Riise Nielsen Hosted on Acast. See acast.com/privacy for more information.
Welcome to the Left of Str8 Podcasts: This is our “Left of Str8 Show” Interview Series, where we tell the stories of our amazing LGBTQ Community and fantastic Straight Ally's. This episode is one of our double header interviews for our Premiere Week of Season 7. I was honored to talk to a true icon in the theatre community, Tom D'Angora, an Actor, Writer, Director and Producer that is currently co-producing 3 standouts in the current season; “Harmony,” the musical created by Barry Manilow, “How to Dance in Ohio,” a remarkable show based on a true story, and the upcoming “Suff” which is being co-produced by Hilary Clinton. Summary Tom D'Angora, a luminary in the world of Broadway, discusses his background, film work, and producing career. He shares stories of working with Leslie Jordan, Rue McClanahan, Morgan Fairchild, Omar Sharif Jr., and more. Tom also talks about his diva shows, producing Naked Boys Singing and The Musical of Musicals, and his current project, Harmony, with Barry Manilow. In this conversation, Tom D'Angora discusses the success of Barry and Bruce's dream, the rise of female directors in the entertainment industry, and the musical 'How to Dance in Ohio.' He also shares his excitement for upcoming shows and the importance of LGBTQ activism and representation in the industry. Tom offers words of wisdom for up-and-coming artists and reveals his superpowers and dream date night with his partner Michael. Takeaways Tom D'Angora has been involved in the world of Broadway as a producer, director, and writer. He has worked with notable actors and performers such as Leslie Jordan, Rue McClanahan, Morgan Fairchild, Omar Sharif Jr., and more. Tom has produced successful shows like Naked Boys Singing and The Musical of Musicals. His current project is Harmony, a musical collaboration with Barry Manilow. The success of Barry and Bruce's dream is a testament to their hard work and the support of lead producer Ken Davenport. The entertainment industry is seeing a rise in female directors, and it is important to continue pushing for more inclusion and opportunities for women in the field. The musical 'How to Dance in Ohio' is a heartwarming story that highlights the achievements and challenges of young adults with autism.
Enjoy this montage of some of my favorite interviews from Season 6 in 2023 from the Left of Str8 Show. Season 7 of "Left of Str8 Podcasts" premieres this week. New Left of Str8 Show Interviews will air every Wednesday and Thursday in Season 7, kicking off this Wednesday, January 17, 2024 with a special Double Feature: In a Salute to Broadway, I talk to the amazing British actor, Rob Madge, who is bringing his one-person show, "My Son's A Queer, But What Can You Do," to the Lyceum Theatre on Broadway for a limited run this February. Also Wednesday is Producer and Actor Tom D'Angora, who has been producing, co-producing or acting in some of the best on Broadway and Off. Two of his current productions now playing include the amazing Barry Manilow Musical, "Harmony" and the fantastic story of "How to Dance In Ohio. On Thursday, January 18, 2024 we have another double episode premiere week special with a salute to new movies releases. I got to talk with the Director and Stars of the new movie, "Sunlight," Andrew Baird, Alex Pettyfer and Kurt Yeager, that brought this existing twist on the vampire horror story. Guy Pearce plays one of his seldom seen villainous roles and Alex and Kurt give amazing performances. Also on Thursday, I got to talk to the director and star of the new gay psychological thriller, "You Can't Stay Here," Todd Verow and Guillermo Diaz. An updated take on the Al Pacino classic, "Cruising," this thriller has some amazing acting, as well as twists and turns that keep you guessing. Be sure to subscribe to Left of Str8 Podcasts on YouTube or Spotify if you prefer video podcasts, or on your favorite audio podcast distributors like iTunes, iHeart Radio, Good Pods, Google Podcasts, and more. When you listen if you could give a 5 star review it really helps get the word out by raising the profile in search engines.
Bienvenido a El Gallo Pódcast, para hoy le tenemos langosta de dos colores llamada David Bowie, acompañada con velitas de colores para el 7 de diciembre. Disfrute de este nuevo capítulo mientras al gato angora del programa le operan la nariz.
With a tear in the eye, episode thirty-four brings Stan and Ollie's silent period to a close. To discuss Laurel & Hardy's swansong of their silent era, Angora Love, Patrick welcomes back to the Podcast classic comedy expert Chris Seguin. As well as discussing the film in focus, Chris and Patrick also consider Stan and Babe's contemporaries, such as Buster Keaton, Harold Lloyd and Charlie Chaplin, and how they fared transferring from silent to sound pictures. To access the extra exclusive Patron-only podcast with Patrick and Chris, sign up to show your support for the podcast and become a Patron by clicking the link here: https://patreon.com/user?u=88010194 To subscribe to the all-new Laurel & Hardy Magazine, and for more information on The Laurel & Hardy Podcast and Patrick's forthcoming series of books starting with Laurel & Hardy: Silents, visit the website at www.laurelandhardyfilms.com To contact Patrick, email theboys@laurelandhardyfilms.com If you'd like to leave feedback about the podcast, make a point, ask a question, or generally join in the discussions about the podcast and all other things Laurel and Hardy related, why not become an official Blog-Head by joining the Blog-Heads Facebook Group here: https://www.facebook.com/groups/2920310948018755 To purchase CDs of the Beau Hunks Orchestra's music contained in these podcasts, click here: https://amzn.to/2CgeCbK To find the best Laurel and Hardy books and DVDs and Blu-Rays, visit The Laurel & Hardy Podcast's Amazon storefront, click here: https://www.amazon.co.uk/shop/laurelandhardyblog
Kan man ved at sige det modsatte, tydeliggøre hvad man egentlig vil sige? Foran et publikum under Heartland 2022 dissekerede den britiske bestseller-forfatter Nick Hornby og musiker og satiriker Simon Kvamm ironiens væsen. Nick Hornby er en af Englands største forfattere. Han har skrevet bøgerne bag filmklassikerne ''High Fidelity'' og ''About a Boy'' og var desuden manuskriptforfatter på filmen ''An Education'', som blev Oscarnomineret i bl.a. kategorierne 'bedste film' og ‘bedste manuskript'. Han er særligt kendt for sit troværdige og humoristiske sprog og hans imponerende karakteropbygning. Multitalent, musiker og satiriker. Simon Kvamm har i mange år været et velkendt navn og er anerkendt som en af Danmarks største musikere i bandene Nephew, De eneste to og HUGORM. Han er også kendt for sit skuespil og satiriske arbejde. Vi så ham først i DR2-programmerne ''Drengene fra Angora'' og ''Angora by Night''. Nyeste skud på den satiriske stamme er den anmelderroste DR2-serie ''Guru''. Samtalen er modereret af skribent, radiovært og tidligere forsker Torben Sangild og præsenteret i samarbejde med Politikens Forlag. Hosted on Acast. See acast.com/privacy for more information.
Afsnit 461 Esben Pretzmann. Esben er komiker og billedkunstner. Du stødte måske på ham første gang i Chris & Chokoladefabrikken, Drengene fra Angora, Rockerne, Live fra Bremen eller nogle af de mange, mange andre TV-ting han har lavet. I dagens afsnit snakker vi om hans optræden foran kameraet, hans forsvinden til Berlin og hans store passion - Billedkunst. Esben er lige så ærlig og umiddelbar som han er sjov og interessant - Hvilket uden tvivl skinner igennem dagens afsnit. Rigtig gå fornøjelse, Christian.
