Podcasts about Barbary Coast

Comedy and Westerns on a ThursdayFirst a look at this day in History.Then The Screen Directors Playhouse, originally broadcast April 3, 1949, 76 years ago, Ghost Breakers starring Bob Hope. Based on the 1940 American mystery/horror comedy film directed by George Marshall and starring Bob Hope.  A radio broadcaster, his quaking manservant and an heiress investigate the mystery of a haunted castle in Cuba.Followed by The Joan Davis Show, originally broadcast April 3, 1948,  77 years ago, Is Joan Married to John Payne?  Joan has bragged to her old friend that she's married to John Payne...and now she's got to deliver!Then Gunsmoke starring William Conrad, originally broadcast April 3, 1954, 71 years ago, Mr. and Mrs. Amber.  After Neil Amber is caught stealing seeds from the General Store, Pete Fletcher, a wealthy rancher, accuses Amber's wife of stealing one of his calves.Followed by Have Gun Will Travel starring John Dehner, originally broadcast April 3, 1960, 65 years ago, Shanghai is a Verb.  Hey Boy has disappeared from the Barbary Coast. Bubonic plague and a shanghai ensue. Finally Lum and Abner, originally broadcast April 3, 1942, 83 years ago, RKO Studios Premiere.   Here's a suggestion for what to do with the $10,000: everyone in Pine Ridge (including Clark Gable and Grover Cleveland!) wants a new pinball machine! The new Lum and Abner movie ("The Bashful Bachelor") is about to premiere. Find the movie on YouTube here…  https://youtu.be/ANsf_axGe6g?si=m_W__6fkvwjv4jwaThanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

In this episode of the Pat & JT Podcast, they chat about Lisa Vanderpump's latest Vegas venture—the Vanderpump Hotel. JT shares the wild history of the Cromwell, formerly Barbary Coast, with its Omaha connections. They reminisce about old-school Vegas, when $30 hotel rooms and $6 buffets were a thing, and compare it to today's sky-high prices. Pat recaps his Jackson Hole trip for Melissa Rivers' wedding, where even the “non-premium” mountain views were stunning. Then, it's onto Nebraska's chaotic weather, with a blizzard hitting just days before spring. JT recalls an April snowstorm on one of her moving days. And with St. Patrick's Day just behind us, they joke about how between the holiday and the snow, plenty of people are in for a short workweek. Don't forget to rate, review, and subscribe—and as always, share with your friends! Also follow up on Facebook, Twitter, and Instagram This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to HurrdatMedia.com or the Hurrdat Media YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

Random Vegas The 2024 F1 race drew 306,000 people, 175,000 unique visitors to Vegas. They spent an average of $2,400 per person excluding ticket costs. The event generated $45 million in Tax revenues. (@LasVegasLocally) TwitPic of the week It's the future of Vegas casino/resorts, boutique. Mega Resorts are too expensive to build and the market is currently over saturated with them.  Here, Las_When shows us Barbary Coast in the mid 90s after it underwent a short-lived paint job converting it to white.  Kind of reminds me when TI was painted white for a while. We celebrate this picture this week as once again news of a rebranding has been reported. While some may consider it a step back one of the benefits of a boutique hotel is how relatively quickly and inexpensively you can refurb the space. We expect this will not be the last time this hotel/casino will be rebranded. News Cromwell Rebranding 360 Patreon Rose.Rabbit.Lie. Returns Cousin Vito's Casino Talk About Las Vegas with Ira

EPISODE 74 - “SWEETHEARTS FROM THE GOLDEN AGE OF HOLLYWOOD" 2/10/2025 As Cupid sharpens his arrows, and the candy and greeting card companies prepare to make bank, we celebrate Valentine's Day. In this episode, we take a loving look at some of Hollywood's most enduring real-life love stories. From JOEL McCREA and FRANCES DEE to JEAN HARLOW and WILLIAM POWELL, join us as we discuss their lives, films, and, most importantly, their beautiful love stories.  SHOW NOTES:  Sources: Ladies of the Westerns (2015) by Michael C. Fitzgerald and Boyd Magers; Joel McCrea: Ride The High Country (1992), by Tony Thomas: “William Powell: Hollywood Star, Detective Film Icon," Jan. 27, 2025, Britannica,com; Letters From Hollywood: Jean Harlow , January 21, 2023 by David Stenn, TCM.com; The Love Story of Jean Harlow and William Power: Hollywood's Iconic Couple, Documentary (2023), Youtube.com; “McIntire and Nolan: A Romance Wright In Radio,” June 27, 2022, Travelanche; “12 Times Real Life Couple John McIntire and Jeanette Nolan Played a Couple Onscreen,” July 18, 2022, MeTV.com; “It Took Three Separate Actors To Bring Psycho's Norma Bates to Life,” November 30, 2022, www.slashfilm.com; “John McIntire and Jeanette Nolan Mix Business With Pleasure,” 2022, by J. Johnson, www.vocal.media/geeks; “John McIntire & Jeanette Nolan: Life Together,” by Jerry Skinner, YouTube.com; “Mary Pickford,” April 5, 2005, American Experience, PBS; “Douglas Fairbanks,” American Experience, PBS; Life and Times of Mary Pickford, Documentary (1998), Youtube.com; Harlow: The Blonde Bombshell, Documentary (1993), directed by Tom McQuade; “William Powell,” The State Historical Society of Missouri, www.missouriencyclopedia.com; Academy of Motion Picture Arts and Sciences (Oscars.org): Mary Pickford; “William Powell, Film Star, Dies at 91,”March 6, 1984, by Peter B. Flint, New York Times; “Jeanette Nolan, Spouse Rough it in Montana Wilderness Home,” March 24, 1974, The Indianapolis Star; TCM.com; MaryPickford.org; McCreaRanchFoundation.org; IMDBPro.com; IBDB.com; Wikipedia.com; AcademyMuseum.com Movies Mentioned:  JOEL MCCREA & FRANCES DEE: The Jazz Age  (1929); The Silver Horde (1930); Playboy of Paris (1930); King of the Jungle (1930); An American Tragedy (1931); Caught (1931); Born to Love (1931); Bird of Paradise (1932); The Silver Cord (1933); One Man's Journey (1933); Little Women (1933); Finishing School (1934); Of Human Bondage (1934); Gambling Lady (1934); Becky Sharp (1935); Barbary Coast (1935); These Three (1936); Come and Get It (1936); The Gay Deception (1936);   Wells Fargo (1937); Dead End (1937); If I Were King (1938); Union Station (1939); Foreign Correspondent (1940); I Walked With A Zombie (1943); Four Faces West (1948); Ride The High Country (1962); JEAN HARLOW & WILLIAM POWELL: Man of the World (1931); Ladies Man (1931); Hell's Angels (1930); Reckless (1935); Libeled Lady (1936); After The Thin Man (1936); Saratoga (1937); My Man Godfrey (1936); JOHN McINTIRE & JEANETTE NOLAN: The Ramparts We Watch (1940); Northside 777 (1948); MacBeth (1948); Words and Music (1948); River Lady (1948);   Command Decision (1948); Top of The Morning (1949); No Sad Song For Me (1950); The Asphalt Jungle (1950); Winchester '73 (1950); The Secret of Convict Lake (1951); The Happy Time (1952); The Big Heat (1953); Westward The Women (1951); Apache (1954);  The Far County (1954); Flaming Star (1960);  Summer and Smoke (1961); The Man Who Shot Liberty Valance (1962); Rooster Cogburn (1975); The Rescuers (1978); True Confessions (1981); Cloak and Dagger (1984); Turner and Hooch (1989); The Horse Whisperer (1998); MARY PICKFORD & DOUGLAS FAIRBANKS: *** Please email us for list of Pickford & Fairbanks movies*** --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send me a messageThe little known story of the Barbary pirates and England's White Slaves.Become A PatronDid you know that at the same time that the British were involved in the trans-Atlantic slave trade, white Britons were being sold into slavery in Africa?For over 200 years, from the reign of James I right up until George III,  Muslim pirates from the abducted thousands of British sailors and sold them in the slave markets on the Barbary Coast in North Africa.They even landed in Cornwall raiding coastal villages and taking men, women and children into captivity.It is a fascinating and little known story from British history.Support the show

