Podcasts about ax

Ani-mail, it rarely fails! It makes Ax want to wag his tail. @anidorkspod on twitter! Send questions to anidorkspod@gmail.com.New episodes every Wednesday!!!Hey! For real though: Leave us a 5 star review and we'll read it on the air!”Support the show

The Animorphs and Ax have one true ally in their battle against the Yeerks: the Chee. So, when they discover that the Chee – including their friend, Erek – are in trouble, they have no choice but to help. But the Chee's problem is much deeper than anything the kids could have imagined. It's hidden in the ocean. So far down that no human has ever travelled there – and survived. And the Animorphs realize what will happen if Visser Three discovers the valuable secrets of the Chee. One of which is the Animorphs...  -- Audiomorphs is an Animorphs podcast which is actually not so much a podcast as a bootleg Animorphs audiobook. Releases every Friday. Visit https://www.theapodcalypse.com/ Twitter: @audiomorphs

Astronaut and Ax-2 mission pilot John Shoffner speaks with WMFE from orbit about art, food, and the future of commercial space travel.

Episode 88! Venture capitalist Eyad Albayouk returns to The 966 to talk about the latest developments in the VC sector in Saudi Arabia as well as the closing of his new startup seed fund with Flat6Labs in Saudi Arabia. The hosts discuss with Eyad the rocky start for new funding rounds in the Kingdom after a red hot 2022. Before that conversation, the host discuss Richard's one big thing - a new report from the Saudi consultancy Mukatafa and Kearney on e-commerce in Saudi Arabia. Then the hosts talk about Lucien's one big thing - the recent space mission that saw two Saudis, including the first female Saudi, and two Americans head to the International Space Station. Lucien noted that the new US Ambassador to Saudi Arabia, Michael Ratney, released a well-produced and meaningful congratulatory video to coincide with the launch, a refreshing move by a veteran communicator. The hosts conclude as they always do with Yallah! 6 top storylines to keep you updated headed into the weekend. 7:19 - A new report by Saudi Arabia-based consultancy Mukatafa and Kearney found that 74% of online shoppers in Saudi Arabia expect to increase their purchases from the kingdom's ecommerce platforms compared to their purchases from China, GCC, Europe and US. However, further support will be needed to ensure a level playing field for all ecommerce players, thereby protecting consumer interests, and promoting local investments, the report said. 20:51 - SpaceX delivered another quartet of astronauts to the International Space Station on Monday - two Americans and two Saudis as part of the Axiom Mission 2 (Ax-2) launch to the International Space Station at Kennedy Space Center, Florida. To coincide with the launch, U.S. Ambassador to Saudi Arabia Michael Ratney released a positive video congratulating the astronauts and the people of both the US and KSA.  34:47 - Venture capitalist Eyad Albayouk returns to The 966 to talk about the latest developments in the VC sector in Saudi Arabia as well as the closing of his new startup seed fund with Flat6Labs in Saudi Arabia. Eyad joins The 966 from Riyadh. The hosts discuss with Eyad the rocky start for new funding rounds in the Kingdom after a red hot 2022.1:12:51 - Yallah! 6 top storylines to get you up to date headed into the weekend. Saudi Arabia's Neom Green Hydrogen Company has signed deals worth $8.4 billion with financial institutions for the plant it is building at Oxagon in the kingdom's $500 billion futuristic city Neom.The Kingdom of Saudi Arabia (KSA) has recently introduced a new work visa, known as the "Temporary Work Visa", which replaces the previous "Work Visit Visa".A goalless draw against Leicester City on Monday secured Newcastle United's spot in next season's Champions League for the first time in 20 years, a sensational rise for a team on course to be relegated from the English Premier League 18 months ago. A major entertainment calendar is due to kick off this week in Saudi Arabia, covering 16 cities across the kingdom where the entertainment industry is experiencing an unprecedented boom.IHG Hotels & Resorts, one of the world's leading hotel companies with more than 6,000 hotels, across 18 distinct brands, has signed a Master Development Agreement (MDA) with Tashyid for Hotel Operations, which will see the development of 12 hotels and 2,500 keys under the Holiday Inn Express brand across the Kingdom of Saudi Arabia.The Saudi science and engineering team arrived back in the Kingdom on Sunday after winning 27 awards, including 23 major and four special prizes, at the Regeneron International Science and Engineering Fair. 

To enjoy all 100+ episodes, please subscribe on https://anchor.fm/turkish-learners-network/subscribe We publish new episodes weekly!  Basit Türkçe ile Haberler / News in Simple Turkish by Turkish Learners Network Basit Türkçe ile Haberler'in yeni bölümüne hoş geldiniz.  Fırlatmak: v. Launch Uzay: Space Yörünge: Orbit Deney: Experiment Kütle çekimi: Gravity Kök hücre: Stem cell Bugün 24 Mayıs 2023 Çarşamba. Suudi Arabistan'ın İlk Kadın Astronotu SpaceX roketi Falcon 9 ikinci seyahatine pazar günü başladı. Falcon 9, Florida'daki Kennedy Uzay Merkezi'nden fırlatıldı. Uluslararası Uzay İstasyonu ISS'ye gidiyor. AX-2 görevi eski NASA astronotu Peggy Whitson tarafından yönetiliyor. Astronot John Shoffner da uzaya gidiyor. Shoffner bu yolculuk için SpaceX'e ödeme yaptı. Yani o bir uzay turisti. Geçen yıl nisan ayında SpaceX ilk defa tamamı özel astronot takımını uzaya gönderdi.  O yolculuk Dünya yörüngesine turistik seyahatlerde bir kilometre taşıydı. Florida'dan yola çıkan rokette Suudi Arabistan'dan Rayyanah Barnawi ve Ali al-Qarni de var. Rayyanah Barnawi Suudi Arabistan'ın ilk kadın astronotu. İki Suudi astronot, ISS'de 14 deney yapacak. Deneyler; insan araştırmaları, hücre bilimleri ve mikro kütle çekimi konularında olacak. Barnawi, meme kanseri araştırmalarına odaklanacak. Çünkü Barnawi kanserli kök hücre araştırmalarında uzmanlaşmış bir bilim insanı. Astronotlar, yerdeki 12.000 Suudi öğrenciyle de deneyler yapacak. Geleceğin bilim insanlarına ve astronot adaylarına ilham vermeyi hedefliyorlar. Dinlediğiniz için teşekkürler!  Lütfen bu bölümü Türkçe öğrenen diğer kişilerle de paylaşın!  Yeni bölümde görüşmek dileğiyle, hoşça kalın!

