Podcast appearances and mentions of Ben Palmer

(Note: This episode was recorded on November 7, 2024) The results of the 2024 elections are in: Donald Trump will be the 47th President of the United States, and we are all but certain to have a Republican trifecta at the federal level. Admittedly, there's a lot we don't know about what healthcare will look like under a second Trump administration—a lot will depend on who is appointed to key leadership positions overseeing federal health agencies and Congressional committees. But while we wait for those appointments, what can we anticipate based on President-elect Trump's first term, campaign, and the Republican platform? This week, hosts Rachel (Rae) Woods and Abby Burns invite Advisory Board experts Natalie Trebes and Ben Palmer to break down the implications of a second Trump term on the healthcare industry. They unpack how power dynamics have shifted since the first administration, and what we're likely to see on issues like the ACA, enhanced subsidies, Medicaid, drug pricing, abortion, and more. Links: What the 2024 elections mean for healthcare The election is over. Here's how to talk to your team today. Ep. 206: 24th Secretary of HHS Alex Azar shares his vision on healthcare transformation State-level healthcare ballot measures that passed (and failed) Why healthcare leaders should look to their state elections more than the national race Join 165,000+ healthcare leaders and get the industry's most important news in your inbox—every day. A transcript of this episode as well as more information and resources can be found on www.advisory.com/RadioAdvisory.

In loving memory of Dean Jones, a much beloved member of the Midnight Runners Community who sadly passed a few days after this recording. Ben Palmer joins the podcast in the first of a new regular series of check-ins where we dive into his and Tom's latest adventures—and misadventures. As a highly skilled runner and founder of Trailside Coffee, Ben brings the perfect blend of insight and humour to which I know will be a great addition to the podcast. Together, we'll take a lighter view on life, while also digging into topics that matter to us deeply. In this inaugural episode of the series, Ben shares his secrets to breaking the 2:40 marathon barrier and reveals what makes a truly great coffee. We also celebrate Tom's recent personal milestone -completing his 1,001-day run streak, and discuss how he feels after finally giving it up, with a few listener questions thrown in for good measure. We also discuss Tom's recent cycling tour across Europe, where he passed through 9 countries across 29 days. But while his photos and videos may have looked great, did he really enjoy it? And finally, we check in with two podcast alumni who are on their own incredible journeys. We play exclusive update from Deo Kato, currently running from Cape Town to London, and Jonty Brown, fresh off the launch of his exciting new venture, RunLimited. Get a whopping 65% off your first Gousto box at: www.gousto.co.uk/raf/?promo_code=TOM42277653 Mentioned in the Podcast Trailside coffee: https://trailsidecoffee.co.uk/ Wilding: https://www.isabellatree.com/books Dr Greger's Daily Dozen: https://nutritionfacts.org/daily-dozen/ Sean Conway's new book: https://amzn.eu/d/8KGACNs Follow Deo Kato's Journey: https://www.instagram.com/deoruns/ Jonty's RunLimited: https://runlimited.co/ Chapters: 00:00 Intro 02:34 Who is Benny P? 06:48 Advice from a sub 2:40 marathoner 14:15 Ben's Trailside Coffee and Renee 20:14 The key to a great coffee 24:49 Tom's Current Nomadic Lifestyle 28:45 Learning hard lessons on where to focus your energies 37:32 Future Podcasts Guests 39:22 Six Inches of Soil Success on YouTube 44:00 Hustling for more guests 48:41 Tom's 1,001 day run streak 01:10:31 Listener question: Knees 01:14:34 Listener question: Shoes 01:18:42 Listener question: Protein 01:24:02 Tom's recent cycle across Europe 01:38:25 The hardest part of the trip 01:46:32 Update from Deo Kato 01:59:42 Update from Jonty & RunLimited 02:06:34 Ben's winter running goals 02:08:19 Tom's winter writing challenge

Don was joined in studio by Cheisi and Theresa from Let's Rally Arizona and Ben Palmer, US Coast Guard Auxiliary . The show checked in with Capt. Bill Malihini, Chris Rich and Commissioner James Gougnhour.

What is your identity?We live in a world that wants us to focus on ourselves, but when Jesus is the Center of All Things, we thrive! This weekend, Pastor Ben shared a special message on the characteristics of those whose identity comes from God and not the world. Watch the replay on YouTube or listen now to hear how God is with us and we don't need to believe the lies of the enemy!

Dive into Ben Palmer's world where Facebook fakery meets side-splitting truth bombs! From parodying big brands to trolling haters, Ben's unique comedy unravels social media's quirkiest corners. Ready to challenge your laughter limits? Hit up 'https://foqnfunny.com' to catch Ben's full comedy special and more! Love what you're hearing on FOQN Funny? Go a step further and become a member of FOQN Funny+. Enjoy exclusive perks and never-ending laughter. Join now at: https://plus.acast.com/s/foqn-funny. Hosted on Acast. See acast.com/privacy for more information.