Six games in three days, with a little turkey in between! A look back at Kansas followed by a preview of all three visitors for the Live Oak Bank Holiday Classic, and a few questions from our loyal listeners.

No Agenda Episode 1702 - "Sloppin' Hopper" "Sloppin' Hopper" Executive Producers: Captain Luke, Baron of Sonoma County, and Commodore of all coastal and riverine operations therein Tyrel McMahan Roland Schneider Dame Bay Area Wildfire Mark Alcocer Anonymous Steve Bandstra Anonymous Colin Mclane Associate Executive Producers: Eli the coffee guy Sir Zev Mo, Protector of the Digital Wallet Linda Lu, Duchess of Jobs & Writer of Resumes Commodores: Commodore Captain Luke 4 Commodore Tyrel McMahan Commodore SX-64 Commodore Bay Area Wildfire Commodore Mark Alcocer Commodore Anonymous from Silver Spring Commodore Steve Bandstra Commodore Anonymous Become a member of the 1703 Club, support the show here Boost us with with Podcasting 2.0 Certified apps: Podverse - Podfriend - Breez - Sphinx - Podstation - Curiocaster - Fountain Title Changes Captain Luke, Knight of the Barbary Coast > Captain Luke, Baron of Sonoma County, and Commodore of all coastal and riverine operations therein Knights & Dames Zev Green > Sir Zev Mo, Protector of the Digital Wallet Art By: Francisco Scaramanga End of Show Mixes: Deezlaughs - David Keckta - John Valentine Engineering, Stream Management & Wizardry Mark van Dijk - Systems Master Ryan Bemrose - Program Director Back Office Jae Dvorak Chapters: Dreb Scott Clip Custodian: Neal Jones Clip Collectors: Steve Jones & Dave Ackerman NEW: and soon on Netflix: Animated No Agenda Sign Up for the newsletter No Agenda Peerage ShowNotes Archive of links and Assets (clips etc) 1702.noagendanotes.com Directory Archive of Shownotes (includes all audio and video assets used) archive.noagendanotes.com RSS Podcast Feed Full Summaries in PDF No Agenda Lite in opus format Last Modified 10/10/2024 16:28:05This page created with the FreedomController Last Modified 10/10/2024 16:28:05 by Freedom Controller

2+ Hours of Mystery and WesternsFirst a look at this day in History.Then Quiet Please starring Ernest Chappell, originally broadcast August 9, 1948, 76 years ago, The Thing on the Forble Board.  A creature from beneath the earth climbs up an oil well pipe to the surface. Followed by  Confession, originally broadcast August 9, 1953, 71 years ago, Peter W. Greer Case.  Peter's wife is pushing him into a life of crime. Then Gunsmoke starring William Conrad, originally broadcast August 9, 1952, 72 years ago, The Kentucky Tolmans.   The Tolmans from Kentucky include a good lookin' mountain gal, a drinking old father with a secret, and a son willing to kill to get at it. Followed by Have Gun Will Travel starring John Dehner, originally broadcast August 9, 1959, 65 years ago, Finn Alley.  Miss Wong has been kidnapped. Paladin gets shanghaied when he visits the Barbary Coast! Finally Claudia, originally broadcast August 9, 1948, 76 years ago, Bobby's First Visitor. Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mentioned on the show can be found here: http://www.civildefensemuseum.com/docs.html

The Barbary pirates, Barbary corsairs, or Ottoman corsairs were mainly Muslim pirates and privateers who operated from the largely independent Ottoman Barbary states. This area was known in Europe as the Barbary Coast, in reference to the Berbers Travel to Peru and Germany with me here Check out our sister podcast the Mystery of Everything Coffee Collab With The Lore Lodge COFFEE Bonus episodes as well as ad-free episodes on Patreon. Find us on Instagram. Join us on Discord. Submit your relatives on our website Podcast Youtube Channel Learn more about your ad choices. Visit megaphone.fm/adchoices

Prestige-ish Media The Boys Season 3 REVIEW of Episode 3 - Barbary Coast. Listen in as Craig Lake and Dan McNair give their opinions on the Amazon Prime show. Clinch your fists and hit us baby one more time. In this episode we discuss the Little Miss Hero pageant, lifetime achievement awards, Nicaragua, octopi, and more. Please also join us for our coverage of The Boys Season 4 and House of the Dragon Season 2 in June. Only Murders in the Building Season 4 and Rings of Power Season 2 coming in August. X @prestige_ish Instagram @prestigeishmedia X/Instagram @realrealbatman @danmcnair1017 http://prestigeish.com

ohnny & Adam are joined with Renaissance Man, Jason Phillips. He is an artist in many senses of the word. Check out his work at www.johnjasonphillips.com! We talked about his life and times in the 70s and 80s in San Francisco. Super fun! NEW MERCH now available at www.teal-island.com Support the art at www.adultstorytime.net VILLA LEILA available at www.teal-island.com or anywhere books are found.

by2 + Hours of Crime and WesternsFirst a look at this day in History.Then Crime Club, originally broadcast April 3, 1947, 78 years ago, The Sun is a Witness.  The shadows on a roll of film provide the clues to a murderer. Followed by This is my Best starring Orson Welles, originally broadcast April 3, 1945, 79 years ago, The Diamond as Big as the Ritz.  A very strange love story involving the wealthy Mr. Washington and his diamond that was indeed, "as big as the Ritz." Then Gunsmoke starring William Conrad, originally broadcast April 3, 1954, 70 years ago, Mr and Mrs Amber.   After Neil Amber is caught stealing seeds from the General Store, Pete Fletcher (a wealthy rancher), accuses Amber's wife of stealing one of his calves.  Followed by Have Gun Will Travel starring John Dehner as Paladin, originally broadcast April 3, 1960, 64 years ago, Shanghai Is a Verb.   Hey Boy has disappeared from the Barbary Coast. Bubonic plague and a shanghai ensue. Finally Mr District Attorney starring Jay Jostyn, originally broadcast April 3, 1939, 85 years ago, The Milano Brothers. The first show of the series. The D.A. goes after protection racketeers in the first episode of a continuing story. Thanks to Richard for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mentioned on the show can be found here: http://www.civildefensemuseum.com/docs.html