Support the podcast by tipping via Venmo to @queensofthemines, buying the book on Amazon, or becoming a patron at www.partreon.com/queensofthemines When Agnes Moulton Coolbrith joined the Mormon Church in Boston in 1832, she met and married Prophet Don Carlos Smith, the brother of Joseph Smith, founder of The Church of Jesus Christ of Latter-day Saints. There, at the first Mormon settlement, Agnes gave birth to three daughters. The youngest was Josephine Donna Smith, born 1841. Only four months after Josephine Donna Smith's birth, Don Carlos Smith died of malaria. In spite of Don Carlos being a bitter opposer of the ‘spiritual wife' doctrine, Agnes was almost immediately remarried to her late husband's brother, Joseph Smith in 1842, making her his probably seventh wife. Today we will talk about Josephine Donna Smith's, who's life in California spanned the pioneer American occupation, to the first renaissance of the 19thcentury feminist movement. an American poet, writer, librarian, and a legend in the San Francisco Bay Area literary community. Season 3 features inspiring, gallant, even audacious stories of REAL 19th Century women from the Wild West. Stories that contain adult content, including violence which may be, disturbing to some listeners, or secondhand listeners. So, discretion is advised. I am Andrea Anderson and this is Queens of the Mines, Season Three. They called her Ina. But Sharing your partner with that many people may leave you lonely at times. Not surprisingly, during the marriage, Agnes felt neglected. Two years later, Smith was killed at the hands of an anti-Mormon and anti-polygamy mob. Agnes, scared for her life, moved to Saint Louis, Missouri with Ina and her siblings. Agnes reverted to using her maiden name, Coolbrith, to avoid identification with Mormonism and her former family. She did not speak of their Mormon past. She married again, in Missouri, to William Pickett. Pickett had also converted to Mormonism, and had a second wife. He was an LDS Church member, a printer, a lawyer and an alcoholic. Agnes had twin sons with Pickett. They left the church and headed west, leaving his second wife behind. Ina had never been in a school, but Pickett had brought along a well-worn copy of Byron's poetry, a set of Shakespeare, and the Bible. As they traveled, the family passed time reading. Inspired, Ina made up poetry in her head as she walked alongside her family's wagon. Somewhere in the Nevada sands, the children of the wagon train gathered as Ina buried her doll after it took a tumble and split its head. Ina's life in California started at her arrival in front of the wagon train through Beckwourth Pass in 1851. Her sister and her riding bareback on the horse of famous mountain man, explorer and scout Jim Beckwourth. He had guided the caravan and called Ina his “Little Princess.” In Virgina, Beckwourth was born as a slave. His father, who was his owner, later freed him. As the wagon train crossed into California, he said, “Here, little girls, is your kingdom.” The trail would later be known as Beckwourth Pass. Ina was the first white child to cross through the Sierra Nevadas on Beckwourth Pass. The family settled in San Bernardino and then in Los Angeles which still had largely a Mormon and Mexican population. Flat adobe homes with courtyards filled with pepper trees, vineyards, and peach and pomegranate orchards. In Los Angeles, Agnes's new husband Pickett established a law practice. Lawyers became the greatest beneficiaries, after the Treaty of Guadalupe Hidalgo, acquiring Mexican land in exchange for representation in court contests. Pickett was one of those lawyers. Ina began writing poetry at age 11 and started school for the first time at 14. Attending Los Angeles's first public school on Street and Second. She published her poetry in the local newspaper and she was published in The Los Angeles Star/Estrella when she was just fifteen years old. At 17, she met Robert Bruce Carsley, a part-time actor and a full time iron-worker for Salamander Ironworks. Salamander Ironworks.built jails, iron doors, and balconies. Ina and Robert married in a doctor's home near the San Gabriel Mission. They lived behind the iron works and had a son. But Robert Carsley revealed himself to be an abusive man. Returning from a minstrel show in San Francisco, Carsley became obsessed with the idea that his new wife had been unfaithful to him. Carsley arrived at Pickett's adobe, where Ina was for the evening, screaming that Ina was a whore in that very tiny quiet pueblo. Pickett gathered up his rifle and shot his son in law's hand off. The next few months proved to be rough for Ina. She got an uncontested divorce within three months in a sensational public trial, but then, tragically, her infant son died. And although divorce was legal, her former friends crossed the street to avoid meeting her. Ina fell into a deep depression. She legally took her mothers maiden name Coolbrith and moved to San Francisco with her mother, stepfather and their twins. In San Francisco, Ina continued to write and publish her poetry and found work as an English teacher. Her poems were published in the literary newspaperThe Californian. The editor of The Californian was author Samuel Langhorne Clemens. Also known as, Mark Twain. Ina made friends with Mark Twain, John Muir, Bret Harte and Charles Warren Stoddard, Twain's queer drinking companion. Coolbrith, renowned for her beauty, was called a “dark-eyed Sapphic divinity” and the "sweetest note in California literature” by Bret Harte. John Muir attempted to introduce her to eligible men. Coolbrith, Harte and Stoddard formed what became known as the Golden Gate Trinity. The Golden Gate Trinity was closely associated with the literary journal, Overland Monthly, which published short stories written by the 28-year old Mark Twain. Ina became the editorial assistant and for a decade, she supplied one poem for each new issue. Her poems also appeared in Harper's, Scribner's, and other popular national magazines. At her home on Russian Hill, Ina hosted literary gatherings where writers and publishers rubbed shoulders and shared their vision of a new way of writing – writing that was different from East Coast writing. There were readings of poetry and topical discussions, in the tradition of European salons and Ina danced the fandango and played the guitar, singing American and Spanish songs. Actress and poet Adah Menken was a frequent visitor to her parties. We know Adah Menken from earlier episodes and the Queens of the Mines episode and she is in the book, as she was a past fling of the famous Lotta Crabtree. The friendship between Coolbrith and Menken gave Menken credibility as an intellectual although Ina was never able to impress Harte of Menken's worth at the gatherings. Another friend of Ina's was the eccentric poet Cincinnatus H. Miller. Ina introduced Miller to the San Francisco literary circle and when she learned of his adoration of the heroic, tragic life of Joaquin Murrieta, Ina suggested that he take the name Joaquin Miller as his pen name. She insisted he dress the part with longer hair and a more pronounced mountain man style. Coolbrith and Miller planned a tour of the East Coast and Europe, but when Ina's mother Agnes and Ina's sister both became seriously ill, Ina decided to stay in San Francisco and take care of them and her nieces and nephews. Ina agreed to raise Miller's daughter, Calla Shasta, a beautiful half indigenous girl, as he traveled around Europe brandishing himself a poet. Coolbrith and Miller had shared an admiration for the poet Lord Byron, and they decided Miller should lay a wreath on his tomb in England. They collected laurel branches in Sausalito, Ina made the wreath. A stir came across the English clergy when Miller placed the wreath on the tomb at the Church of St. Mary Magdalene, Hucknall. They did not understand the connection between the late lord and a couple of California poets. Not to be outdone, the clergy sent to the King of Greece for another laurel wreath from the country of Byron's heroic death. The two wreaths were hung side by side over Byron's tomb. After this, Miller was nicknamed "The Byron of the West." Coolbrith wrote of the excursion in her poem "With a Wreath of Laurel". Coolbrith was the primary earner for her extended family and they needed a bigger home. So, while Miller was in Europe, she moved her family to Oakland, where she was elected honorary member of the Bohemian Club. When her mother and sister soon died and she became the guardian of her orphaned niece and nephew, The Bohemian Club members discreetly assisted Ina in her finances. Ina soon took a full-time job as Oakland's first public librarian. She worked 6 days a week, 12 hours a day, earning $80 per month. Much less than a man would have received in that position at the time. Her