INNOVATION & TECHNOLOGY – DEVELOPING CUTTING EDGE SOLUTIONS FOR GLOBAL SHIPPING Moderator: Mr. Tim Ponath, CEO – NSB Group Panelists: • Mr. Konstantinos Stampedakis, Co-Founder & Managing Director – ERMA FIRST • Mr. Antonis Malaxianakis, Founder & CEO – Harbor Lab • Mr. Ben Palmer, President – Inmarsat • Mr. Yarden Gross, CEO & Co-Founder – Orca AI 9th Capital Link Maritime Leaders Summit - Greece “Dashing Ahead – Leadership in Action” Part of the Posidonia Week. In Partnership with ABS. Monday, June 3, 2024 | Four Seasons Astir Palace Hotel in Athens, Greece For more information, please visit the following link: https://forums.capitallink.com/shipping/2024analyst/

INNOVATION & TECHNOLOGY – DEVELOPING CUTTING EDGE SOLUTIONS FOR GLOBAL SHIPPING Moderator: Mr. Tim Ponath, CEO – NSB Group Panelists: • Mr. Konstantinos Stampedakis, Co-Founder & Managing Director – ERMA FIRST • Mr. Antonis Malaxianakis, Founder & CEO – Harbor Lab • Mr. Ben Palmer, President – Inmarsat • Mr. Yarden Gross, CEO & Co-Founder – Orca AI 9th Capital Link Maritime Leaders Summit - Greece “Dashing Ahead – Leadership in Action” Part of the Posidonia Week. In Partnership with ABS. Monday, June 3, 2024 | Four Seasons Astir Palace Hotel in Athens, Greece For more information, please visit the following link: https://forums.capitallink.com/shipping/2024analyst/

Gotcha! Join Ben Palmer as he masterminds epic online pranks on today's giants - it's a digital battle of wits and humor. Are these pranks pure genius or borderline madness? Find out all the devious details and laugh till your sides split at 'https://foqnfunny.com'. Click now for an exclusive peek into the chaos! Love what you're hearing on FOQN Funny? Go a step further and become a member of FOQN Funny+. Enjoy exclusive perks and never-ending laughter. Join now at: https://plus.acast.com/s/foqn-funny. Hosted on Acast. See acast.com/privacy for more information.

Yohoho and a bottle or rum!  Former Congressman Ted Yoho makes a return to the world stage after admitting that he did call Congresswoman AOC an “F'ing B”. Comedian and Tik Tok star, Ben Palmer, pranked Congressman Yoho in 2020 for a couple of months, pretending to be a conservative with the website “Parler.” If you are not familiar with the website, Parler was going to be the new Facebook for conservatives, until it imploded and disappeared (or it might still be there but it may as well have disappeared).  Ben recorded Congressman Yoho over several phone calls and in April of 2024 released video footage of his phone calls and an in-person meeting with Congressman Yoho. Ben's story and video release of Congressman Yoho's confession may be viewed on his YouTube Channel: https://youtu.be/rMG_yyRM_Zk In honor of his confession, we bring you this encore episode (our San Francisco studio is having some electrical work done)! And as usual, we also include our robot overlord's summary of the episode: In this provocative episode of "Apologies Accepted," hosts Theo and Juliette engage in a detailed analysis of the infamous altercation between former Representative Ted Yoho and Representative Alexandria Ocasio-Cortez. The hosts dissect the incident, Yoho's denial of his derogatory remarks, and the broader issue of gender-based verbal abuse in political arenas. The episode doesn't merely recount the incident but also invites the listeners for introspection on unprofessionalism, the effects on public apologies, and their absence. In their charming yet insightful discussion, Theo and Juliette make this dire issue digestible without shying away from the harsh realities. The thought-provoking discourse extends not only to political apologies but also touches upon the golden years of Hollywood with discussions related to famed actress Liza Minnelli and her memorable projects. By exploring Yoho's misguided apology, this episode illuminates the significant role of sincere apologies in our public discourse. Explore with us the hidden motivations and potential strategies behind Yoho's tirade. Was it a manifestation of personal disdain or a calculated move for his political future? Prudently related personal stories, thoughtful reviews of our actions, and enlightened lessons have all found a place in this episode. Immerse yourself in this absorbing examination of power dynamics, personal intents and the far-reaching ramifications of such political clashes as we unmask the intricacies of the Yoho-AOC controversy.

In this weeks episode we talk to Ben Joseph, one half of the founding team of Mission Limitless (https://www.missionlimitless.org/).There is a LOT of talk about Ascension and 5D going around at the moment.  The goal of the time we spent with Ben was to give some definition and granularity to the main concepts involved and cut through a lot of the BS and spiritual narcissism going around.Ben is passionate about the work he is doing at Mission Limitless and keeps it simple and to the point.  5D and ascension is about working through the heart and living in love in every present moment.  Simple!  Until of course the EGO (Edging God Out) get's involved.  That is where the fun starts!You can find Mission Limitless and engage with their fantastic content on the following platforms:YouTube - https://www.youtube.com/@MissionLimitlessFacebook - https://www.facebook.com/tarryn.inggsLinkedIn - https://www.linkedin.com/in/benpalmer369/Telegram - https://t.me/+M9Fhs216TU9hMThkFollow The Wake Up on Social Media: Instagram - https://www.instagram.com/thewakeup23/ TikTok - https://www.tiktok.com/@wakeuppodcast23 Twitter - https://twitter.com/wakeup_cocreate Facebook - https://www.facebook.com/thewakeuppodcast/ YouTube - https://www.youtube.com/@TheWakeUp_ChannelLinkedIn - https://www.linkedin.com/company/the-wake-up/

The maritime communications space is experiencing massive demand growth for both crew welfare and business applications.In this latest episode of the Seatrade Maritime Podcast we talk to Ben Palmer, President of maritime business for Inmarsat, about the fast-changing landscape for communications in the industry.“One of the things I'd say at the outset is that I was struck when I came into the industry was a slightly binary sense that people wanted to talk about LEO or GEO, as if they were somehow mutually exclusive or there wasn't going to be room for both,” Ben says in a conversation Marcus Hand, Editor of Seatrade Maritime News.“I think the, the reality, and this is sort of playing out over time is demand for capacity is growing massively across the maritime segment as it is actually across the wider economy. We are seeing demand for crew and business applications risen by 70% and 50%, respectively over the last couple of years.”The discussion between Ben and Marcus covers:Inmarsat's merger with Viasat and what this means to the company and its customers.The rise of LEO constellations and combining with Inmarsat's GEO offerings as an orchestrated networkDeveloping a 5G over water serviceManaged services and software provisionThe outlook for maritime communicationsListen to the full conversation now