Join Jenn and Rachel (#JennRach) as they dance to Brittany with Starlight, remember Nicaragua with Grace, and try to contain themselves after the shocking finale episode of American Hero.Wanna keep up with the show? @girlsontheboys> Jenn: @jennferatu - @LosersClubPod , @theladykpod , @SfAntagonist > Rachel: @VinylGrrrl - @HalloweeniesPod , @LosersClubPodIf you like the podcast, please rate, review, and subscribe!Check out Anatomy of a Scream for more great content and the other Network pods Hosted on Acast. See acast.com/privacy for more information.

On this week's episode: The Cromwell Session Meeting up with dice royalty - Beau The Dice Coach The new bridge at Vdara Pappy Van Winkle's amazing shot We also touch on The Barbary Coast, Ten Ton's Vegas Spot, The Deer Hunter and why Miller High Life is indeed the champaign of beers. Call The Casino Tears Vent Line 229-NO SEVEN (667-3836) Now!!! Leave a message, ask a question or simply get something off your mind -  We might even play it on air!! Please visit our home page at casinotears.com for more info, merch, and host contacts Email: noseven@casinotears.com Patreon: https://www.patreon.com/CasinoTears

In Part 1, we get to know Tenderloin Museum's executive director, Katie Conry. She's originally from Oceanside, California, just outside of LA, where her parents are from. They were both teachers but were priced out of the big city, a situation all too familiar around here.     Katie left home as soon as she could—when she was 18 and it was time to go to college. She had felt lonely and alienated in her hometown. But almost from the moment she arrived in Berkeley, she loved it and felt connected. In the 20-plus years since, she hasn't left the Bay Area.     She moved across the Bay to San Francisco after graduation in the mid-2000s, settling in the Mission, the neighborhood she's lived in ever since. Katie and Jeff reminisce about several Mission spots they both frequented around that time.     In the early 2010s, Katie got a job at Adobe Books, helping the bookstore raise money to make the move from 16th Street to its current spot on 24th Street. In that fundraising process, the store was turned into a co-op and its art gallery a non-profit.     This experience is how Katie started in events and working with artists. She later worked part-time at museums like the California Academy of Sciences, the Contemporary Jewish Museum, and The Exploratorium, working on private events for those institutions.     Katie was originally hired at the Tenderloin Museum as their program manager when the museum opened in 2015. The next year, she became its executive director (Alex Spoto does a lot of public programming now).     From here, we dive into the history of TLM. It was the brainchild of journalist and activist  Randy Shaw, who was inspired by what he saw at New York City's Tenement Museum. The non-profit that runs TLM was formed in 2009 and they opened their museum doors to the public in 2015. The permanent collection in their gallery spotlights stories of working-class resistance movements and marginalized communities. The museum was successful early, largely because of its public programming. They sponsored showings of the film Drugs in the Tenderloin (1967), which turned out to be very popular.      From here, our discussion pivots to the history of the Tenderloin itself. Katie shares that it (not the Castro) was the first gay hood in San Francisco. It was a high-density neighborhood filled with affordable housing, a liminal space in an urban setting. Then we hear the story of the neighborhood after the 1906 earthquake, which destroyed just about everything except the Hibernia Bank building.     The Tenderloin was rebuilt quickly, though. The Cadillac Hotel, where the museum is located today, opened in 1908 and was meant to house folks who were working to rebuild The City. The single room occupancies (SROs) left people hungry for entertainment, of which there was soon plenty.     Women were living on their own in the Tenderloin, and in response, moral crusaders came after them. These high-and-mighty types had successfully shut down the sex-worker presence in San Francisco's Barbary Coast in 1913, forcing members of that industry to the Tenderloin. And so, perhaps naturally, those same crusaders came after sex-industry women in the Tenderloin.     The first sex-worker protest in the US happened in the TL after Reggie Gamble stormed a church and gave an impromptu speech. But it wasn't enough. Those same self-righteous white men effectively shut down the Tenderloin in 1917, an occasion for which TLM did  a centennial celebration in 2017.     Check back next week for more Tenderloin History in Part 2 of this episode.   We recorded this podcast at the Tenderloin Museum in November 2023.   Photography by Jeff Hunt

Melvyn Bragg and guests discuss the North African privateers who, until their demise in the nineteenth century, were a source of great pride and wealth in their home ports, where they sold the people and goods they'd seized from Christian European ships and coastal towns. Nominally, these corsairs were from Algiers, Tunis or Tripoli, outreaches of the Ottoman empire, or Salé in neighbouring Morocco, but often their Turkish or Arabic names concealed their European birth. Murad Reis the Younger, for example, who sacked Baltimore in 1631, was the Dutchman Jan Janszoon who also had a base on Lundy in the Bristol Channel. While the European crowns negotiated treaties to try to manage relations with the corsairs, they commonly viewed these sailors as pirates who were barely tolerated and, as soon as France, Britain, Spain and later America developed enough sea power, their ships and bases were destroyed. WithJoanna Nolan Research Associate at SOAS, University of LondonClaire Norton Former Associate Professor of History at St Mary's University, TwickenhamAnd Michael Talbot Associate Professor in the History of the Ottoman Empire and the Modern Middle East at the University of GreenwichProducer: Simon Tillotson Reading list:Robert C. Davis, Christian Slaves, Muslim Masters: White Slavery in the Mediterranean, the Barbary Coast and Italy, 1500-1800 (Palgrave Macmillan, 2004)Peter Earle, Corsairs of Malta and Barbary (Sidgwick and Jackson, 1970) Des Ekin, The Stolen Village: Baltimore and the Barbary Pirates (O'Brien Press, 2008)Jacques Heers, The Barbary Corsairs: Warfare in the Mediterranean, 1450-1580 (Skyhorse Publishing, 2018)Colin Heywood, The Ottoman World: The Mediterranean and North Africa, 1660-1760 (Routledge, 2019)Alan Jamieson, Lords of the Sea: A History of the Barbary Corsairs (Reaktion Books, 2013)Julie Kalman, The Kings of Algiers: How Two Jewish Families Shaped the Mediterranean World during the Napoleonic Wars and Beyond (Princeton University Press, 2023)Stanley Lane-Poole, The Story of the Barbary Corsairs (T. Unwin, 1890)Sally Magnusson, The Sealwoman's Gift (A novel - Two Roads, 2018)Philip Mansel, Levant: Splendour and Catastrophe on the Mediterranean (John Murray, 2010)Nabil Matar, Turks, Moors and Englishmen in the Age of Discovery (Columbia University Press, 1999)Nabil Matar, Britain and Barbary, 1589-1689 (University Press of Florida, 2005)Giles Milton, White Gold: The Extraordinary Story of Thomas Pellow and North Africa's One Million European Slaves (Hodder and Stoughton, 2004)Claire Norton (ed.), Conversion and Islam in the Early Modern Mediterranean: The Lure of the Other (Routledge, 2017)Claire Norton, ‘Lust, Greed, Torture and Identity: Narrations of Conversion and the Creation of the Early Modern 'Renegade' (Comparative Studies of South Asia, Africa and the Middle East 29/2, 2009) Daniel Panzac, The Barbary Corsairs: The End of a Legend, 1800-1820 (Brill, 2005)Rafael Sabatini, The Sea Hawk (a novel - Vintage Books, 2011)Adrian Tinniswood, Pirates of Barbary: Corsairs, Conquests and Captivity in the 17th century (Vintage Books, 2010)D. Vitkus (ed.), Piracy, Slavery and Redemption: Barbary Captivity Narratives from Early Modern England (Columbia University Press, 2001)J. M. White, Piracy and Law in the Ottoman Mediterranean (Stanford University Press, 2018)