poetry suffered as a result of the long work hours and for nearly twenty years, Ina only published sporadically. Instead, Ina became a mentor for a generation of young readers. She hand chose books for her patrons based on their interests. In 1886, Ina mentored the 10-year-old Jack London. She guided his reading and London called her his "literary mother". London grew up to be an American novelist, journalist and social activist. Twenty years later, London wrote to Coolbrith to thank her he said “I named you Noble. That is what you were to me, noble. That was the feeling I got from you. Oh, yes, I got, also, the feeling of sorrow and suffering, but dominating them, always riding above all, was noble. No woman has so affected me to the extent you did. I was only a little lad. I knew absolutely nothing about you. Yet in all the years that have passed I have met no woman so noble as you." One young reader was another woman featured in a previous Queens of the Mines episode, Isadora Duncan, “the creator of modern dance”. Duncan described Coolbrith as "a very wonderful" woman, with beautiful eyes that glowed with burning fire and passion. Isadora was the daughter of a man that Ina had dazzled, enough to cause the breakup of his marriage. The library patrons of Oakland called for reorganization in 1892 and after 18 years of service, a vindictive board of directors fired Ina, giving her three days' notice to clear her desk. One library trustee was quoted as saying "we need a librarian not a poet." She was replaced by her nephew Henry Frank Peterson. Coolbrith's literary friends were outraged, and worried that Ina would move away, becoming alien to California. They published a lengthy opinion piece to that effect in the San Francisco Examiner. John Muir, who often sent letters and the occasional box of freshly picked fruit, also preferred to keep her in the area, and in one package, a letter suggested that she fill the newly opened position of the librarian of San Francisco. In Coolbrith's response to Muir, she thanked him for "the fruit of your land, and the fruit of your brain" but said, "No, I cannot have Mr. Cheney's place. I am disqualified by sex." San Francisco required that their librarian be a man. Ina returned to her beloved Russian Hill. In 1899, the artist William Keith and poet Charles Keeler offered Coolbrith the position as the Bohemian Club's part-time librarian. Her first assignment was to edit Songs from Bohemia, a book of poems by journalist and the Bohemian Club co-founder, Daniel O'Connell. Her salary in Oakland was $50 each month. The equivalent of $1740 in 2022. She then signed on as staff of Charles Fletcher Lummis's magazine, The Land of Sunshine. Her duties were light enough that she was able to devote a greater proportion of her time to writing. Coolbrith was often sick in bed with rheumatism. Even as her health began to show signs of deterioration, she did not stop her work at the Bohemian Club. She began to work on a history of California literature as a personal project. Songs from the Golden Gate, was published in 1895; it contained "The Captive of the White City" which detailed the cruelty dealt to Native Americans in the late 19th century. Coolbrith kept in touch with her first cousin Joseph F. Smith to whom and for whom she frequently expressed her love and regard. In 1916, she sent copies of her poetry collections to him. He publicized them, identifying as a niece of Joseph Smith. This greatly upset Coolbrith. She told him that "To be crucified for a faith in which you believe is to be blessed. To be crucified for one in which you do not believe is to be crucified indeed." Coolbrith fled from her home at Broadway and Taylor with her Angora cats, her student boarder Robert Norman and her friend Josephine Zeller when the 1906 San Francisco Earthquake hit. Her friends took a few small bundles of letters from colleagues and Coolbrith's scrapbook filled with press clippings about her and her poems. Across the bay, Joaquin Miller spotted heavy smoke and took a ferry from Oakland to San Francisco to help Coolbrith in saving her valuables from encroaching fire. Miller was prevented from doing so by soldiers who had orders to use deadly force against looters. Coolbrith's home burned to the ground. Soldiers evacuated Russian Hill, leaving Ina and Josie, two refugees, among many, wandering San Francisco's tangled streets. Coolbrith lost 3,000 books, row upon row of priceless signed first editions, rare original artwork, and many personal letters in the disaster. Above all, her nearly complete manuscript Part memoir, part history of California's early literary scene, including personal stories about her friends Bret Harte, Mark Twain, and John Muir, were lost. Coolbrith spent a few years in temporary residences after the blaze and her friends rallied to raise money to build her a house. Mark Twain sent three autographed photographs of himself from New York that sold for $10 a piece. He then sat for 17 more studio photographs to further the fund. She received a discreet grant from her Bohemian friends and a trust fund from a colleague in 1910. She set up again in a new house at 1067 Broadway on Russian Hill. Coolbrith got back to business writing and holding literary salons. Coolbrith traveled by train to New York City several times for several years, greatly increasing her poetry output. In those years she produced more than she had produced in the preceding 25 years. Her style was more than the usual themes expected of women. Her sensuous descriptions of natural scenes advanced the art of Victorian poetry to incorporate greater accuracy without trite sentiment, foreshadowing the Imagist school and the work of Robert Frost. Coolbrith was named President of the Congress of Authors and Journalists in preparation for the 1915 Panama–Pacific International Exposition in San Francisco. That year, Coolbrith was also named California's first poet , and the first poet laureate of any American state on June 30, 1915. A poet laureate composed poems for special events and occasions. Then, it was a position for the state that was held for life. The Overland Monthly reported that eyes were wet throughout the large audience when Coolbrith was crowned with a laurel wreath by Benjamin Ide Wheeler, President of the University of California, who called her the "loved, laurel-crowned poet of California." After several more speeches were made in her honor, and bouquets brought in abundance to the podium, 74-year old Coolbrith accepted the honor, wearing a black robe with a sash bearing a garland of bright orange California poppies, saying: "There is one woman here with whom I want to share these honors: Josephine Clifford McCracken. For we are linked together, the last two living members of Bret Harte's staff of Overland writers. In a life of unremitting labor, time and opportunity have been denied. So my meager output of verse is the result of odd moments, and only done at all because so wholly a labor of love.” Coolbrith continued to write and work to support herself until her final publication in 1917. Six years later, in May of 1923, Coolbrith's friend Edwin Markham found her at the Hotel Latham in New York very old, disabled, ill and broke. Markham asked Lotta Crabtree to gather help for her. Coolbrith was brought back to California where she settled in Berkeley to be cared for by her niece. The next year, Mills College conferred upon her an honorary Master of Arts degree. In spring of 1926, she received visitors such as her old friend, art patron Albert M. Bender, who brought young Ansel Adams to meet her. Adams made a photographic portrait of Coolbrith seated near one of her white Persian cats and wearing a large white mantilla on her head. A group of writers began meeting at the St Francis Hotel in San Francisco, naming their group the Ina Coolbrith Circle. When Ina returned to Berkeley she never missed a Sunday meeting until her death at 87-years-old. Ina Coolbrith died on Leap Day, February 29, 1928. The New York Times wrote, “Miss Coolbrith is one of the real poets among the many poetic masqueraders in the volume.” She is buried in Mountain View Cemetery in Oakland. My fave. Her grave was unmarked until 1986 when the literary society The Ina Coolbrith Circle placed a headstone. It was only upon Coolbrith's death that her literary friends discovered she had ever been a mother. Her poem, "The Mother's Grief", was a eulogy to a lost son, but she never publicly explained its meaning. Most people didn't even know that she was a divorced woman. She didn't talk about her marriage except through her poetry. Ina Coolbrith Park was established in 1947 near her Russian Hill home, by the San Francisco parlors of the Native Daughters of the Golden Westmas. The park is known for its "meditative setting and spectacular bay views". The