BONUS EPISODE with Jonathan Cukierwar, Principal of the General Partner at Sohra Peak Capital Partners - this interview was recorded live at the Planet MicroCap Showcase: VEGAS 2023. Topics covered: investing in global MicroCap stocks, building relationships with management with teams based in another country, Q&A from the audience, plus an overview and Q&A on Duratec $DUR.AX. For more information about Jonathan Cukierwar and Sohra Peak Capital Partners, please visit: https://www.sohrapeakcapital.com/ Chapters: [0:00] Introduction [1:16] Jonathan Cukierwar's background and launch of Sohra Peak Capital Partners [2:57] Discovery process when looking at international MicroCap ideas [6:03] Building relationships with management teams in a different country and traveling to visit the companies [8:47] Q&A with audience: currency risks, international databases for looking at data on global stocks, regulatory risk and more! [19:30] Overview and Q&A on Duratec $DUR.AX

Este es el ultimo episodio del Rant de Ax...El Buruleo Podcast: Es una conversación “random” entre tres panas. Hablamos de diversidad de temas, sin ser expertos y nos vacilamos en el camino. Ayúdanos a que nuestro contenido llegue a más personas, ¿Cómo?: suscríbete, dale “me gusta” (”like”), comenta y/o comparte. También te pedimos un favor, si tu app de podcast te permite darnos una calificación que sea de ☆☆☆☆☆ (Ej.: Apple Podcast y Spotify). >Burunetwork: Facebook / Youtube / Twitch / Twitter >Tarjetas Virtuales: El Buruleo Podcast / Axkaryus / Atukiti / Dr4gonPR >Burupanas:>>Mama Hace De Todo (MHDT)Web / Instagram / Facebook>>Custom T and TWeb / Instagram / Facebook >>Kike BarberWeb / Instagram / Facebook >>Nivel EscondidoWeb / Instagram / Facebook >>Cangrejos InmortalesSpotify / Instagram >>LunArte By LaisaInstagram / Facebook >>Cerveza Para La CabezaWeb / Instagram / Facebook

C&R have your Monday poppin' from LA to New York! As Rich is on the East Coast, the guys have fun talking about a first for Covino; Ax throwing! The show has fun debating the skills that are needed. Plus, Bronny commits to USC & is gonna break NIL records.. but, what is the downside to being the son of a legend?See omnystudio.com/listener for privacy information.

C&R are having fun across the country! As Rich is on the East Coast, the guys have some laughs talking about a first for Covino; Ax throwing! The show debates the skills that are needed. Bronny commits to USC & is gonna break NIL records, but what is the downside to being the son of a legend? Dan Beyer brings the bad shoes AND money update for 'CROC WATCH." Knicks get some love & the guys dissect a meme about AD & his inconsistent cycle of big games! Plus, Harden has woken up & the fellas wanna know if you could beat up Mark Zuckerberg!See omnystudio.com/listener for privacy information.

The International Space Station's calendar is loaded with human spaceflights this year— but with Axiom Space's Ax-2 mission delayed, a traffic jam may be underway. Morgan speaks with Axiom board member and former Blue Origin president, Delalune Space CEO Rob Meyerson to discuss Ax-2, the future of manufacturing and the lunar economy.

Segment 3, May 6th, 2023 Cradle isn't just a piece of furniture for a baby.  It is also defined a place of origin or the earliest period of life.  This is why the birthplace of forestry in the United States was named The Cradle of Forestry. Actually, our guest, Regional education manager, Stephanie Bradley, lets us know that the initial name was the Biltmore Forest School.  It began 125 years ago in 1898.  Dr. Carl Schenck, the chief forester for the Vanderbilt estate founded it. Bill Bartee from Jesse Brown's & host of the Carolina Outdoors speaks with Bradley about that history but she quickly informs our Carolina Outdoors listeners about what the Cradle of Forestry is doing now. These days recreation is another big part of the mission of National Forests.  Bradley speaks about how the ecological system, education, & recreation are all hooked together. Bobby Bradley helps lead the Blue Ghost Photo Tours & the popular May & June Blue Ghost Firefly Twilight Tours  are just a few of the interpretive education programs that the Cradle of Forestry sponsors. Ax throwing & Water Boiling are also contests that the Cradle of Forestry hosts. You can see more of the classes available at the Cradle of Forestry, along with directions. The classes are available for all ages.           Thanks to Charlotte Patagonia dealer, Charlotte Free Fly dealer, Charlotte On Cloud shoes dealer, Jesse Brown's for sponsoring this interview.

We are the Andalite Bandits! Join us for book 37 where we love Ax quoting the teletubbies so much! Patreon: https://www.patreon.com/AndaliteBanditsPodcast Email: AndaliteBandits@Gmail.com Music: https://soundcloud.com/user-338588032-383807782 CONTENT WARNINGS Violence, animal harm, underage drinking, crashing jet, mentions of incest, sexual harassment

This week on Under The Ring: Pro Wrestling Conversations, we're joined by Bill Eadie, best known to fans as Ax from the famous tag team Demolition. In addition to his awesome run as three-time tag team champion in WWE, Eadie wrestled for years as the Masked Superstar all over the U.S. and internationally.  He and Smash are appearing at 80s Wrestling Con on May 6 in Morristown, New Jersey for ISPW.