In Season 4 | Episode 6 | We will be unpacking and discussing: What do educators and leaders need to do to develop their emotional intelligence? In this episode, we are joined by Ben Palmer. If you would like more information about the work he does, please ⁠visit: https://www.genosinternational.com/author/benpalmer/ View the show notes here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://teachertakeawaypodcast.weebly.com/shownotes⁠

The State of EI for 2024 – what does it look like, what are the trends and what you can expect to see from Genos International this year.  Join hosts Dr. Ben Palmer and Marie El Daghl as they discuss the critical role of emotional intelligence in today's labour market, and the strategies that are shaping the future for productivity and customer service.   Ben and Marie share the Genos International 2024 priorities and the first details of the Genos International 2024 Global Conference - happening this September in Bangkok. The Global Conference is the perfect opportunity for practitioners to expand their knowledge and connect with industry experts from around the world, hear all about it in this episode.   Join Dr Ben Palmer, CEO of Genos International and other Certified Practitioners from around the world at this year's 2024 Global Conference.   Interested in Emotional Intelligence?  Learn more about Genos Emotional Intelligence, become a Genos Certified Practitioner, or enquire about the Genos Corporate Program.    Enjoyed this episode?  Leave a review below and let us know!   See omnystudio.com/listener for privacy information.  See omnystudio.com/listener for privacy information.

Nic and Big J prepare for the Biggest Holiday of the year, the Super Bowl. Big J talked with Ben Palmer who will be the feature at Lounge At The End Of The Universe on Saturday night.

Joe (@JoeOrrico99) is joined by Ben Palmer (@benjpalmer) of PitcherList to preview the Baltimore Orioles for the 2024 seasonIs Gunnar worth a 2nd Round price tag?Will Cedric Mullins redeem himself?Jackson Holliday: Opening Day SS?Does Tyler Wells get a shot in the rotation? and much more!SUBSCRIBE, Rate and Review on iTunes!PropUp on ThriveFantasy is NBA season! Use code ETHOS at signup for a 100% deposit match bonus and win big cash by simply flexing DFS prop knowledge on the biggest names on the board!Manscaped is BACK, baby! Just like the NBA! Use coupon code HOOPBALL20 to get 20% off and free shipping on your purchase at Manscaped.com!Want more codes? We got 'em! ExpressVPN is offering 3 BONUS months on every 12-month membership purchase by using this special link: https://www.expressvpn.com/hoopball

https://www.paypal.me/Truelifepodcast?locale.x=en_USWelcome to LIMITLESS, where purpose-driven, heart-centered individuals unite to create great change. Our global network is dedicated to serving a higher calling, and our foundation is based on heart-centered philanthropy and universal sovereignty.We believe that the future of business is about uniting together as one, creating a global synarchy under Universal Law. Our goal is to serve humanity and support the highest good for Mother Earth and all life that resides on her.At LIMITLESS, we understand that in order to serve at our highest capacity and integrity, we must first do the inner work.If this resonates with your heart but you don't know where to start, we are here to share awareness and help you align yourself with your highest purpose.We offer a range of services and opportunities, including training and support, tools and techniques, healing, inner work to being sovereign within, higher self-embodiment, universal law, and discovering your unique purpose and puzzle piece in the world. We also provide education on industry transition, global networking, leadership training, humanitarian projects and networking, and much more.Our vision is for all of humanity to embody their higher selves and co-create the new earth paradigm.Join us in creating a limitless abundance future for all. Get involved today and discover how you can be a part of the change!Join the movement:Telegram: https://t.me/ +OmPFdpNiZLFmMDBkFacebook: https://www.facebook.com/profile.php?id=100091129051541&mibextid=LQQJ4dYoutube: https://www.youtube.com/@MissionLimitlessWebsite: https:|/www.missionlimitless.org/ https://www.paypal.me/Truelifepodcast?locale.x=en_US

My brother/hilarious comic Ben Palmer is back for another 40 minute free Zoom trial of fun. This ep: Ben's approach to creating new content and hitting the road for a ton of comedy dates this year.Follow him on Insta: @palmertrollsTickets for his NY Comedy Festival Nov 5th available here:  https://palmertrolls.com/shows/Support the showThanks for listening! Listen, rate, subscribe and other marketing type slogans! Here's my Insta: @dannypalmernyc @thedannypalmershow@blackcatcomedy And subscribe to my Patreon? Maybe? If you know how to? I don't know how it works. Let's just leave this thing be: https://www.patreon.com/thedannypalmershow

My brother Ben returns to the pod this week! Literally MILLIONS of followers on TikTok.  And a great guy! Check him out on TikTok and Insta @palmertrolls and catch a live show. Dates are listed on his Instagram profile.Support the showThanks for listening! Listen, rate, subscribe and other marketing type slogans! Here's my Insta: @dannypalmernyc @thedannypalmershow@blackcatcomedy And subscribe to my Patreon? Maybe? If you know how to? I don't know how it works. Let's just leave this thing be: https://www.patreon.com/thedannypalmershow

Benjamin Palmer, the visionary Co-Founder and CEO of The New Computer Corporation, is a prominent figure in Los Angeles, renowned for pioneering digital innovation. With a remarkable career spanning diverse domains, he leads the charge at a Web3 product studio, The New Computer Corporation, while also contributing as an Executive Producer Council member at UCLA's Center for the Art of Performance. Join us for the 9th episode of our FWB x Ledger collaboration as we talk with Ben about his journey through digital marketing and into the world of Web3, building creative experiences in Web3, how the 'attention economy' will evolve, and much more. Hosted on Acast. See acast.com/privacy for more information.