house she had built near Chinatown is still there, as is the house on Wheeler in Berkeley where she died. Byways in the Berkeley hills were named after Bret Harte, Charles Warren Stoddard, Mark Twain, and other literati in her circle but women were not initially included. In 2016, the name of a stairway in the hills that connects Grizzly Peak Boulevard and Miller Avenue in Berkeley was changed from Bret Harte Lane to Ina Coolbrith Path. At the bottom of the stairway, there is a plaque to commemorate Coolbrith. Her name is also commemorated at the 7,900 foot peak near Beckwourth Pass on Mount Ina Coolbrith in the Sierra Nevada mountains near State Route 70. In 2003, the City of Berkeley installed the Addison Street Poetry Walk, a series of 120 poem imprinted cast-iron plates flanking one block of a downtown street. A 55-pound plate bearing Coolbrith's poem "Copa De Oro (The California Poppy)" is raised porcelain enamel text, set into the sidewalk at the high-traffic northwest corner of Addison and Shattuck Avenues Her life in California spanned the pioneer American occupation, the end of the Gold Rush, the end of the Rancho Era in Southern California, the arrival of the intercontinental train, and the first renaissance of the 19th century feminist movement. The American Civil War played no evident part in her consciousness but her life and her writing revealed acceptance of everyone from all classes and all races. Everyone whose life she touched wrote about her kindness. She wrote by hand, a hand painfully crippled by arthritis after she moved to the wetter climate of San Francisco. Her handwriting was crabbed as a result — full of strikeouts. She earned her own living and supported three children and her mother. She was the Sweet Singer of California, an American poet, writer, librarian, and a legend in the San Francisco Bay Area literary community, known as the pearl of our tribe. Now this all leads me to wonder, what will your legacy be? Queens of the Mines was created and produced by me, Andrea Anderson. You can support Queens of the Mines on Patreon or by purchasing the paperback Queens of the Mines. Available on Amazon. This season's Theme Song is by This Lonesome Paradise. Find their music anywhere but you can Support the band by buying their music and merch at thislonesomeparadise@bandcamp.com
Zapraszam do wysłuchania ostatniego odcinka serii na temat wciąż nierozwiązanych zabójstw młodych kobiet w okolicy Bełchatowa w latach 1992 - 2001.Link do całej serii: https://www.youtube.com/watch?v=VmYECN7VaM8&list=PL3y_bdZHmpcaB_N3ikzoq2fHXSi0pDNV9Polska na Faktach na Facebooku: https://www.facebook.com/PolskaNaFaktachPolska na Faktach na Instagramie: https://www.instagram.com/polska_na_faktach_podcast/Informacje na temat podcastów kryminalnych różnych polskich twórców znajdziecie na profilu True Crime Poland: https://www.facebook.com/truecrimepolandMuzyka we wstępie/ Music in intro: Lightless Dawn Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/Mapy: ©2022 Google, ©GEOBasis-DE/BKG (©2009)Podcast Tropiciele Zbrodni na temat Edyty i Kamili: https://www.youtube.com/watch?v=rTYhXnahPDk&t=295sŹródła, z których korzystałam podczas przygotowywania odcinka:Materiały VideoInterwencja, Polsat, aut. Rafał Zalewskihttps://interwencja.polsatnews.pl/reportaz/2016-03-29/bil-dusil-ciala-wrzucal-do-rzeki_1500904/MK 997 z 2002 rokuhttps://www.cda.pl/video/1188385408Z Archiwum 997, odc. 1, sezon 1, czasem powtarzany na CI PolsatFragmenty "Z Archiwum 997" na fanpagu FB https://www.facebook.com/CIPolsat/videos/10153272644489345Telewizyjne Biuro Śledcze https://www.youtube.com/watch?v=nobk3ZZGRIg&t=682sArtykuły (online)Angora, aut. Michał Fajbusiewicz, Nr 4 (1284), 25.01.2015https://www.angora.com.pl/ płatny dostęp do archiwumCrime.com.pl, aut. Marta Bilskahttps://crime.com.pl/3094/tylko-rzeki-znaja-sprawce/Detektyw online, aut. Roman Bartosiakhttps://detektywonline.pl/wampir-z-belchatowa-poznaj-kolejne-ofiary/Zaginieni przed latyhttps://zaginieniprzedlaty.com/archiwum-zbrodni/rolnik-seryjnym-morderca-autostopowiczek/ Sieradz Nasze Miasto, aut. Paweł Gołąbhttps://sieradz.naszemiasto.pl/to-bylo-zabojstwo/ar/c1-5429845
Ania to najmłodsza ofiara serii tajemniczych zabójstw w okolicy Bełchatowa. Życie straciła w 2000 roku, w wieku zaledwie 16 lat.Polska na Faktach na Facebooku: https://www.facebook.com/PolskaNaFaktachPolska na Faktach na Instagramie: https://www.instagram.com/polska_na_faktach_podcast/Informacje na temat podcastów kryminalnych różnych polskich twórców znajdziecie na profilu True Crime Poland: https://www.facebook.com/truecrimepolandMuzyka we wstępie/ Music in intro: Lightless Dawn Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Mapy: ©2022 Google, ©GEOBasis-DE/BKG (©2009)Źródła, z których korzystałam podczas przygotowywania odcinka:Materiały VideoMK 997 https://youtu.be/N69f4kvbWtM?t=509Telewizyjne Biuro Śledcze https://polsatboxgo.pl/wideo/programy/telewizyjne-biuro-sledcze/5028331/telewizyjne-biuro-sledcze-odcinek-37/9907Zapowiedź programu "Z Archiwum 997" gdzie pokazany jest artykuł na temat poszukiwań Ani wg wskazań jasnowidza https://www.facebook.com/CIPolsat/videos/10153272644489345Interwencja, aut. Rafał Zalewski https://interwencja.polsatnews.pl/reportaz/2016-03-29/bil-dusil-ciala-wrzucal-do-rzeki_1500904/Artykuły online Angora, aut. Michał Fajbusiewicz https://www.pressreader.com/poland/angora/20150329/281968901176179Blog Bez Przedawnienia, aut. Hubert Kordos https://bezprzedawnienia.blogspot.com/2022/03/mord-w-popielec.htmlBełchatów Nasze Miasto, aut. Ewa Drzazga https://belchatow.naszemiasto.pl/ania-boczkiewicz-zginela-w-2000-roku-jej-historia-pozostaje/ar/c1-2085526money.pl https://www.money.pl/gospodarka/wiadomosci/artykul/ponad;3;tys;osob;wzielo;udzial;w;marszu;milczenia;w;belchatowie,215,0,44759.html
Czy Iwona była pierwszą ofiarą rzekomego "Wampira z Bełchatowa"? A może za jej smiercią stał ktoś dobrze jej znany? Na to pytanie niestety wciąż nie znamy odpowiedzi ...Bardzo dziękuję panu Adamowi Kwietniowi, założycielowi profilu na FB "Zbrodnie z Archiwum X", za podzielenie się ze mną swoją wiedzą w tej sprawie i użyczenie głosu w tym odcinku. Profil Zbrodnie z Archiwum X możecie odwiedzić i polubić tutaj: https://www.facebook.com/zbrodniezarchiwumxPolska na Faktach na Facebooku: https://www.facebook.com/PolskaNaFaktachPolska na Faktach na Instagramie: https://www.instagram.com/polska_na_faktach_podcast/ Informacje na temat podcastów kryminalnych różnych polskich twórców znajdziecie na profilu True Crime Poland: https://www.facebook.com/truecrimepolandMuzyka we wstępie/ Music in intro: Lightless Dawn Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/Mapy: ©2022 Google, ©GEOBasis-DE/BKG (©2009) Źródła, z których korzystałam podczas przygotowywania odcinka (oprócz informacji od pana Adama Kwietnia)Video:Odcinek Interwencji, aut. Rafał Zalewski https://interwencja.polsatnews.pl/reportaz/2016-06-30/tropem-seryjnego-mordercy-z-okolic-belchatowa_1513529/ Książka:Janusz M. Jastrzębski, "Bestie, Zbrodnie i Kary", Wyd. Aktywa, Chełmiec: 2007Artykuły online:4 części artykułów o Iwonie na profilu "Zbrodnie z Archiwum X": https://www.facebook.com/zbrodniezarchiwumx/photos/a.167520823610278/239459243083102/ https://www.facebook.com/zbrodniezarchiwumx/photos/240351112993915/ https://www.facebook.com/zbrodniezarchiwumx/photos/241328236229536 https://www.facebook.com/zbrodniezarchiwumx/photos/242222206140139Detektyw, aut. Roman Bartosiak https://detektywonline.pl/iwona-rojszczak-czy-zabil-ja-seryjny-zabojca-z-belchatowa/Angora, Nr 12 (1292) Rok XXVI, 22.03.2015, aut. Micha Fajbusiewicz https://www.angora.com.pl/ (dostęp do archiwum jest płatny)crime.com.pl, aut Marta Bilska https://crime.com.pl/3094/tylko-rzeki-znaja-sprawce/?fbclid=IwAR3rAWdikJ-a72zn0qngsrutqP2RmP_AzTItvhQTbANP828Vzg-cPfUcOTwZaginieni przed laty: https://zaginieniprzedlaty.com/archiwum-zbrodni/rolnik-seryjnym-morderca-autostopowiczek/
Morgan and Julia are opening a restaurant near The Inn Between called Gypsy Sally's, and Leah is here for the burgers and tex mex. The pair moved out to the Texas Hill country to provide their kids with open spaces and room to move and they're still managing multiple restaurants and a distillery. Morgan specializes in the hospitality business and loves being creative in his distillery making spirits with local plants. Julia is an artist, and has recently become interested in spinning yarn with fibers from local angora goats. Morgan and Julia are also talking about how they work together in all their business endeavors and some of the challenges they've had along the way. Contact Morgan and Julia Instagram- @morganfweber or @gyspysallysleakey Email- morgan@themarfaspirit.com [00:00] Show intro [00:40] Welcome to Julia and Morgan [01:20] Leah stalking Julia and Morgan's restaurant [02:27] Morgan and Julia's backstory [05:29] How the distillery came about [13:16] Julia's practice as an artist [16:29] The feedback loop as an entrepreneurial couple [17:26] Ideas for the yarn from Angora goats [20:51] The area Morgan and Julia live [21:28] How Morgan and Julia work together [24:26] The branding in the restaurant [25:14] Dreaming of ideas [26:02] Labor day party and other events [28:23] The people and the food at Gypsy Sally's [31:21] Challenges of being a restaurateur [40:31] Getting people to staff in a rural area [46:07] What it takes to live the dream [47:45] Making the transition from no kids to kids with a business [51:52] Where Julia and Morgan are from and small towns [54:40] Cool things in the work for Leakey [55:23] Where to find more [56:12] Closing comments Theinnbetweentx.com IG- @THEINNBETWEENTX TIKTOK- @THEINNBETWEENTX FACEBOOK- @THEINNBETWEENTX SPOTIFY- @The Inn Between Podcast https://friocampriverview.com/