Book 8!! Part 2!! (Chapters 8-12) Learning Through Context Clues: An Illustrated Guide. “Hanging out” vs hanging out, big wheels vs. tricycles. Orville Redenbacher Wright. Tobias and his diverse group of bird friends. Jumpstart Z-space. Homesick, more like home-horny!! Are you smarter than an Andalite 5th-grader? Step slowly or you'll yank out your hoof-teeth. Elfangor may be alive in Ax's memory, but in Miranda's he's a maggot-ridden corpse. Interlaced fingers mean you want to fricky-fracky. Cassie will remember that. Mucking out the barn is dirty but not *dirty*. Chris recalls that time they woke Eddy up in the middle of the night and made him swear on their legendary sibling Prince Miranda's life.@anidorkspod on twitter! Send questions to anidorkspod@gmail.com.New episodes every Wednesday!!!Hey! For real though: Leave us a 5 star review and we'll read it on the air!Support the show

Book 8!! Part One!!! (Chapters 1-7) The effing Alien!!! Elfangor's creepy van. Zoomin' in those pods. Why don't the Yeerks just try to steal one of the Andalites' morphing cube? Don't be birb! Save the whales! Slug burnin'! First we caffeinate the boy, now we dress the boy. What would Elfangor do? Ax-similation. Andalites watch MTV.@anidorkspod on twitter! Send questions to anidorkspod@gmail.com.New episodes every Wednesday!!!Hey! For real though: Leave us a 5 star review and we'll read it on the air!Support the show

April 5th: Clementine Barnabet Confesses (1912) In the early 20th century something strange was happening in the United States. Ax murders, ones like those of the Servant Girl Annihilator and the Axeman of New Orleans, were taking place all in the same pockets of the country and with little to no information pointing to a killer's identity. On April 5th 1912 a young woman confessed to her involvement in a handful of these mysterious ax murders. A woman whose life, race, and upbringing became the catalyst for crimes that, to this day, we don't know if she actually committed.  https://en.wikipedia.org/wiki/Clementine_Barnabet, https://www.mentalfloss.com/article/502014/voodoo-murders-clementine-barnabet-who-claimed-have-killed-35-people, https://973thedawg.com/serial-axe-murderer-clementine-barnabet-video/, https://the-line-up.com/clementine-barnabet, https://acadianahistorical.org/items/show/73, https://www.grunge.com/705208/this-is-how-many-victims-clementine-barnabet-actually-had/, https://www.grunge.com/365510/what-you-didnt-know-about-serial-killer-clementine-barnabet/

Here comes the Ax, and here comes the Smasher. The Demolition, walking disaster...ENJOY!Follow us on Twitter:@SimonMiller316@WhatCultureWWEFor more awesome content, check out: whatculture.com/wwe Hosted on Acast. See acast.com/privacy for more information.

The U.S. is going through its first banking crisis – or potential crisis – in almost 15 years. And like prior panics, crises, and downturns, it seemingly came out of nowhere, with Silicon Valley Bank erupting in fire overnight, and the fire spreading to Signature Bank and threatening to send the whole neighborhood (or at least a notable cul-de-sac – of regional banks up in flames. We've seen this play out before. A crisis happens. Stocks crash. Investors either make or lose money, depending on whether they run toward the fire, or run away.  In this episode, Jeff and Jason describe their experiences during prior times of market panic, and how these can be both opportunities to profit, and potential threats to your wealth. It all depends on a few key factors.  In the second part of the show, Jason and Jeff introduce a new segment: I Did a Thing! This week, Jason drops a surprise stock sale he made on Jeff, and they talk about what changed.  Companies mentioned: SIVB, SBNY, LOB, SCHW, SOFI, NTB, CPF, AX, FRC, COIN We would love feedback on the show. Share with us at:  Email: thesmatteringshow@gmail.com Twitter: @smatteringshow  Check out our YouTube channel for more content:  https://www.youtube.com/@TheSmatteringShow Find the 2023 Smattering Portfolio here:  https://tinyurl.com/Smatterfolio

Pulpmx30 code to save at FXR Racing.com and Pulp20 code at Race Tech to save. It's a two-fer this week as Michael Hicks talks about his good SX season, his AX titles, racing Peters, his improvement this year in SX and more. Then we talk to Jeremy Hand about his races this year, where he's gotten his improvements from, his racing family, his job in the cemetery and more.