Melvyn Bragg and guests discuss the North African privateers who, until their demise in the nineteenth century, were a source of great pride and wealth in their home ports, where they sold the people and goods they'd seized from Christian European ships and coastal towns. Nominally, these corsairs were from Algiers, Tunis or Tripoli, outreaches of the Ottoman empire, or Salé in neighbouring Morocco, but often their Turkish or Arabic names concealed their European birth. Murad Reis the Younger, for example, who sacked Baltimore in 1631, was the Dutchman Jan Janszoon who also had a base on Lundy in the Bristol Channel. While the European crowns negotiated treaties to try to manage relations with the corsairs, they commonly viewed these sailors as pirates who were barely tolerated and, as soon as France, Britain, Spain and later America developed enough sea power, their ships and bases were destroyed. WithJoanna Nolan Research Associate at SOAS, University of LondonClaire Norton Former Associate Professor of History at St Mary's University, TwickenhamAnd Michael Talbot Associate Professor in the History of the Ottoman Empire and the Modern Middle East at the University of GreenwichProducer: Simon Tillotson Reading list:Robert C. Davis, Christian Slaves, Muslim Masters: White Slavery in the Mediterranean, the Barbary Coast and Italy, 1500-1800 (Palgrave Macmillan, 2004)Peter Earle, Corsairs of Malta and Barbary (Sidgwick and Jackson, 1970) Des Ekin, The Stolen Village: Baltimore and the Barbary Pirates (O'Brien Press, 2008)Jacques Heers, The Barbary Corsairs: Warfare in the Mediterranean, 1450-1580 (Skyhorse Publishing, 2018)Colin Heywood, The Ottoman World: The Mediterranean and North Africa, 1660-1760 (Routledge, 2019)Alan Jamieson, Lords of the Sea: A History of the Barbary Corsairs (Reaktion Books, 2013)Julie Kalman, The Kings of Algiers: How Two Jewish Families Shaped the Mediterranean World during the Napoleonic Wars and Beyond (Princeton University Press, 2023)Stanley Lane-Poole, The Story of the Barbary Corsairs (T. Unwin, 1890)Sally Magnusson, The Sealwoman's Gift (A novel - Two Roads, 2018)Philip Mansel, Levant: Splendour and Catastrophe on the Mediterranean (John Murray, 2010)Nabil Matar, Turks, Moors and Englishmen in the Age of Discovery (Columbia University Press, 1999)Nabil Matar, Britain and Barbary, 1589-1689 (University Press of Florida, 2005)Giles Milton, White Gold: The Extraordinary Story of Thomas Pellow and North Africa's One Million European Slaves (Hodder and Stoughton, 2004)Claire Norton (ed.), Conversion and Islam in the Early Modern Mediterranean: The Lure of the Other (Routledge, 2017)Claire Norton, ‘Lust, Greed, Torture and Identity: Narrations of Conversion and the Creation of the Early Modern 'Renegade' (Comparative Studies of South Asia, Africa and the Middle East 29/2, 2009) Daniel Panzac, The Barbary Corsairs: The End of a Legend, 1800-1820 (Brill, 2005)Rafael Sabatini, The Sea Hawk (a novel - Vintage Books, 2011)Adrian Tinniswood, Pirates of Barbary: Corsairs, Conquests and Captivity in the 17th century (Vintage Books, 2010)D. Vitkus (ed.), Piracy, Slavery and Redemption: Barbary Captivity Narratives from Early Modern England (Columbia University Press, 2001)J. M. White, Piracy and Law in the Ottoman Mediterranean (Stanford University Press, 2018)

In this podcast-extended episode, we welcome back Dr. Paul Kengor of The American Spectator to discuss the history of slavery in the Catholic Church through his latest book with The Saint Paul Center for Biblical Theology. What are the common narratives, and what is the truth? In the podcast-extended segment, Dr. Kengor discusses the ill informed narratives surrounding the so-called "doctrine of discovery".   Show Notes The Worst of Indignities: The Catholic Church on Slavery The Catholic Church Against Slavery: Setting the Record Straight - American Thinker Christian slaves, Muslim masters : white slavery in the Mediterranean, the Barbary Coast, and Italy, 1500-1800 Paul Kengor, Author at The American Spectator | USA News and Politics Explainer: ‘The Doctrine of Discovery' and how the Catholic Church may officially reject it | America Magazine Indigenous Slavers: American Indians Who Whipped and Owned Blacks - The American Spectator | USA News and Politics Defenders of the West (Raymond Ibrahim) 7/25/22 The Eastern Defenders of Christendom (Raymond Ibrahim) 11/17/22 Watch: MSNBC's Joy Reid Agrees with Guest Who Trashes Christianity as Justification for Slavery and Genocide Free the Slaves Read Fr. McTeigue's Written Works! Listen to Fr. McTeigue's Preaching! | Herald of the Gospel Sermons Podcast on Spotify Visit Fr. McTeigue's Website | Herald of the Gospel Questions? Comments? Feedback? Ask Father!  