Do your outward actions as a follower of Jesus mirror what is happening in your heart? This week we received a special message from Pastor Ben on what it means to be authentic with Jesus through your heart, mind, and your actions! Listen to the message now to learn what it means to live a life genuine in Jesus.Verses:Luke 18: 9-14

The Alan Cox Show

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Taking us back to our youth. Back into the gutter of our young minds and back into the classroom of our formative years, THE INBETWEENERS is a horrifically accurate depiction of what it was like surviving your teenage years in the UK. As the only one of the pair to survive the UK school system, Ryan has plenty of stories (and non-stories) among which we appreciate, dismantle, and gawp over the bold and brave depravity of this modern sitcom/cinema saga. The Iain Morris and Damon Beesley created show with Ben Palmer coming in to direct, is easily one of the best TV creations of the last 50 years. It spawned a 3-series show of 6 parts each, a hugely successful first movie and a sequel. Join us as we dive deep into THE INBETWEENERS SAGA! Bring yer wellies, a snorkel, and a packet of ham, it's going to be a wild one!

The collaboration between Sony Classical and concert violinist Eldbjørg Hemsing starts off with a unique concept album. “Arctic” is a musical journey through a stunningly beautiful region and a celebration of a fragile and largely unexplored ecosystem.Track Listing:1 A Hidden Life2 Dawn3 I. Frozen World4 II. Aurora5 III. Sunrise6 IV. A Rush of Life7 La Melancolie (Arr. for Violin and Orchestra from Moments of Solitude by Ben Palmer)8 Last Spring (Arr. for Violin and Orchestra from Op. 33 No. 2 by Ben Palmer9 Snowflakes (Arr. for Violin and Orchestra from Morceaux, Op. 57 by Ben Palmer10 The Return of the Sun11 Under the Arctic Moon12 V. Polar Winds13 Varsg (Arr. for Violin and Orchestra by Ben Palmer)14 VI. Sea Ice Melting15 WhisperingHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

By Andrew McCaldon The extraordinary and explosive relationship between director Alfred Hitchcock and the film composer Bernard Herrmann. Recorded live at Alexandra Palace with the BBC Concert Orchestra playing Herrmann's scores from the partnership's iconic films - Vertigo, North by Northwest and Psycho. Bernard Herrmann ..... Tim McInnerny Alfred Hitchcock ..... Toby Jones Alma Hitchcock ..... Joanna Monro Lucy Anderson/Tippi ..... Tara Ward Lew Wasserman/Cary/Paul ..... Jonathan Forbes BBC Concert Orchestra conducted by Ben Palmer Produced by Neil Varley and Tracey Neale Directed By Tracey Neale By the late 1950s Herrmann and Hitchcock – known to each other as ‘Benny' and ‘Hitch' – have formed the most famous composer-director partnership in film history, creating masterpieces of cinema together, including Vertigo, North by Northwest and Psycho. But with tensions growing between the two maverick artists and change afoot in the movie industry, Benny and Hitch's collaboration and friendship comes to a catastrophic end at a recording session for the film Torn Curtain. But who is really responsible for the break-up? From beyond the grave, Benny and Hitch set out to determine which man has blood on their hands? Recorded in front of an audience at Alexandra Palace and starring two stellar actors, Tim McInnerny and Toby Jones, this thrilling and witty drama, will feature performances of Bernard Herrmann's music by the brilliant BBC Concert Orchestra. Writer: Andrew McCaldon worked with the BBC as a key creative on Ten Pieces, for which he wrote a series of acclaimed films and BBC Proms concerts. He has also combined music and drama in numerous shows for the BBCCO, BBCSO and the BBC Singers. Other recent writing work includes: Wemba's Dream, a community music-drama event with the Royal Philharmonic Orchestra, for which Andrew acted as Creative Director (2021); Abracadopera!, an original TV opera-comedy-drama, created and written by Andrew for English National Opera and broadcast on Sky Arts and Sky Kids (June 2022); and Gnomus, a site-specific play for Puppets With Guts staged at Stonehenge (April 2022). Cast & Performers: Tim McInnerny has just finished filming One Day for Netflix and plays the lead role in the forthcoming film Killers Anonymous. He can be seen in Ten Percent, the UK version of Call My Agent and also appeared in Game of Thrones. Toby Jones can be seen in The English for the BBC. Other work includes Jon S. Baird's Tetris for Apple TV and Sam Mendes's film Empire of Light, due for release in January. He will also appear in the forthcoming Indiana Jones film. Joanna Monro has been a member of the BBC Radio Drama Company several times. Her TV credits include Doctors and Doctor Who. She was a presenter on That's Life and her theatre credits include Blood Brothers and Mamma Mia! Tara Ward has worked in film, television, stage and radio. Recent appearances were in the film Justice League and Sky TV's Riviera. She played Mrs March in Radio 4's Little Women. Tara has written a number of books on personal development. Jonathan Forbes played the lead role in the film Conspiracy of Silence. TV highlights include Hornblower, Foyle's War and Black Mirror. He played Sharon Hogan's brother in Catastrophe for Channel 4. He also starred in Radio 4's returning series Tracks. The BBC Concert Orchestra appears on Radio 2's Sunday Night Is Music Night as well as exploring music from classical to contemporary on Radio 3. Soundtracks include Blue Planet and Serengeti for BBC 1 and in February it worked with over 20 artists for Radio 2's Piano Room Month. It appears annually at the BBC Proms and at London's Southbank Centre. The Conductor, Ben Palmer is Chief Conductor of the Deutsche Philharmonie Merck in Darmstadt and Babylon Orchester Berlin and Artistic Director of Covent Garden Sinfonia. He is one of Europe's most sought-after specialists in conducting live to picture. Next year he conducts the German tour of Star Wars: Episode VII - The Force Awakens. Production Team: Directed by Tracey Neale Produced by Neil Varley & Tracey Neale Production Co-Ordinators, Ben Hollands, Ayesha Labrom & Hannah O'Reilly Technical & Outside Broadcast Team: Chris Rouse, Alison Craig, Gilly Chauhan, Simon Nicklinson and Jon Wilson