¡La imaginación al poder! Este es un video práctico con soluciones imaginativas que pueden sacarte de un apuro. Todas son curiosas, todas son un poco locas… pero todas funcionan y, casi todas, las he probado. Siempre digo que mi primer coche, mi añorado Seat 850 Normal que se caía a pedazos, fue para mí una buena inversión: Por el mismo precio tuve un coche y un curso de mecánica… Un chollo. Creo que no hubo un solo viaje, ¡ni uno solo!, que no tuviese que hacer alguna reparación de emergencia a pie de carretera… algunas de ellas están aquí y ¡funcionan! Este es un vídeo cuajado de anécdotas… espero que os guste. Vamos con la “ñapas” y con muchas anécdotas. 1. Limpiaparabrisas con cuerdas. Esta solución la tuve que hacer en mi Seat 850 un día de lluvia que el motor del limpiaparabrisas dijo ¡basta! 2. ¡He roto un palier! Había oído hablar de esta solución que se usó en el Raid París-Persépolis, que si hizo con 2 CV. ¿Qué pasa si se rompe un palier en tu 2 CV? ¿Qué te quedas tirado? ¡¡¡NOOOOO!!!! 3. ¡Sin radiador! ¿Crees que un coche puede funcionar sin radiador de agua? Pues lo pude comprobar. Un amigo mío volvía de esquiar…. Era de noche y hacía frío. Y la mala suerte, o un despiste suyo, hizo que tuviese un golpe de alcance. El coche, un R5 TS no se hizo mucho, pero el radiador se rompió. 4. Bomba de gasolina. Haciendo prestaciones con un Peugeot 309 GT, no GTi, sino el GT de carburador y 105 CV, tuve un accidente, el coche no se hizo casi nada, pero al golpear el escape, toco con la bomba de gasolina y el motor no arrancaba. 5. Planificado de culata… en la cuneta. Estaba con mi “ocho y medio” en un rallye de la Sierra de Madrid. Calculamos mal y salí a la carretera, para cambiar de lugar, justo cuando llegaba el coche 0, el que cierra la pista. No podía parar y el coche estaba calentándose, pero no podía para… ¿Resultado? Calentón y junta de culata a la basura. 6. Percha para sujetar el escape. A grandes males, males remedios. Iba de viaje con un amigo mío y de repente, ¡zas! un ruido enorme, salían chispas por todas partes por debajo del coche, ¡como un F1! 7. Pimentón como “tapa fugas”. Entre dos amigos compraron un Seat 1400 que ya para entonces, hablo de finales de los años 70 era una antigualla. Y, para “estrenarlo” un eufemismo pues estrenar en un coche de más de 20 años no es fácil, nos fuimos de viaja al pueblo de uno de ellos, a 150 km…. ¡con un par! 8. Imprescindible cinta americana. ¿Podría existir el automóvil y las carreras de coches sin la cinta americana y el alambre? Yo creo que no. Siempre me ha llamado la atención que incluso en la F1 los coches llegaban a los primeros entrenamientos impecables después de horas y hora de túnel de viento y que al poco de rodar, ya tenían cinta americana por todas partes… ¡es que pasa incluso hoy día! 9. Luces de emergencia. Este no fue mi caso, pero en una situación parecida un amigo mío rompió los dos faros. Como iba la acampar y era muy aficionado al montañismo sujeto dos buenas linternas, por supuesto con cinta americana, en el lugar de los faros…. Y pudo llegar… imagino que si le pilla la Guardia Civil u otra autoridad no le habría hecho ninguna gracia. 10. Puertas de madera. Un buen amigo compro un R4 que se caía a trozos, pero que funcionaba. No es que le faltasen las ventanillas delanteras, ¡es que le faltaban las puertas traseras! Tenía una finca y quería el coche para desplazarse por “sus tierras” con sus dos hijos pequeños. Un día voy a visitarle y me dice, “le he puesto puertas al coche, te lo voy a enseñar” … y veo que le ha puesto puertas ¡de madera! Muy curradas, muy ajustadas, pero una tabla de madera. Conclusión. Si llevas buenas herramientas en el coche y tienes cierta idea de mecánica, puedes salvar algunas situaciones… pero muchas veces los más aconsejable, por seguridad, es llamar a la grúa. Pero, eso sí, en mis coches nunca falta la cinta americana. Coche del día. He escogido el Citroën AX 14 TRS de 1988, un coche imaginativo, ligero, con un buen motor, que corría mucho y gastaba poco. Por ejemplo, para aligerar, el portón no llevaba marco, era la propia luneta trasera la que hacia esa función, por un lado llevaba bisagras y por otro una tapa de plástico. Pero me he acordado de este coche por una anécdota que tiene que ver son los paragolpes de plásticos y con una sesión de fotos.

The crew is back and we hop right into what happened over Tahoes birthday weekend between the party and the show and the Ax? Why people mad at North, Ice Spice and Kim Kardashian...Chris Rock annnnnd ..somehow Tahoe found a problem with women again

The Animorphs have met the Ellimist. He "helped" to save the kids when they were about to be eaten by a Taxxon. He "helped" to free two Hork-Bajir and restored Tobias's morphing ability. But, even though the Ellimist has enormous power, he is not all-powerful. He has an enemy. The Crayak. So, the Crayak and the Ellimist decide that a battle will prove their ultimate power. But they don't intend to fight each other. The Ellimist will choose the Animorphs, Ax, and Erek, the Chee; the Crayak will choose his own army. But if the Animorphs lose they will be erased from the universe altogether. And there'll be no one left to fight the Yeerks...  -- Audiomorphs is an Animorphs podcast which is actually not so much a podcast as a bootleg audiobook. Releases every Friday.

Today, on the podcast, to highlight International Women's Day, host Eva Hartling speaks with Peggy Whitson, the NASA astronaut who has achieved the most days in space for any man or woman in the world. With a total of 665 days in space, Whitson also holds the record for the oldest woman spacewalker and the most spacewalks by a woman. Whitson is a biochemistry researcher and retired NASA astronaut; she is a consultant for Axiom Space, the company building the next International Space Station for which she has been selected to be commander of Axiom Mission 2, the second all-private astronaut mission to the International Space Station, set to launch in May of this year. On her next space mission, she will become the first female commander of a private space mission, adding to her accomplishment as the first female commander of the ISS, the only woman to serve as ISS commander twice, and the first woman, nonmilitary chief of NASA's Astronaut Office. Peggy was recognized as TIME 100 Most Influential People in the World in 2018. Please note this episode was recorded before the Ax-2 mission was announced.........This season of our podcast is brought to you by TD Canada Women in Enterprise. TD is proud to support women entrepreneurs and help them achieve success and growth through its program of educational workshops, financing and mentorship opportunities! Find out how you can benefit from their support! Visit: TBIF: thebrandisfemale.com // TD Women in Enterprise: td.com/ca/en/business-banking/small-business/women-in-business // Follow us on Instagram: instagram.com/thebrandisfemale

MegaMorphs #1!!! Part 1!!!  A new season means new questions: Is Miranda a librarian? Can Eddy swim? Does Chris even remember how to read?Poly propaganda. Quote unquote mobbing. It sure is butter, isn't it! Tobias witnesses a murder. Marco and Ax's wuv story continues. Sucking wind. Miranda explains flat tornados. Chunks of Darlene. All 39 children. Some sort of giant chicken. Wavy gravy. There's our Rachel! Stop trying to make “truck ship” a thing. Not a shake shack, not a love shack, but a burning shack. Won't get Yeerked again.@anidorkspod on twitter! Send questions to anidorkspod@gmail.com.New episodes every Wednesday!!!Hey! For real though: Leave us a 5 star review and we'll read it on the air!