In This Episode You Will Learn About:  How to place integrity at the center of your organization What it means to bring empathy to the workplace Finding the best GENIUS in you Resources: Website: www.madison-reed.com  Email: AE@madison-reed.com  LinkedIn: Amy Errett Instagram & Twitter: @AmyErrett Facebook & Twitter: @MadisonReedLLB   Instagram: @madisonreed TikTok: @madisonreedcolor Visit heathermonahan.com Overcome Your Villains is Available NOW! Order here: https://overcomeyourvillains.com  If you haven't yet, get my first book Confidence Creator Go to 4Patriots.com and use code CONFIDENCE to get 10% off Visit Indeed.com/monahan to start hiring now. Get 55% off at Babbel.com/MONAHAN  Show Notes:  What would happen if you created a life and a career where you could authentically show up as your true self? It is time to recognize what you do BEST and stop conforming! You can create a work and a culture that VALUES you and those around you. Amy Errett, CEO of Madison Reed, is here to reveal how she innovates in her industry while keeping love, joy, and integrity at the forefront. Join us as we discuss her journey, what pillars she builds her company on, and how you can revitalize your approach to life! About The Guest: Amy Errett's multifaceted career has ranged from founding and operating companies, to investing in startups, to volunteer nonprofit leadership. Currently, Amy is Founder and CEO of Madison Reed, an omnichannel beauty brand that is challenging industry titans in the hair color space. She is also a Partner at True Ventures, focusing on investments in consumer and ecommerce startups. Amy believes in the power of giving back and dedicates herself to supporting humanitarian organizations. Amy is a member of San Francisco's Barbary Coast chapter of YPO (Young Presidents' Organization), and serves on the boards of the University of Connecticut Foundation, Common Sense Media, Glide, and Madison Reed. If You Liked This Episode You Might Also Like These Episodes: The Secret To Picking Yourself UP When You're Down, With Heather!  The Simple Steps That Lead To Extraordinary Wealth, With Candy Valentino, Entrepreneur, Author, & Philanthropist  How To Turn A Negative Situation Into A Positive One, With Heather!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Chicago, IL; San Francisco, CA; and Portland, OR: Three tourist hotspots known for their cannabis culture. With so many themed dispensaries, cool experiences, and fantastic food in each state, where should canna-curious travelers start when picking what to smoke, see and do in these big cities?In this episode, host Brit Smith talks to Different Leaf magazine's cannabis travel writers about the coolest pot shops, lounges, sights, and hidden gems in The Bay, The Windy City, and Portlandia.First, writer Hannah Vyosky tells us about Chicago's must-see dispensaries, like Ivy Hall with its Great Gatsby vibe. She covers where visitors can consume weed without getting in trouble and offers up some lesser-known stoner experiences like picnics with the Dorothy and Toto statues in Oz Park, indulging your munchies at the global McDonald's, and exploring the city's famed Roman bathhouses.Then, writer Meena Thiruvengadum takes us on a tour of the essential stoner spots in the thriving hippie city of Portland, Oregon. She discusses the most worthwhile dispensaries like the Electric Lettuce, what to expect on the Portlandia bus tour, how to find the best beaches and hikes around the city, and where to get amazing wake-and-bake food like Gravy's french toast the size of your head.Finally, writer Carly Fisher delves into the best stops on the dispensary crawl through San Francisco's Castro District, where the legalization movement first began. She names some favorite consumption lounges, like the Barbary Coast draped in plush dark reds in a nod to the old Victorian era of San Fran. And she highlights the Bay's best outdoor experiences like the Oakland Cannabis Trail to the east and the Redwood forests to the north.Read our city guide by Hannah, Meena, and Carly starting on page 36 in the summer 2023 issue of Different Leaf magazine, available at DifferentLeaf.com or at thousands of in-person retailers. Find your local seller at DifferentLeaf.com/on-the-newsstandFollow us on social media @DifferentLeaf and find host Brit Smith @BritTheBritishCheck out our new merch line at xDifferentLeaf.com

Kate Mosse is busy, really busy! Not only has she just published her new novel, The Ghost Ship, but has recently been on tour with her one woman show - AND - has been running the Women's Prize For Fiction (which she founded in 1996) In this episode, the bestselling author talks to Simon and Matt about her research, her fascination with the history of France, continuing a series and why she finds ships so fascinating. Here comes the science bit... THE GHOST SHIP Piracy. Romance. Revenge. Across the seas of the seventeenth century, two seafarers are forced to fight for their lives. The sequel to The City of Tears, The Ghost Ship is the third novel in The Joubert Family Chronicles from bestselling author Kate Mosse. The Barbary Coast, 1621. A mysterious vessel floats silently on the water. It is known only as the Ghost Ship. For months it has hunted pirates to liberate those enslaved by corsairs, manned by a courageous crew of mariners from Italy and France, Holland and the Canary Islands. But the bravest among them are not who they seem. The stakes could not be higher. If arrested, they will be hanged for their crimes. Can they survive the journey and escape their fate? A sweeping and epic love story, ranging from France in 1610 to Amsterdam and the Canary Islands in the 1620s, The Ghost Ship is a thrilling novel of adventure and buccaneering, love and revenge, stolen fortunes and hidden secrets on the High Seas. Most of all, it is a tale of defiant women in a man's world. Learn more about your ad choices. Visit megaphone.fm/adchoices

Zach Gates is the 2nd generation owner/operator and chief innovator at All Seasons Feeders. He's also a passionate bow hunter with an affinity for chasing one of Texas most rugged creatures in the West Texas mountains. Aoudad sheep (native to Africa's Barbary Coast) are hard enough to get into range with a trusty rifle, but [...]

Zach Gates is the 2nd generation owner/operator and chief innovator at All Seasons Feeders. He's also a passionate bow hunter with an affinity for chasing one of Texas most rugged creatures in the West Texas mountains. Aoudad sheep (native to Africa's Barbary Coast) are hard enough to get into range with a trusty rifle, but [...]

San Francisco, the Barbary Coast, 1913 and the man with the belligerent voice is a beefy gentleman known as “Dirty Eddie” proprietor of Dirty Eddies Cafe, pride of the coast. The gentlemen reclining on the sidewalk committed an unforgivable sin; he sang a sour note while entertaining Eddies select clientele composed mostly of thugs from the waterfront. As Eddie stands glowering in the swinging doors a girl comes from the street stepping carefully over the fallen tenor. . . Duration: 44:03 Broadcast Date: 3rd June 1940

X Minus One, originally broadcast April 3, 1957, Martian Sam. The Los Angeles Dodgers sign a real Martian as a left-handed pitcher. He's got lots of arms, and one of them is thirty-two feet long! He's also a "klugel hunter," who's hooked on chewing gum! Also Have Gun Will Travel starring John Dehner, originally broadcast April 3, 1960, Shanghai is a Verb. Hey Boy has disappeared from the Barbary Coast. Bubonic plague and a shanghai ensue. Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

https://youtu.be/qNiy2NfVQWg      For centuries before, Europeans had enslaved other Europeans, Asians had enslaved other Asians and Africans had enslaved other Africans. Only in the modern era was there both the wealth and the technology to organize the mass transportation of people across an ocean, either as slaves or as free immigrants. Nor were Europeans the only ones to transport masses of enslaved human beings from one continent to another. North Africa's Barbary Coast pirates alone captured and enslaved at least a million Europeans from 1500 to 1800, carrying more Europeans into bondage in North Africa than there were Africans brought in bondage to the United States and to the American colonies from which it was formed. Moreover, Europeans were still being bought and sold in the slave markets of the Islamic world, decades after blacks were freed in the United States.   Slavery was a virtually universal institution in countries around the world and for thousands of years of recorded history. Indeed, archaeological evidence suggests that human beings learned to enslave other human beings before they learned to write. One of the many fallacies about slavery— that it was based on race— is sustained by the simple but pervasive practice of focussing exclusively on the enslavement of Africans by Europeans, as if this were something unique, rather than part of a much larger worldwide human tragedy. Racism grew out of African slavery, especially in the United States, but slavery preceded racism by thousands of years. Europeans enslaved other Europeans for centuries before the first African was brought in bondage to the Western Hemisphere. – Thomas Sowell, Economic Facts and Fallacies, p. 180 BitChute