Sharon HolmanFor the past three years I have served on the ADSBS Board I have been motivated by the fact that ADSBS is in the enviable position to propel our breeds and branded Dorper Lamb product into the U.S market as an identifiable and quality protein. My term on the ADSBS Board of Directors started in January 2020, and everyone knows what happened next, COVID….and crisis management. I believe that the Board was successful in keeping the Society running, given all the unique challenges. I was chosen to lead the Board as President in 2021 and again in 2022. My greatest accomplishments during my leadership include: the development of the ADSBS Strategic Plan, modernizing the ADSBS committees, employing the first Executive Director, implementing a new financial structure, and updating ADSBS policies and procedures. I would be honored to serve another term on the ADSBS Board of Directors to continue to work for you and expand into what I believe is another avenue for Dorpers to excel: commercial sheep production. Why? Because with a robust commercial Dorper sheep industry we will enjoy a strong sustainable market for our registered Dorper and White Dorper seedstock. Range management and production agriculture are my passions and I believe that Dorpers fit into my business model and work for me. I am a fulltime rancher and in my own operation I use my Dorper and White Dorper sheep, Spanish goats, Angora goats, and occasionally a few cows to manage native forages. I spent 20 years raising Boer goats however, I chose to leave that industry because the goats were not adaptable to production on a commercial level. I would like to say that this has been an easy journey as we are fortunate to raise a breed of sheep so adaptable that they thrive across the U.S. in all types of production systems. However, we've had our challenges and I believe that we're better for it and have found more opportunity. I would be honored to continue to work for you and continue to move ADSBS progressively forward. www.Dorpersheep.orgwww.Nationalagco.com
We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. 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/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe
Afsnit 412. Jesper Rofelt. Jesper er instruktør, manuskriptforfatter og manden bag en enormt stor del af dansk comedy - Alt fra Banjos likørstue til Klovn og Drengene fra Angora til Minkavlerne. Kort sagt er Jesper ekstremt god til det han laver og han har en succesrate uden lige. Dagens afsnit handler selvfølgelig derfor hovedsagligt om tilblivelsen og skabelsen af dansk comedy, set inde fra maskinrummet, når vi i dag vender mikrofonen den anden vej og hører hvad der sker bag kameraet på prisvindende succeser. Gå fornøjelse, Christian.
Thank you for tuning in to Episode 234 of the Down Cellar Studio Podcast. Full show notes with photos can be found on my website. This week's segments included: Off the Needles, Hook or Bobbins On the Needles, Hook or Bobbins Brainstorming From the Armchair Some Years Later Knitting in Passing KAL News Events Life in Focus On a Happy Note Quote of the Week Off the Needles, Hook or Bobbins Love Letters Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Fibernymph Dye Works Mountain Tweed BFL in the Love Letters Colorway Ravelry Project Page Meters for Stash Dash= 232.6 Blue/Green/Yellow 3 ply handspun Three Waters farm Fiber- Forested Hills Colorway (blues & greens). Three Waters Farm Corriedale- pulled out the blues/greens and yellows pulled from the Quintessence colorway. Rhapsody Fiber Arts- 2oz 50% Angora/50% merino no colorway- lighter blue. Ravelry Project Page Meters for Stash Dash= 464 Cozy Clusters Baby Blanket Pattern: Cozy Clusters Baby Blanket by Leelee Knits (free & paid options available on the LeeLeeKnits website) Yarn: Knit Picks Brava 500 in the Peacock colorway (Main), Brava in the Dove Heather Colorway (gray), and Craft Smart Value Yarn in the Neon Yellow Colorway Hooks: 5.5mm (J) for the cast on & 6.0mm (I) for the body I wanted a bobble edging (inspired by this blanket). I used this free blog tutorial for the bobble border. Ravelry Project Page Stash Dash Meters- 1,095.2 Psychedelic Sunset Felici Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Knit Picks Felici in the Psychedelic Rainbow Colorway Ravelry Page Stash Dash Meters: 252.7 On the Needles, Hook or Bobbins Shawl Design Yarn: 150g skein of fingering weight from agirlandherwool in the On the Boardwalk. Pattern: in progress Update: I am not happy with how decreases are laying on the decrease side so I'll rip back and redo. Felici Socks (3 in progress) Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Baker Street Colorway (Ravelry Page), Desert Rose (Ravelry Page), Bayou Colorway (Ravelry Page) Scrappy Hexagon Blanket Pattern: Basic Crochet Hexagon Pattern & Tips from Make Do and Crew Website & YouTube Tutorial Hook: F (3.75 mm) Yarn: Knit Picks Hawthorne Marl Sock Lab in the Grey White Marl Colorway, Patons Kroy in the Gentry Colorway + fingering weight scraps Ravelry Project Page 162 done of 260= 62% done. Malabrigo Nube Roving- Spinning Project 113g combed top Merino wool Colorway: 870 Candombe Marled Felici Cozy Clusters Baby Blanket Pattern: Cozy Clusters Baby Blanket by Leelee Knits (free & paid options available on the LeeLeeKnits website) Yarn: Knit Picks Brava 500 in White held double with Knit Picks Felici in the Bookshop, Rustic Cabin & Friendly Skies colorways Hooks: 5.5mm (J) for the body Ravelry Project Page Brainstorming Acquiring 2 bags of yarn from a friend moving on from knitting into quilting. Not sure what I can make out of her stash, but very much looking forward to giving that a go. I have all sorts of blanket mojo. If you do too, check out some of these charities excepting donations. Project Linus MA Warm Up America Knots of Love From the Armchair The Long Weekend by Gilly Macmillan. Bookshop Affiliate Link. Amazon Affiliate Link. The Mother-In-Law by Sally Hepworth. Bookshop Affiliate Link. Amazon Affiliate Link. Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases. Some Years Later I crocheted in 2018. Check out my Ravelry Project Page here. Pattern is the Easy Breezy Swim Cover by Megan Shaimes (free on the Meg Made with Love Blog or ad-free for $3.50 on Etsy). Knitting in Passing Millie called me to re-learn the purl but she knew how to do it after all. While waiting for a train, a lady sat down and asked if this was the knitting bench. She pulled out a lime green dish cloth she brought with her to knit on while waiting for an appointment. As I was getting off train the other day, a man asked when I was done crocheting what was my project going to be. He said he looked forward to seeing my progress if he sees me again. KAL News #SplashPadParty22 Link to the 2022 Splash Pad Party Rules.docx Participant Sign Up- Google Form Check out our amazing Sponsors! Click here for the Google doc with their websites and Instagram profiles. Check out the list of available Coupons from our amazing sponsors: Ravelry link Check out the Splash Pad Exclusive Items here Enter your FOs using this Splash Pad Summer Celebration Form to be eligible for prizes (not a Ravelry link). View all the Entries and the Leaderboard here -> Splash Pad Party Player Stats Need help with an entry submission? -> Splash Pad Support Request Form Questions- check out this Ravelry Thread or email Jen. Tune in to hear if you won a June Participation Prize! Events Summer Bingo hosted by Monica & Cortney of the Craft Cook Read Repeat Podcast Starts friday evening may 27, ends Mon Sept 5 Need to post a photo of completed Bingo with #CCRRsummerbingo2021 to Instagram or Ravelry Sock Week with Knitty Natty. July 10-17th. I'll be co-hosting an event with Natalie on Tuesday July 12th at 8p Eastern! Summer Sock Camp hosted by Kay of The Crazy Sock Lady YouTube Channel. The KAL runs 5/28/22 – 8/31/22 this year! Woolen Women Fibers Rock It Tee KAL. Check