http://loosescrewsed.com Join us on discord! And check out the merch store! PROMO CODES https://discord.io/LooseScrews Support us on Patreon: https://www.patreon.com/LooseScrewsED Squad Update: war in howard (3-0) and tripu (1-0) 6 Andromedae is still an over-heating mess we need to smack back to the stone age. Oya Maelstrom (#11) updates: Current targets: hip 6913, jaoi, gliese 9035 All details in the #standing-orders and/or the #loose-screws-factions channels of the Discord. Dev news: Frameshift Live #26 https://www.youtube.com/live/QpoJ0o9xGYE?feature=share&t=3570 Guest senior designer Tom Kewell Talks about the concepts and programming on AX scenarios Mentioned “unoccupied” escape pods as example of their subtle storytelling Scripts could be “slow ambush” or “active attack” or could trigger when you scoop something “Interdicted convoy” you can fight off the attacking thargoids, or buy enough time for the convoy to escape; either result benefits the war effort “Repair convoy” fight or simply hold off attacking thargoids long enough to repair and leave and you benefit the war effort NPC chatter is not just situational but changes by system state, too He said NPC have the same sensors as we do so the “nothing on my radar” just means that particular dummy flew too far away and lost sensor range WhErE tHe ChEeSe At? Butterkase is a semi-soft cheese with a golden natural rind, very popular in Germany and Austria for its creamy texture, buttery like the taste. Its name, when literally translated, means "butter cheese," but the cheese is butter free. Since Butterkase can be sliced, spread or melted it is a perfect table cheese and it's very good with a glass of beer. Movie anniversaries: Nothing. Dark Side of the Moon(Album) 50 years If you like the show please rate and review on your podcast player, which helps people find the show. Join us on Discord at discord.io/loosescrews and check out the merch store at loosescrewsed.com for mugs, t-shirts, hoodies, and more. And you can support us on patreon! http://patreon.com/loosescrewsed

Happy Malice Monday! This week is an Emily episode, and she tells us all about the Ax(e) Man of New Orleans. Active between 1918 and 1919, the ax(e) man (or was it multiple people???) would severely injure and even murder several individuals in and around the New Orleans area. They would specifically target Italian grocers and their families. Join us as Emily tells us about the case and we speculate on what may have actually happened. We hope you enjoy! Our mocktail of the week comes from Kim over at NaturalDeets.com. Her Virgin Pomegranate Mojito recipe sounds super delicious, refreshing, and low in refined sugars. Find the full recipe here: www.naturaldeets.com/virgin-mojito-recipe-pomegranate-mocktail and follow her on IG @naturaldeets. For bonus content and early episode releases, please join us over on Patreon! www.patreon.com/maliceandmocktails SOURCES Axeman of New Orleans - Wikipedia Brain Anatomy and How the Brain Works | Johns Hopkins Medicine The Axeman of New Orleans – Legends of America The Axman murderer claims a final victim in Mid-City on Oct. 27, 1919: Our Times | Crime/Police | nola.com Black Hand (extortion) - Wikipedia new orleans map of axman murders - Bing Fresh light on the axeman of New Orleans | A Fortean in the Archives (wordpress.com) How the 'Axeman of New Orleans' Terrorized a City and Escaped the Law (vice.com) The Axeman of New Orleans - Country Roads Magazine

You are now listening to Ritmos Negros! In this episode, I speak with Sean Samad, Trinbagonian by birth but a global citizen in mindset. Sean is a Ph.D. candidate in cultural studies centered around Brazil and Lusophone cultures. Additionally, he is a Brazilian and Lusophone lecturer at UWI, St. Augustine. We discuss Brazilian Carnaval and Axé music! Axé music fuses Afro-Caribbean and Brazilian music genres like calypso, samba, forró, and reggae. Connect with Sean: https://www.instagram.com/seansamba/ , https://www.instagram.com/theblackconsciousnessfestival/ Ritmos Negros Website: https://linktr.ee/RitmosNegros  

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. 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 No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

¡Ahora están a escuchando Ritmos Negros! En este episodio, hablo con Sean Samad, trinitense de nacimiento pero con mentalidad de ciudadano global. Sean es un Ph.D. candidato en estudios culturales centrados en Brasil y las culturas lusófonas. Además, es profesor de estudios brasileños y lusófonos en UWI, St. Augustine. ¡Discutimos el Carnaval brasileño y la música Axé! La música Axé fusiona géneros musicales afrocaribeños y brasileños como el calipso, la samba, el forró y el reggae. Conéctense con Sean: https://www.instagram.com/seansamba/ , https://www.instagram.com/theblackconsciousnessfestival/ Sitio web de Ritmos Negros: https://linktr.ee/RitmosNegros  

O #RodaViva desta segunda-feira (20) entrevista a cantora Daniela Mercury. Conhecida como Rainha do Axé, Daniela é formada em Dança pela Universidade Federal da Bahia. Também é compositora, instrumentista, atriz, empresária e produtora musical. Ganhou o país, nos anos 90, com o “Canto da Cidade” e, desde então, levanta bandeiras políticas e comportamentais, assuntos que estarão neste programa. A bancada de entrevistadores será formada por Ademir Correa, diretor de conteúdo da Rolling Stone Brasil; Daniela Falcão, jornalista e fundadora da Nordestesse; Lia Rizzo, jornalista e socióloga; Luanda Vieira, jornalista; Lucas Brêda, repórter de música da Ilustrada, da Folha de S. Paulo; e Sérgio Martins, crítico musical. A apresentação do programa é de Vera Magalhães.

We're back and this week everyone's getting down with The Sickness! Ax is in trouble, and so is an old friend of Cassie's. She's the only one who can help thanks to a mysterious and terribly timed illness. Try to keep your food down as she races to save...well...everyone.