Someone once said, “The coldest winter I ever spent, was the summer I spent watching The Streets of San Francisco.” And so we spent a cold, cold summer watching elderly shut-ins with PTSD, angry mobs, and TW: dead children. Zoë and Richard head to the Barbary Coast to ride along with Karl Malden and Michael Douglas as they root for the Giants, eat hofbrau in North Beach, and put the screws to a young Clint Howard. UPCOMING EPISODES: 21 Jump Street, S3 E13, “AWOL”The Rookies, S2 E23 “Death Watch.”BL Stryker, S1 E5, “Blues for Buder.” Barnaby Jones, S8 E22, “The Killin Cousin"Miami Vice, S3 E7, “El Viejo”Get Christie Love!, S1 E16, “Murder on High C”T.J. Hooker, S4 E10, “Grand Theft Auto”Jake and the Fatman, S2 E6 “Poor Butterfly” Riptide, S3 E3, “Does Not Compute.”Follow us on social media for screenshots and GIFs, because you have to see it to believe it. Instagram: @BookemCrimetimeTwitter: @BookemCrimetimeSupport the show

We return to North Africa this week to explore some of the most infamous and intriguing characters of early modern history: the Corsairs of the Barbary Coast. What compelled Dutch sailors and English knights to "turn Turk" and sail under the Ottoman flag? What does Miguel de Cervantes have to do with a famous mosque in Istanbul? And were pirate attacks on Ireland an inside job? We going into all this and more in our episode on the notorious pirates of the Mediterranean. Hosted by Liam, and Russian Sam. --- Support this podcast: https://anchor.fm/gladiofreeeurope/support

Billy and Kamraun dig into The Boys, the Amazon Prime show. In this episode they cover S3E3 "Barbary Coast".Support the showWe love hearing from you all! Please send comments and feedback to contact@horsefrogproductions.com.Social Links:Website: HorseFrogProductions.comTwitter: https://twitter.com/HorseFrogProdYouTube: https://www.youtube.com/@horsefrogproductionsInstagram: https://www.instagram.com/horsefrogproductions/

Welcome back Roommates! We are back this week to talk about episode 3 &4 of the Boys Season 3. We throw in a little Bad Batch talk about the beginning of the episode. Let's get to it!

Fighting pirates along the Barbary Coast in 1815, US Navy ships encountered a fierce and brave Algerian naval hero, Rais Hamidou. See omnystudio.com/listener for privacy information.

Hey Panelers! Steve and Mark continue their coverage of The Boys Season 3 with Episode 3 entitled “Barbary Coast”. In this episode we talk about Mallory's past and her experience with Supes. Where Starlight is with during the filming of America's next top Superhero and how Homelander is giving her more and more issues. Plus, all the stuff with Frenchie and his past. Check us out on iTunes, Amazon Music, Google Podcasts, Deezer, Tune In, Stitcher, Spotify, or whatever podcast player of choice you use. We Can be found on YouTube: Just Search Panels to Pixels Podcast! Subscribe! And just Check the Thumbs up if you like it! We would appreciate it! You can find Kirk Manley's Artwork at: @Batmankm on Twitter! @Batmankm on Instagram www.studiokm.com https://www.deviantart.com/batmankm https://www.facebook.com/kirk.manley. Or you can just go to: www.PirateCorpsEntertainment.com and find all his links and check out his work! You can also consign him to do work for you with anything you want personalized! Check it out! You can send Feedback at: Facebook.com/PanelsToPixels Email us: Panelstopixels1@gmail.com Twitter: @Panels2Pixels Instagram: @PanelsToPixelsPodcast

Mike Bloom and Kevin Mahadeo take a big bite of octopus and exposition as they recap "The Boys" Season 3 Episode 3, "Barbary Coast. The post The Boys | Season 3 Episode 3 Recap, ‘Barbary Coast' appeared first on PostShowRecaps.com.

Mike Bloom and Kevin Mahadeo take a big bite of octopus and exposition as they recap "The Boys" Season 3 Episode 3, "Barbary Coast. The post The Boys | Season 3 Episode 3 Recap, ‘Barbary Coast' appeared first on PostShowRecaps.com.

Alright! We finally catch up on The Boys! Episodes 2 and 3 are really laying the ground work for what this season is to be. The Homelander is pushing into new realms of open supremacy. The Boys are getting ready to attempt to take him down.Check out all of our podcasts!https://www.strandedpanda.com

Mike Bloom and Kevin Mahadeo take a big bite of octopus and exposition as they recap "The Boys" Season 3 Episode 3, "Barbary Coast. The post The Boys | Season 3 Episode 3 Recap, ‘Barbary Coast' appeared first on PostShowRecaps.com.

SPOILERS AHEAD: The Watchers discuss the first three episodes – “Payback,” “The Only Man in the Sky,” and “Barbary Coast” -- of season three of the hit Amazon Prime series, The Boys. Are you watching the diabolical series? Let us know in our livestream chat as we discuss! #TheBoys #SeasonThree #livestream The Boys (2019) is a group of vigilantes set out to take down corrupt superheroes who abuse their superpowers. Starring Karl Urban, Jack Quaid, Antony Starr, and Erin Moriarty. Created by Eric Kripke. Subscribe, rate and review! Follow The Watchers in the Basement on social media! Use #WatchersBasement to comment about the show! facebook.com/watchersbasement twitter.com/WatchBasement instagram.com/watchersbasement

Mike Bloom and Kevin Mahadeo take a big bite of octopus and exposition as they recap "The Boys" Season 3 Episode 3, "Barbary Coast. The post The Boys | Season 3 Episode 3 Recap, ‘Barbary Coast' appeared first on PostShowRecaps.com.

Chris returns to join Derek to chat about The Boys Season 3 Episode 2 Barbary Coast. We discuss the flashback and a new state of mind for Homelander as we Read More The post The Boys Season 3 Episode 3 Barbary Coast Podcast appeared first on TV Podcast Industries.

Starlight is getting in deeper with The Seven as we recap The Boys Season 3, Episode 3 "Barbary Coast". With Homelander flexing his muscles after his birthday speech, Starlight launches several attempts to stop him before he goes too far. Meanwhile, Hughie, Butcher, Kimiko and Mother's Milk find out what happened to Soldier Boy from Mallory. And Frenchie reconnects with his old flame, Nina. SUBSCRIBE TO LET'S HEAR IT FOR THE BOYS ON ON APPLE, ANDROID, STITCHER, SPOTIFY OR RSS. FOLLOW US ON TWITTER, INSTAGRAM AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON. Support the show: https://www.patreon.com/comicbookclub See omnystudio.com/listener for privacy information.