out this post on Instagram for details. Runs May 7-July 30th. Two Ewes Fiber Adventures Summer Spin In. June 1-September 5th. Find their Ravelry Group thread here. #SummerSpinIn2022 Stash Dash (Hosted by The Knit Girllls) will be hosted on Discord again and will be from May 27th-end of August. Discord link: knit girllls discord Stash Dash Update: Jen's Stash Dash Spreadsheet Tracker- Google Doc Jasmin's Stash Dash Spreadsheet Tracker- Google Doc Jasmin is 1700 meters ahead, but we still have 2 full months! I am planning to go to Rhinebeck and look forward to the satisfcation of having her hand over our Sash! Life in Focus Furious about the Supreme Court's overturning of Roe versus Wade? Check out this website Action For All (choice.crd.co). It is really easy to navigate website that gives options for where to donate, volunteer, protest, and to find access to healthcare including abortion including region specific links. I also invite you to check out the Earbuds Collective recommendations for podcasts on the topic of Abortion. On a Happy Note Dancing in the 40th Anniversary Recital & a fun after party. Millie's impromptu sleepover. pancakes and hike before heading to dad's for Father's Day Father's Day- too cold for a pool day, but we had fun inside playing games. Carly's bridal shower Riley graduated 8th grade!. Pool Day with Mom's eBay friends + a few of our friends too. Quote of the Week Beauty is as much about how and whether you look as what you see. –JOHN GREEN Thank you for tuning in! Check out the Down Cellar Studio Patreon! Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Instagram: BostonJen1 YouTube: Down Cellar Studio Facebook: https://www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio Check out my Down Cellar Studio YouTube Channel Knit Picks Affiliate Link Bookshop Affiliate Link Yarnable Subscription Box Affiliate Link Music -“Soft Orange Glow” by Josh Woodward. Free download: http://joshwoodward.com/ Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases.
Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Hypnotic Yarn Plush Sock in the Pumpkin Patch colorway (October Yarnable Subscription Box Colorway). Click here for my YouTube Unboxing Video. Ravelry Project Page 264.0 meters for Stash Dash Curious about Yarnable? Consider checking out my Yarnable Subscription Box Affiliate Link. Use Coupon Code BOSTONJEN for $5 off your first box. Don't forget- Yarnable/Hypnotic Yarn is a Snack Shack Sponsor Mr. Fezziwig Socks Pattern: OMG Heel by Megan Williams Yarn: Woolens & Nosh Corriedale Sock in the Mr. Fezziwig Colorway Needles: US 1.5 (2.5 mm) My Ravelry Project Page 238.0 meters for Stash Dash Rainbow Crochet Crop Pattern: 100% improvised. Yarn: Lion Brand Re-up. Colors: Ecru, Red, Orange, Sunflower, Lime, Aqua, Lilac and Raspberry Hook: E (3.5 mm) Ravelry Project Page 482 g used. 719.7 meters for Stash Dash. 3 ply yarn in Blues & Greens Wool of the Andes Unspun Roving. Colorway: Delft Heather (100 grams) 100% Peruvian Highland Wool. Malabrigo Nube. 113 grames Combed Top 100% Merino Wool in Colorway 809 Solis. Rhapsody Fiber Arts- 2oz 50% Angora/50% merino no colorway- lighter blues. This 3 ply skein is 31 inches long from end to end, or 62 inches per wrap of the noddy noddy. 106 wraps= 6,572 inches or 166.9 meters for Stash Dash (because the fiber went through the orifice 4 times) On the Needles, Hook or Bobbins Shawl Design I shared some preliminary details about a new design idea using a 150g skein of fingering weight from agirlandherwool in the On the Boardwalk colorway. Meggsie/Marta Scrappy Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Patons Kroy Socks FX in the Geranium Colors Colorway (leftover from Marta's Socks) & Yarn: Knit Picks Felici in the Double Dog Dare Colorway (leftover from Meggsie's socks) + also added yarn from Aila's dance socks. Ravelry Project Page Love Letters Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Fibernymph Dye Works Mountain Tweed BFL in the Love Letters Colorway Ravelry Project Page Felici Socks (4 in progress) Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Baker Street Colorway (Ravelry Page), Desert Rose (Ravelry Page), Bayou Colorway (Ravelry Page) Psychedelic Rainbow (Ravelry Page- used a Lemonade Shop yarn for heel) Scrappy Hexagon Blanket Pattern: Basic Crochet Hexagon Pattern & Tips from Make Do and Crew Website & YouTube Tutorial Hook: F (3.75 mm) Yarn: Knit Picks Hawthorne Marl Sock Lab in the Grey White Marl Colorway, Patons Kroy in the Gentry Colorway + fingering weight scraps Ravelry Project Page As of 6/14: 95 light gray, 27 dark gray – 112 total Brainstorming Stash Dash Planning I'm brainstorming baby blanket options Snuggle Bean Blanket by Little Duck Crochet available on Etsy & Ravelry Link ($5 US) Abacus Blanket by Susan Carlson available on LoveCrafts & Ravelry & Etsy ($6 US) or maybe a simple corner to corner (C2C) crochet blanket? From the Armchair Hooked and Booked podcast with AJ of KJKrochet, South Africa Crochet Conversations Inez and Mell from Singapore Heard about both of these from the Two Ewes Fiber Adventures Podcast. Black Cake by Charmaine Wilkerson. Bookshop Affiliate Link. Amazon Affiliate Link. Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases. Knitting in Passing Kris' Felici sock (Ravelry Project Page) blew out after just more than a year but keep in mind that Kris wears her socks daily from October- May and teaches dance in them. In My Travels I shared some stories about my recent trip to Ireland, Scotland and Spain. Patrons, don't forget to check out the Patreon feed for blog posts, photos and a Google Album of my trip pictures. KAL News #SplashPadParty22 Link to the 2022 Splash Pad Party Rules.docx Participant Sign Up- Google Form Check out our amazing Sponsors! Click here for the Google doc with their websites and Instagram profiles. Check out the list of available Coupons from our amazing sponsors: Ravelry link Check out the Splash Pad Exclusive Items here Enter your FOs using this Splash Pad Summer Celebration Form to be eligible for prizes (not a Ravelry link). View all the Entries and the Leaderboard here -> Splash Pad Party Player Stats Need help with an entry submission? -> Splash Pad Support Request Form Questions- check out this Ravelry Thread or email Jen. On this episode I talked about: Thanks to everyone who joined our May 30th Kick Off. Thursday June 23rd at 8p Eastern we're doing another Zoom hangout for Patrons at the$5 level and up. Check out the details here. Splash Pad '22 logo bags are available from Woolen Women Fibers. Check out their knit kits here or sock sets here. Events Sock Week with Knitty Natty. July 10-17th. I'll be co-hosting an event with Natalie on Tuesday July 12th at 8p Eastern! Summer Sock Camp hosted by Kay of The Crazy Sock Lady YouTube Channel. The KAL runs 5/28/22 – 8/31/22 this year! Irocknitters KAL hosted by Cori (Irocknits Designs, also a Splash Pad Sponsor). Check out this post in her Ravelry Group. KAL runs from April 25th through June 30, 2022. Woolen Women Fibers Rock It Tee KAL. Check out this post on Instagram for details. Runs May 7-July 30th. Two Ewes Fiber Adventures Summer Spin In. June 1-September 5th. Find their Ravelry Group thread here. #SummerSpinIn2022 Stash Dash (Hosted by The Knit Girllls) will be hosted on Discord again and will be from May 27th-end of August. Discord link: knit girllls discord Stash Dash Update: Jen's Stash Dash Spreadsheet Tracker- Google Doc Jasmin's Stash Dash Spreadsheet Tracker- Google Doc On a Happy Note Girls weekend with Kris and Laura. Got a cool embroidered art piece for our guest room which Mom and Dad got me for my birthday. Birthday celebrations. Friday- kayaking with Mom, Dad and Dan. Beer out on the sandbar, local brewery, then ice cream and dinner with RGM. Sleepover at Mom's. Pool day, lobsters. Kids bouncing on air mattress. Fake out with a small ice cream cake- which I have VERY strong feelings about. Kara's kids- Emelie and Teddy. Em asked me if she could lick my cake. I thought she said Look AT my cake and I said SURE! Quote of the Week One does not ‘find oneself' by pursuing one's self, but on the contrary by pursuing something else and learning through some discipline or routine (even the routine of making beds) who one is and wants to be. –May Sarton Thank you for tuning in! Contact Information: Check out the Down Cellar Studio Patreon! Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Instagram: BostonJen1 YouTube: Down Cellar Studio Facebook: https://www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio Check out my Down Cellar Studio YouTube Channel Knit Picks Affiliate Link Bookshop Affiliate Link Yarnable Subscription Box Affiliate Link Music -“Soft Orange Glow” by Josh Woodward. Free download: http://joshwoodward.com/ Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases.