Thank you so much for taking the time out of your day to listen to the podcast. I appreciate it more than words can express! Tell me what you've been up to friends: Twitter.com/alexmakesvr Instagram.com/alexmakesvr Linkedin.com/in/alexmakesvr alexmakesvr@gmail.com I'll speak to you in the next one. Ax

http://loosescrewsed.com Join us on discord! And check out the merch store! PROMO CODES https://discord.io/LooseScrews Support us on Patreon: https://www.patreon.com/LooseScrewsED Squad Update: War in Bagalis (0-0) and Yingo (1-0) Expansion from 7 Andromedae went to Bagalis - invasion war underway Oya Maelstrom (#9) updates: Current targets: Jeng (42%), Benanekpeno (COMPLETE) Overall: 606 Thargoid controlled, 33 Invasions, 66 Alert, 23 systems in Recovery Oya: 53 controlled, 6 invasion, 8 alert, 7 recovery All details in the #standing-orders and/or the #loose-screws-factions channels of the Discord. In-Game News: Size 3 AX weapons stabilizer is available Dev news: From the stream; U 14.02 - Was supposed to be today; Delayed War Map to show “most-influenced” systems, per state (to draw players) 100% system removed from list the moment they complete New activities, salvage black boxes, tissue samples; handed in at rescue ships count towards the system they are collected in. Confirmed: unpopulated system have smaller target values for completion Confirmed: distance from maelstrom lowers target value for completion Adding: “front line”; new USS in systems on the edge of the thargoid bubbles Recovery: players can reboot EDO settlements to shorten recovery time. Change incoming on thargoid pushback, they have a “strong idea” what the change will be Adding: new ways to progress systems If you like the show please rate and review on your podcast player, which helps people find the show. Join us on Discord at discord.io/loosescrews and check out the merch store at loosescrewsed.com for mugs, t-shirts, hoodies, and more. And you can support us on patreon! http://patreon.com/loosescrewsed

A Alberto Gómez-Borrero le gusta la aventura. Disfruta con ella. En su mes de vacaciones ha emprendido unas cuantas, proyectos que para muchas personas suenan como locuras. La última, recorrer en tuktuk, un motocarro, desde el Pacífico peruano hasta el Atlántico brasileño, atravesando el Amazonas. Un viaje de más de 5.000 kilómetros en una moto de 150 cc en compañía de un amigo. Pero no han sido las únicas aventuras “locas” que ha hecho. Bajó en balsas construidas por él mismo un tramo del Amazonas, atravesó India y Nepal en un rickshaw, condujo de Londres hasta Mongolia en un Citroën Ax desvencijado o emprendió un rally solidario a Mali… Más información: https://bit.ly/albertogomez ¿Te gusta el podcast Un gran viaje? ¿Quieres asegurar su continuidad y agradecer nuestro trabajo? Apóyalo convirtiéndote en mecenas en iVoox o Patreon. Aquí te contamos cómo: https://bit.ly/apoyaugv Si sueñas con hacer un gran viaje como este que has escuchado te recomendamos nuestro libro "Cómo preparar un gran viaje": https://bit.ly/librougv Si quieres conocer más historias en primera persona de otros viajeros, nuestra publicación “El libro de los grandes viajes” te gustará: https://bit.ly/librograndesviajes. Y desde luego, no te pierdas las famosas Jornadas de los grandes viajes: https://bit.ly/jornadasugv ¡Espero que lo disfrutes, ya nos comentarás qué te ha parecido!

3 time AX champ and current points leading in the General Tire AX Series Michael Hicks checks in for and in depth podcast where we cover all the based on his career include him setting his sights on East Coast 250 Supercross here in 2023. Looking to save money on moto? Follow the Link below […]

Puede que sea medio exótico que un programa con la premisa de música en español termine su vida con un cantante brasileño. Y para qué vamos a decir que no si sí: es exótico. A modo de defensa: El Amor Según nunca ha sido muy gentil con su público njijijijijjijijijjijij sepan perdonar y, además, una consigna dentro de la consigna era salirnos dos veces del español con Britney Spears y Caetano Veloso (y una tercera: Axé Bahía, bien podrán recordar). En fin. Como el amor es un lenguaje universal (ijjiijjijijjiji de nuevo), esperamos que este programa les fascine tanto como a nosotrxs, porque el amor desde la perspectiva de Caetano abarca todo lo abarcable: amor y exilio (en la dictadura brasileña), amor apacible, amor intensísimo pero a la vez calmo (una combinación bien rara que se da en Deusa do amor), amor que reprocha, amor vengativo casi tiradera (atención a Não enche), hermetismo amoroso y un largo etcétera que conforma la carrera de uno de los cantautores más importantes de Latinoamérica. Dos cosas más. La primera: VIVA CHILE VIVA MI PATRIA es que fue un chileno el que le dijo TÚ TE TIENES QUE DEDICAR A ESTO PAREMOS LA CUESTIÓN. La segunda: tenemos de invitada a alguien que admiramos MUCHO y a quien siempre habíamos querido tener, Marisol García aka @solgarcia__ , quien sabe música como nadie y escribió el libro precioso Corazón Valiente, sobre el canto político en Chile (entre otros). Muchas gracias a quienes nos acompañaron hasta acá y a @subelaradio por darnos este espacio para hablar de música, corazones rotos, corazones menos rotos y aberraciones varias. Este episodio fue presentado por Fintual, la mejor decisión para tu plata: fintual.com

On the 32nd episode of the 24 Inch Podcast, Steve Bennett and Dave Rowlands take a deep dive into the 1989 Royal Rumble. On this night, Hulk Hogan is by himself taking on 29 of the roughest and toughest wrestlers in the World. At the top, Steve and Dave kick off the third season of the podcast by looking back at a challenging second season and looking forward to a much better third season. After the break, the guys give a brief history of the Royal Rumble. Also, Steve and Dave talk about the long history of the Summit in Houston and explain how it became the Country's biggest church. Then, Dave tells us what the Hulkster was up to in January of 1989. Steve reads the news from January of 1989 while Dave cracks wise and adds his thoughts on a month filled with sports, tragedy, an increase in subway fare, and presidential history. Steve and Dave break down the entire card from the 1989 Royal Rumble including a tag match contested under European rules, the legendary pose down, and a grizzly Women's match. Finally, Steve and Dave break down the huge main event, the 1989 Royal Rumble match. Ax and Smash enter first, Hulk dumps Macho, the snake scares the giant, and a legend prevails. Also on this episode, Paula Bennett returns to help us share listener emails and comments from our facebook page and announce the topic for the second episode of season three. Intro: 00:03:24 History of: 00:15:29 The News/Matches: 00:35:55 Plugs/Emails: 01:31:40 For more information follow us on twitter @24InchPodcast Email us: 24InchPodcast@gmail.com Instagram: 24_inch_podcast