Chris returns to join Derek to chat about The Boys Season 3 Episode 2 Barbary Coast. We discuss the flashback and a new state of mind for Homelander as we go into full spoiler filled detail. The Boys Season 3 Episode 3 Barbary Coast Synopsis Head Writer and Developed by - Eric Kripke Based on the comic series from Garth Ennis and Darick Robertson Executive Producers Seth Rogen and Evan Goldberg. Episode written by: Anslem Richardson and Geoff Aull Episode directed by: Julian Holmes Spoiler filled Synopsis: Following his confrontational birthday speech on live TV, Homelander's stock has gone up 21 points particularly with disaffected white males in the rust belt. But this boost has given him new confidence as popularity equals power at Vought Industries. Homelander goes against his co-captain Starlight's wishes and brings The Deep back into the Seven. But Deep has to pay his dues and show Homelander he's willing to play ball by having his octopus friend Timothy for dinner. With The Deep's return and the addition of American Hero winner Supersonic to the team, the Seven are now complete. But Homelander has one twist to announce to the public. He and Starlight are now a couple. With a clenched fist and gritted teeth Starlight goes with this new storyline. #Homelight Elsewhere Billy, Mothers Milk, Hughie and Kamiko confront Grace Mallory about her operations in Nicaragua and dealings with Soldier Boy, the former head of Payback. While Mallory was running a government sanctioned drug running operation in 1984 a young Stan Edgar brought the supe team with him as his first test of his idea for Supes in the military. When Russian forces attack Mallory's camp Edgar's test quickly fails. Untrained and untested, Payback create havok, killing half of Mallory's team and their own. Black Noir is left permanently scarred and Soldier Boy is captured, taken deep into Russian territory. As Butcher takes in the story and the seeming betrayal of Grace Mallory he recovers from his experience with V24. But his supe step son Ryan realises there is something very wrong with him as he detects Billy's faster heartbeat and smells the V in his blood. Billy lashes out pushing the boy away and telling him it's too dangerous to see him again. Meanwhile after being contacted by his old flame Cherie, Frenchie has a meeting with Russian gangster Little Nina. In exchange for keeping Cherie safe Nina wants him to work for her again. Frenchie negotiates his way out of there but Billy needs the Russian connection and forces him to go back and arrange a meeting. Episode Cast Karl Urban as Billy ButcherJack Quaid as HughieAntony Starr as HomelanderErin Moriarty as StarlightDominique McElligott as Queen MeaveJessie T. Usher as A-TrainLaz Alonso as Mother's MilkChace Crawford as The DeepTomer Capone as FrenchieKaren Fukuhara as Kimiko MiyashiroNathan Mitchell as Black NoirColby Minifie as Ashley BarrettClaudia Doumit as Victoria NeumanJensen Ackles as Soldier BoyAnd Giancarlo Esposito as Stan Edgar The Boys Season 3 Pub Quiz During each podcast we'll ask a question about each episode in our Boys Season 3 Pub Quiz. You can send in your answers each week to feedback@tvpodcastindustries.com At the end of the eight episode series the listener with the most correct answers will be in with the chance of getting their hands on some The Boys goodies. All questions will be updated on: https://www.tvpodcastindustries.com Question 3: In the camp in Nicaragua what song is being covered on the radio? This song also featured in Moon Knight. Feedback to TV Podcast Industries We'd love to hear about your favourite moments, any thoughts, theories and Easter Eggs that you see in the episodes that we might have missed. Email us at feedback@tvpodcastindustries.com with either an MP3 recording of your thoughts or an email for each episode. Subscribe to TV Podcast Industries

HOMELANDER & STARLIGHT DATING?! Thanks to StoryBlocks for sponsoring this video! Visit http://www.storyblocks.com/REJECTS to get started! The Boys S3, Ep 3 Review Today featuring the introduction of Payback & Jensen Ackles' Soldier Boy! Three contestants remain in the finale of American Hero, and only two are allowed to join the Seven. Someone will be moving into the Seven Tower, but who?! Here are our thoughts!! REACTION HIGHLIGHTS on YouTube & FULL LENGTH (Sync-Up) WATCH ALONGS at Patreon.com/TheReelRejects!! Learn more about your ad choices. Visit megaphone.fm/adchoices

We're excited to welcome The Boys back. Stormfront has been Anakin-ed after Obi-Wan got the high ground. This show has violence, deception, and childhood trauma in spades in only the way The Boys can. Who is a pawn? Who is the controller? And who's on the chopping block next? Grab some chips and a can of chunky human salsa and watch The Boys. Feedback, comments, can't sleep because of what you saw on the latest episode? Send in your thoughts to dhs@baldmove.com. Hey there! Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts, for just $5 a month! Join the discussion: Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter | Instagram | Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

We're excited to welcome The Boys back. Stormfront has been Anakin-ed after Obi-Wan got the high ground. This show has violence, deception, and childhood trauma in spades in only the way The Boys can. Who is a pawn? Who is the controller? And who's on the chopping block next? Grab some chips and a can of chunky human salsa and watch The Boys. Feedback, comments, can't sleep because of what you saw on the latest episode? Send in your thoughts to dhs@baldmove.com. Hey there! Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts, for just $5 a month! Join the discussion: Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter | Instagram | Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Check out Storyblocks and sign up for their Unlimited All Access Plan: https://bit.ly/storyblocksnerdsoupUse promo code NERDSOUP for 20% off sitewide at https://www.smilebrilliant.com/ !Beau & Aaron review the first three episodes of The Boys Season 3!EPISODE REVIEW TIME-CODES00:00 - EPISODE 1 'PAYBACK'22:46 - EPISODE 2 'THE ONLY MAN IN THE SKY'46:49 - EPISODE 3 'BARBARY COAST'FOLLOW US ON TWITTER, INSTAGRAM & FACEBOOK!TWITTER! - twitter.com/NerdSoupAaron Twitter: @nerdsoupmonkeyBeau Twitter: @beausoupTeddy Twitter: @TeddyNerdSoupNash Twitter: @AnthonyJQNashMarissa Twitter: @purplegirlnsINSTAGRAM - www.instagram.com/nerdsoupFACEBOOK! - www.facebook.com/NerdSoupVisit our Patreon page here - patreon.com/nerdsoup