This week on the Head Shepherd podcast we have Monica Ebert.Monica has been involved with sheep her entire life. She grew up on a stud farm in North East Kansas, USA breeding and showing British Downs Breeds. The passion for wool came a little later after Monica studied Fashion Design and Marketing at University. This is where she started to see the link between fashion and fibre. She decided she wanted to focus on wool as it goes into apparel. Monica interned in Texas at the Texas A&M AgriLife Research centre. Monica returned to Texas AgriLife Research to complete her masters degree focusing on wool supply chains. There she focused on a genetic study crossing Australian Merino genetics to try and fine up the Rambouillet (Merino) in the US. From there she went to Montana State University to manage the Wool Research Lab for a year, focusing on working with local wool growers in the state of Montana. Mark and Monica worked together at the NZ Merino company and both left at similar times. Mark to start neXtgen Agri and Monica to South Africa. Monica is working for South Africa's (SA) biggest wool broker, BKB, managing a brand named Core Merino. Monica has been there for the past four years and she's been focusing on the environmental impact on fibre growing and what that means globally to both the producer and the consumer. Core merino is a wool athleisure brand started in 2012. Monica came on board in 2018 and gave the whole brand a revamp. "South Africa is a beautiful country, people enjoy being outdoors and being active"The perfect market for a merino athleisure brand but at the time they were only marketing it towards farmers. Monica increased the Core Merino online presence and the orders started adding up.Monica also gives Mark a run down of the farming systems in SA. Sheep are a massive part of the economy but as are crops and Angora goats- with South Africa having the largest agoria goat population in the world. “The farmers here are incredibly resilient.” It's not an easy place to farm with the weather, natural predators and animal health issues like Foot and Mouth Disease (FMD) disrupting supply chains. With no first stage processing in SA, and Chinese borders closed to South African raw wool due to a FMD outbreak, it is getting increasingly harder for wool brokers to shift wool. This is the second time in the four years that Monica has lived in SA that a FMD outbreak has resulted in China closing their borders.“It has made the industry wake up and realise maybe we're too reliant on others. They are now looking at what they can do, but it won't be an overnight fix. "We could fine-up the wool and target the European market or process wool ourselves.” Monica says.After four years in SA, Monica is now back off to the US. She'll be working with the Woolmark company in North America working with multiple active outdoor brands.“I think we can see the need to collaborate as a wider industry to make sure consumers know that wool is the clean green fibre it is”.Monica has been championing wool her entire career so we imagine her upcoming role will be no different. Heads TalkA fly on the boardroom wall. Weekly in-depth conversations with FTSE Executives CxOs Listen on: Apple Podcasts Spotify
Thank you for tuning in to Episode 232 of the Down Cellar Studio Podcast. Full show notes with photos can be found on my website. This week's segments included: Off the Needles, Hook or Bobbins On the Needles, Hook or Bobbins Brainstorming From the Armchair Knitting in Passing KAL News Events On a Happy Note Quote of the Week Thank you to this episode's sponsors: Sunsoaked Yarns & Fibernymph Dye Works Note- there will be only one episode in May 2022. Talk to you again in June (or join us May 30th for our Splash Pad Virtual Kick Off) Off the Needles, Hook or Bobbins Mom's Zen Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Knit Picks Felici in the Zen Colorway Ravelry Project Page 2 Tiny Turtles Pattern: Little Miss Turtle by Diana Moore (free crochet pattern available on Ravelry & on the PinkMouseBoutique website) Yarn: Legacy Fiber Artz Minis in various greens Hook: B 2.25 m Ravelry Project Page for Turtle 1 Ravelry Project Page for Turtle 2 On the Needles, Hook or Bobbins Spinning: Wool of the Andes Unspun Roving. Colorway: Delft Heather (100 grams) 100% Peruvian Highland Wool & Malabrigo Nube. 113 grames Combed Top 100% Merino Wool in Colorway 809 Solis. Planning to ply these together with Rhapsody Fiber Arts- 2oz 50% Angora/50% merino no colorway- lighter blues. Scrappy Hexagon Blanket Pattern: Basic Crochet Hexagon Pattern & Tips from Make Do and Crew Website & YouTube Tutorial Hook: F (3.75 mm) Yarn: Knit Picks Hawthorne Marl Sock Lab in the Grey White Marl Colorway + fingering weight scraps Ravelry Project Page 3 rounds with yarn held double 75 hexagons completed to date Double Dog Dare Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Knit Picks Felici in the Double Dog Dare Colorway Ravelry Project Page Pumpkin Patch Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Hypnotic Yarn Plush Sock in the Pumpkin Patch colorway (October Yarnable Subscription Box Colorway). Click here for my YouTube Unboxing Video. Curious about Yarnable? Consider checking out my Yarnable Subscription Box Affiliate Link. Use Coupon Code BOSTONJEN for $5 off your first box. 2 recent Unboxing Videos- check out April & May on YouTube. Brainstorming Shawl idea forming. Maybe a new design? Maybe a disaster? Time will tell. From the Armchair The Invisible Kingdom: Reemerging Chronic Illness by Meghan O'Rourke. Bookshop Affiliate Link. Amazon Affiliate Link. One True Loves by Taylor Jenkins Reid (narrated by Julia Whelan) Bookshop Affiliate Link. Amazon Affiliate Link. Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases. Knitting in Passing My cousin Gayle gave me an antique darning egg that was her great grandmother's. It appears to be a vintage white milk glass hand blown darning egg- similar to this one listed on eBay Mom got us matching pink socks with sheep on them for upcoming Wool Festivals! KAL News Link to the 2022 Splash Pad Party Rules.docx Participant Sign Up- Google Form Check out our amazing Sponsors! Click here for the Google doc with their websites and Instagram profiles. Check out the list of available Coupons from our amazing sponsors: Ravelry link Check out the Splash Pad Exclusive Items here Enter your FOs using this Splash Pad Summer Celebration Form to be eligible for prizes (not a Ravelry link). View all the Entries and the Leaderboard here -> Splash Pad Party Player Stats Need help with an entry submission? -> Splash Pad Support Request Form Questions- check out this Ravelry Thread or email Jen. Join our Virtual Kick Off Events Monday May 30th. Click here for a Google Doc with the full schedule. Events Stash Dash (Hosted by The Knit Girllls) will be hosted on Discord again and will be from May 27th-end of August. Discord link: knit girllls discord On a Happy Note Scituate Salt Cave I enjoyed the quiet time & guided meditation. I'm not sure I believe in the benefits of the salt and am especially skeptical that the website sites Dr. Oz as their source. Check out the Maintenance Phase Podcast to hear some behind the scenes details you may not know about Dr. Oz Morgen's First Communion and A's birthday dinner. I saw a local production of Joseph & The Amazing Technicolor Dreamcoat with my cousins, my grandmother & my great aunt Florence as part of her 94th birthday celebration. She's always wanted red leather pants. Her daughter Joanie bought them for her and she rocked them! Savers trip with Mom! Always fun (and funny) My cousin Bella's performance as Fiona in Shrek the Musical Our friend Liz's surprise 30th Birthday- Star Wars Themed Party. The decorations were on point! We have a new nephew- Zachary! Mother's Day at Mom's. My mom, Diane Lassonde, was on Episode 190 of the eBay for Business Podcast. Check it out! Quote of the Week Life will hit you hard in the face, wait for you to get back up just so it can kick you in the stomach. But getting the wind knocked out of you is the only way to remind your lungs how much they like the taste of air.– Sarah Kay Thank you for tuning in! Contact Information: Check out the Down Cellar Studio Patreon! Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Instagram: BostonJen1 YouTube: Down Cellar Studio Facebook: https://www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio Check out my Down Cellar Studio YouTube Channel Knit Picks Affiliate Link Bookshop Affiliate Link Yarnable Subscription Box Affiliate Link Music -“Soft Orange Glow” by Josh Woodward. Free download: http://joshwoodward.com/ Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases.