http://loosescrewsed.com Join us on discord! And check out the merch store! PROMO CODES https://discord.io/LooseScrews Support us on Patreon: https://www.patreon.com/LooseScrewsED Squad Update: War in 23 Andromedae (0-0) and HIP 4907 (again) for control (1-0) Expansion from 7 Andromedae underway. Oya Maelstrom (#8) updates: Current targets: Jeng (46%), Benanekpeno (6%), HIP 2422 (COMPLETE) Overall: 524 Thargoid controlled, 29 Invasions, 94 Alert, 28 systems in Recovery Oya: 49 controlled, 4 invasion, 8 alert, 8 recovery All details in the #standing-orders and/or the #loose-screws-factions channels of the Discord. Exploration report 4th Quadrant Expedition Leg #1 Outer Spiral https://www.edsm.net/en/expeditions/summary/id/183/name/4th+Quadrant+Expedition+Leg+%231+Outer+Spiral Cmdr Jared Crue Route https://www.edsm.net/en/galactic-routes/show/id/4187/name/Exo-Bio+trip+from+Sag+A+to+the+Bubble+%28Following+the+eastern+edge%29 Cmdr Jared Crue log books https://inara.cz/elite/cmdr-logbook/139160/ In-Game News: AX weapon stabilizers CG Size 3 and 5 optional slot modules grant 1 or 2 additional ax weapons, respectively Dev news: https://www.elitedangerous.com/news/discovery-scanner-23012023 Frameshift Live was postponed and will come back this week, Thursday Update 14.2 will deploy Monday 30th January. Features: More actions taken against Thargoids will further contribute to the pushback bar. Improvements made to the UI, specifically giving Commanders better guidance on how to impact the pushback bar. Issues: Stability improvements to Conflict Zones, alongside a number of additional, generalised fixes, which will be delivered via finalised update notes, in due course. (full update notes and schedule will be posted nearer to deployment) Discussion: CMs call for feedback on the thargoid war https://forums.frontier.co.uk/threads/thargoid-war-feedback.613229/ AX combat deep dive / other game mechanic deep dives Gun Site Modes If you like the show please rate and review on your podcast player, which helps people find the show. Join us on Discord at discord.io/loosescrews and check out the merch store at loosescrewsed.com for mugs, t-shirts, hoodies, and more. And you can support us on patreon! http://patreon.com/loosescrewsed

Regularmente no hablo de como me siento en mi vida personal, pero sinceramente tenia que sacarmelo del sistema. El Buruleo hosts: Axkaryus / Atukiti (La casa de los Indies) / Dr4gonpr. Te invitamos a que seas parte de nuestras comunidades en https://elburuleo.com , Facebook, Instagram y Twitter o nos puedes hacer click aquí -> https://beacons.ai/elburuleo . Buscanos en: Spotify, Google Podcast, Anchor, Apple Podcast, Overcast, Breaker, Pca, Radiopublic, Stitcher, iHeartRadio, Amazon & YouTube, dale LIKE, compártelo con tus amistades y si tu app de podcast te permite darle rate de ✪✪✪✪✪ (5 estrellas / Apple Podcast). ⸰ Buruleo Family: El Buruleo Podcast: https://www.spreaker.com/show/.... El Rant de Ax: https://www.spreaker.com/show/.... Como Yo Veo La Vida: https://www.spreaker.com/show/.... Dr4gonPR El Podcast: https://www.spreaker.com/show/.... El Buruleo Store: https://my-store-bffe06.creato...

Marco, the other Animorphs, and Ax have managed to find out where the Yeerks are planning to build their next ground-based Kandrona. That's a good thing. The location is supposed to be somewhere near the North Pole. That's a bad thing. The Animorphs and Ax know that the Yeerks are a "cold-blooded" species, but this is a little nuts! Who wants to be near the North Pole without Arctic morphs -- and wearing spandex? Even so, the kids know that if the Yeerks succeed with their plan, Earth is pretty much done for. And Marco, the other Animorphs, and Ax aren't quite ready to give up the fight...  -- Audiomorphs is an Animorphs podcast which is actually not so much a podcast as a bootleg Animorphs audiobook. Releases every Friday. Visit https://www.theapodcalypse.com/ Twitter: @audiomorphs

Book 7!!! Chapters 11 - 17!! Taxxon names sound like Velcro. What's with KA Applegate and salad shooters? A trick of the Visser. Patience, Iago, patience. Is the Ellimist more Werner Herzog or Gilbert Gottfried? Dry scuba diving. Just how OP is the Ellimist? Radical Tobias.  The early Taxxon gets the cockroach. Visser 3's oral fixation. Ax wants to know: hands on or off? Slash gash and gnash. Did Rachel just kill? Bear on the brain. Body clot. You never toss out a grilled cheese. Lolling on bales of hay.@anidorkspod on twitter! Send questions to anidorkspod@gmail.com.New episodes every Wednesday!!!Hey! For real though: Leave us a 5 star review and we'll read it on the air!

Happy new year ! This week we are talking about our new year break ! Plans on anime impulse , thoughts on discontinuation of AX premier badge! Volvo subscription? Thoughts on the EV push ? And Leo's new segment? Come join us, listen in and see how many time Leo goes off topic on this week episode!