Nick Pollack (@PitcherList) is joined by Ben Palmer (@benjpalmer) to breakdown Ben's picks in the 2023 PL Mock Draft #PLmock2023. Draft info: 23 rounds H2H Categories, 5x5 standard Yahoo! position eligibility Rosters include C, 1B, 2B, 3B, 3 OF, 2 UTIL 2-Ohtanis Link to full draft results and analysis by Dave Swan Pete's picks (picking from the 4th slot of the draft): Round 1 - Aaron Judge Round 2 - Paul Goldschmidt Round 3 - Max Scherzer Round 4 - Carlos Rodon Round 5 - Cedric Mullins Round 6 - Adley Rutschman Round 7 - Wander Franco Round 8 - Nestor Cortes Round 9 - Jake Cronenworth Round 10 - Matt Chapman Round 11 - Jesus Luzardo Round 12 - Alex Verdugo Round 13 - Scott Barlow Round 14 - Tyler Mahle Round 15 - Ahmed Rosario Round 16 - MJ Melendez Round 17 - MacKenzie Gore Round 18 - Tanner Scott Round 19 - Anthony Rendon Round 20 - Taijuan Walker Round 21 - John Means Round 22 - Ryan McMahon Round 23 - Craig Kimbrel   Subscribe: iTunes | Android | Stitcher | Spotify | Google Play | RSS | Join Pitcher List Plus to support the podcast and get an Ad-Free Website + access to our Discord community! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Pollack (@PitcherList) is joined by Ben Palmer (@benjpalmer) to breakdown Ben's picks in the 2023 PL Mock Draft #PLmock2023. Draft info: 23 rounds H2H Categories, 5x5 standard Yahoo! position eligibility Rosters include C, 1B, 2B, 3B, 3 OF, 2 UTIL 2-Ohtanis Link to full draft results and analysis by Dave Swan Pete's picks (picking from the 4th slot of the draft): Round 1 - Aaron Judge Round 2 - Paul Goldschmidt Round 3 - Max Scherzer Round 4 - Carlos Rodon Round 5 - Cedric Mullins Round 6 - Adley Rutschman Round 7 - Wander Franco Round 8 - Nestor Cortes Round 9 - Jake Cronenworth Round 10 - Matt Chapman Round 11 - Jesus Luzardo Round 12 - Alex Verdugo Round 13 - Scott Barlow Round 14 - Tyler Mahle Round 15 - Ahmed Rosario Round 16 - MJ Melendez Round 17 - MacKenzie Gore Round 18 - Tanner Scott Round 19 - Anthony Rendon Round 20 - Taijuan Walker Round 21 - John Means Round 22 - Ryan McMahon Round 23 - Craig Kimbrel   Subscribe: iTunes | Android | Stitcher | Spotify | Google Play | RSS | Join Pitcher List Plus to support the podcast and get an Ad-Free Website + access to our Discord community! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Pollack (@PitcherList) is joined by Ben Palmer (@benjpalmer) to breakdown Ben's picks in the 2023 PL Mock Draft #PLmock2023.Draft info: 23 rounds H2H Categories, 5x5 standard Yahoo! position eligibility Rosters include C, 1B, 2B, 3B, 3 OF, 2 UTIL 2-Ohtanis Link to full draft results and analysis by Dave SwanPete's picks (picking from the 4th slot of the draft): Round 1 - Aaron Judge Round 2 - Paul Goldschmidt Round 3 - Max Scherzer Round 4 - Carlos Rodon Round 5 - Cedric Mullins Round 6 - Adley Rutschman Round 7 - Wander Franco Round 8 - Nestor Cortes Round 9 - Jake Cronenworth Round 10 - Matt Chapman Round 11 - Jesus Luzardo Round 12 - Alex Verdugo Round 13 - Scott Barlow Round 14 - Tyler Mahle Round 15 - Ahmed Rosario Round 16 - MJ Melendez Round 17 - MacKenzie Gore Round 18 - Tanner Scott Round 19 - Anthony Rendon Round 20 - Taijuan Walker Round 21 - John Means Round 22 - Ryan McMahon Round 23 - Craig Kimbrel Subscribe: iTunes | Android | Stitcher | Spotify | Google Play | RSS |Join Pitcher List Plus to support the podcast and get an Ad-Free Website + access to our Discord community! Learn more about your ad choices. Visit podcastchoices.com/adchoices Join: PL+ | PL ProProud member of the Pitcher List Podcast Network