Chelsea examines the worst director of all times in Ed Wood (1994). Tianna defends SJP's "horseface" and Christy questions her feelings about Johnny Depp.
Thank you for tuning in to Episode 230 of the Down Cellar Studio Podcast. Check out show notes with photos on my website. This week's segments included: Off the Needles, Hook or Bobbins On the Needles, Hook or Bobbins From the Armchair In my Travels KAL News Events Ask Me Anything On a Happy Note Quote of the Week Off the Needles, Hook or Bobbins Kim's Christmas Stocking Pattern: Christmas Stockings to Knit and Crochet from Family Circle Magazine. Available in this web archive link. I've also saved it to my podcast Gmail Google Drive in case it disappears! Yarn: Red Heart Super Saver in Cherry Red, Hunter Green and White Hook: G (4.00 mm) My Ravelry Project Page A's Scrappy Dance Shoe Legwarmers Pattern: Dance Shoe Legwarmers by Sherry Katherine Vernon (free knitting pattern) Yarn: Various Fingering Weight leftovers including Knit Picks Felici Needles: US 1 5(2.5 mm) My Ravelry Project Page Kris' birthday socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Berocco Sox in the Rosehearty colorway My Ravelry Project Page Eme's Unicorn Macaron Amigurumi Pattern: Unicorn Macaron Amigurumi free crochet pattern by Anitha Domacin available on their website. Yarn: Knit Picks Brava Worsted in white and various other colors. Small bit of silver metallic yarn from Stash Hook: C (2.75 mm) My Ravelry Project Page On the Needles, Hook or Bobbins Pumpkin Patch Socks Pattern: OMG Heel by Megan Williams ($5 Knitting Pattern available on Ravelry) Needles: US 1.5 (2.5 mm) Yarn: Hypnotic Yarn Plush Sock in the Pumpkin Patch colorway (October Yarnable Subscription Box Colorway). Click here for my YouTube Unboxing Video. Curious about Yarnable? Consider checking out my Yarnable Subscription Box Affiliate Link. Use Coupon Code BOSTONJEN for $5 off your first box. Perry's Hat Pattern:Turn a Square by Jared Flood ($4 knitting pattern available on Ravelry & on the Brooklyn Tweed website) Yarn: Berroco Vintage in the Dungaree Colorway Needles: US 5 (4.5 mm) and US 7 (3.75 mm) My Ravelry Project Page Spinning: Wool of the Andes Unspun Roving. Colorway: Delft Heather (100 grams) 100% Peruvian Highland Wool. Spun one braid. I have one more to go. Malabrigo Nube. 113 grames Combed Top 100% Merino Wool in Colorway 809 Solis. Planning to ply these together with Rhapsody Fiber Arts- 2oz 50% Angora/50% merino no colorway- lighter blues. Already plied some of this with two other singles. Riley's Christmas Cardigan Pattern: Everyday Cardigan in Merino No. 5 by Loopy Mango Needles: US 15 (10 mm) Yarn: Bernat Blanket in Misty Green (sage color) My Ravelry Project Page From the Armchair Project Hail Mary by Andy Weir. Bookshop Affiliate Link. Amazon Affiliate Link. Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases. In My Travels Tune in to hear about our trip to Newport, Rhode Island for my cousin's wedding We enjoyed a visit to Newport Vineyards for cocktail hour Friday night. We got breakfast at Diego's on Saturday morning. Tip: get a reservation and order the Diego's Huevos I wore a fabulous dress I got second hand at the Second 2 None Consignment Shop in Hanover, MA KAL News Splash Pad Party '22 Call for Sponsors! Sponsor Call: Deadline 4/25/22 Want to sign up (after you read the details)? Please fill out this Google Form Info Page for Sponsors on my Website- click here Kick Off Date- Monday 5/30- Memorial Day. Virtual Events.Sign ups for Participants coming soon Events The Knit Girls Stash Dash usually starts in May! Stay tuned. Ask Me Anything I received a couple questions asking about how Mom is doing after her lung cancer diagnosis in December 2021. Tune in for more. You can also check out the video we shared in March, if you want to hear/see more. On a Happy Note My friend Laura came for a visit. We celebrated our friend Kris' birthday with shopping and dinner. I went for my annual physical and mammogram! PSA- don't put off those doctor's appointments. It's important. I am enjoying the signs of Spring! Went for mani pedis with Mom and Trish My Cousin's Wedding in Newport! I booked weekend getaway with Riley and Aila for their 14th and 13th birthdays. Wordle text chat with my family Quote of the Week Learning how to be still, to REALLY be still and let life happen- that stillness becomes radiance. -Morgan Freeman Thank you for tuning in! Contact Information: Check out the Down Cellar Studio Patreon! Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Instagram: BostonJen1 YouTube: Down Cellar Studio Facebook: https://www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio Check out my Down Cellar Studio YouTube Channel Knit Picks Affiliate Link Bookshop Affiliate Link Yarnable Subscription Box Affiliate Link Music -“Soft Orange Glow” by Josh Woodward. Free download: http://joshwoodward.com/ Note: Some links are listed as Amazon Affiliate Links. If you click those, please know that I am an Amazon Associate and I earn money from qualifying purchases.
Today we are talking about the Turkish Van and Turkish Angora cats. Today was our first time doing it in-person, vs on a video call. If you have a cat story you want to share, and/or what breed you have and how you got it, let us know at: topbreedcats@gmail.com! Here are some pictures I found online of the cats we are feachering today. Thanks for listening! Turkish Van: https://www.google.com/search?q=turkish+van+cat&rlz=1CAJCUZ_enUS899&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi85ZmY55jzAhUVPH0KHbLACl0Q_AUoAXoECAEQAw&biw=1366&bih=665&safe=active&ssui=on#imgrc=eSX-mSp6ZcrJDMTurkish Angora: https://www.google.com/search?q=turkish+angora+cat&tbm=isch&ved=2ahUKEwjGtqGa55jzAhVGITQIHZdNACAQ2-cCegQIABAA&oq=turkish+angora+cat&gs_lcp=CgNpbWcQAzIICAAQgAQQsQMyBQgAEIAEMgUIABCABDIFCAAQgAQyBQgAEIAEMgUIABCABDIFCAAQgAQyBQgAEIAEMgUIABCABDIFCAAQgAQ6BggAEAcQHlCXxwFYo-EBYPrkAWgAcAB4AIAB7QGIAYMJkgEFNC4zLjKYAQCgAQGqAQtnd3Mtd2l6LWltZ8ABAQ&sclient=img&ei=6WROYYaeEMbC0PEPl5uBgAI&bih=665&biw=1366&rlz=1CAJCUZ_enUS899&safe=active&ssui=on#imgrc=1OnPSL_WNsyTuM
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