Comenzamos hablando mierda de lo ultimo que sucedio el año pasado y lo primero... recuerden que esta es mi opinion basada en mi experiencia de vida. No tienes que estar deacuerdo para entenderme. El Buruleo hosts: Axkaryus / Atukiti (La casa de los Indies) / Dr4gonpr. Te invitamos a que seas parte de nuestras comunidades en https://elburuleo.com , Facebook, Instagram y Twitter o nos puedes hacer click aquí -> https://beacons.ai/elburuleo . Buscanos en: Spotify, Google Podcast, Anchor, Apple Podcast, Overcast, Breaker, Pca, Radiopublic, Stitcher, iHeartRadio, Amazon & YouTube, dale LIKE, compártelo con tus amistades y si tu app de podcast te permite darle rate de ✪✪✪✪✪ (5 estrellas / Apple Podcast). ⸰ Buruleo Family: El Buruleo Podcast: https://www.spreaker.com/show/... El Rant de Ax: https://www.spreaker.com/show/... Como Yo Veo La Vida: https://www.spreaker.com/show/... Dr4gonPR El Podcast: https://www.spreaker.com/show/... El Buruleo Store: https://my-store-bffe06.creato...

To celebrate the start of the new year, I'm going to keep with tradition and share our most popular episode of 2022! Anyone as obsessed with true crime and mysteries as I am will surely know the story of the Axeman of New Orleans. He terrorized Italian immigrants in the early 1900s and introduced us to the term "jazz it." But did you know this was not the first incident of an unknown person (or persons) terrorizing Louisiana with an ax? It probably won't come as much of a surprise to learn that over five years earlier, someone was attacking black communities with a family's own hatchet in the dead of night. Sound familiar? Originally broadcast January 12, 2022.Written and narrated by Schuyler Fastenau-Jones and executive produced by Daniel Fastenau-Jones. Additional voices by Jeremy Staple, Tamara Perry, Janette Zosche, Jordan Katcher, Maurice Whitfield, Juno Nifosi, and Daniel Fastenau-Jones. Cover artwork by Catherine Fastenau. Theme music by Tracy Zales. Editing and sound design by Brian Campbell.Follow us on:PatreonInstagramFacebookTiktokTwitterCheck out our other shows:The AftermathCereal KillerzCocktail BallerinaTrue Crime False Crime

Weege and Matthes talk about the insane 2015 Arenacross finals in Vegas, the race between Regal and Hayes, the regional AX champs, doing a webcast from that event, the history of AX and more. We even get Jacob Hayes and Daniel Blair on the line to talk about it from their perspective.

Episode 115: On the coldest night of the year, six brave enthusiast friends ventured out to surprise us at the Steering Committee garage. We ate meat and cheese, drank bourbon and eggnog and hit record. Thank you, Brandon, Jeriah, Craig, James, Hayden and Shawn for the good times. Who needs frankincense and myrrh when you've got this crew? If you haven't already, please take a moment to subscribe to, rate and review the Steering Committee on Spotify, Apple Podcasts and everywhere else you listen to podcasts. And follow us on Instagram at @ryanbahrke and @thesteeringcommitteepodcast. Check out our friends at Ax and Allies at axandallies. Swisstrax.com currently advertises all products at an everyday low price of 15% off MSRP. Use our code STEER5 for an additional 5% off. RiNo Sign Works: @rinosignworks and rinosignworks.com goodr sunglasses: use the code STEERING15 for 15% off your first order at goodr.com. And for badass Belgian brews, visit the OG TSC sponsors Bruz Beers at bruzbeers.com. Classic Team Lotus: classicteamlotus.co.uk Petersen Automotive Museum: petersen.org Meyers Manx Cafe: meyersmanxcafe.com The Formosa Cafe: theformosacafe.com

Kevin McGary from Every Black Life Matters has a new book, "WOKEd Up!: Finally Putting an Ax to the Taproot of White Supremacy and Racism in America."See omnystudio.com/listener for privacy information.

On this edition of Streaming The Classics, Andy Atherton, Steve Riddle, Keith Langston & Tim Capel get together for a live watch of Survivor Series 1990. Originally broadcasted live on Stream Lounge, the guys field questions and comments with their guests who are watching along in the chat room as well discuss: the classic team names, incoherent promos, Roddy Piper's manic commentary, Ax phoning it, the debut of The Undertaker, the sweep by The Visionaries, the sheer bulk in the ring during The Hulkamaniacs vs. The Natural Disasters, Sgt. Slaughter's promo that goes on forever, what else could've hatched out of the egg instead of the Gobbledy Gooker and the final match of survival. To watch along on Stream Lounge, click this link:  https://www.streamlounge.io/watch/914d509e-9615-48d4-b38f-71999dfd56ca

Zach Osborne's coming out of retirement! Zacho is back on the gate and he's on to talk about that new chapter as well as being a Dad for the third time! Mike Brown's been on quite a roll this year with Loretta's, World Vet and Mini O's titles, so we got him on the phone to talk about being the gnarliest guy in Moto. DV calls in for the first time in a good while and we are always stoked to get DV on the line. The AMA Arenacross series has some new people involved, Robby McQuary joins us tonight from AX to tell us what's new, how it's been going and more. Keefer and Eric Phipps are in studio DUDES!!

Regime still walking back all the stuff Biden mumbled on 60 Minutes. Clay says, "Even when Biden got asked about his mental acuity, Buck, he couldn't even answer in a way that made you think, oh, yeah, this guy is sharp." New midterm polls trending positive for GOP with some big upsets in play. C&B remind, though, you still must go vote to "make this a reality." This election is about three things: MSNBC's Steve Kornacki echoes C&B: Republicans should focus on: crime, the border, and the economy. NY Governor Hochul says DA went too soft on ax assailant who went viral. Ax guy says he's misunderstood. Buck says he thinks Hochul has an IQ of 80, and when Clay laughs, Buck says, "I just call it how I see it." Clay's foam birthday party for the kids killed it, he said, though he was thoughtful of his neighbors. Buck's had it with New York City noise, which he says is by far the worst in his lifetime. Mayor Adams throws loud party in Times Square that greatly disturbed Buck and his neighbors. And how did that party jibe with what Adams still says about covid? Is Adams worse than de Blasio?Follow Clay & Buck on YouTube: https://www.youtube.com/c/clayandbuckSee omnystudio.com/listener for privacy information.