By adding to his walk rate and his power, Anthony Santander finally put together a great, full MLB season in 2022. So what does that mean for his future with the Baltimore Orioles? Host Connor Newcomb is joined by Ben Palmer of Pitcher List to talk about Santander's better batter's eye, his uptick in home runs, his ability to finally stay healthy, and whether he will stay with the Orioles long term.Then, Connor recaps the Orioles news from Monday at the Winter Meetings, including the O's being connected to Jameson Taillon and signing RHP Ofreidy Gómez to a minor-league deal.Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!SimpliSafeWith Fast Protect™️ Technology, exclusively from SimpliSafe, 24/7 monitoring agents capture evidence to accurately verify a threat for faster police response. There's No Safe Like SimpliSafe. Visit SimpliSafe.com/LockedOnMLB to learn more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

By adding to his walk rate and his power, Anthony Santander finally put together a great, full MLB season in 2022. So what does that mean for his future with the Baltimore Orioles? Host Connor Newcomb is joined by Ben Palmer of Pitcher List to talk about Santander's better batter's eye, his uptick in home runs, his ability to finally stay healthy, and whether he will stay with the Orioles long term. Then, Connor recaps the Orioles news from Monday at the Winter Meetings, including the O's being connected to Jameson Taillon and signing RHP Ofreidy Gómez to a minor-league deal. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! SimpliSafe With Fast Protect™️ Technology, exclusively from SimpliSafe, 24/7 monitoring agents capture evidence to accurately verify a threat for faster police response. There's No Safe Like SimpliSafe. Visit SimpliSafe.com/LockedOnMLB to learn more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode I am joined by Ben Palmer from DataX Connect, a specialist data centre recruitment company.Ben shares how starting his career in hospitality has helped to shape his career within recruitment, and how he ended up in the data centre sector.We then discuss the EMEA region: What skills are in demand? What regions are busy? What type of companies are expanding? How is the sector coping with the talent shortage?Finally we share some advice for people looking to start their career in the data centre sector.

On this episode of Important Miscellaneous Talks your host Glassford Crossfield and his guests Palmer Trolls, and African Prince talk about how to troll professionally, how Palmer started in this industry, and his stand up comedian career. Make sure you check out his stand up, and his funny trolls. These episodes drop weeks earlier on YouTube, so it would behoove you to subscribe to that channel as soon as possible. God bless. Follow the Host: Personal Instagram: https://instagram.com/real_l.a._glass... Podcast Instagram: https://instagram.com/miscellaneous_p... Personal TikTok: https://vm.tiktok.com/ZMJx77o6T/ Podcast YouTube Channel: https://www.youtube.com/channel/UCETs... Blogs on similar topics: https://link.medium.com/wpL2YRffwbb Personal Twitter: https://twitter.com/glassford41 Follow African Prince: Personal Instagram: https://instagram.com/african_prince_... Personal Snapchat: https://www.snapchat.com/add/africanp... Personal Podcast: https://anchor.fm/prince-kahilu Follow Palmer Trolls: Instagram: https://www.instagram.com/palmertrolls/ TikTok: https://www.tiktok.com/@palmertrolls --- Support this podcast: https://anchor.fm/glassford-crossfield/support

Rick welcomes comedian, actress and former pro athlete Anya Bogomazova, known professionally as Anya Zova, to the show to discuss her career and current stand up tour "Make Laughs Not War" in support of Ukraine and uniting people. Born in the Soviet Union and raised by a Ukrainian mother and Russian father, she worked in the WWE competing in their developmental territory NXT Wrestling, under the ring name Anya. In 2020, she made her debut in the US on TV series Brooklyn Nine Nine and MacGyver. Afterwards, comedian Ben Palmer joins Rick to talk about his comedy tour that features his trolling of hateful trolls on corporate Facebook pages, posing as a city government to air sarcastic gripes about bureaucracy, making up fake cases to get on court TV, and pretending to be a journalist to get reactions from billionaire CEOs.See omnystudio.com/listener for privacy information.

Ben Palmer has been a friend of the show since the beginning and has recently gone viral now selling out venues across the country. This episode is one of our most raw and revealing sharing stories of the early comedy grind (including getting slapped on stage) and what it's like to go viral. We all feel pressured to create more and more content but what happens when it actually works? Ben holds nothing back in this rare peak behind the curtain of life as a "social media comedian" and how to not get burnt out. Follow Ben here: https://www.tiktok.com/@palmertrolls (https://www.tiktok.com/@palmertrolls) Subscribe to our YouTube channel here: https://www.youtube.com/c/HotBreathPod?sub_confirmation=1 (https://www.youtube.com/c/HotBreathPod?sub_confirmation=1) Check out our classes and workshops here: https://hotbreathmedia.com/ (https://hotbreathmedia.com/)

On this episode of the OBS Truckery Podcast we chat with Ben Palmer from the 406 Garage and talk about his specialty, old International's. 406 Garage Carrick Customs OBS Solutions

After a strong 2021 campaign, Baltimore Orioles infielder Ramón Urías had a really slow start to the 2022 season. But things are finally starting to turn around. Ben Palmer, a writer for Pitcher List and Baltimore Sports & Life, joins host Connor Newcomb to dig into the numbers talk about why Urías' bat is finally hearing up. But first, Connor recaps the Orioles 9-2 victory over the Seattle Mariners on Wednesday night and gives you the five things you need to know about the win, including the Orioles home run parade, Kyle Bradish's bounce-back start, and more. Then, Connor gives the latest updates on Grayson Rodriguez after the Orioles top pitching prospect left his start in Triple-A on Wednesday night with lat discomfort. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. LinkedIn LinkedIn Jobs helps you find the candidates you want to talk to, faster. Did you know every week, nearly 40 million job seekers visit LinkedIn? Post your job for free at LinkedIn.com/LOCKEDONMLB. Blue Nile Make your moment sparkle with jewelry from Bluenile.com, and LOCKED ON SPORTS listeners get $50 off purchases of $500 or more using code LOCKEDON.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