We are chatting about The Boys Season 3 Episode 2 The Only Man In The Sky in our latest podcast. Make sure you have watched it as we are discussing it in spoiler filled detail. The Boys Season 3 Episode 2 The Only Man In The Sky Synopsis Head Writer and Developed by - Eric Kripke Based on the comic series from Garth Ennis and Darick Robertson Executive Producers Seth Rogen and Evan Goldberg. Episode written by: David Reed Episode directed by: Philip Sgriccia Spoiler filled Synopsis: As Homelander plans his birthday celebration he gets increasingly irritated at the line he has to tow at Vought. But when he learns of Stormfront's suicide it pushes him, and a young woman, over the edge. With his new co-captain, Starlight, trying to defend his humanity to the world, Homelander stands up for himself on live TV. He declares that he's better than human, he is the Real hero that everyone needs. With Queen Meave informing Billy Butcher that the former leader of “Payback”, Soldier Boy, was killed by an unknown weapon that can be used against Homelander, Billy gets the Boys on the case. But the only people that know the real story behind Soldier Boy's death are his former teammates Crimson Countess and Gunpowder. But Crimson Countess escapes Frenchie and Kamiko ruining family days out for everyone at Voughtland. Meanwhile after Billy's first attempt fails to extract the information he needs from weapons expert Gunpowder, he tries something else. Billy takes a temporary dose of V24, giving him the ability to beat a lead out of Gunpowder. The team's babysitter when Soldier Boy died was The Boys CIA liaison Grace Mallory and she's the only one who will know the truth. Billy loses control of his new powers and Gunpowder loses his head. Following a lead on his boss Victoria Neuman's past, Hughie finds his way to the Red River Institute. A home for orphaned children with superpowers. There he learns the truth. Victoria Neuman was taken in by Stan Edgar, the head of Vought, and she has been his protégé all along. Episode Cast Karl Urban as Billy ButcherJack Quaid as HughieAntony Starr as HomelanderErin Moriarty as StarlightDominique McElligott as Queen MeaveJessie T. Usher as A-TrainLaz Alonso as Mother's MilkChace Crawford as The DeepTomer Capone as FrenchieKaren Fukuhara as Kimiko MiyashiroNathan Mitchell as Black NoirColby Minifie as Ashley BarrettClaudia Doumit as Victoria NeumanJensen Ackles as Soldier BoyAnd Giancarlo Esposito as Stan Edgar The Boys Season 3 Pub Quiz During each podcast we'll ask a question about each episode in our Boys Season 3 Pub Quiz. You can send in your answers each week to feedback@tvpodcastindustries.com At the end of the eight episode series the listener with the most correct answers will be in with the chance of getting their hands on some The Boys goodies. All questions will be updated on: https://www.tvpodcastindustries.com Question 2: What book is Stan Edgar reading to Neuman's Daughter? Feedback to TV Podcast Industries We'd love to hear about your favourite moments, any thoughts, theories and Easter Eggs that you see in the episodes that we might have missed. Email us at feedback@tvpodcastindustries.com with either an MP3 recording of your thoughts or an email for each episode. Subscribe to TV Podcast Industries If you want to keep up with us and all of our podcasts please subscribe to the podcast over at https://tvpodcastindustries.com where we will continue to podcast about multiple TV shows we hope you'll love. Next Time on The Boys Podcast Thanks so much for joining us for The Boys Season 3 Episode 2 "The Only Man in the Sky". We'll be back with The Boys Season 3 Episode 3 "Barbary Coast" later this weekend. We'll be covering lots more comics related content this month on TV Podcast Industries including Ms. Marvel on Disney Plus and The Umbrella Academy Season 3 on Netflix. We hope you stay subscribed. https://open.

Random Vegas The iconic Barbary Coast signage designed by Buzz Leming featured Tiffany-style glass, a burgundy and gold color scheme and a 19th century-style lettering that is known as "Barbary Coast Block" (Neon Museum)   Twitpic of the week The Mirage Volcano.  It's time to enjoy it while we still have it.  As sad as it can be, change is the only constant in Las Vegas.  We've lost some legends along the way.  The Sands, the Stardust, the Dunes were all lost in favor of progress, some better than others.  The most concerning point is that those that were creative enough to evolve Vegas into the place we know it as don't appear to be around anymore, except Derek Stevens.  That guy gets it.  But this monologue is not about that, its about the signature attraction that kicked off a revolution in Vegas, The Mirage Volcano.  She will forever have a special place in my heart.  Thank you @vegasjaydubs for an epic picture of a game changer in the Vegas market.  Cheers to you Mirage Volcano.  Thanks for the memories.  You will not be forgotten. News Palms Returns Palms Players Club Card

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Hey Everyone, welcome back! This week Miss's True Crime story takes us to Cleveland for the almost century old unsolved crimes of the Mad Butcher of Kingsbury Run aka The Cleveland Torso Murderer. Will we ever know the true identity of the Butcher?! Then Kev's Spoopy Story takes us back to the Old Wild West in Tombstone, Arizona, to the home of “the wildest, wickedest night spot, between Basin Street and the Barbary Coast,” the haunted Bird Cage Theater. Are you sure you just tripped? Or were you pushed by the spirit of a rowdy cowboy spirit or a naked lady ghost??! Source notes found at www.creepyinqueeriespod.com. Follow us on Instagram @CreepyInQueeriesPod. We've joined Facebook! Help us build our following there please! @CreepyInQueeriesPod. Follow us on Twitter @C_InQueeries. Follow us on TikTok @creepyinqueeriespod. Email us at creepyinqueeriespod@gmail.com.

No Agenda Episode 1437 - "Bruce Force" "Bruce Force Executive Producers: Baronet Captain Luke, Knight of the Barbary Coast Sir Karys, Viscount of Greater Boston Anette Miller Brian Skelton Sir Dwight The Knight Associate Executive Producers: Carl "Doug" Elkins Sir Jonathan of the Double-Bladed Paddle Sirlocybin Anonymous Danny Booch John Buell Peter McCaffrey Dame Nancy of the Confused Become a member of the 1438 Club, support the show here Boost us with with Podcasting 2.0 Certified apps: Podfriend - Breez - Sphinx - Podstation - Curiocaster - Fountain Title Changes Captain Luke, Knight of the Barbary Coast -> Baronet Knights & Dames Colin Onufrey -> Sirlocybin Adam Eubank -> Sir Adam Eubank Charles VandeSande -> Sir Salmonspawn Mike S -> Sir Ten Lee Stoned Art By: Roger Roundy End of Show Mixes: Gary Jungling - Tom Starkweather - Amadicious - Sound Guy Steve Engineering, Stream Management & Wizardry Mark van Dijk - Systems Master Ryan Bemrose - Program Director Back Office: Aric Mackey Chapters: Dreb Scott Clip Custodian: Neal Jones NEW: and soon on Netflix: Animated No Agenda No Agenda Social Registration Sign Up for the newsletter No Agenda Peerage ShowNotes Archive of links and Assets (clips etc) 1437.noagendanotes.com New: Directory Archive of Shownotes (includes all audio and video assets used) archive.noagendanotes.com RSS Podcast Feed Full Summaries in PDF No Agenda Lite in opus format NoAgendaTorrents.com has an RSS feed or show torrents Last Modified 03/27/2022 15:01:09This page created with the FreedomController Last Modified 03/27/2022 15:01:09 by Freedom Controller