After a strong 2021 campaign, Baltimore Orioles infielder Ramón Urías had a really slow start to the 2022 season. But things are finally starting to turn around. Ben Palmer, a writer for Pitcher List and Baltimore Sports & Life, joins host Connor Newcomb to dig into the numbers talk about why Urías' bat is finally hearing up.But first, Connor recaps the Orioles 9-2 victory over the Seattle Mariners on Wednesday night and gives you the five things you need to know about the win, including the Orioles home run parade, Kyle Bradish's bounce-back start, and more.Then, Connor gives the latest updates on Grayson Rodriguez after the Orioles top pitching prospect left his start in Triple-A on Wednesday night with lat discomfort.Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you.LinkedInLinkedIn Jobs helps you find the candidates you want to talk to, faster. Did you know every week, nearly 40 million job seekers visit LinkedIn? Post your job for free at LinkedIn.com/LOCKEDONMLB.Blue NileMake your moment sparkle with jewelry from Bluenile.com, and LOCKED ON SPORTS listeners get $50 off purchases of $500 or more using code LOCKEDON.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

On the Farm - LaMar Gibson (@InsideFastball) celebrates the promotion of the Orioles' top prospect C Adley Rutschman while also covering a grab bag of various prospect goings-ons from debuts to anticipating the next major arrival to MLB. Welcome (1:00) Grab Bag (2:00) Adley is here...Now what? (34:12) Signoff (58:00) Matt Liberatore's Debut - GIF Breakdown by Ben Palmer: https://www.pitcherlist.com/gif-breakdown-matthew-liberatores-mlb-debut-in-23-gifs/ Get PL+ and join our Discord: https://pitcherlist.com/plus

On the Farm - LaMar Gibson (@InsideFastball) celebrates the promotion of the Orioles' top prospect C Adley Rutschman while also covering a grab bag of various prospect goings-ons from debuts to anticipating the next major arrival to MLB. Welcome (1:00) Grab Bag (2:00) Adley is here...Now what? (34:12) Signoff (58:00) Matt Liberatore's Debut - GIF Breakdown by Ben Palmer: https://www.pitcherlist.com/gif-breakdown-matthew-liberatores-mlb-debut-in-23-gifs/

On this episode of No Brains No Headache Podcast the guys are joined by comedian Ben Palmer. Based in Fort Collins the conversation jumped right into his style of comedy of internet trolling and general confusion amongst corporate America. Finished with hearing about his free range chickens and learned his history within stand up entertainment. Check out Ben's work and we greatly appreciate his appearance on the show. After the interview it's time for Cleary's Comments where random things are bantered about. Matt continued the sub segment streak of 'People I Hate' and the guys went deep into the world of free market yard sales. Plenty to unpack for Episode 104. This is a NBNH Media Production. Thank you for listening.  Available on: Apple. Subscribe + rate + review. Spotify. Follow along. Anchor. Our creation platform. iHeartRadio. Or wherever you listen to your favorite podcasts. New episode every Tuesday! Social Media: Twitter. https://twitter.com/nbnhpodcast Instagram. https://www.instagram.com/nbnhpodcast/ Facebook. https://www.facebook.com/nbnhpodcast YouTube https://www.youtube.com/channel/UCQbXoHzYhhDigOaNXVYdK3g Tik Tok. @NBNHPodcast

Learn about the right products and techniques for your own recovery needs from Justin Andrews of Factor 55, get to know Casey LaDelle from Cascade Heavy Rescue, and find out what our friend Ben Palmer recovered on his recent trip to Southern California.

Zach and Bob welcome Pitcher List and fellow Baltimore Sports and Life writer Ben Palmer onto the show to discuss the first week of baseball from a fantasy perspective as well as one based on reality. How have the Baltimore Orioles starters looked the first time through the rotation? Who is going to break out in the bullpen and end up with the most saves? Which prospects are worth stashing in dynasty leagues? Plus Bob recounts his time in Bowie to watch the Baysox on Sunday and the return of the weekly segment that we really need to come up with a name for... Follow Ben on Twitter- @benjpalmer Join our Patreon! Perks include daily recap podcasts, Patreon-only live streams to watch games together, monthly top 50 prospect updates, invitation to join our private WhatsApp group, giveaways, and plenty more. Plans start as low as $3/month! Check out our new merch shop! T-shirts and coffee mugs are now available! Follow us all on Twitter: @BSLOnTheVerge, @NickStevensR, @TheOrioleReport and give us a Like on Facebook and Instagram! If you enjoy the show, please consider giving us a 5-star review on Apple Podcasts and drop a quick review! It really helps out the show and we would greatly appreciate it! Want to watch us live each week? We live stream on Facebook, Twitter and YouTube! Subscribe to our Youtube channel here! You can always email us with questions or comments!- TheVergeBSLPodcast@gmail.com. Visit https://baltimoresportsandlife.com/ for articles, podcasts, and discussions about the Baltimore Orioles, Baltimore Ravens, University of Maryland, and everything else Baltimore sports and life!

Ben Palmer has quite a multi-faceted career and that makes him fascinating to chat with. He is also a fan of this podcast so that made it doubly joyful! I found out how he first got to meet Sir Roger Norrington, I discover that conducting music live to film and the world of historically informed performance has more in common than you might at first think, and we agree that Sibelius' Symphony No.7 is extremely difficult to conduct! If you would like to access the bonus mini-episode attached to this podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and, for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 11th January 2022 via Zoom.

In this episode of The Bill Squire Show, Bill and the gang talk with Ben Palmer about his upcoming show at The Grog Shop on Dec 5. Bill got real drunk after the show last week, and A.J. dropped him off. Memes and jokes. Don't forget to check out The Bill Squire Show merch!https://shop.spreadshirt.com/billsquire/allHere are all the links to listen to The Bill Squire Show PodcastiHeartRadio: https://ihr.fm/34ugqbrSpotify: https://spoti.fi/3uAEN29Apple Podcasts: https://apple.co/3yKQQgeStitcher: https://www.stitcher.com/show/the-bill-squire-showGoogle Podcast: https://bit.ly/3urC76KPodcast Addict: https://podcastaddict.com/podcast/2928924

Shaggin' Flies: 1 – Barbie! 3 – From Madison to the Bay 4:30 – Boo Daylight Savings 6:30 – DVR is Of Earth 11 – Witnessing the rise of fantasy live from RotoWire 14 – What If We Kissed In The Combination ESPN Zone/Hard Rock Café 19 – The different vibes of fantasy and gambling 22 – Tales from Sam's Club 27 – Reflections on Oracular Spectacular 31 – Why baseball? Accessability! 38 – Ballparks! 41 – In support of Ballpark Nachos 44 – The Homer Bailey no-no 46 – Order of Operations Trifecta 52 – Chalk up a W for the Sandlot Enjoyers 54 – Devin Harris shoutout 57 – Ben Palmer, Raccoon Murderer 1:00 – Roy Kent would NEVER 1:02 – The Full Count! Derek's Book Recommendation: Answers in the Form of Questions Derek's Food Recommendation: Slow Cooker Pulled Pork Tacos Derek's Movies/TV Recommendation: Schitt's Creek/Tommy Boy/Jiro Dreams of Sushi/Bojack Horseman Derek's Music Recommendation: Little Neon Limelight by Houndmouth Derek's Miscellaneous Recommendation: Go on vacation somewhere cool

Shaggin' Flies: 1 – Barbie! 3 – From Madison to the Bay 4:30 – Boo Daylight Savings 6:30 – DVR is Of Earth 11 – Witnessing the rise of fantasy live from RotoWire 14 – What If We Kissed In The Combination ESPN Zone/Hard Rock Café 19 – The different vibes of fantasy and gambling 22 – Tales from Sam's Club 27 – Reflections on Oracular Spectacular 31 – Why baseball? Accessability! 38 – Ballparks! 41 – In support of Ballpark Nachos 44 – The Homer Bailey no-no 46 – Order of Operations Trifecta 52 – Chalk up a W for the Sandlot Enjoyers 54 – Devin Harris shoutout 57 – Ben Palmer, Raccoon Murderer 1:00 – Roy Kent would NEVER 1:02 – The Full Count! Derek's Book Recommendation: Answers in the Form of Questions Derek's Food Recommendation: Slow Cooker Pulled Pork Tacos Derek's Movies/TV Recommendation: Schitt's Creek/Tommy Boy/Jiro Dreams of Sushi/Bojack Horseman Derek's Music Recommendation: Little Neon Limelight by Houndmouth Derek's Miscellaneous Recommendation: Go on vacation somewhere cool Get PL+ and join our community!: https://pitcherlist.com/plus

Eileen & Lauren chat with absolutely legendary and world renowned comedian and internet troll Ben Palmer of Palmer Trolls!! You've seen the videos where a random guy crashes an MLM's (pyramid scheme's) Zoom meetings and makes fake Facebook pages of Walmart's customer service to reply to boomers online - that's Ben. They chat about his work as an investigative journalist, working at Joann Fabrics (one of his favorite jobs ever), how chickens get delivered to you when you order them online, how he met his lovely wife, and Eileen gives away some absolutely mint free career advice. Follow Ben on TikTok and Instagram @palmertrolls, you will not regret it!!!

Which guys will benefit from trades? Which teams were the winners and losers? Which prospects are going to get the call? We welcome in Ben Palmer to discuss the different opportunities and fall-out from one of the busiest trade deadlines in recent memory. Question of the Week: Which MLB player would you want to date your daughter? And, the Triple Play Fantasy's Baseball Show's Game of the Week! Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Connor Newcomb is joined by Ben Palmer, an Orioles fan and writer at PitcherList, to discuss the talent level of John Means and Zac Lowther. Connor and Ben talk:-Is John Means the best Baltimore Orioles starting pitcher since Mike Mussina?-What has allowed Means to take the next step this season?-What makes Zac Lowther so effective?-Can Lowther stick in the Orioles rotation long term?-Which Orioles starter behind Means is the best fantasy baseball option?But first, Connor tells you the five things you need to know about the Orioles 4-2 win over the Yankees, touching on Matt Harvey, Cedric Mullins, Tanner Scott, and others.Listen to The Ultimate Mock Draft 2021 presented by Audacy and the Locked On Podcast Network. April 19th-26th. Follow the feed today!Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnline AGThere is only 1 place that has you covered and 1 place we trust. Betonline.ag! Sign up today for a free account at betonline.ag and use that promocode: LOCKEDON for your 50% welcome bonus.Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices